e- conservation theonlinemagazine No.16,October2010
e-conservationthe online magazine No. 16, October 2010
Cont
empo
rary
Art
Wal
l Clo
ck b
y Pa
ulaA
rt
edit
oria
l
The Gap in Conservation
e-conservation
In recent conversations with fresh PhD graduates I have unfortunately noticed an increasing tendency: towards unemployment. To a conservator-restorer or a conservation-scientist, a PhD is synonym of higher specialisation, also a better job and a higher salary. At least that is the illusion that exists before one obtains it.For some, a PhD is a life goal worthy of achievement. For others, it is merely a means to reach an objective, usually to ensure a university position. Independently of the reason why one does it, it is true that there is a life before the PhD and another after it. More and more, life before the PhD is full of expectations while life after it is quite different than one would have imagined, often in a very disappointing way.This is not a problem restricted to conservation, but it's becoming more and more accentuated because PhDs in our field are a fairly recent thing, most being less than 10 years old. Despite that, PhD programs seem to create problems instead of filling the gaps in our training or solving the problems in the field of cultural heritage.Part of the problem is in the academic sphere itself: after all there is definitely a market for training PhD students. It's academic economics and it’s all about demand and supply. When a university creates a PhD program it attracts more students, increases funds and raises status. After all, it is a business like any other and more than ever universities are competing with one another. But the bitter truth is that Academia doesn't really care about their students' career prospects. The goal is to have lots of students in order to help support their facilities and their staff, staff which are required to have a PhD. Even if you do eventually get a university position, you must bring in a new generation of students to keep afloat the department and subsequently your own job, perpetuating the system and thus, the problem.In the last decade several PhD courses have appeared in European Universities, in some countries more than others, in order to offer the three different levels of European tertiary education and to be one of the exclusive “few” to do so. When PhD students graduate some are absorbed by Academia to complement their staff, normally as post-doctorates with scholarships, while others are left “on their own”. At the end of the day, PhDs are low-paid and treated as merely temporary workers during the years they spend training for faculty positions that are virtually inexistent.What is the result of the current scenario? Unturn any stone and you will find many unemployed Doctorate graduates, others surviving on public funding, or going from post-doc to post-doc anywhere they can. Many resigning themselves and settle for lower job positions, which in the present economical climate are also hard to find. Opposed to Academia, other fields have the Industry which absorbs a great part of PhD graduates. However, this is practically non-existent in conservation and clearly insufficient to absorb many of the hundreds of highly skilled Doctors that are being trained every year.On the other side, politics are a great part of the problem. When government funding is common knowledge and widely available, students often consider pursuing a PhD because it ensures an income for at least a few years. But in fact this is all part of a bigger scheme that starts by attracting students to undergraduate conservation-restoration courses, often lured in by the highly publicized popular idea that if there is cultural heritage in need of conservation it is because there's a lack of professionals to conserve or restore it. Far from the truth, these new generations, attracted by a real interest in heritage, will later join the increasingly large mass of skilful but unemployed professionals. This is equally true for conservation-scientists who often specialize in heritage during their PhD thesis. It may be a much needed area of input, but while the training programs are increasing I don't see a higher number of positions being filled or even on offer for that matter.When will this paradigm change? Is it likely that this will only happen when the system is already near a state of absolute collapse? Right now, it simply doesn't pay to get a PhD.
Rui BordaloEditor-in-Chief
PROFILE
Location� e Metropolitan Museum of Art
ExhibitionPicasso in � e Metropolitan Museum of Art
TimeApril 27, 2010 – August 15, 2010
GlazingTru Vue® Optium Museum Acrylic®
The result of years of collaboration with the museum community, Optium® Acrylic Glazing is the ideal solution for your demanding frame and display requirements.
Optium combines the best of both worlds, anti-re� ective safety glass and UV � ltering acrylic, in one product, for all your design and conservation needs. Find out why museums around the world depend on Optium to protect, conserve and display their most valuable and historic collections. Optium. The Di� erence is Clear™.
The Finest Collections Depend on Optium® Acrylic Glazing
Follow Us:
Pablo Picasso, At the Lapin Agile, 1905, The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 1992, Bequest of Walter H. Annenberg, 2002 (1992.391); The Actor, 1904–05, Gift of Thelma Chrysler Foy, 1952 (52.175); Saltimbanque in Pro� le, 1905, Bequest of Sco� eld Thayer, 1982 (1984.433.269). All works from The Metropolitan Museum of Art. © 2010 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Photo: Don Pollard.
Tru Vue®, the Tru Vue logo, Optium®, Optium Acrylic® and Optium Museum Acrylic® are registered trademarks, and Optium® Museum Display Acrylic™ is a trademark of Tru Vue, Inc, McCook, IL USA. © 2010 Copyright Tru Vue, Inc. All rights reserved.
To experience the clear di� erence, contact your authorized supplier for a free Optium Sample Kit or visit www.tru-vue.com/museums/econ.
anti-re� ective anti-static abrasion resistant UV protection
NEWS & VIEWS 6
ARTICLES
CASE STUDY
39
Pot Healer, I Need You
By Daniel Cull
REVIEWS
SEM and Microanalysis in the Study of Historical Technology,
Materials and Conservation
September 9-10, 2010, London, UK
Review by Ana Bidarra
Western Association for Art Conservation (WAAC) Annual Meeting
September 15 - 18, 2010, Portland, Oregon
Review by Daniel Cull
NEWS
Devastating Flood in Ladakh, India
A Support Program by Tibet Heritage Fund
By Andre Alexander
UPCOMING EVENTS
November 2010
Identification of Ivory Book Covers and Comparison to Ivory
Portrait Miniatures
By Josie Wornoff
Microbial Study of Egyptian Mummies
An Assessment of Enzyme Activity, Fungicides and Some
Mummification Materials for the Inhibition of Microbial Deterioration
by Abdelrazek Elnaggar, Ahmed Sahab, Siham Ismail, Gamal Mahgoub and
Mohammed Abdelhady
Study of the painting Virgin Mary and Child with the Infant
St. John the Baptist
The Hidden Flora of Leonardo da Vinci’s Painting Workshop
By Miklós Szentkirályi
"The Annunciation" by Cola Petruccioli (1380)
The Restoration of the Transferred Wall Painting
By Ildikó Jeszeniczky
EVENTS
9
50
INDEX
20
24
13
5e-conservation
17
60
new
s &
vie
ws
POT HEALER, I NEED YOU
Conservators, and conservation, ap-
pear in numerous fictional books,
films, and TV shows [2], I'd like to
suggest that studying fiction is a
fascinating, albeit underutilized,
approach to a range of conservation
studies, not least because our por-
trayal within the fictional realm feeds
directly into the public consciousness,
and perception, of our profession. I
recently read the Philip K. Dick (PKD)
novel "Galactic Pot Healer" (GPH)
[3], and was struck by how it can be
read in contrast with contemporary
museum based futurism, and as a
work of conservation (pot-healing)
theory. Museum futurists predict that
a continuing desire for 'the real' will
maintain a central significance in the
museum project for conservation [4].
PKD, however, offers a different pre-
diction. In GPH our protagonist, a
healer of pots named Joe Fernwright,
inhabits a world in which ceramics
have been replaced by plastic, and
where all the ceramics in museums
have been ‘healed’. PKD reveals the
utopic vision of classical conserva-
tion theory to be a dystopia in which
conservators are all but obsolete,
and Joe passes his time playing
"the game" and craving illegal ci-
garettes.
"I like to build universes that do fall apart [...] objects, customs, habits, and ways of life
must perish so that the authentic human being can live." (Philip K. Dick).[1]
By Daniel Cull
In what's called 'soft' science fiction it is the story
that holds more value than scientific gizmo's.
However, as scientists, it can be fun to consider
what improvements to our field the writers of
our fictional selves have dreamt up; and consider
whether they could, as with the needle-less in-
jection from Star Trek, become reality. GPH fea-
tures several intriguing challenges for conser-
vation scientists, including; self focusing magni-
e-conservation
Book cover. Photo by Chris Drumm, Some rights reserved.
fying glasses, heat needles that bond the ceram-
ic on the molecular level (I'm pretty sure that's
non-reversible!), and replacing the ceramic con-
servators sand-box with an anti-gravity machine
and storage boxes that if dropped gently slow
their rate of descent before landing safely on
the ground. Notwithstanding such leaps in tech-
nology, I suspect conservators can take more
from the story than these tools. Back in the Com-
munal North American Citizen's Republic, Joe's
routine existence is interrupted when he receives
a message: "Pot healer, I need you. And I will pay"
[3, p.12]. As his curiosity is awakened he discovers
that on another planet the Glimmung "intended
to raise the ancient cathedral Heldscalla, and to
do so [...] needed a wide span of skills" [3, p. 25];
amongst them a pot-healer. As the plot develops
Joe undergoes a variety of adventures and strug-
gles, he gives all his savings away, has a run in
with the Quietude Authority Police, travels to a
different planet, falls in love, challenges the ap-
parent precognition of the 'Book of the Kalends',
and undergoes an epic struggle to raise the cathe-
dral, before finally coming to a decision regarding
his future as a pot-healer. As a conservator it is
possible to read Joe's personal and spiritually
gnostic journey through the prism of investigative
cleaning, the methodical uncovering of layers to
reveal new realities below. As our reality becomes
increasingly fluid and fleeting the book provides
an intriguing metaphor for contemporary read-
ings of authenticity.
The final section of the novel offers an interest-
ing challenge to museum futurists, and conser-
vation theorists. PKD posits a post-enlightenment,
experiential, reading of material culture, which
contrasts with how the conservation object has
traditionally been seen as "an object of the En-
lightenment, an object that can be known through
scientific analysis" [5]. In our world such distinc-
tions are already becoming blurred with the ad-
vent of replicas, copies, fakes, forgeries, virtual
collections, and simulations. Moreover, develop-
ments in ethnographic and contemporary art con-
servation have led the conservation process to
increasingly be concerned with meanings, and
authenticity, and not solely the materiality of
objects. It has been suggested we "confront the
thingness of objects when they stop working for
us [...] when their flow within the circuits of pro-
duction and distribution, consumption and exhi-
bition, has been arrested, however momentarily"
[6]. This being the case the focus of conservation
cannot solely be the object, but, also must be the
mechanism of its flow. By making his first pot Joe
seeks to (re)create his traditional material cul-
ture, and satisfy his desire for cultural meaning.
Perhaps too this illustrates the authors own ap-
proach to personal and cultural authenticity, cre-
ating worlds in which things do fall apart; worlds
in which maybe conservation does, after all, have
a role to play:
“He appraised what he had done, and, within it,
what he would do, what later pots would be like,
the future of them lying before him. And his justi-
fication, in a sense, for leaving Glimmung and
all the others. Mali, the most of all. Mali whom
he loved.
The pot was awful.” [3, p. 144]
Notes:
1. Quoted in: Vincent Bzdek. Philip K. Dick's
Future is Now. The Washington Post, Sunday
July 28, 2002, URL.
2. Rebecca A. Rushfield. Conservation Fiction
(or Fiction that Acknowledges the Existence
of Conservation and Conservators), URL, and
Canadian Association for Conservation.
Conservation in Film and Fiction, URL.
VIEWS
e-conservation 7
VIEWS
The News section is publishing diverse
information on cultural heritage topics, such
as on-site conservation projects reports,
conferences, lectures, talks or workshops
reviews, but also course reviews and any other
kind of appropriate announcements. If you are
involved in interesting projects and you want
to share your experience with everybody else,
please send us your news or announcements.
For more details, such as deadlines and
publication guidelines, please visit
www.e-conservationline.com
8 e-conservation
DANIEL CULLConservatorThe Musical Instrument Museum
Daniel Cull is from the West Country of the British
Isles. He trained at the Institute of Archaeology,
University College London, where he received a
BSc in Archaeology, MA in Principles of conserva-
tion, and an MSc in Conservation for Archaeology
and Museums. He was later awarded an Andrew
W. Mellon Fellowship at the National Museum of
the American Indian/Smithsonian Institution,
Washington, DC. He currently works as a conser-
vator at the Musical Instrument Museum and as
a collaborator with e-conservation magazine.
Website: http://dancull.wordpress.com
Contact: [email protected]
3. Philip K. Dick, Galactic Pot-healer, Berkley,
1969.
4. Center for the Future of Museums, Museums
and Society 2034: Trends and Potential Fu-
tures. Version 1.0. Center for the Future of
Museums/American Association of Museums.
December 2008, URL [pdf].
5. Pip Laurenson. Authenticity, Change and Loss
in the Conservation of Time-Based Media In-
stallations. Tate Papers. Autumn 2006, URL.
6. Bill Brown. Thing Theory. Critical Inquiry, Vol.
28, No. 1. Things (Autumn, 2001). pp. 4.
Review by Ana Bidarra
On 9th and 10th September 2010, the Department
of Conservation and Scientific Research at the
British Museum, in association with Hitachi High
Technologies Europe, hosted a conference on the
application of scanning electron microscopy and
microanalysis (SEM-EDX) to the study of materials,
manufacturing methods and deterioration pro-
cesses of objects from ancient to contemporary
cultures. The conference was attended by over
150 delegates representing 22 countries (includ-
ing North, Central and South America, China,
Japan, Iran and most European countries). There
were 28 oral presentations and 45 posters divided
in 2 sessions over the 2-days conference.
The presentations focused on several areas of study,
from broader applications of SEM and microana-
lysis techniques, to specific case studies, techno-
logical advances and limitations. The conference
started with a presentation from Alexander Ball
entitled How “non-destructive” is variable pres-
sure SEM?, introducing some basic concepts of
variable pressure SEM focusing on the alterations
caused by the technique due to the effects of rapid
decompression, beam interactions between the
samples and imaging gas and the contamination
from the vacuum system. These effects can cause
cracking, contaminations, dehydration, radiation
damages, etc. It was an alert call, particularly
directed to the recent possibilities of analysing
entire objects, since modern equipments have
bigger vacuum chambers. The first session ended
with two presentations on the study of parchment
biodegradation and on the study of glass beads
from urns found in 1970 in an excavation in Carth-
age, followed by the first poster session.
The second session began with a practical approach
on the use of SEM in the study of surface materials
at high magnification. Ineke Joosten focused on
the parameters that could influence the image such
as scan rotation, magnification, beam voltage,
type of detector and pressure in the vacuum cham-
ber. In the second presentation, Caroline Cart-
wright introduced a very interesting application
of SEM to the study of the organic cores from the
Iron Age Snettisham (Norfolk) torc hoard, from
around 70 BC. The study added important new in-
formation regarding the manufacture of these ob-
jects. The last session was on the study of the Bedford
Lemere Collection, particularly the deterioration of
glass plate negatives from mid to late 19th century.
September 9-10, 2010
London, UK
Organisers:The British Museum and
Hitachi High Technologies Europe
http://www.britishmuseum.org/...
SEM AND MICROANALYSIS IN THE STUDY OFHISTORICAL TECHNOLOGY, MATERIALS AND CONSERVATION
REVIEWS
e-conservation 9
The afternoon session focused on four different
themes: smalt pigment quantitative EDX analysis;
medieval window flashed glass composition, struc-
ture and manufacturing processes; organic re-
mains preserved by metal corrosion products;
and a multi-analytical study of the pigments in
17th century Portuguese tiles (“azulejos”). The
first presentation, by Marika Spring, introduced
several examples of SEM-EDX analysis on smalt
samples from a number of paintings in the Na-
tional Gallery ranging in date and geographical
origin. The variations in arsenic content as well
as possible effects of arsenic on the properties
of the glass were discussed. The effect of various
factors such as pressure, beam gas and working
distance on the degree of beam skirting and on
quantitative analysis were also focused.
The poster session continued during the tea break.
In the last session of the day the speakers brought
into discussion very distinct topics, such as the
investigation of medieval opaque glasses and
enamels, analyses of chrome-yellow and chrome-
orange dyestuffs used for domestic and imported
cotton fabrics “Touzan” (a vertically stripped Ja-
panese fabric) in the 19th century, and the study
of inscriptions, filing and polishing marks on the
bronze weapons from the Qin Terracotta Army in
China.
The first day ended with a reception at the Addis
Gallery, in the British Museum.
The second day started with a presentation by
Shirley Northover, focused on the application of
electron backscattered diffraction (EBSD) in archae-
ology. EBSD patterns are characteristic of the struc-
ture and local crystallography orientation of the
material under the beam. By systematically col-
lecting and analysing these patterns, maps can
be built up revealing the distribution of present
phases, showing grain sizes and shapes, and giving
information on the deformation levels of the sur-
face. Hector Lozano spoke on the re-discovery of
Mexican feathered textile, a very peculiar tech-
nique, of which only six known textiles still exist,
all of them from the 17th and 18th centuries. In
this case SEM was used to identify the materials
present in the feathered yarns particularly the
identification of the birds from which the feath-
ers were obtained. The next communication was
on the study of raw materials used in the produc-
tion of Chinese porcelain and stoneware bodies,
and the last one of the session was on the role of
SEM-based charcoal identification on reconstruct-
ing vegetation changes in the last 40,000 years in
Western Cape (South Africa). The afternoon presen-
tations were followed by the second poster session.
The sixth session began with a presentation from
Diane Johnson on the subsurface analysis by ap-
plication of a focused ion beam scanning electron
microscope (FIBSEM) to samples of geological
(fossils and meteorites) and historical import-
ance. Next, Alicia Perea talked on gold usage and
the analysis of wear marks and/or deterioration in
site condition of gold artefacts and how difficult
it could be to differentiate one from the other.
Carol Pottasch presented a study on a rediscovered
Dutch painter, Adriaen Coorte (works dating from
10 e-conservation
“Quantitative EDX analysis of smalt pigment in the variable pressure SEM”, by Marika Spring.
REVIEWS
1683-1705) and the use of arsenic pigments in his
still lifes. The last presentation – by Eddy Faber -
focused on the study of Middle Minoan polychrome
ware production and the relations between pot-
tery production and the palaces, and how the
polychrome ware played an important role in the
(re)affirmation of both the potters and those who
consume the craft goods as well as the different
strategies for teaching and learning craft skills
in middle Minoan society.
After lunch the afternoon began with a commu-
nication on non-invasive sample preparation with
cross-section polishing, followed by a presenta-
tion on the Viking filigree, granulation and tool
mark analysis. Next was a presentation by Mar-
tina Raedel on the application of environmental
scanning electron microscope (ESEM) equipped
with EDX to the study of different types of mate-
rials such as gold mosaics and medieval church
windows, but also to study the effectiveness of
corrosion protection systems for historical iron
and cast iron monuments and the microbial in-
festation of historical marble sculptures. The last
communication focused on the study of pre-Colum-
bian gold beads from Panama and was presented
by Ainslie Harrison. Over 2000 beads were exam-
ined, including 223 beads from recent excavations
in El Caño, from 2008 and 2009 field seasons. All
e-conservation 11
of the beads were examined for type, evidence of
manufacture, alloy composition, fabrications tech-
nique and shape. Specific features of interest,
such as flanges, circumferential grooves, chisel
marks and visible joins, were also noted for each
bead. By correlating the analytical data and ex-
ternal features of these beads, a larger picture of
the bead manufacturing processes in pre-Columbian
Panama was revealed.
The conference ended with three presentations.
Aviva Burnstock spoke about The use of SEM imag-
ing techniques for examination of paintings, show-
ing examples of the application of SEM for ques-
tions related to the surface and underlying material
structure of paintings dating from the 14th to the
20th centuries. The examples focused in features
such as surface whitening, efflorescence and
changes in the surface that resulted from selected
treatments. The second communication entitled
Metallurgy through the eyes of the SEM, by Nigel
Meeks, illustrated how SEM-EDX has been essen-
tial in revealing the materials, metallurgy, con-
struction and finishing of antiquities, from the
earliest refining of gold in Lydia, to the produc-
tion of complex multi-component jewellery in Eu-
rope and to the gold metallurgy of Central and
South America. The last presentation was a re-
view of the conference and on the future of SEM:
REVIEWS
“Current examination of organic remains preserved by metal corrosion products”, by Andrea Fischer. A view during the poster session.
12 e-conservation
REVIEWS
SEM 2010, a synopsis and a look to future direc-
tions, by Chris Jones from Hitachi.
During the two days conference the high standard
on the selection of communications and posters
was clear and it was possible to understand how
broad the application of SEM and microanalysis
techniques can be. The limitations of these tech-
niques were addressed as well as the progresses
and the more recent applications and innovations
in analysis and equipments.
Archetype Publications, in association with the
British Museum, will be publishing the conference
proceedings.
ANA BIDARRAConservator-restorer
Contact: [email protected]
Ana Bidarra has a Degree in Conservation-Resto-
ration and a Master Degree in GeoSciences on
white structured pigments for restoration. Cur-
rently she is a PhD candidate researching the
compositional and technological aspects of gold
leaf from Portuguese baroque altarpieces. She
works as conservator-restorer in private practice
since 1999.
“Inscriptions, filing and polishing marks on the bronze weapons from the Qin Terracotta Army in China”, by Xiuzhen Janice Li.
FREE
CONSERVATION
RESOURCES
Art Conservation Research
conservationresearch.blogspot.com
13e-conservation
REVIEWS
The Western Association for Art Conservation
(WAAC) recently held our annual meeting in the
city of Portland, Oregon. The meeting was spon-
sored by the University of Oregon (UO), and hosted
by the UO White Stag Block, and the AIA/Center
for Architecture. The conference was jam packed
with events including: three days of lectures, an
angels project with the Oregon Nikkei legacy Cen-
ter, a workshop on Digital Imaging Techniques for
Conservation and Education, presented by Cultural
Heritage Imaging, a silent auction to benefit the
Metropolitan Youth Symphony, a tour of the Gamb-
lin paint factory, and several receptions. There
was barely time to see the sights of the city, or
the Portland Art Museum which had graciously
extended free entry to participants, and of course
Powell's - possibly the world’s largest bookshop.
I came away from Portland with a couple of new
books, an awesome notebook from the silent auc-
tion, and a few new ideas and techniques to apply
professionally.
After opening addresses and announcements, Dr.
Tami Lasseter-Clare gave the first lecture entitled
'Uncovering Mysteries of a Chinese Burial Relic',
demonstrating the use of a variety of analytical
techniques (X-radiography, XRF, FTIR) to investi-
gate the originality, and potential dates, of various
parts of a presumed Han dynasty bronze Money
Tree, from the collections of the Portland Art
Museum. Marie Svoboda gave the second lecture
entitled 'Exploring 19th Century Restorations:
the study of Four Apulian Vases from Berlin', this
was one of my favourite lectures, covering an
important topic in the conservation field; our
own history. The lecture described a collaborative
project between Berlin's Antikensammlung and
LA's J. Paul Getty Museum to study and treat a
group of ceramic artefacts. Part of this study shed
light on the original conservator, and it was fun
to see the research and experiments that went
into discovering the methods and extent of his
work; most intriguing was the use of fired clay
blanks as a filling method. The presentation fin-
ished with the dilemma now faced by the conser-
vators; to reveal the historical artefact or to retain
the conservation work. I would argue that the
conservation evidence should be retained in at
least some cases.
After the break, Chris White gave an excellent
talk on 'Brass and Wood Screws in American Fur-
niture'. It was interesting to learn about the chro-
nology of screw production as they changed from
all handmade screws prior to 1780 to modern style
screws post 1845, into the standardization of
screw in the late 19th and early 20th centuries.
Chris also announced that Arlen Heginbotham at
the Getty is developing an online database of
screws and is looking for beta testers. In the next
lecture William Hoffman presented 'Silver Tarnish-
ing Properties of Gloves Used in Conservation',
WESTERN ASSOCIATION FOR ART CONSERVATION (WAAC) ANNUAL MEETING
Review by Daniel Cull
September 15 - 18, 2010
Portland, Oregon
http://cool.conservation-us.org/waac/
using Oddy testing, Beilstein tests, Azide tests,
as well as FTIR and ATR the potential to tarnish
or transfer residue onto silver objects was meas-
ured. The results did not end up with a clear cut
"best choice" glove, but demonstrated instead
that in different ways each of the gloves had a
negative effect. The WAAC business meeting was
the final point of business prior to lunch.
After lunch Kyle Jansson reviewed the current
state of the cultural heritage field in a lecture
entitled 'Finding Cures for the Common Heritage
Flu'. He presented the findings of recent consulta-
tions, unfortunately I think he identified more ill-
nesses than he did cures! Up next Jan Cavanaugh
discussed 'Art Conservation at the Jordon Schnitzer
Mueum of Art', describing how addressing environ-
mental concerns during an expansion of the mu-
seum was required for grants funding to address
the long term conservation efforts. After the break
the final round of lectures for the day began, with
Anya McDavis-Conway talking about 'The New Mex-
ico History Museum: Before and After Opening'. I
could totally relate to this, currently being involved
in opening a museum myself. It was interesting
to see the storage solutions that had been chosen,
including aluminium pallets to keep objects off of
the floor, and purpose built custom saddle mounts.
Yosi Pozeilov’s 'iPad, a New Tool for Condition Re-
porting at LACMA', was a fun final lecture for the
day that outlined how the iPad could be utilized as
a tool for conservation. Its major bonus is that it
is truly handheld and simulates the methods that
we use already.
Yoonjo Lee opened the second day with 'Parafilm
M Fills for a Mexican Lacquered Gourd vessel', this
introduced me to an approach that I'd never even
considered - although it was first published by
Marianne Webb in 1998, brilliantly innovative and
strikingly simple, just the sort of treatments I most
admire. This was followed by another fantastic
14 e-conservation
REVIEWS
paper from LACMA, this one entitled 'Nip, Tuck,
and Fill: Producing Digitally Printed Textile Infills
for a Group of Pre-Coumbian Textiles at LACMA',
presented by Lynn Bathke, with a section by Yosi
Pozeilov. During the break, examples of the prin-
ted fabric and photographs were available, I was
totally excited by this application of photoshop
to conservation. The printed fabrics were produced
in collaboration with CadFabulous, an LA based
company using a Mimaki TX4 dye-sublimation
printer, and I can honestly say they looked excel-
lent.
After the break, we were treated to two lectures
concerning salt desalination; the first, 'Desalina-
tion of Archaeological Ceramics: Measuring Progress
and Success' was presented by Chris White, in
which he presented his work around a normalized
rate equation for calculating the relative saltiness
of objects and the progress of desalination. He
outlined how current experimental results are
used to define an end point of the treatment, at
which an object is declared stable, but that we
still don't have enough results to know what
stable means. In the second paper, 'Detecting
and Identifying Testing Salts in Desalination',
Nancy Odegaard discussed the use of EM Quant
test strips as a method for semi-quantitative de-
termination of chlorides, nitrates, and sulfate
The popular 'Crow with LED Eyes' from the silent auction looks out across the conference hall. Photo by Daniel Cull, Some rights reserved.
REVIEWS
15e-conservation
ions in the bath solutions. This appears to be a
cheap and useful analytical method. The last pa-
per in this session was by Linda Lin who discussed
a 'Technical study and conservation of two Japan-
ese masks: Investigating their attributes as a pair
and stabilizing fragile matte paint', which treated
us to several examples of these fascinating masks.
After lunch there was one lecture, given by Chris
Stavroudis on 'The Modular Cleaning Program in
Practice Application to Acrylic Paintings', this is
a computer program that assists (but does not
lead) the conservator in formulating cleaning
systems. The system was developed as an off shoot
of Richard Wolbers gels cleaning project. I'm led
to believe that these systems are very effective,
but, I have never had cause to use either. The
early finish was to allow a brilliant tour, and re-
ception, at the Gamblin paint factory, led by Ro-
bert Gamblin who runs the 'conservation colors'
section of the company. It's always fascinating to
see where the products we have on the shelves in
our labs come from!
The last day of lectures saw a change of venue, and
focus. Art DeMuro began the day with 'White Stag
Building Project' a discussion of the restoration
of the building in which we had spent the last
two days. It was fascinating to see how the beau-
tiful building we had been meeting in had previ-
ously been a burnt out shell, the previous owner
having attempted to burn it down to claim the in-
surance money. This project included clever re-
uses of unusable parts of the building as artwork,
or unique furniture. The second paper of the day
'Developing Art and Object Conservation Recom-
mendations Compatible with Historic Interiors: A
Case Study' was presented by Jil Johnson, and
asked important questions about how we define
Robert Gamblin giving a tour of the Gamblin Paint Factory. Photo by Daniel Cull, Some rights reserved.
REVIEWS
16 e-conservation
the words we use, such as conservation and res-
toration, and how the different fields may use
the same words, but with different emphasis and
meaning. Next up was Tom Fuller who discussed
the 'Conservation of Chinese Alters at Kam Wah
Chung & Co.' .This lecture ran over, at the request
of the audience, and then a discussion ensued.
This site seemed to be a favourite for many at-
tendees, and the presentation was certainly a fa-
vourite of mine, and was probably most in-tune
with the ethnographic approaches I most enjoy.
After the break Brooke Masek gave a fascinating
lecture entitled 'In Pursuit of the Ideal: The Res-
toration of the Sante-Chapelle', demonstrating
how the restoration approach was both led, and
influenced, the formation of French national iden-
tity. Exploring the 19th Century ideals of restora-
tion, and how they were realized, or ignored, in
reality by their practitioners. This was followed by
Jonathan Fisher's discussion of 'The Putti Project:
Conservation of Two Zinc Fountain Sculptures',
which discussed the challenges faced in the con-
servation of two sculptures that formed part of a
water feature.
After lunch, Dr. Tami Lasseter-Clare gave another
lecture, this time on 'Understanding Performance
Properties and Limitations of Coatings for Metals'.
This was an interesting lecture and raised the con-
cern of how conservators might continue should
products we use be banned, an issue we as a pro-
fession should really be considering more widely.
The next paper was one of the most significant,
in my opinion, of the whole conference. 'Breaking
Through the Glass Ceiling: Exhibiting Art Under
Natural Light at LACMA' was presented by Mark Gil-
berg, and co-authored with Charlotte Eng and Frank
Preusser. The lecture presented a case study of the
successes and failures of a diffused natural light-
ing system, in a building designed by renowned
architect Renzo Piano. The authors suggested,
and I agree, that natural lighting is becoming
more common in the museum environment, and it
is imperative that conservators begin to share
their experiences with such lighting systems, and
mitigating the worst effects of light damage un-
der such circumstances. After the final break of
the conference Mary Slater presented 'Building
as Art: Preserving the National Maritime Museum'
which was co-authored by Paul Nachsheim, Jason
Wright, Mark McMillan, Katharine Untch, and
David Wessel, the Museum building was originally
designed to look like an Ocean Liner and was a
Works Progress Administration (WPA) project, and
a team of artists decorated it throughout. The
restoration project included both in-situ restora-
tion, replacement of materials with non-corrosive
but visually similar alternatives, and removal of
parts of the building for lab based conservation:
a wonderful project, for a wonderful building.
The final paper of the conference was 'Conserva-
tion and Beyond: The Fire Restoration of the Gov-
ernor's Ceremonial Suite in the Oregon State Capitol'
by Peter Miejer, this paper discussed the collab-
orative efforts to conserve this building, work-
ing with conservators, preservation architects,
design architects, owners, insurance represent-
atives, and not least the politicians who would
use the building. This paper really highlighted
the challenges and achievements of working in a
cross-disciplinary manner that was the focus of
this final day.
After three days of papers, and other activities, the
conference closed by thanking all the presenters,
attendees, and the outgoing WAAC President Marie
Laibinis Craft for organizing the conference. This
brief review can barely shed light on the high
standard of the papers, and the discussions that
took place. I certainly took some new ideas away
from the conference, and that, I think, is the lit-
mus test of a quality conference.
By Andre AlexanderPhotos by friends of Leh, August 5-7, 2010
DEVASTATING FLOOD IN LADAKH, INDIA
NEWS
A Support Program by Tibet Heritage Fund
e-conservation 17
On August 5, Ladakh experienced exceptionally
heavy rain, referred to as cloudburst. This trig-
gered flashfloods and mud slides, hitting lower
Leh, Choklamsar, Sabu, Shey, Basgo, Nyemo, Skor-
buchen, Dhar Hanu and other villages, causing
untold destruction and so far about 200 confirmed
deaths. More than 200 buildings were completely
destroyed, and further 800 were damaged build-
ings. According to official count, 1188 households
have been affected across Ladakh. No one can re-
call similar heavy rain or a similar catastrophe in
living memory.
Leh's historic old town has not been affected,
and neither have most temples and monasteries.
Indeed, everywhere it was more recent buildings
and settlements that have been affected, suggest-
ing that in the ancient past, people have been more
careful about where to build. Especially hard hit
was the Tibetan refugee settlement at Choglamsar,
established in the 1960s.
For over a week, Leh was cut of from the rest of
Ladakh, as roads and bridges were also washed
away. There was no electricity and telephony, and
even the airport was damaged and closed for one
day. The Indian army quickly rebuilt bridges, cleared
the airport runway and the major roads. Eventu-
ally, electricity supply and the telephone systems
were restored. Many houses were filled to the
brink with hardening mud. Volunteers from all
sectors of Ladakhi life, Buddhist, Muslims, sol-
diers, monks and tourist helped to dig out these
houses, sometimes making terrible discoveries
inside.
Help is coming from abroad and from other parts
of India, but in an uncoordinated fashion. The
government and Indian donors are building one-
or two-room shelters, from pre-cast concrete slabs
that are brought up. These are not at all suitable to
the climate of Ladakh and the life-style of its peo-
ple, the coming winter will be very grim in a con-
crete box. Some local Ladakhi NGOs advocate to
build such shelters from concrete-enforced com-
pressed bricks, but manufacture of such special-
ized materials is slow, and winter is approaching.
Chumikchan Cowshed damage.
Detail of damaged modern concrete-frame building at new bus-stand, Leh.
18
NEWS
e-conservation
THF is helping to prevent collapse of damaged
historic buildings in Leh, mainly on the edge of
the historic old town, and has assessed buildings
for their safety, advising whether families can re-
turn to their houses or not. Certainly, next spring
the government and all concerned bodies will have
to take a lot of precautions to prevent the cata-
strophe from recurring. Most Ladakhis blame the
climate change, saying historically it has never
rained much in Ladakh (12th century wall-paint-
ings in simple buildings with flat mud roofs seem
to bear witness to this). Flood diversion channels
can be built, drainage improved, and protective
walls raised above settlements. Some building
locations may have to be abandoned. But to bring
everyone over the winter, THF is proposing an al-
ternative to building comparatively expensive
shelters (between 2000-4000 Euro) that may not
be suited to the local climate, and that may only
be needed for six months.
We found that it only takes two skilled masons and
some helpers to make at least one room in each
of the damaged buildings safe for the family to
stay over winter. No expenses for new building ma-
terials are necessary, as everything from a tradi-
tional Ladakhi building can be recycled - including
the mud bricks for the walls.
Donations to support this program can be sent to:THF non-profit account in Germany
Account holder: Tibet Heritage Fund
Bank name: Berliner Volksbank
Account Nr. 7104 19 2003
BLZ 100 900 00
SWIFT/BIC BEVODEBB
IBAN: DE03 1009 0000 7104 1920 03
Volunteers at work cleaning the debris from the new bus-stand area.
Panoramic view of the damage suffered at lower Leh from the mudslide.
Are you reading this?So is everybody else...
e-conservationline
For advertisingand other information on publicity,
please contact
and request a copy of our mediakit.
even
tsThe events in this section are linked to the
original homepage of the organisers or to the
calendar of events at www.conservationevents.com.
Click on "Read more..." to find out more details
about each event.
EuroMed2010Digital Cultural Heritage and Digital Libraries
Date: 8-13 November Read more...
Place: Limassol, Cyprus
The EuroMed2010 joint event will focus on inter-
disciplinary and multi-disciplinary research con-
cerning both cutting edge Cultural Heritage
Informatics and use of technology for the rep-
resentation, documentation, preservation, ar-
chiving and communication of CH knowledge.
The main goal is to illustrate the programs un-
derway, whether organised by public bodies or
by private foundations in order to promote a
common approach to the tasks of recording,
documenting, protecting and managing World
Cultural Heritage.
29th Dyes in History and Archaeology Meeting
Date: 11-12 November Read more...
Place: Lisbon, Portugal
Dyes in History and Archaeology (DHA), an in-
ternational group of experts with multidiscip-
linary backgrounds, has met every year since
1982 to discuss chemical, analytical, biological,
historical, and technological aspects of natural
and synthetic dyestuffs. The conference will fo-
cus on all issues concerning dyes, namely their
production, diverse properties, and historical
implications. The topics presented will be of in-
terest to conservators, curators, art historians,
craftsmen, artists and scientists.
Nove
mbe
r 201
0
Colours, Early Textiles Study Group (ETSG) Meeting
In/Visible TownsArchaeology and Cultural Heritage in Urban Areas
15th Workshop - International Conference on Cultural Her-
itage and New Technologies
Date: 15-17 November Read more...
Place: Vienna, Austria
The conference will focus on the special challenge pre-
sented by archaeology in an urban environment that has
become a motor, an impulse-giver, for development and
innovation – in project design, excavation philosophy
and technology.
Date: 19-20 November Read more...
Place: Euston, London
From status statements to mourning dress, colours
have played a crucial part in textiles through time and
across cultures. Colours can be dramatically combined
or worn separately. Specific colours can identify the
owner, his or her allegiances, state of mind and state of
purse. Conference papers will examine textiles from
various areas, dating up to 1600.
e-conservation
Nove
mbe
r 201
0
SMARTDoc HeritageHeritage Recording & Information Management in
the Digital Age
Date: 19-20 November Read more...
Place: Philadelphia, USA
Digital tools and media offer a myriad of new opportuni-
ties for collecting, analyzing and disseminating informa-
tion about heritage sites. Issues regarding the proper,
innovative and research-focused uses of digital media
in heritage conservation are an urgent topic in the global
heritage conservation field.
7th International Conference on Science and Technology in Archaeology and Conservation
And the Workshop on Documentation and Conservation of
Stone Deterioration in Heritage Places
Date: 7-12 December Read more...
Place: Petra, Jordan
The Workshop will focus on documentation and conserva-
tion of stone. Organized jointly with by the ICOMOS Sci-
entific Committees of Heritage Documentation (CIPA,
Stone Committee (ISCS), and ICAHM) the workshop is
aimed at gathering a multidisciplinary group of heritage
documentation and conservation specialists around the
issue of the use of advanced recording techniques for
identifying, maping, and understanding weathering
forms and processes affecting the significance and
integrity of cultural heritage surfaces.
CALL FOR PAPERS: 2nd International Conference on Salt Weathering of Buildings and Stone Sculptures
Date: 24-25 Septembe Read more...
Place: Austin, Texas, USA
The conference organised by the Building Materials La-
boratory of the University of Cyprus follows a very suc-
cessful first meeting that was held in Copenhagen, Den-
mark in October 2008. It will take place in Limassol, at
the newly renovated 5-star Grand Resort, between 19-22
October 2011. The meeting is open to both practitioners
and researchers and it is anticipated to address general
salt-related problems and decay mechanisms, the key
parameters controlling salt crystallisation and new con-
servation approaches and materials.
The deadline for abstract submission is 17 December 2010.
For more information, please visit the conference web-
site or send an email to [email protected].
Works of Art and Conservation Science Today
NODEM10Nordic Digital Excellence in Museums
From Place to Presence. Digital media breaking boundaries
between inside, outside and virtual spaces, in heritage
institutions
Date: 24-26 November Read more...
Place: Copenhagen, Denmark
NODEM is a bi-annual conference that explores the role
of digital media in museums. One of the most striking
features of digital media in museums today is their po-
tential for linking and integrating resources, spaces and
users in an abundance of ways. Museums can share con-
tent and gain exposure as well as work across online and
onsite, users can contribute to knowledge production
and choose between different exhibition platforms, and
experiences and knowledge can be mediated through a
variety of channels.
Date: 26-28 November Read more...
Place: Thessaloniki, Greece
The central aim of the Symposium is to bring together
renowned scientists and experts from all over the
world, who will present the state-of-the-art in
conservation science and practice, and exchange views
on key issues related to the preservation of our cultural
heritage. The Symposium will address major fields of
conservation science including modern diagnostic
techniques, materials for conservation, paintings,
metals and ceramics, pigments and dyes, textiles,
wood, paper and manuscripts. Basic theme in one of
the main panels will be the Education/Curriculum of
Conservation Science today.
The symposium will be held in the facilities of Byzantine
Culture and Archaeological museums and the University
Ecclesiastical Academy, according to the program.
Nove
mbe
r 201
0EVENTS
Dece
mbe
r 201
0
21e-conservation
e-conservation magazine offers the possibility to publish bilingual articles in the html version. Articles inEnglish may also be published in French, Spanish, Portuguese, Italian and Romanian, at authors request.
arti
cles
AREAS OF PUBLISHING
Conservation TreatmentMural Painting
Painting
Stone
Sculpture
Textiles
Paper / Documents
Photography
Metals
Tile / Ceramic / Glass
Furniture
Music instruments
Ethnographic assets
Archeological objects
Conservation ScienceScientific research
Material studies and characterisation
Analytical techniques
Technology development
Biodeterioration
State-of-the-art
Reviews
Preventive ConservationTheoretic principles
Case studies
Documentation in ConservationStandardisation
Documentation methods
Data management
Conservation TheoryEthics
Conservation History
Art History, Iconography,
Iconology, Chemistry, Physics,
Biology, Photography, Cultural
Management, Museology,
Computer Science, Legislation
and Juridical Processes,
Conservation Policies
and any other field applied to
Conservation and Restoration
of works of art.
Find out more: www.e-conservationline.com
e-conservation
Ivory has been used in the creation of objects since the beginning of civilization, due to its prized durability and appearance. Early uses included weaponry, musical instruments, religious pieces, personal artifacts, decorative items, artistic pieces, and occasionally, book covers. Three small books from the Library and Archives Canada study collection were suspected to have ivory covers. Various identification tests were administered on the book covers, and Fourier Transform Infrared Spectroscopy analysis confirmed their elephant ivory composition. However, related literature and other existing examples of ivory covered books are rare. In contrast, the use of ivory in portrait miniatures is extensively researched. Library and Archives Canada has over 130 portrait miniatures, and has successfully treated many of these. Comparison between the history, processing, and risks of deterioration of these two applications of ivory revealed many similarities. From this, similar conservation techniques of portrait miniatures are proposed for use on ivory book covers.
IDENTIFICATION OF IVORY BOOK COVERS AND COMPARISON TO
IVORY PORTRAIT MINIATURES
by Josie Wornoff
Introduction
The cover material of four small books (Figure 1)
was the subject of a research project at Library
and Archives Canada (LAC). Three of the books
appeared to be produced of ivory or an ivory sub-
stitute, and the fourth resembled tortoiseshell or
horn. Information was gathered on the history
and characteristics of ivory and ivory substitutes,
while identification tests were administered to
determine the exact compositions of the book
covers.
Extensive research revealed that there is very
little mention of ivory book covers in literature.
Though these ivory book covers are quite rare,
there are currently over 130 portrait miniatures
in the LAC collection. Since the history of ivory
use, ivory processing, and risks of deterioration
are very similar between ivory book covers and
ivory portrait miniatures, similar conservation
recommendations are proposed for use on ivory
book covers.
Identification of Ivory
There are many methods of testing for ivory, yet
there is no test that is reliable, simple, and inex-
pensive [1]. In fact, reliability is limited because
most tests can only prove that a substance is not
ivory, and cannot avoid a destructive aspect in
order to provide this diagnosis [1].
Testing methods
Preliminary examination revealed certain mor-
phological characteristics that aided in material
identification. For example, the size of the covers
indicated that they could not be composed of
smaller proteinaceous materials such as antler
or horn [2]. Photography under various lighting
conditions also revealed important details, such
as ivory grain patterns under transmitted light.
Lamellae grain patterns are present in longitudi-
nal cuts in ivory tusks, whereas Lines of Shreger
are present in cross-sections which provide dis-
tinction from mammoth ivory [1].
IDENTIFICATION OF IVORY BOOK COVERS
Figure 1. For referral purposes, from left to right: Book 3, Book 1, Book 2, and Book 4.
25e-conservation
Ultraviolet light was also used to distinguish blue-
purple fluorescing ivory [3], from darker and dull
synthetic materials [4]. The three small ivory
books each fluoresced a bright colour, while the
added resins revealed a green colour. Book 4 fluo-
resced a dull, mottled colour, but identification
guidelines for tortoiseshell or horn were incon-
clusive (Figure 2).
Many polymer imitations of ivory will melt or burn
under heated conditions [3]. A hot needle was
applied to the surface of each cover, leaving only
a small black dot on the first three books, indi-
cating true ivory [4]. However, Book 4 became
very soft with heat, and the needle entered read-
ily, disfiguring the surface (Figure 3). Similarly,
a small shaving of each book cover was held in a
flame to perform a burn test. A shaving of cellu-
loid or other substitute will burn rapidly and com-
pletely, often releasing the odor of camphor which
was used to increase strength and decrease flam-
mability of cellulose nitrate [5]. The shaving of the
ivory substances smelled vaguely of bone, but the
odour of the brown book was distinctively burn-
ing plastic.
A chemical test that would have been more conclu-
sive is the diphenylamine spot test. A blue-violet
stain will appear within seconds if cellulose nitrate
JOSIE WORNOFF
Figure 2. Ivory fluorescence during ultraviolet light testing.
Figure 3. Hot needle test on Book 4.
Figure 4. FT-IR spectroscopy testing at CCI on Book 1.
26 e-conservation
is present, and any other colour or no colour change
indicates cellulose nitrate is not present [6]. This
test would have been successful in determining
that the brown book was in fact cellulose nitrate,
but not aid in identifying the other books.
Scientific Analysis
Finally, a conclusive test was administered. Scott
Williams, Senior Conservation Scientist at the Ca-
nadian Conservation Institute (CCI), performed
Fourier Transform Near Infrared Reflectance Spec-
troscopy testing on the four books as well as an
elephant ivory sample [7] (Figure 4). A LabSpec
Pro NIR spectrometer (Analytical Spectral Devices)
with a bifurcated fibre optic reflection probe was
used to gather spectra from each material [7]. The
characterization of the material is determined by
its molecular interaction with the infrared radia-
tion which originates a characteristic spectrum
[8].The spectra were then arranged on graphs in
comparison with the spectra of reference materi-
als of known compositions [7].
From the gathered spectra, it is evident that Book
1, Book 2 and Book 3 are each pure elephant ivory
(Figure 5). Every spectrum of each book (except
Book 4) is very closely related to the sample spec-
tra of a known elephant tusk. However, Book 4 did
not closely compare to the elephant tusk sample
at all. However, it did relate closely to sample spec-
tra from cellulose nitrate (Figure 6) Therefore, it
was concluded with certainty that Book 1, Book 2,
and Book 3 are made of true elephant ivory, and
Book 4 is made of cellulose nitrate.
History of Ivory Use
Early man utilized as much of mammoths as pos-
sible, beginning the tradition of ivory use in both
utilitarian and decorative objects [3]. Early uses
included weaponry, musical instruments, religious
pieces, personal artifacts, decorative items, artistic
pieces, and parts for games [3]. Ivory became as-
sociated with gold and silver as a luxurious com-
modity, used especially for decorating objects of
value [1].
Figure 5. Spectra of Book 1, Book 2, and Book 3 compared to sample ivory (red) (Graph: Scott Williams).
Covers and embellishments for all books have spectra similar to elephant ivory (red trace).
IDENTIFICATION OF IVORY BOOK COVERS
27e-conservation
Along with its ability to outlast other common ma-
terials such as paper, cloth, and wood, ivory is
also prized for its clean beauty, smoothness, and
ability to show a bright gloss [1]. The ivory book
covers feature these aesthetic qualities, but the
relatively good condition indicates that they were
likely on display as revered religious objects in
accordance with historical fashionable use.
Ivory Use in Book Covers
The use of ivory in book covers has rarely been fo-
cused on in the past; however, it is occasionally
mentioned in literature regarding general ivory
use. The three books are each comprised of two
pieces of thin ivory to serve as book covers, and
on Book 2, a third piece for a spine. However, a
more common practice throughout history was
to repurpose two plaques or the two pieces of a
diptych to enclose written material.
An early use of ivory books is mentioned in the 275
C.E. Roman history Scriptores Historiae Augustae
[9]. Ivory panels were used to record names and
deeds of emperors, which was a tradition that ex-
tended to the later Roman and Byzantine courts.
This confirms the continued early use of ivory
books on ceremonial occasions, and indicates
that the book format was likely two tablets hinged
together.
In the Early Middle Ages, ivory continued to be
highly revered and was used sparingly for impor-
tant commissions, which included the covers of
imperial manuscripts [10]. Many of the ivory ob-
jects made in the Late Roman and Early Medieval
periods, including consular diptychs and ivory
book covers, have survived above ground to the
present day. This unique preservation is due to a
combination of the material’s durability and the
traditions sanctioned by church and state through-
out history [10].
In addition to ceremonial recognition and imperial
documentation, ivory was very commonly used to
emphasize the importance of religious imagery
Figure 6. Spectra of Book 4 compared to cellulose nitrate (red) and ivory (grey) (Graph: Scott Williams).
The spectra of the cover and cross are nearly identical to each other and to that of a reference sample of cellulose nitrate (red trace), but differ from ivory (grey trace) and tortoiseshell (pink trace). Cellulose nitrate was commonly used to simulate tortoiseshell.
JOSIE WORNOFF
28 e-conservation
and texts. The Carolingian period marked a revival
of ivory carving [10], particularly in ecclesiastical
furniture, reliquaries, and book covers [1]. Char-
lemagne sought to recreate the glory and culture of
ancient civilizations by having scribes and artists
copy classical texts and illustrations, including
many books of lavish miniatures and gold and/or
ivory covers [10]. After the Carolingian revival,
ivory continued to be used for making fine book
covers for treatises of special merit or religious
manuscripts [1].
A less figurative and more decorative design be-
came more common in the later years. This is more
representative of the simple, elegant designs of
the three deaccessioned books, as they are from
the late 19th century. Book 1 has four fleur-de-lis
additions on the front and back, and an ink em-
blem on the center medallion. Book 2 has a simple
yet beautiful oval medallion and surrounding en-
graving, while Book 3 includes an asymmetrical
center addition.
Ivory Use in Portrait Miniatures
The use of ivory in books seems to have not expe-
rienced a specific period of use, but rather was in
use periodically throughout history. In contrast,
portrait miniatures were very popular during a
400 year time period. Both ivory objects are in-
tended to show a kind of devotion; these particu-
lar books to display religious beliefs, and the por-
trait miniatures to commemorate a loved one or
important figure. The books were likely on display
in a home when they were not in use as a Catholic
missal to celebrate Mass throughout the year, how-
ever, the miniatures were often more personal than
for display.
Notably, early portrait miniatures were derived
from illuminated manuscripts. From the 1460s,
handwritten books had to compete with printed
books, so miniaturists continued to illustrate books
but also offered patrons independent miniatures
[11]. In the 1520s, individual portraits in mini-
ature size were first produced at French and Eng-
lish courts on a portable piece of parchment or
vellum [11]. This transfer of art technique relied
on an understanding of the close association be-
tween the materials and techniques of the illumi-
nated book and the early miniature on parchment
[12]. It is interesting to consider the implication
on portrait miniatures had an early ivory book been
present and considered for the same transfer of
application.
Instead, small scale portrait images were painted
in a range of materials, styles, and techniques,
from water-based paints on paper or card supports,
to fired enamels on gold or copper supports, and
oil paints on metal, stone, glass and tortoiseshell
[12]. However, the most significant early methods
of painting portraits were on parchment or vellum,
called limnings, becoming known as portrait mini-
atures in the 18th century when they began to be
painted on ivory [12].
The first watercolour portraits on ivory tablets
were attributed to the Venetian artist Rosalba
Carriera [13]. These were initially used as bases
or lids for boxes [13], much like the repurposing
of diptychs and plaques for early ivory books.
Carriera gathered fame throughout Europe for
the beauty of the ivory visible through the trans-
parent paint in flesh coloured areas [13]. By 1710,
artists internationally faced pressure to conform
to this new fashion despite the difficulty of paint-
ing watercolour on the unabsorbent ivory [13].
After the introduction of ivory as a support for por-
trait miniatures, parchment use began to decline
until it stopped entirely [12]. The popularity of the
portrait miniature was decreasing by 1839 with the
introduction of the daguerreotype, a few decades
IDENTIFICATION OF IVORY BOOK COVERS
29e-conservation
before these books were produced in Europe. How-
ever, it is likely that the materials and techniques
from portrait miniatures remained readily avail-
able to adapt to the production of these ivory
book covers.
Ivory Processing
Due to the lack of published information on ivory
books, it is only possible to infer how the covers
were formed. However, there are many resources
on the general processing of ivory, as well as tech-
niques used to make ivory leaves for miniatures.
First the brownish outer bark-like layer is removed
[1], followed by the seasoning, cutting, smooth-
ing, and forming of ivory into a sheet.
Ivory is hygroscopic, like wood [14]. Therefore,
seasoning is required to allow for natural shrink-
age; weight losses of up to 4% have been recorded
[1]. Without controlled drying, ivory will likely
crack or warp [15]. However, it is an otherwise
ideal material to process due to its dense, virtu-
ally grainless and evenly textured nature [10].
Many tools and techniques have been used to cut
ivory throughout history. Many cutting and carv-
ing tools were employed, including: saws, shears,
rasps, files, drills, punches, chisels, picks, scrapers,
and a variety of knives and similar cutting instru-
ments. For flat sections, the broad surfaces were
cut radially to show the edges of the ivory’s lamel-
lae, or tangentially to create a finer looking ivory
with less noticeable grain [15].
During the popularity of portrait miniatures, ivory
sheets were available for purchase in pre-cut sheets
called leaves [16]. These leaves were cut length-
wise from the elephant’s tusk [16]. The ivory book
covers are each around 1 mm thick, slightly thick-
er than most portrait miniature leaves, yet quite
similar (Figures 7 and 8).
Figures 6-8. Sampling in Coptic fragments codes from the National Archaeological Museum. From up to down: 15064; 15065 and 1976/130/11. Photos by José Baztan.
Figure 7. Verso of a portrait miniature revealing the longitu-
dinal lamellae of ivory.
Figure 8. Characteristic ivory longitudinal grain patterns in Book 1.
JOSIE WORNOFF
30 e-conservation
Ancient carvers managed to hand cut ivory into
a thin veneer cylinder, which was cut into pieces
and subsequently softened and mounted upon the
curved faces and hands of sculptures [1]. Medieval
book covers may have been made this way as there
are some early surviving ivory book covers as large
as 30 cm square [1].
The size of leaves was limited by the diameter of
tusks, until technology developed for the produc-
tion of larger sheets of ivory in the early 19th cen-
tury [16]. Ivory was spiral cut with a reciprocating
saw into a scroll, steamed until soft, then subjected
to hydraulic pressure to flatten to a desired size
[16]. The resulting ivory had an increased flexibility,
a finer polish, and less grain patterns [17], but the
surface was often wavy and needed to be laid down
on stiff card before painting could begin [16].
Miniaturists were traditionally concerned about
the permanence and stability of their ivory leaves
[16]. Veneer cut ivory proved undesirable as the
ivory was prone to shattering into thin, parallel
segments [16]. Therefore, miniaturists continued
to cut leaves in the traditional manner, just as they
continued to use the same materials and techniques
since the 18th century [16]. Since watercolour paint
did not readily adhere to the ivory material, mini-
ature leaves required the extra steps of degreasing,
whitening, and scraping [18].
Risks for Deterioration of Ivory
The most common instances of ivory deterioration
are warping, cracking and complications arising
from added materials. Ivory is a relatively stable
material, but only in a constant environment [19].
It is an anisotropic material, and is therefore sus-
ceptive to warping and cracking on exposure to
heat or moisture [3]. Thin artifacts such as mini-
atures and book covers are especially vulnerable,
as even moisture and heat from hands may be
damaging [3].
Warping
The risk of warping is increased when the ivory is
mounted on stiff backing cards, restricting natural
Figure 9. Severe warp of a portrait miniature at LAC.
IDENTIFICATION OF IVORY BOOK COVERS
31e-conservation
movement [12]. Ivory should be allowed to expand
or contract with changes in temperature, which
will be at a different rate than of the paper [1]. The
front of the ivory sheet shrinks laterally, while the
back is restrained by the glue and paper [20]. Warp-
ing often occurs parallel to the grain [20] in an
even, concave curvature [21].
Many miniatures have a slight warp, but it is often
considered acceptable if it is not too extreme [21]
(Figure 9). The ivory covers on Book 2 are moder-
ately warped, similar to portrait miniatures with
restricting backing cards (Figure 10). A sign of
unstable warping is irregular buckling caused by
stresses between the ivory and an unevenly at-
taching backing [21]. This will eventually cause
cracking and splitting [1].
Cracking
Often there is insufficient room within the frame
of a miniature to allow the ivory to react to atmos-
pheric conditions, causing the ivory to warp and
crack [22]. This is seen on Book 3, as the metal
casing is restricting movement of the ivory book
covers, worsening the warp into a more uneven,
unstable buckling. The fabrication of these three
books is inherently faulty, as the covers cannot
stay adhered to the board as well as clasped for a
long amount of time. Either the ivory piece lifts
from the front cover and stays clasped, or the ivory
stays attached but the clasp breaks off. This is
evident on Book 1 and Book 2, respectively (Fig-
ure 11).
Added materials
Ivory book covers are essentially a combination of
materials, so there are often anticipated problems
with added materials. Metals provide a great aes-
thetic contrast with ivory; however, the materials
react differently to environmental conditions. Sud-
den changes in temperature expand metal more
than the brittle ivory, putting an undue mechan-
ical pressure on the area [4]. Galvanic currents
are formed between materials with diverse elec-
Figure 10. Moderate warp of Book 2.
JOSIE WORNOFF
32 e-conservation
trical potential, which weakens the ivory creating
cracks [4]. This often occurs at the point of con-
tact between the ivory and the metal, as seen in
Book 3 where cracks have occurred and Book 2 has
even broken off into pieces at the areas in contact
with the metal hinges (Figure 12).
Paint films suffer crazing, cracking and peeling
due to improper preparation of the paint or the
ivory support [12]. Watercolour paint is very sus-
ceptible to any moisture, including relative humid-
ity, cleaning solutions, and general water staining
[12]. None of the books have painting on them,
though Book 1 has an intricate ink design on the
center medallion.
Conservation
The unique problems associated with ivory require
specialized conservation. Much of the damage on
the ivory book covers is similar to that of portrait
miniatures and more general ivory objects. Treat-
ments for portrait miniatures may be adapted to
ivory book covers, specifically focused on basic
cleaning, minimizing warp, and repairing cracks
and losses.
Figure 11. The completely detached ivory cover of Book 1.
Figure 12. The broken edge on Book 2 due to stress of previous clasp.
IDENTIFICATION OF IVORY BOOK COVERS
33e-conservation
Cleaning
Basic cleaning of portrait miniatures should be
done with a soft brush, cloth, or leather [21].
Water and mild soap cannot be applied on thin films
of ivory as they are particularly susceptible to
water damage [3] and may cause condensation,
water damage, or mould [12]. The ivory is quite
dirty on all three books, especially in recessed areas.
Dry clean methods such as a stiff brush should be
used to enter all depressions to remove surface
dirt while leaving the natural patina. A dry, soft
cloth may also be used to rub the exterior to ex-
tract the natural oils of the ivory.
The preservation of original frames and cases are
an important aspect of the conservation of mini-
ature portraits. If a frame requires cleaning, a
damp swab may be applied locally after removal
of miniature, or it may be polished with a soft
flannel cloth or Hagerty Jewelry Cloth [23]. The
metal clasps on Book 1 and Book 3 and the frame
on Book 3 may benefit from polishing with these
techniques.
Aged ivory develops a yellowish patina which is
natural to the object and should not be removed
[14]. However, removal of water stains and aged
varnish may be desired for aesthetic purposes on
portrait miniatures. Acetone may be used to dis-
solve aged adhesive or varnish, and a scalpel to
mechanically remove the rest [23]. The appearance
of water damage can be minimized by coloured
pencils [23]. Book 3 appears to have a discoloured
Figure 13. Adhesive staining overall on Book 3.
JOSIE WORNOFF
34 e-conservation
varnish applied over the ivory, distracting from the
natural beauty of the underlying ivory. Acetone
swab could be used to remove varnish, however it
is likely too risky to attempt removal of the var-
nish as the ivory is inset into the metal frames
(Figure 13).
Warping
The removal of backings from portrait miniatures
often reduces the pressure that is causing them
to warp [24]. Miniatures are placed face down
and a thin scalpel blade is used to peel away the
backing, ensuring it is secure on a curved support.
Adhesives may require softening with a damp blot-
ter [23], less than 50% ethanol in water [20], or
10% Laponite solution through a tissue [23]. In
miniatures, the backing cards are an addition to
facilitate painting of the ivory. In books, the back-
ings are the book board, an integral part of the
structure and intention of the object. Thus des-
pite warping, it is not advisable to remove the
ivory from the card, nor reline the ivory.
The warping of ivory is a serious issue for portrait
miniatures as it affects the delicate paint layer and
may escalate until the ivory exceed the dimensions
of its case [22]. Ivory pieces can be placed in a
chamber conditioned with silica gel at 65-70%
RH for 10 minutes up to 2-5 hours, then clamped
between Plexiglas® sheets [23]. This successfully
relaxes ivory to a more flattened state.
In addition, a Gore-Tex® humidifying system has
been adapted from paper conservation to flatten
miniatures on ivory [24]. The miniature is placed
concave side down, between layers of Gore-Tex®,
silicon paper, blotting paper, and plastic [25]. Gore-
Tex® allows a controlled amount of moisture to
pass through the ivory, and if necessary, increased
weighting will gradually flatten the ivory in 4-8
hours [26].
Though the silica gel and Gore-Tex® methods do
reduce irregular distortions, it is often not pos-
sible or wise to attempt to completely flatten the
miniature [24]. A safe alternative to attempting
to force the ivory flat is simply to accept some
distortion [24]. In fact, specialized sink mats can
be made with 2-ply rag board [23] or Plastazone,
which allow responses to changes in environment
from the portrait miniatures [24].
Though there is a significant warp in the ivory of
these books, flattening treatment is not recom-
mended. There are too many mixed materials in
the books to attempt flattening. Each of these
materials would respond differently to the mois-
ture introduced in flattening treatments. Further-
more, Book 1 and Book 2 exhibit natural curving
which do not conform to the text block, nor should
it be forced. Book 3 shows restrained buckling
that is caused by various pressures exerted from
the metal framing, adhesive and varnish. If these
pieces were detached, they would benefit from a
relaxing treatment from either silica gel chamber
or a Gore-Tex® procedure.
Cracking
Ivory cracks and losses are the result of former
stresses and distortions, meaning pieces may not
align and will be difficult to successfully repair
[19]. Thus, they should be treated in the early
stages as soon as possible to avoid increased dam-
age [24]. Unfortunately, very extreme warping
and cracking of ivory is essentially irreversible [3].
Prior to treatment of ivory cracks, individual pieces
must be flattened first [20], with the backing pa-
per removed [24].
Experimentation to find the ideal adhesive for
treating ivory resulted in nearly every material
being used in the past [27]. Mowilith DMC2 is
currently recommended based on CCI test results,
IDENTIFICATION OF IVORY BOOK COVERS
35e-conservation
and is the one favoured at the Victoria & Albert
Museum (V&A) for ivory miniatures [24]. Cracks
are repaired with a thin Japanese paper and Mo-
wilith DMC2 from the back of the miniature [24].
If this is not strong enough, another highly suc-
cessful method is the local application of cyano-
acrylate adhesive (IKG) in small dots along the
crack [23].
Any remaining gaps may be filled with a high melt-
ing point microcrystalline wax toned with pigments
and softened with solvent [20]. Other methods
include cellulose powder mixed with Klucel L in
ethanol, or filling larger areas with highly burn-
ished pieces of paper [22]. Coloured Polyfilla, a
water-miscible cellulose filler, can also be used due
to its ease of workability and low strength which
allows ivory movement [28]. A wax and resin mix-
ture has also proven very successful, and can easily
be toned with coloured pencils [23].
The only cracking present is on Book 3 where the
pin for the clasp is attached (Figure 14). Since the
pin remains inside the ivory, and the ivory is se-
cured together by the metal frames, the crack is
fairly stable. It is best to discretely adhere cracks
from the back, so access would need to be great-
er than that of these attached backs. If possible,
Mowilith DMC2 and Japanese paper could be ap-
plied, and if this was too weak to adhere the nat-
ural break, dots of cyanoacrylate applied from the
back would also work.
Book 2 has a moderate area of loss on its back cover
where the clasp had originally attached. The book
is not at high risk of becoming more cracked; the
previous damage was due to the metal addition
which is now gone. If desired for aesthetic pur-
poses, the loss could be successfully filled by a wax
and resin mixture, tinted with a yellow tone to match
the patina [23]. If the books were to be used to be
read, or looked through often, the covers would
need to be more stable. But as such, they continue
to display the intended beauty of ivory in a unique
manner.
Preservation Recommendations
Similar to ivory miniatures, the books should be
wrapped in stiff, acid-free tissue and placed in
sturdy boxes [29]. The detaching covers of Book
1 and Book 2 may continue to be stored around
the books, to prevent any irregular warping. Spe-
cialized sink mats should be made, to accommod-
ate both the curve of the ivory’s warp and the depth
of the books. Conditions should be maintained at
the optimal level for any ivory object; temperature
between 19-25ºC, relative humidity between 45-
55% RH with no more than a 5% change in a 24
hour period, and illumination levels below 150
lux with the ultraviolet light (UV) restricted to
50 lux and 30 µW per lumen at most for portrait
miniatures [3]. The fragile books should be handled
with cotton gloves and supported by a padded
block [3].
Conclusion
Indeed, these ivory books are quite unique, yet at
the same time are closely related to ivory portrait
miniatures. The history of the use of ivory in the
two objects overlaps as miniatures got their start
Figure 14. Crack in the cover of Book 3.
JOSIE WORNOFF
36 e-conservation
from illuminated manuscripts, though declined
in popularity by the time these books were made.
Cutting and veneering techniques were much
the same, as well as consequent risks of deteri-
oration.
Similarities in history of ivory use, ivory processing,
and risks of deterioration led to a comparison of
conservation techniques. Though the book covers
are in poor condition, it is due to the inherent vice
of the ivory book structure. Thus, conservation
treatment may not yield lasting effects, so admin-
istering preventive conservation practices in or-
der to prevent further damage would be a more
appropriate approach.
Through research on the history of ivory use in
book covers, it is evident that there has been a
long tradition which may have ended around the
time of these three examples. They are thus in a
stable enough condition to display the delicate
and beautiful craftsmanship of ivory in the unique
form of book covers. Furthermore, this comparison
has revealed the impact that the growing know-
ledge of portrait miniatures in Canada is begin-
ning to have on other areas of conservation.
Acknowledgements
The author would like to thank Library and Archives
Canada as well as the following people for their
invaluable assistance: Anne Maheux and Genevieve
Samson at LAC for all their support; Scott Williams
and Tom Stone at the Canadian Conservation In-
stitute for examining and analyzing the ivory ma-
terials; Gayle McIntyre at Fleming College for her
encouragement and feedback; Alan Derbyshire
at the Victoria and Albert Museum for the use of
his photographs; Maria Bedynski at LAC for shar-
ing her expertise in portrait miniatures; and es-
pecially Lynn Curry at LAC for her inspiration and
mentorship throughout this entire project.
References
[1] B. Burack, Ivory and its Uses, Charles E. Tuttle Company, Rutland, Vermont, USA, 1984
[2] O. Krzyszkowska, Ivory and Related Materials: an Illustrated Guide, Institute of Classical Studies, London, 1990
[3] I. M. Godfrey, “Ivory, Bone and Related Materials”, D. Gilroy and I. M. Godfrey (eds.) A Practical Guide to the Conservation and Care of Collections, Western Australian Museum, Perth, 1998, pp. 47-52
[4] G. Matthaes, The Art Collector's Illustrated Hand- book, Museo d'Arte e Scienza, Milan, 1997 [5] J. Thornton, The Structure of Ivory and Ivory Substitutes, A.I.C. Preprints of Ninth Annual Meeting, Philadelphia, 1981, pp. 173-181
[6] S. Williams, “The Diphenylamine Spot Test for Cel- lulose Nitrate in Museum Objects”, CCI Notes 17/2, Canadian Conservation Institute, Ottawa, 1994, URL (accessed October 2009)
[7] S. Williams, CCI 120102: Near Infrared Spectroscopic Analysis of Ivory Book Covers, Canadian Conserva- tion Institute, Ottawa, 2009, unpublished report
[8] E. O. Espinoza, and M.-J. Mann, Identification Guide for Ivory and Ivory Substitutes, Washington D.C., World Wildlife Fund and The Conservation Founda- tion, 1991, URL (accessed September 2009)
[9] C.L. Connor, The Color of Ivory: Polychromy on Byzantine Ivories, Princeton University Press, New Jersey, 1997
[10] R.H. Randall Jr., Masterpieces of Ivory from the Walters Art Gallery, Hudson Hills Press in associ- ation with the Walters Art Gallery, Baltimore, 1985
[11] "Watercolour on Ivory", Victoria and Albert Museum, URL (accessed November 2009)
[12] C. Aiken, “Literature that Addresses the Charac- terization and the Conservation of Portrait Mini- atures”, Reviews in Conservation 1, 2000, pp. 3-9
[13] J. Murrell, "Portrait Miniatures on Ivory: Problems of Technique and Style", Traitement des supports.
IDENTIFICATION OF IVORY BOOK COVERS
37e-conservation
Travaux interdisciplinaires: journées sur la conser- vation, restauration des biens culturels, 1989, pp. 169-176
[14] “Care of Ivory, Bone, Horn and Antler”, CCI Notes 6/1, Canadian Conservation Institute, Ottawa, 1988, URL (acessed September 2009)
[15] C. Holtzapffel and J. C. Thompson, Working Horn, Ivory & Tortoiseshell, Portland, The Caber Press, 2000
[16] C. Aiken, "Ivory and the Art of Miniature Painting", Looking for Eulabee Dix: The Illustrated Biography of an American Miniaturist, National Museum of Women in the Arts, Washington, 1997, pp. 285-293
[17] J.H. Pratt, “Improvement in Ivory Covered Books”, U.S. Patent No. 42,507 of April 26, 1864, United States Patent Office, New York, 1864
[18] E. Cristoferi and C. Fiori, "Polishing Treatments on Ivory Materials in the National Museum Ravenna", Studies in Conservation 37, 1992, pp. 259
[19] P.E. Guldbeck and A. B. MacLeish, Care of Antiques and Historical Collections, Rowman Altamira, 1996
[20] K. Eirk, and W. Wiebold, Objects of Affection: The Conservation of Portrait Miniatures, National Museum of American Art, unpublished report
[21] M.T. Simpson and M. Huntley (eds.), "Paintings: Miniatures", Sotheby’s Caring for Antiques: a guide to handling, cleaning, display and restoration, Markham, Canada Octopus Publishing Group Ca- nada, 1992, pp. 110-13
[22] A. Derbyshire, “Restoration of miniatures on ivory. Sauvegarde et conservation des photographies, dessins, imprimés et manuscrits”, Actes des journées internationales d études de l’ARSAG, Paris, 30 sept. - 4 oct. 1991 (Paris, ARSAG, 1991) pp.147-151
[23] C. Aiken and M. Bedynski, LAC Portrait Miniature Project Condition Reports, Ottawa, Library and Archives Canada, 2007, unpublished report
[24] A. Derbyshire, N. Frayling and C. Rönnerstam, “Developments in the Field of Portrait Miniature Conservation”, Restauratorenblätter 21, 2000, pp. 53-59
[25] M. Trojan-Bedynski and G. Gignac, “Portrait Mini- atures: History, Materials, Techniques and Conser- vation”, 30th Canadian Association for Conserva- tion Annual Conference, Quebec City, May 26-30, 2004, Library and Archives Canada, 2004
[26] A. Derbyshire, “The Use of Gore-tex in the Flat- tening of Miniatures on Ivory”, Paper Conservation News 63, 1992
[27] C. Snow and T. Weisser, “The Examination and Treat- ment of Ivory and Related Materials”, Adhesives and Consolidants, The International Institute for Conser- vation of Historic and Artistic Works, London, 1984
[28] F. Minney, "The Conservation and Reconstruction of a Late Bronze Age Ivory Inlaid Box from Pales- tine", The Conservator, vol. 15, 1991, pp. 3-7
[29] Victoria and Albert Museum, “The Care of Ivory”, Technical Notes on the Care of Art Objects, no. 6, Victoria and Albert Museum, London, 1971
JOSIE WORNOFFPaper Conservator
Contact: [email protected]
Josie Wornoff is an emerging paper conservator
from Keene, Ontario, Canada. She began her post-
secondary education with an Honours Bachelor
of Arts at University of Toronto, majoring in Art
History and English. During this time she held
many volunteer and paid positions at various cul-
tural institutions across Ontario, and spent two
summers abroad studying art history in Italy and
Mexico. Josie then completed the Collections Con-
servation and Management program at Sir Sand-
ford Fleming College. This concluded with a four
month internship at Library and Archives Canada
Preservation Centre, specializing in the conser-
vation of books and art on paper. Josie recently
completed a project conserving a large collection
of fire damaged art and artifacts for a private con-
servation business in Florida. Currently, she is
preserving books through digitization initiatives
at Internet Archive Canada in Toronto.
JOSIE WORNOFF
38 e-conservation
MICROBIAL STUDY OF EGYPTIAN MUMMIES
An Assessment of Enzyme Activity, Fungicides and Some Mummification Materials for the Inhibition of Microbial Deterioration
by Abdelrazek Elnaggar, Ahmed Sahab, Siham Ismail, Gamal Mahgoub and Mohammed Abdelhady
Fungal and bacterial strains were isolated from some Egyptian mummies (from the Ismailia
Museum, Ismailiaa, Egypt; the El-Dokki Agriculture Museum in Cairo, Egypt and human
mummies in storage at the Ehnasia Museum in Beni-Sweif, Egypt). The biological samples
were taken from indoor air of the mummy chamber as well as from the linen bandages and
some deteriorated mummies from museum storage. Seven species of fungi were isolated and
identified as Alternaria tenuis (9.5%), Aspergillus humicola (23.8%), Aspergillus niger
(23.8%), Chaetomella horrida (9.5%), Chaetomium globosum (14.28%), Hormodendrum
viride (14.28%) and Penicillium corylophilum (4.9%). It is obvious from the morphological
properties and biochemical activity of the microorganisms that they were able to decompose
proteins, cellulose, fats and starch, the fundamental contents of a mummy's body. The most
prominent bacteria isolated were Halococcus morrhuae (30.76%), Streptococcus pyogenes
(23.07%), Micrococcus Kristinae (15.38%), Micrococcus cinereus (15.38%) and Halobacterium
pharaonis (13.38).
Results show that A. niger, A. humicola, H. viride, and P. corylophilum were very sensitive
to the mummification material of natron salt. The growth of P. corylophilum was completely
inhibited at all concentrations of benlate and thymol while A. niger and H. viride were
completely inhibited at all thymol concentrations and at 100 ppm of benlate fungicide. The
growth of H. viride was completely inhibited at 5 % of cedar oil.
The fungal isolates of A. niger, H. viride, and P. corylophilum were found to produce various
amounts of extracellular enzymes (Avicelase, CMCase and cellobiase).These enzymes play an
important role in deteriorating linen bandages as well as the mummy’s body.
Research Aims
The objectives of the present investigation are to
study the fungal colonization and exoenzymatic
activities of some deteriorated Egyptian mummies,
and the effect of mummification materials on the
fungal growth to determine the efficiency of these
materials in the mummification process. Further-
more, another important aim is to study the effect
of some fungicides in preservation of mummies
from fungal attack.
Introduction
Biodeterioration is considered a great factor in the
decomposition of the Egyptian mummies, because
fungi and bacteria grow and feed with many of
their constituent products, such as protein, fats,
starch and cellulose, which represent a stable sub-
strate to microbial growth. There are a number of
abiotic and biotic factors such as pollution, light,
humidity, temperature, microorganisms, insects,
etc., that have deteriorating effects on museum
materials [1]. Among these, biological agents
such as actinomycetes, fungi, bacteria etc., may
cause massive damage to museum objects [2].
Studies on indoor aeromycoflora have attracted
the attention of several aerobiologists [2-5].
Martinez et al. [6] isolated a total of 469 fungal
colonies from 12 mummies that presented deteri-
oration attributed to colonizing fungi. Among
the isolated fungi Penicillium, Cladosporium and
Aspergillus were found. Most of these fungi have
the ability to produce various enzymes (cellulases,
amylases, proteases, keratinases, etc.). Cellulase
enzymes degrade cellulose found in linen band-
ages to double sugars and endoglaconases en-
zymes cut the cellulose chain in a random fashion
whereas, exogluconases enzymes successively
remove single cellobiose or glucose units from
the non-reducing end of the cellulose chain [7,
8]. Many fungi are able to cause zoonotic super-
ficial infections as a consequence of invading
keratinize tissues of skin, hair, and nails [9, 10].
Materials and methods
Samples
Biological samples were taken from a linen-wrapped
mummy, from the air of mummy chambers and
from deteriorated Egyptian mummies preserved
in museum storage as follows: human mummy
no. 2520 and 2519 from the Ismailia Museum (Is-
mailiaa, Egypt); animal mummies No. 35 and 93
from the El-Dokki Agriculture Museum (Cairo, Egypt)
and human mummies in storage at Ehnasia Museum
(Beni-Sweif, Egypt, see figures 1,2). Sampling of
Figure 2. Isolation of biological samples from a mummy at Ehnasia Museum (Beni-Sweif, Egypt).
40 e-conservation
ABDELRAZEK ELNAGGAR et al.
Figure 1. A human mummy at Ehnasia Museum, Beni-Sweif, Egypt.
air spora surrounding the above mummies was
done using the plate exposure method [11].
Isolation and identification of fungal strains
Swaps from linen bandages wrapped mummies
were transferred aseptically to potato dextrose
agar plates [12] which were used for the cultiva-
tion of bacteria and moulds. The Petri dishes were
incubated at 28 ± 2 °C for 7 days for fungi and 3
days for bacterial counts. Fungal isolates were
later microscopically analyzed and identified [13-
15]. The scheme of Buchanan and Gibon [16] was
employed in the identification of bacterial isol-
ates. The frequency occurrence of each genus
was expressed as the percentage of samples con-
taining a given organism.
Effect of some materials of mummification on fungal growth
Each of the following mummification materials -
natron, myrrh, juniperus, Cinnamomium camphora,
Arabic gum, cassia, mastic resin, and beeswax -
was separately examined for its effect on the visual
growth of some selected fungi isolated from the
mummies using PDA plates. 1 ml of spore suspen-
sion (approximately 106/ ml) of 7 days old culture
was placed in a Petri dish and poured by PDA me-
dium. After solidification 0.2 g of the mummific-
ation material was put in the centre of the dish
plate (1 cm diameter) and was fumigated by UV
light. Dishes were incubated at 28 ± 2°C for 7 days.
The developed colonies of various fungal growths
were visually determined using the following
scale: + (10% growth), ++ (50% growth), +++
(75% growth) and ++++ (100 % growth).
Effect of some fungicides on the linear growth of fungi
Three kinds of fungicides recommended for use in
archaeological field were tested in this experiment
at different concentrations in order to ascertain
their effect on the growth of fungi and their in-
habitation effect. Table 1 shows the fungicides,
their chemical name and composition, and the con-
centrations used based on the active ingredient.
41e-conservation
MICROBIAL STUDY OF EGYPTIAN MUMMIES
Fungicide Chemical name Chemical composition
Active ingredients(%)
Concentrations
Thymol Thyme camphor
Isopropyl-metacresol
(CH3)2 CHC6 H3 (CH3) OH
100
025 ppm50 ppm
100 ppm200 ppm
Benlate Benomyl
Methyl-1- ( Bytyl carbamyl) - 2-benzimidazole
carbamateC15H18N4O3
50
6.25 ppm12.5 ppm50 ppm
100 ppm
Cedar oil Cedar camphorCedrol
C15H26O 100
00.5 %
1 %2.5 %5 %
Table 1. Characteristics of the fungicides used.
The fungicide was added to PDA medium after ster-
ilization, while still warm. Incubation was carried
out at 28 ± 2°C for 7 days.
Enzymatic activity of fungal isolates
For studying the enzymatic activity (such as Avi-
celase and endoglucanase) of the isolated fungal
strains, three isolates of the tested fungi were
screened for their abilities to produce extracellu-
lar enzymes in liquid media with the use of some
buffers (0.05 M Citrate-phosphate buffer, PH = 4.8
and 0.02 M Acetate buffer, PH = 5) which contains
0.02 % sodium azide. Two kinds of reagents have
been used (Arsenomolybdate reagent (A), Somogyi
copper reagent (B).
Growth medium and substances
Mandels and Weber's medium [17] was prepared,
containing (g/L): 1.4 (NH4)2 SO4; 2.0 KH2PO4; 0.3
urea; 3.0 CaCl2; 0.3 Mg SO4.7H2O; 0.005 FeSO4;
0.0014 ZnSO4; 0.0016 MnSO4; 0.002 COCl2; pro-
tease peptone (1%); tween 80 (0.1%) and Avicel
(1%) with final pH of 5.0. The medium was sup-
plemented individually by cellulose, protein, fats
and starch as carbon sources instead of Avicel.
Growth in liquid culture
Erlenmeyer flasks containing 50 ml of Mandels and
Weber's medium with adequate carbon source were
inoculated by 5% (v/v) inoculums of the tested
fungi (Aspergillus niger (4), Hormodendrum viride
and Penicillium corylophilum). The flasks were
then incubated at 28± 2°C for 5, 7 and 20 days.
After each incubation period the content of each
flask was filtered. Culture filtrates were subjected
to enzyme assay.
Enzyme preparation
Extracellular enzymes were prepared by filtrating
the culture through filter paper (Wattman no. 1)
while intracellular enzymes were obtained by
grinding the washed, cold mycelium with sand in a
minimum volume of citrate-phosphate buffer (0.05
M, PH 4.8 ), then centrifuging the mixture and
using the supernatant as the enzymes’ solution.
Enzyme assays
Avicelase (1,4-β-D-glucan cellobiohyrolase) was
measured according to Seddler and Khan [18]
using Avicel cellulose as substrate, while endoglu-
canase (1,4-β-D-glucanhydrolase) was assayed
as carboxymethyl cellulose (CMCase ) according
to the method of Mandels and Weber, the result-
ing reducing sugar, in both cases was measured by
Somogyi reagent [19] using glucose as standard.
β-Glucosidase was performed by a modification of
Bergham and Petterson method [20] where 0.5
ml of enzyme solution was incubated with 0.5 ml
of 0.4 % cellobiose in 0.5 ml citrate-phosphate
buffer at ph 4.8 for 30 min at 50 °C. The reaction
was stopped by heating the mixture in a boiling
water bath for 5 min. The enzyme activity was de-
termined by measuring the concentration of the
released glucose using glucose – oxidase kit (Bio-
analytical Laboratories- Palm City, U.S.A), and an
enzyme unit is considered the necessary amount
of enzyme to liberate one µmol of the reducing
sugar under assays conditions specified above.
Results and discussionSurvey of fungal and bacterial isolates
Seven species were isolated and identified using
optical microscopy as: Alternaria tenuis, Aspergil-
lus niger, Aspergillus humicola, Chaetomella hor-
rida, Chaetomium globosum, Hormodendrum viride
and Penicillium corylophilum. The frequent occur-
rence was found to be ranging from 4.7% for Peni-
cillium corylophilum to 23.8% for Aspergillus niger
and Aspergillus humicola. The other species could
be arranged based on the frequency of their occur-
42 e-conservation
ABDELRAZEK ELNAGGAR et al.
rence as follows: Chaetomium globosum and Hor-
modendrum viride (14.28%) and Alternaria tenuis
and Chaetomella horrida (9.5%). There are many
reports dealing with the microbial levels, such as
Abdel-Kareem et al. [21], Cook and Rayner [22],
Darwish and Sahab [23].
Five bacterial species belonging to four genera
were identified and classified as: Halococcus mor-
rhuae (30.76%), Streptococcus pyogenes (23.07%),
Micrococcus Kristinae, Micrococcus cinereus and
Halobacterium pharaonis (15.38%).
Effect of some mummification materials on visual fungal growth
The data in Table 2 shows that the mummification
materials have different ability to inhibit the my-
celial growth of the tested fungal isolates. The
five strains of A. niger, H. viride, P. corylophilum
and A. humicola were very sensitive to natron salt
and relatively sensitive to a Cinnnamomum cam-
phora extract (figure 3). The natron salts had a
large effect on the growth of the fungal isolates
because it inhibited the fungal growth on a large
area, as the NaCl present in natron salt is an his-
toric preservation material. On the other hand,
the same fungal isolates were less affected by
myrrh and beeswax extracts and the mummifica-
tion materials of Juniperus, Arabic gum and cassia
extracts were found to have no effect on the tested
fungal growth.
Enzymatic activity
Enzyme activity of cellulase production in fungal
strains was measured with different substrates
43e-conservation
Fungal species Aspergillus niger (strain no.)H. viride P. corylophilum A. humicola
Strain no. 1 2 3 4 5
Natron + + + ++ + + ++ +
Myrrh +++ ++ ++ +++ +++ ++ ++ ++
Juniperus ++++ ++++ ++++ ++++ ++++ ++++ ++++ ++++
Cinnamomum camphora +++ +++ +++ +++ +++ ++++ ++ ++
Arabic gum ++++ ++++ ++++ ++++ ++++ ++++ ++++ ++++
Cassia ++++ ++++ ++++ ++++ ++++ ++++ ++++ ++++
Mistic resin ++++ ++++ ++++ ++++ ++++ +++ ++++ ++++
Beeswax +++ +++ +++ +++ +++ ++ ++ +++
control ++++ ++++ ++++ ++++ ++++ ++++ ++++ ++++
Legend: + (10% fungal growth), ++ (50% fungal growth), +++ (75% fungal growth), ++++ (100 % fungal growth).
Table 2. Effect of some mummification materials on visual fungal growth of some fungal isolates after 15 days.
Figure 3. From left to right: Effect of myrrh on the growth of Aspergillus humicola, effect of cinnamomium camphora on the growth of Aspergillus humicola, and effect of cinnamomium camphora on the growth of Aspergillus niger.
MICROBIAL STUDY OF EGYPTIAN MUMMIES
from 0.009 to 0.399 U/ml for P. corylophilum after
5 and 20 days respectively (Table 3). The highest
activity of Avicelase was recorded for cellulose
following casein substrates.
b) CMCase enzymeTable 4 showed that all the tested fungi produced
different values of extracellular CMCase ranging
from 0.103 to 0.643 U/ml for A. niger, from 0.013
to 2.050 U/ml for H. viride and from 0.010 to 1.136
U/ml for P. corylophilum. The highest activity of
MCase was recorded for cellulose and casein sub-
strates. Many authors [24, 25, 26, and 27] reported
that all tested fungi had the ability to decom-
pose cellulosic materials and produce cellulase
enzymes.
(cellulose, protein, fats, and starch) to know the
ability of these fungi to produce these enzymes
that react with the mummy’s skin and wrappings
causing its decomposition. The results shown in
Tables 3-5 reveal that all the tested fungi produced
various amounts of extracellular enzymes (Avice-
lase, CMCase and cellobiase). The value of enzyme
production depended on the fungal species and
age of the culture. The ability of these fungi to
decompose casein, cellulose, oil and starch has
also been confirmed by other researchers.
a) Avicelase enzymeThe tested fungi showed feeble Avicelase activity
ranging from 0.041 U/ml to 0.115 U/ml for A. ni-
ger, from 0.001 to 0.143 U/ml for H. viride and
44 e-conservation
Table 3. Effect of some substrates on Avicelase activity of some fungal strains isolated from mummies and incubated for 5, 7 and 20 days at 28± 2°C.
Fungal strain A. niger H. viride P. corylophilum
Incubation period/day
5 7 20 5 7 20 5 7 20
Casein 0.027 0.114 0.115 0.093 0.05 0.105 0.027 0.114 0.046
Cellulose 0.021 nd 0.08 0.109 nd 0.143 0.1197 nd 0.399
Oil 0.014 0.06 nd 0.0147 0.018 0.022 0.009 0.029 0.057
Starch 0.021 0.024 0.032 0.001 0.007 0.014 0.0143 0.056 0.013
Nd: not determined
Table 4: Effect of some substrates on CMCase activity of some fungal strains isolated from mummyies and incubated for 5, 7 and 20 days at 28± 2°C.
Fungal strain A. niger H. viride P. corylophilum
Incubation period/day
5 7 20 5 7 20 5 7 20
Casein 0.311 0.321 0.643 0.643 0.571 0.06 0.122 0.322 0.099
Cellulose 0.321 nd 1.210 0.205 nd 0.296 0.928 nd 1.136
Oil 0.45 0.024 nd 0.09 0.013 0.013 0.01 0.028 nd
Starch 0.103 0.123 0.139 0.043 0.43 0.69 0.013 0.095 0.114
Nd: not determined
ABDELRAZEK ELNAGGAR et al.
45e-conservation
c) Cellobiase enzyme
Table 5 shows that the highest cellobiase activity
(7.861 U/ml) was obtained from the culture fil-
trate of A. niger after 5 days on starch substrate
and the lower level (4.690 U/ml) on casein. In
H. viride culture filtrate the highest value (3.703
U/ml) was shown on cellulose substrate and the
lowest level (0.105 U/ml) on oil substrate after
5 days incubation period. High level of cellobiase
activity (5.740 U/ml) was obtained in culture fil-
trate of P. corylophilum after 20 days on casein
substrate and lower cellobiase (0.020 U/ml) was
showed on oil after 20 days. The production of
cellobiase from different fungi was reported by
several authors [25, 28, 29, 30].
Effect of some fungicides on the linear growth of some fungi
Table 6 shows the effect of some fungicides as
agar amendment on the mycelial linear growth
(A. niger, H. viride and P. corylophilum). Data in-
dicate that the antifungal activity of benlate, thy-
mol and cedar oil against fungal growth increased
with the growth in fungicide concentration. The
linear growth of P. corylophilum was completely
inhibited at all concentrations of benlate and
thymol while the growth of A. niger and H. viride
was also completely inhibited at all concentrations
of thymol and benlate at 100 ppm. The growth of
H. viride was completely inhibited at 5% of cedar
Table 5: Effect of some substrates on cellobiase activity of some fungal strains isolated from mummies and incubated for 5, 7 and 20 days at 28± 2°C.
Fungal strain A. niger H. viride P. corylophilum
Incubation period/day
5 7 20 5 7 20 5 7 20
Casein 4.69 5.556 5.69 0.279 0.393 3.703 0.228 0.831 5.74
Cellulose 4.843 nd 6.389 0.293 nd 3.703 0.243 nd 1.179
Oil 4.89 6.482 6.945 0.105 0.115 0.122 0.064 0.064 0.02
Starch 7.861 5.556 5.463 0.125 0.209 0.293 1.389 2.778 4.877
Nd: not determined
Fungi Benlate fungicide concentration (ppm) Mean
Aspergillus niger
0 6.25 12.5 50.0 100.0
45.1
Hormodendrum viride
100.0 70.0 33.3 22.2 0.0
62.4
Penicillium corylophilum
100.0 80.0 72.1 60.0 0.0
20.0100.0 0.0 0.0 0.0 0.0
Aspergillus niger
Thymol concentration (ppm)
Hormodendrum viride
0 25 50 100 200
Penicillium corylophilum
100.0 75.5 63.6 42.6 0.0 56.3
100.0 0.0 0.0 0.0 0.0 20.0
100.0 0.0 0.0 0.0 0.0 20.0
Table 6. Effect of some fungicides on the linear fungal growth of some fungi isolated from mummies.
MICROBIAL STUDY OF EGYPTIAN MUMMIES
oil. These results are in total agreement with those
reported by other researches on several fungi [31].
Cleaning procedures
Removal of microbial stains and growths over the
mummies has been carried out using scalpels and
soft brushes accompanied with an extraction sys-
tem, to reduce the spore's contamination in the
working area (figure 4). Cleaning started from the
middle to the edges to easily collect the fungal
growths and dirt particles without the spread of
the microbial contamination (figure 5). Isopropyl
alcohol has been used to sterilize the cleaning
equipment and the surrounding environments
during and after cleaning (figures 6-7). White free
acid papers have been place below the mummy
to better collect the fungal conidia. Benlate fun-
gicide (200 ppm) has been applied on the mummy's
wrapping using a sprayer. After cleaning, mum-
mies were covered by polyethylene to protect them
from further contamination. For health and safety
issues, the conservator must wear a mask, coat,
goggles and gloves during cleaning to avoid in-
halation of the microbial contaminants (figure 8).
Conclusion
After isolation of the microbial species from Egyp-
tian mummies, experimental studies confirmed
the efficiency of some of mummification materi-
als on the inhibition of fungal growth, indicating
that mummification materials may also function
as biocides. The study indicates the ability of the
Fungi Cedar oil concentration (%) Mean
Aspergillus niger
0 0.5 1.0 2.5 5.0
81.3
Hormodendrum viride
100.0 100.0 75.5 70.8 60.0
60.0
Penicillium corylophilum
100.0 100.0 80.2 20.0 0.0
78.7100.0 85.6 76.8 65.9 65.0
Figure 6. Sterilization of the surrounding air during cleaning.
Figure 4. Mummy's head wrappings during cleaning.
Figure 5. Mummy's wrappings after cleaning.
46 e-conservation
ABDELRAZEK ELNAGGAR et al.
isolated fungal strains from the Egyptian mummies
to produce various amounts of extracellular en-
zymes (Avicelase, CMCase and cellobiase) which
may lead to the decomposition of the mummy
materials. Benlate, thymol and cedar oil show an
ability to inhibit fungal growth. The authors would
like to recommend creating better preventive con-
servation procedures in order to preserve the mum-
mies from future damage.
References
[1] A. E. David, “Conservation of mummified Egyp-
tian Remains”, in A. R. David (ed.), in Science
in Egyptology: proceedings of the Science in
Egyptology Symposia, Manchester University
Press, Manchester, 1986.
[2] A. Arya, A. R. Shah, and S. Sadasivan, “Indoor
aeromycoflora of Baroda museum and deteri-
oration of Egyptian mummy”, Current Science
81(7), 2001, URL
[3] P.H. Gregory, Microbiology of the Atmosphere,
Leonard Hill Books, Aylesbury, England, 1973,
pp. 377
[4] A. F. Sahab, F. Tawfic, S. Sahaba, and S. Mous-
tafa, “Indoor fungal airospora and microor-
ganisms communities associated with old ma-
nuscripts of GEBO of Egypt”, Journal of Agri-
cultural Sciences 28(8), Mansoura University,
2003, pp. 6055- 6063
[5] K. Zielinska-Jankiewicz, A. Kozajda, M. Pio-
trowska, and I. Szadkowska-Stanczyk, “Micro-
biological contamination in moulds in work
environment in libraries and archive storage
facilities”, Annals of Agricultural and Environ-
mental Medicine 15, 2008, pp. 71-78
[6] R. López-Martínez, F. Hernández-Hernández,
B.E. Millán-Chiu, P. Manzano-Gayosso, and L.
J. Méndez-Tovar, “Effectiveness of imazalil to
control the effect of fungal deterioration on
mummies at the Mexico City Museum ‘El Car-
men’” (article in Spanish), Revista Iberoamer-
icana de Micología 24, 2007, pp. 283-288
[7] R. A. Zabel, and J. J. Morrell, Wood microbio-
logy: decay and its prevention, Academic
Press, San Diego, 1992
[8] T. Reinikainen, K. Henriksson, M. Siika-aho,
O. Teleman and K. Poutanen, “Low-level en-
doglucanase contamination in a Trichoderma
Figure 7. Collecting and removal of dirt particles and fungal growths from a mummy.
Figure 8. The necessary tools for conservator' health and safety (masks, gloves, goggles).
47e-conservation
MICROBIAL STUDY OF EGYPTIAN MUMMIES
reesei cellobiohydrolase II preparation affects
its enzymatic activity on β-glucan”, Enzyme and
Microbial Technology 17(10), 1995, pp. 888-892,
doi: 10.1016/0141-0229(95)00008-S, URL
[9] D. H. Howard, Fungi Pathogenic for Humans
and Animals. Part B: Pathogenicity and Detec-
tion, Marcel Dekker, New York, 1983, pp. 267-271
[10] I. Weitzman, and R. C. Summerbell, “The
dermatophytes”, Clinical Microbiology Reviews
8(2), 1995, pp. 240-259, URL
[11] M. F. Madelin, and A.H. Linton, “Microbio-
logy of air”, in L.E. Hawker and A.H. Linton
(eds.), Microorganisms: Form, Function and
Environment, Edward Arnold, London, 1972,
pp. 529-537
[12] O. N. Allen, Experiment on soil bacteriology,
Burgess Publishing, Minneapolis, 1961
[13] C. Thom, and K.B. Raper, A Manual of Asper-
gilli, The Williams and Wikins Company, Bal-
timore, 1945
[14] C. J. Gilman, A manual of soil fungi, Iowa
State College Press, Ames, 1957
[15] H. L. Barnett, and B. B. Hunter, Illustrated
genera of imperfect fungi, American Phytopatho-
logical Society, Burgess Press, Minnesota,1986
[16] R. E. Buchanan, and N. E. Gibons, Bergey’s
Manual of determinative bacteriology, The
Williams and Wilkins Company, Baltimore,
Maryland, 1974
[17] M. Mandels, and J. Weber, “The production
of cellulases”, Advances in Chemistry 95, 1969,
pp. 391-420, doi: 10.1021/ba-1969-0095.ch023,
URL
[18] J. N. Saddler and A. W. Khan, “Cellulolytic
enzyme system of Acetivibrio cellulolyticus”,
Canadian Journal of Microbiology 27(3), 1981,
pp. 288–294, doi:10.1139/m81-045, URL
[19] M. Somogyi, “Notes on sugar determination”,
The Journal of Biological Chemistry 195, 1952,
pp. 19-23
[20] L. E. R. Berghem, and L. G. Petterson, “The
mechanism of enzymatic cellulose degradation.
Purification of a cellulolytic enzyme from Tri-
choderma viride active on highly ordered cel-
lulose”, European Journal of Biochemistry
37(1), 1974, pp. 21-30
[21] O.M.A. Abdel-Kareem, J. Szostak-Kotowa,
W. Barabasz, I. Pasmionka, and A. Galus,
“Fungal Biodeterioration of Ancient Egyptian
Textiles, Part I: Survaying Study for the Most
Dominant Fungi on Ancient Egyptian Textiles”,
in Drobnousreoje W Środowisku Występowanie,
Aktywność i Znaczenie, Wyd. AR Kraków, 1997,
pp. 279-290
[22] R. C. Cook, and A. D. M. Rayner, Ecology of
Sarotrophic Fungi, Longman, London, 1984,
pp. 415
[23] S.S. Darwish and A. F. Sahab, "Indoor air-
borne moulds in archaeological museum and
deterioration of Egyptian mummy", Interna-
tional Conference on Chemistry, Green and
Sustainable Chemistry in Developing Countries
(Chem05), 3-5 March 2008, Faculty of Science,
Chemistry Deptartment, Cairo University, pp.
371-385
[24] S. M. Fagan, and C. L. Fergus, “Extracellular
enzymes of some additional fungi associated
with mushroom culture”, Mycopathologia 87,
1984, pp. 67-70, doi: 10.1007/BF00436631, URL
48 e-conservation
ABDELRAZEK ELNAGGAR et al.
[25] K.H. Domsch, W. Gams, and T.H. Anderson
(eds), Compendium of Soil Fungi, Vol. 1, IHW-
Verlag, Eching, Germany, 1993
[26] S. A. Ismail, Biochemical studies on Micro-
bial β-Galactosidases, PhD Thesis, Chemistry
Deptartment, Faculty of Science, Cairo Uni-
versity (Egypt), 1994
[27] S.A. Ismail, A. F. Sahab, and S.S. Darwish,
“Effect of some cultural conditions, pesticides
and consolidators on growth and enzme activity
of Trichoderma viride”, Modelling, Measurement
and Control – C: Chemistry, Geology, Environ-
ment and Bioengineering 66 (5-6), 2005
[28] C. Marinescu, and V. I. Popa, "On the biosyn-
thesis and characterization of cellulosic en-
zymes. II. Cellulase production enhancement
in different biosynthesis conditions”, Cellulose
Chemistry and Technology 34, 2000, pp. 35-49
[29] M. Rocha, N. Cordeiro, A.C.F. Cunha Queda,
and R. Capela, “Microbiological and chemical
characterization during composting of cattle
manure and forestry wastes – a case study
in Madeira Island”, in F. C. Jr. Michel, R. F.
Rynk, and H. A. J. Hoitink (eds.), Proceedings
of the 2002 International Symposium “Com
posting and Compost Utilization”, The JG Press
Inc., Emmaus, pp. 156-170
[30] S. Y. Sahaba, Physiological studies on micro-
organisms isolated from deteriorated from old
manscripts, Master Thesis, Faculty of Agricul-
ture, Ain Shams University (Egypt), 1988
[31] A. H. A. Ellil, and E. F. Sharaf, “Growth, Mor-
phological Alterations and Adaptation of
Some Plant Pathogenic Fungi to Benlate and
Zineb. A New Look”, Journal of Biological Sci-
ences 3(3), 2003, pp. 271-281
ABDELRAZEK ELNAGGARConservation-educatorContact: [email protected]
Abdelrazek Elnaggar is a conservator of organic
objects, currently Assistant Lecturer at the Con-
servation Department of the Faculty of Archaeology
at Fayoum University, Egypt. He got a Bachelor’s
degree (2000) in Conservation and Restoration
of Monuments and Works of Art from the Cairo
University and a Master’s degree (2006) in Conser-
vation of Egyptian mummies from Cairo University.
He had a scholarship (2007/2008) in laser cleaning
of ancient Egyptian Leather at IESL-FORTH in Greece
and received a postgraduate diploma in compara-
tive studied on cleaning techniques in relation to
Laser cleaning conservation (2008/2009 UK).
He has an ongoing PhD thesis focusing on the
laser applications to conservation of Egyptian
monuments, including collaborative projects in
UK with Liverpool University, Natural History
Museum, Petrie museum, Imperial College, and
UCL, in Italy with Politecnico di Milano, and the
Supreme Council of Antiquities (Egypt).
AHMED SAHABDepartment of Plant Path., National Research
Centre, Dokki, Cairo
SIHAM ISMAILDepartment of Chemistry of Natural Microbial
Products, National Research Centre, Dokki
GAMAL MAHGOUBConservation Department, Faculty of Archaeology,
Fayoum University, Alfayoum, Egypt
MOHAMMED ABDELHADY
Conservation Department, Faculty of Archaeology,
Cairo University, Giza, Egypt
49e-conservation
MICROBIAL STUDY OF EGYPTIAN MUMMIES
STUDY OF THE PAINTING VIRGIN MARY AND CHILD WITH THE INFANT ST. JOHN THE BAPTIST
The Hidden Flora of Leonardo da Vinci’s Painting Workshop
By Miklós Szentkirályi
Article translated by Barbara and Stevin John Davidson and originally published in the Proceedings of the 8th International Seminar on Restoration, that took place in September 24-26, 2008 in Handlová, The Slovak Republic, organized by the Chamber of Restorers.
case
stu
dy
Restoration of any damaged artwork should remind us of a flower garden grown with plenty of love.
In both cases it is crucial to consider what has already blossomed and 'what has still to live'.
This idea guided me through the process of restoration of this unusually damaged panel painting.
Virgin Mary and Child with the Infant St. John the Baptist. Painting before conservation-restoration.
e-conservation 51
THE HIDDEN FLORA OF LEONARDO DA VINCI’S PAINTING WORKSHOP
The painting in study, representing the Virgin Mary
with Child Jesus and young St. John the Baptist
from the collection of Szépművészeti Museum in
Budapest, was never exhibited due to its advanced
deterioration state and only a few people have
undertaken its study. The support, made of a thin
poplar panel, had caused countless vertical cracks
to appear on the surface that interfered with the
integrity of the painting’s composition. The paint-
ing was covered with several layers of darkened
varnish resulting in the alteration of the colour
scheme that was only partially perceivable and
the image could hardly be recognised. On a few
areas the polychromy detached and the colour
layer was flaking. Extensive over paintings were
the characteristic sign of the advanced stage of
damage of the painting’s surface. Large lacunas
in the area of the sky, grazes and detachments
on the face and neck of Virgin Mary and loss of
colour on her cloths were critical. These damages
were symptoms of a work of art which was not
cared for and left to decay.
MIKLÓS SZENTKIRÁLYI
Aspect of the painting after cleaning.
The poor state of conservation of Mary's portrait. Aspect after conservation-restoration treatment.
52 e-conservation
After the preliminary tests, the outstanding paint-
ing technique of this artwork became visible, with
its rich colour scheme and true depiction of the
background landscape. But unexpected mistakes
and insufficiencies were also revealed.
Based on the research done by the conservator-
restorers a proposal for the treatment of the paint-
ing was developed which was accepted by the
consultants.
The extent of the cleaning and the complete un-
covering of the original allowed a better under-
standing of the spiritual strength of Leonardo da
Vinci (1452-1519) workshop’s creation. Observing
this rediscovered artwork brings to mind a resem-
blance hard not to notice with both variations of
the Madonna of the rocks, which can be found in
the National Gallery, London and in the Louvre
Museum, Paris, with their beautiful colour harmo-
nies, mysterious play of lights and shades, rocks
and flowers.
The composition of the painting is closed with a
half circle area in the upper part. The landscape
contains a monolith rock towering into the sky,
a beech forest, a grove and a water pothole. Virgin
Mary is kneeling, raising her hands in a protec-
tive way over her Child and the young St. John the
Baptist, who are carelessly playing in the fore-
ground decorated with rich flora and vegetation.
Above: Network of fine cracks on the surface of Child’s portrait (left). Aspect after retouching (right).
Below: Detail of the rich background of the painting.
e-conservation 53
THE HIDDEN FLORA OF LEONARDO DA VINCI’S PAINTING WORKSHOP
In background, behind the rock, there is a river
valley with a city disappearing in a bluish mist.
Over the city there is a scaffold with gallows. Fur-
ther in the back, bluish towers and hills, outlined
according to the principles of air perspective, lose
themselves and blend with the clear blue sky.
After the Madonna by Giovanni Antonio Boltraffio
(1467-1516), the painting at the Museum of Fine
Arts in Budapest is the closest to Leonardo’s cre-
ation. After analysing it in individual details, it
became clear that it can not be the work of the
great master, although it is likely that he saw the
painting during its creation and perhaps even cor-
rected it, since the basic idea of the composition
belongs to him. In fact, a drawing from Leonardo’s
sketchbook served as template for the creation
of Mary’s figure [1], which could only be seen by
an artist from Leonardo’s closest circle. Who this
artist was is subject to future research, once the
painting’s known history requires more answers.
Above right: Detail of the rich background of the painting.
Below: Detail of Child Jesus and the young St. John the Baptist playing in the rich decorated foreground.
54 e-conservation
MIKLÓS SZENTKIRÁLYI
The only known fact is that count János Pálffy
bought it in London in 1862. It was probably then
when the panel was parqueted. In 1912 the count
offered it as a gift to the Szépművészeti Museum.
For a long time, the painting was considered to
be the work of Leonardo’s pupil Gian Giacomo
Caprotti da Oreno, known as Salai (1480-1524),
although there is no evidence for this assump-
tion. Bernhard Berenson, who was the first re-
cognised researcher of Italian fine art from the
14th to 16th century, considered (twice, in 1932
and 1936) the painting to be the creation of one
of Leonardo’s pupils whose work was also influ-
enced by the Flemish art.
Despite the fact that the painting was examined
by specialists, we are still only uncovering analo-
gies and stylistic analyses. The clarification of the
authorship will certainly be an important aspect in
the study of the artwork and of the conservation-
restoration documentation done by the present
author and his colleagues: conservator-restorer
Ágnes Dicső, who has participated to the conser-
vation treatment and conservator-restorer Èva
Galambos, who has performed the samples ana-
lysis of the painting.
A number of people were also involved in the sty-
listic analysis of the painting and in the identifi-
cation of the drawings and paintings from Le-
onardo’s workshop. Nadia Righi [2] has proved
that the figure of Mary copies the shapes of the
drawing found on the bottom of a page from Le-
onardo’s sketchbook [1]. On the same page, as
an independent drawing, is also pictured Child
Jesus. This figure is similar with that of the Jesus
from the painting, except his mirrored position.
Another similitude as a mirrored projection seams
to be Mary’s profile to a Madonna (The Madonna
Litta) from the Hermitage Museum in St. Peters-
burg. Furthermore, on the drawing template [3]
of that painting an earlobe is recognizable behind
the curls of her hair, which is similar to the one of
our painting. It is also very likely that the concept
of the composition of the young St. John the
Baptist, looking from behind Mary’s right side,
Drawings from Leonardo's sketchbook served as a template for the creation of Mary’s figure.
e-conservation 55
THE HIDDEN FLORA OF LEONARDO DA VINCI’S PAINTING WORKSHOP
is derived from one of Leonardo’s templates, as
well as the plants pictured in the front.
Before cleaning, a stratigraphic analysis was per-
formed in order to study the paint layer structure.
Mary’s face and hair were well preserved and due
to their similarity to those of the sketch we im-
mediately observed the under drawing, made with
brown colour. The preparatory under drawing
can only be found under the composition of the
figures, and not under the background landscape.
After the removal of the thick darkened varnish
layer and of the over painting, all the degrada-
tions, grazes and lacunas became obvious. The
damages and the missing parts were repaired at
least three times in the past, especially at the
level of the figures. The details of the landscape
were almost completely well preserved.
The retouching of the lacunas was performed grad-
ually and only in the necessary amount, except for
Mary’s neck which required a more complex re-
construction due to the fact that the colour layer
was only preserved in fragmentary traces but
still allowing the aesthetical revitalisation of
the painting. The fine craquelure network and
the slightly scuffed areas were interpreted and
accepted as signs of aging with time and there-
fore were preserved as much as possible. Only
after restoration the unique aesthetical qualities
of the preserved parts of the original painting
could be fully appreciated and the differences be-
tween the painting technique of the background
landscape and of the figures could be evaluated.
In reality, our eye is attracted more to the richness
of the landscape details. The view of the northern
Italian city in clear blue colours, with the houses
blending in a bluish mist, the uniform conception
of the water surfaces and of the rocks in the back-
ground prove the demanding approach of the
Above: Erythronium dens-canis (en., 'dog's tooth violet', it., 'dente di cane') in the painting (left) and the biology drawing of the flower (right).
56 e-conservation
MIKLÓS SZENTKIRÁLYI
Dianthus carthusianorum.
The depiction of the plants in the foreground proves
the knowledge of botany of the renaissance artists.
The colours of the flowers petals are not only a
simple decoration, on the contrary, similarly to
the flowers found in Leonardo’s artworks, they
can be ordered into existing families. We can re-
cognise Dianthus carthusianorum, favored flower
of monastery gardens with its lance-shaped leaves,
with two stamens between its bright two petals.
Pictured in a more humble way is the Erythroni-
um dens-canis next to it. In Italian, dente di cane
is a protected plant named according to its bulb,
similar to a dog’s tooth with smaller side bulbs
placed deep into the ground, which in spring time
is an embellishment of the hornbeam forests. To
the right there is a Pinguicula vulgaris, a carni-
vorous plant found in marshlands and peat bogs.
On the left side of the painting is wonderfully
painted Aquilegia vulgaris L. whose composition
is almost identical to the same flower from Le-
onardo’s painting Leda.
e-conservation 57
painter. Our attention is also drawn to smaller de-
tails such as the stones that can be counted indi-
vidually in the undermined bank. A few decades
earlier, the Italian masters could only have admired
these motifs in the paintings of their Flemish con-
temporaries.
Pinguicula vulgaris, carnivorous plant.
Aquilegia vulgaris L.
THE HIDDEN FLORA OF LEONARDO DA VINCI’S PAINTING WORKSHOP
58 e-conservation
Virgin Mary and Child with the Infant St. John the Baptist. Painting after restoration.
e-conservation
MIKLÓS SZENTKIRÁLYI
Several similarities remind of the spirit of Le-
onardo’s workshop’s creation, strongly spiced up
by a northern Italian master. This fact became clear
during the three years of restoration. The differ-
ence between the figures and the background
composition is a strong sign of different creative
approaches. While the painter’s grasp of the fig-
ures is generous, the painting technique being
related to Leonardo’s understanding, the back-
ground landscape is carefully composed and a rich
vegetation is portrayed. The exhaustive know-
ledge of the perspective rules, botany and the
naturalistic depiction of the landscape are signs
of a master who had acquired the practical ex-
perience of painters from northern countries be-
fore having contact with Leonardo’s workshop.
The panel painting, restored thanks to the Adam
Clark’s Foundation, was first introduced togeth-
er with the restoration documentation at a tem-
porary exhibition in 2007. Since 2008 it is exhibited
in a room together with Raphael's "Esterhazy
Madonna", as part of the permanent collection
of Italian renaissance.
References
[1] Leonardo da Vinci, “Studies for the Nativity
(recto); Three Geometrical Diagrams and a
Caricature of a Head (verso), 1480–85”, The
Metropolitan Museum of Art, Rogers Fund,
1917 (17.142.1), available at URL
[2] Nadia Righi, “Opere d'arte lombarda nei
musei italiani e stranieri: Szépmüveszéti
Múzeum, Budapest; la collezione Pálffy”,
Arte Lombarda, N.S. 117, 2, 1996, pp. 123-
124
[3] Codex Vallardi, accession number 2376,
Louvre Museum
e-conservation 59
Detail of Mary's portrait and the landscape after restoration.
Miklós Szentkirályi is a conservator-restorer of
paintings and Head of the Department of Resto-
ration at the Szépművészeti Múzeum (Museum of
Fine Arts), Budapest. He initiated his training in
1968-1973 in Painting studies at the Academy
of Fine Arts “Ion Andreescu” in Cluj-Napoca, Ro-
mania, at the Master class of prof. Gábor Miklóssy,
painter artist, and in 1974-1977 he performed an
M.A. in Conservation Arts, specializing in paint-
ings, at the Department of Conservation Training
at the Hungarian Academy of Fine Arts, Budapest,
in the master class of professor Dezső Varga. In
2006 he obtained Dr. Habil. (D.Sc. Equivalent)
from the Hungarian Art University. He is also a
member of the Hungarian Art Academy since
2010.
MIKLÓS SZENTKIRÁLYIConservator-restorerContact: [email protected]
e-conservation
THE HIDDEN FLORA OF LEONARDO DA VINCI’S PAINTING WORKSHOP
"THE ANNUNCIATION"BY COLA PETRUCCIOLI (1380)
The Restoration of the Transferred Wall Painting
by Ildikó Jeszeniczky
Restoration done by Ildikó Jeszeniczky and Kornélia ForraiArticle translated by Barbara and Stevin John Davidson and originally published in the Proceedings of the 8th International Seminar on Restoration, that took place in September 24-26, 2008 in Handlová, The Slovak Republic, organized by the Chamber of Restorers.
Introduction
In the 90ies of the 19th century, Károly Pulszky,
the then director of the State Gallery in Budapest,
enriched the collection of the Gallery with many
art objects, panel paintings and frescoes, which
he bought during his travels in Italy from palaces
and churches condemned for demolition or as-
signed for reconstruction.
Artworks got into his hands mainly through an-
tiquity dealers, so not always he managed to find
out their origin. Sometimes, such as in the case of
the Annunciation wall painting, he discovered them
in situ and ordered their removal directly from the
original building and their following restoration.
In September 1894, through the antiquarian
Marian Rocchi, he purchased the Annunciation
fresco, located on a side wall, together with the
frescoes of allegoric women’s figures originally
painted on the ceiling of the first floor of Palazzo
Isidori in Perugia.
The wall painting transferred onto canvas is now
in Budapest, kept as an important example of
the late Gothic Umbrian painting. According to
the catalogue of the Szépművészeti Museum, the
artwork was created around the year 1380 by the
artist Cola Petruccioli for the wall of the first floor
of the palace, originally used as a chapel.
The scene is depicted in a Gothic interior, on the
left side a kneeling angel brings the message to
Mary, who is represented on the right side of the
painting sitting in front of a lecture dais. In the
missing part it was probably painted the dove of
the Holy Ghost. The painting was executed in fresco
technique and is decorated around the edges with
repeated motifs. The plaster haloes were covered
with a coloured metal leaf which could be used
as an imitation of gold.
In the past decade art historians succeed to locate
the Palazzo Isidori in Perugia, where the restora-
tion of the remaining frescoes from the series of
wall paintings is now undergoing.
About the sale and transfer of the wall paintings a
few written documents were preserved, the old-
est from the year 1871 in which the owner Fran-
cesco Bassardini reports in a letter to the mayor
that he intends to remove some of the frescoes
from the first floor of the palace and sell them to
the city. As the mayor did not respond to Bassar-
dini’s letter the inheritors repeated the offer a
few years later. In May 1889, the government of
the city Perugia named a delegation with three
specialist members to judge the state and impor-
tance of the frescoes. The report of the specialists
and the request of the owners was not enough to
persuade the mayor to buy the frescoes. Five years
later, Károly Pulszky appreciated their artistic
value, ordered their detachment and paid their
purchase price.
Palazzo Isidori, Perugia.
61e-conservation
"THE ANNUNCIATION" BY COLA PETRUCCIOLI
Conservation-restoration
In the summer of 2005, together with the colleague
Kornélia Forray, the present author was entrusted
the restoration of this wall painting by the mu-
seum. The restoration works were preceded by a
series of detailed analysis and investigations. The
research comprised the identification and gath-
ering of all possible documents, art historical re-
searches and archival photographs, and the col-
lection of the restoration documentation of the
frescoes from this cycle, such as procedures re-
ports and specialised articles. In the summer of
2005 we travelled to Perugia to study in situ the
fragments of frescoes from Palazzo Isidori belong-
ing to the same cycle of wall paintings as The An-
nunciation, which were uncovered in 1994.
We were guided through the palace by Ms. Paola
Passalaqua, responsible of the frescoes conser-
vation. The palace is owned by the University of
Perugia and at the time of our visit it was under
renovation. The research performed on site was
helpful in drawing up the restoration proposal
and also influenced the proceeding of the indi-
vidual stages of restoration itself. An important
aspect was the surveying of the uneven surface
of the preserved wall paintings fragments. We
could see that the surface is not smooth, but also
not as wavy as of the Annunciation, and that they
have quite different characters. We came to the
conclusion that the surface of the in situ fresco
fragments is wavy due to the influence of the
masonry and the plastering method, while the
waving of the transferred painting was created
unambiguously by the creasing of the canvas.
Ms. Paola Passalaqua explained the difficulties
met during the reattachment and conservation
of the wall paintings, such as the detachment of
individual layers that lost adherence amongst
themselves and to the wall, and the weakened
The Annunciation, photography in grazing light.
62 e-conservation
BY ILDIKÓ JESZENICZKY
binding of the plaster. These problems were similar
to those experiences by us with the thin intonaco
that was removed together with the paint layer,
which was also very brittle.
During our visit, we also surveyed the net sys-
tem used for attachment of the plaster on the
ceiling and the ways of making and laying the
beams.
Based on the stylistic and technical analysis of
the Annunciation fresco we concluded that it was
undoubtedly created in the same period as the
preserved fragments, with which it is related in a
number of morphological details such as, for ex-
ample, the decorative frame with a bordure motif.
If we compare the fragments preserved in situ and
the allegoric female figures from the ceiling with
the depiction of the Annunciation, it is obvious
that the latter can be considered the most impor-
tant piece of the series because of its location with-
in the fresco ensemble. Written documents men-
tion that by entering the Palazzo, the visitor first
laid eyes on this centrally positioned painting.
The painting was probably seriously damaged by
the transfer. The choice of the finely woven canvas
onto which the fresco was transferred was not the
best one due to the bad properties of the canvas.
It was probably due to this reason that the paint-
ing of the allegoric female figures from the ceil-
ing was embedded in plaster on copper net after
having been transferred. The size of the painting
today is 162 x 238 cm. It was glued onto a roughly
woven sackcloth and it was stretched onto a frame
reinforced on the middle, with the possibility of
additional stretching by the insertion of corner
wedges. The stretcher was damaged in several
places. The back side was coated with a thick layer
Right: Details of Mary's hair and angel's portrait.
63e-conservation
"THE ANNUNCIATION" BY COLA PETRUCCIOLI
of lithopone mixed with bone glue. This was done
most likely to stabilise the fabric.
The stretcher was crimped and hardened on its
entire surface, with many depressions and un-
even areas. The layer of the plaster was strongly
fissured and the material compactness was weak.
On big areas (e.g. on Mary’s cloths, on the area
of a stain as big as a few palms, between two fig-
ures about a half square meter, along the cracks,
etc.) the original plaster and the colour layer were
completely missing. A prolonged joint is visible
in the middle of the painting, on the side of the
angel, proving that the fresco was removed in two
parts and was connected again after detachment.
In this area, the tones of the retouches applied
during various interventions altered with time
and the entire surface was dirty.
The documentation comprising non-destructive
analysis of the painting (by grazing light, UV lu-
minescence and IR photography) and the results
UV luminescence of the Annunciation.
IR reflectography of the portraits.
64 e-conservation
BY ILDIKÓ JESZENICZKY
of the laboratory analysis were the basis for de-
fining the intervention methodology, the choice
of materials used and technologies.
The UV luminescence showed the existence of
various restoration interventions, the presence
of dirt and the extent of degradation of the con-
servation materials which were visible in different
colour tones. According to historical documents,
traces of 4 to 5 interventions could be identified.
IR photography revealed the underdrawing and
the various pigments that appeared in different
characteristic colours and depths. The cross-sec-
tions of pigment and powder samples gave infor-
mation about the visible layers of colours and plas-
ter, the particle size of the pigments and their
optical properties.
It was assessed that the wall painting was detached
with the plaster and that the original pigments
were:
- Natural lapis lazuli, found on Mary’s cloak and
on the ribbon of the angel’s clothes. This pigment
was spread in Europe mainly in medieval times,
although it can sporadically be found also in
baroque paintings. The use of this pigment sug-
gests a rich sponsor as it was used only in small
amounts and only in quality artworks.
- Cinnabar, found on Mary’s clothes. This natural,
mineral pigment was, according to Andrea Pozzo,
“a very popular colour, but unstable with lime. If
the painting is under a roof, it is likely to be used,
but it has to be adjusted for wall painting in this
way: put the pigment dust into a ceramic container
and pour over water which you use for slaking of
the lime; strain it off and again add lime water
and repeat this a few times. In this way the cin-
nabar connects with the properties of the lime
and will never lose them”.
- Ferric red, on the angel’s cloak. This natural earthy
pigment, ferric oxide, is named according to the
locality where it is found. The colour changes ac-
cording to the content of hydrides and anhydrides.
Pozzo describes it as “red ochre (Terra rossa), like
other earthy colours, is great for fresco. It is used
for flesh, drapery and also for others”.
IR reflectography of some details of the Annunciation.
65e-conservation
"THE ANNUNCIATION" BY COLA PETRUCCIOLI
- Natural sienna, used for Mary’s hair. It is a spe-
cial ochre, which is named after a well-known Tus-
cany city. By microscopic and chemical analysis
it is ordered into the same group of pigments as
ferric oxide. By Pozzo, “it is used for shading of
yellow draperies.”
- Yellow ochre, found on Mary’s lecture dais. It is
a hydrate of ferric oxide with various composition.
Pozzo defines it as “light yellow ochre is the pig-
ment with light yellow and dark yellow colour,
which is found in the surroundings of Rome”.
The presence of ochre was also confirmed with UV
due to its typical colour luminescence . Analysis
of its additives (soil, silicates, etc.) explains the
creation of the blisters and the detachment of the
layer of ochre.
- Green earth, used at the background behind
the reading dais. A typical earthy pigment, it is
mentioned by Pozzo as “in fresco painting the
only green colour for painting draperies is from
Verona, because all other artificially made col-
ours do not tolerate lime”. We suppose that it
was also used for obtaining the flesh tones.
- White. Highlights were obviously made with
lime, calcium carbonate. Different variations are
known: chalk, lime, shell, egg shell, corals, etc.
- Carbon black, pigment found in the layers of
under painting and mixed in some colours, as
wooden coal.
After securing and injecting the detached layers
of the plaster and colour, it was proceeded to the
removal of the painting from the old stretcher
frame. The detached creases of the canvas were
impregnated with BEVA 371 which was also used
to reinforce and stabilize the edges, by ironing
strips of linen canvas onto the original canvas
support.
Thus, the painting was stretched onto a new, tem-
porary support made-to-measure so that in its
stretched state we could eliminate the charac-
teristics that were improper to a fresco painting,
mainly the unevenness of the surface, without
the possible creasing of the canvas. While on ho-
rizontal position the painting was steamed and
softened after a gradual stretching using the
corner wedges, and it was weighted down with
marble plates. This process was repeated a few
times within one month.
Consolidation with Plextol B500 of Mary's plaster halo.
Detail of the back of the painting in grazing light.
66 e-conservation
BY ILDIKÓ JESZENICZKY
The painting was altered by various conservation
materials from the numerous interventions and
retouched a few times. Cleaning was only possible
by the application of poultices with ammonium
carbonate and ammonium hydroxide. Selecton B
mixed with diatomic soil1 was applied onto the
painting surface on 2 – 3 dm2 and after a certain
time the dirt was washed off with water. After
cleaning it was possible to assess the real state
of degradation and the extent of damages in pro-
portion with the original parts, but also the rich-
ness and the fine harmony characteristic for the
colour scheme of this painting.
Cleaning was proceeded by the consolidation of
the powdering plaster and the correction of the
deformed halos, which were pressed back into
shape in wet state. The canvas detached from
the plaster was consolidated from the back and
secured on its position with Plextol B500 adhesive.
The missing parts of the plaster were filled and
the whole was reinforced with thin woven textile
made of artificial threads.
A project was developed for a new stretcher with
reinforcement on the back and the possibility of
stretching by inserting additional wedges. The
Flattening of the canvas around the edges and of the surface by the application of heavy weights.
Cleaning of the painting by the application of poultices with Selecton B and diatomic soil (left) and aspect after cleaning (right).
67e-conservation
"THE ANNUNCIATION" BY COLA PETRUCCIOLI
Above: Cleaning of the painting by the application of poultices with solvent.
Below: Consolidation and backing of the edges with Beva 371 and stripes of new canvas. Integration of the missing areas was done by filling with mortar similar in grain and texture with the original.
68 e-conservation
BY ILDIKÓ JESZENICZKY
stretching of the painting was performed by ap-
plying strips of canvas with adhesive on the edges
in order to strengthen them, edges that were
then folded back and ironed onto the original
canvas. The painting was then mounted onto the
stretcher by hammering metal grommets and
screws in doubled layer of canvas of the edges.
The aesthetical treatment started by filling the
lacunas of the plaster in all those places where its
stability required it. The mortar used was made of:
1 part of quartzite powder, 1 part of calcite powder,
1 part of kaolin, 3 parts of dolomite2, rabbit glue
7% and a little Plextol B500.
Where possible, the missing parts were retouched for aesthetical purposes. From left to right: before conservation, after filling the lacuna and during retouching, and final aspect after reintegration by tratteggio.
Aspect of the painting after transfer onto the new stretcher and cleaning of the surface.
69e-conservation
"THE ANNUNCIATION" BY COLA PETRUCCIOLI
Detail after conservation-restoration. Angel (above) and portrait of Virgin Mary (below right).
BY ILDIKÓ JESZENICZKY
70 e-conservation
The aesthetical approach was based on consulting
with specialists and on the experience accumulated
during one year treatment of the painting. We got
to the conclusion that due to the unsatisfactory
amount of information on the morphology of the
original painting, the largest lacunas will not be
reconstructed, these areas being better integrated
into their surrounding by filling with neutral plaster.
Smaller lacunas which could be surely retouched
according to their surrounding context, were re-
constructed for the sake of the aesthetical integ-
rity. The architecture and interior furnishing sur-
rounding the figures were represented without
perspective, according to the style of the époque;
after sketching the system of the composition,
some of its parts could be reconstructed.
The grazed parts were retouched only in those
cases when their image was disturbing the read-
ing of the painting.
Besides the preservation of the original material
quality, our main goal was to re-establish of the
author’s original intent, returning the internal
balance of the painting’s aesthetical value that
mediates the metaphysical message.
e-conservation 71
Angel. Detail after conservation-restoration.
"THE ANNUNCIATION" BY COLA PETRUCCIOLI
Virgin Mary. Detail of the painting after restoration.
72 e-conservation
BY ILDIKÓ JESZENICZKY
1 Dolomite is a mineral crystallising in trigonometric struc-ture, chemically calcium magnesium carbonate – CaMg(CO3)2
2 The diatomic soil (diatomit) is an organic product used in restoration as poultices base for solvents due to its high bearing capacity. Composition: amorphous material 55-75%, montmorillonite 15-30%, kaolinit 0-5%, quartz 0-3%, felspar 0-4%. It is a white – greyish porous sediment with high porosity and specific bearing capacity.
The Annunciation after conservation-restoration treatment.
Bibliography
1. Fehér Ildikó, About the Cycle of Alegoric
Frescoes in Palazzo Isidoro in Perugia, Szép-
művészeti Museum Bulletin, 92-93, 2001
2. Documentation made by Luigi Carattoli,
Francesco Moretti and Matteo Tassi on 9th May
1889 after the visit in situ.
3. Andrea Pozzo’s citacions in Ernst Berger,
Fresko-und Sgraffito-Technik: Nach älteren
und neueren Quellen, Munich, 1909.
Pigment analysis by Éva Galambos
Notes
Ildikó Jeszeniczky is a conservator-restorer of
paintings. She obtained her degree in conserva-
tion at the Hungarian Academy of Fine Arts
(Magyar Képzőművészeti Egyetem) in 1989. She
also has considerable experience in the conserva-
tion and restoration of mural paintings and easel
paintings of historical monuments in Budapest
and Hungary. She works at the Szépművészeti
Múzeum (Museum of Fine Arts) in Budapest
since 1991, where she is involved in the conserva-
tion of pannel paintings and detached frescoes.
In 2008 she was attributed for her work the Mihály
Munkácsy Award, highly regarded in Hungary.
ILDIKÓ JESZENICZKYConservator-restorer
Contact: [email protected]
e-conservation 73
"THE ANNUNCIATION" BY COLA PETRUCCIOLI
Talk To Us!If you have just read the magazine
and you wish to tell us your
OpinionsIdeas
CommentsThoughtsProjects
InterestsFeedback
ObservationsReactions
or anything else...?
Just write us an email to:[email protected]
e-conservationline
No. 16, October 2010
ISSN: 1646-9283
Registration Number125248
Entidade Reguladorapara a Comunicação Social
Propertye-conservationline, Teodora Poiata
PeriodicityBimonthly
CoverDetail from the detached mural painting The Annunciation
by Cola Petruccioli (1380), Szépművészeti Museum, Hungary.Photo by Ildikó Jeszeniczky
Executive EditorRui Bordalo
EditorsTeodora Poiata, Anca Nicolaescu
CollaboratorsAna Bidarra
Daniel Cull
Graphic Design and PhotographyAnca Poiata, Radu Matase
ExecutionTeodora Poiata
Address Rua de Santa Catarina, nº 467, 4D4480-779 Vila do Conde, Portugal
www.e-conservationline.com
All correspondence to: [email protected]
LICENCE
Attribution-Noncommercial-No Derivative Works 2.5 Portugal
You are free:to Share — to copy, distribute and transmit this work
Under the following conditions:
Attribution. You must attribute the work in the manner specified by our licence, best by linking to CC website.
Noncommercial. You may not use this work for commercial purposes.
No Derivative Works. You may not alter, transform, or build upon this work.
e-conservationline informs that the published information is believed to be true and accurate but can not accept any legal responsibility for any errors or omissions that may occur or make any warranty for the published material, which is solely the responsability of their authors.
e-conservation magazine is published and distributed under the Creative Commons Licence
Attribution - Noncommercial - No Derivative Works.