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editoria
First Issue, First words
I have long waited for this editorial. Our project, which one year ago was
just a dream, finally became real and I believe it has a great potential.
First of all, I would like to remind you that e_conservation is a magazine
made by conservators for conservators. It is a magazine that wants to
spread information, to update you with what is happening around, with
new technologies and conservation projects. It is as well a privileged
place of communication and reflection.
This issue offers some very interesting articles. Our first "Interview" is
dedicated to Prof. Ioan Istudor, a Romanian conservation-scientist that
started his professional life in the early '60s and has been a key person
for conservation in his country. From the present articles I would like to
draw your attention to Christabel Blackman's "Choosing Varnishes", a
reflection on the problematic of varnishes, and to the conservation
project reports from India and Romania. The permanent section
dedicated to "Education" gives you information about the conservation
training in each country from around the globe, this first being dedicated
to Belgium. Last but not least, the Open Access section is giving an
explanation of this concept and of why we are distributing this magazine
for free.
I really appreciate the efforts of all those who participated to this first
issue with their articles and I take the opportunity to thank them for
having the courage of being the firsts. This gives us confidence and will
to encourage other authors to submit and share their articles. Your
support is precious as this is not our magazine but yours.
Rui Bordalo,
Executive Editor
www.prorestauro.com
Index
10 Conference Review
Directions in Preventive Conservation,
26-29 September 2007, Sibiu, Romania
52 Care of Collections
Creating Enclosures Using Microsoft Excel
by Shelagh Linklater
Worksite supervision:
Maria Dumbrăvician
Period:
1 July - 31 October
e_conserv@tion
News
and Laura Mora. This intervention was are cleaning of the colour layer and
followed by an emergency intervention chromatic integration. The applied
between 1993 and 2000. Today the methodology is not a regular one, as the
worksite continues in the same manner, painting is affected by biologic attack and
as a meeting place for conservator- by salt incrustations due to humidity
restorers from different parts of the action. The colour layer is powdering and
world, specialists exchanging experiences presents a high risk of detachment,
and students assimilating knowledge. therefore each operation is performed
The actual worksite has the objective of with the maximum care by the specialists.
conserving the interior mural paintings Another factor which restorers must take
and has started in 2004 under the under consideration is that the work can
supervision of the expert-restorer Maria only be developed in the summer season
Dumbrăvician. Because of its complexity, as rigorous autumns and cold winters are
the works are expected to end in 2009. specific for northern Moldavia.
At this point, the intervention focuses on
the frescoes from the narthex of the
Text by Teodora Poiată
church. The main operations performed and Rui Bordalo
News
Worksite supervision:
Arch. John Harrison - Wales, UK
e_conserv@tion
News
Conference Review
DIRECTIONS IN PREVENTIVE CONSERVATION
10 e_conserv@tion
News
also known as the father of preventive Márton from the Teleki-Bolyai Library in
conservation, researcher of ICCROM for Târgu Mureş, a team coordinated by
30 years, spoke about the change of Marta Guttmann. The presentation
mentality in preventive conservation and summarised the activity of the ICCROM
about the necessity of increasing the (International Centre for the Study of
attention to storage in museums’ activity. the Preservation and Restoration of
Jonathan Ashley-Smith, the developer of Cultural Property) course which took
the application of risk methodology to place at Sibiu between 18 June and 6
strategic and tactical conservation July 2007, organised by ICCROM in
decision-making, discussed the role of partnership with CCI (Canadian
standards in preventive conservation. Conservation Institute), ICN (Netherlands
György Balázs, deputy director of the Institute for Cultural Heritage), the
Museum of Ethnography in Budapest Romanian Ministry of Culture and
(Hungary), presented the national Religious Affairs, and the Training Center
strategy for preventive conservation in for Conservators and Restorers (CePCoR)
Hungarian museums. Jean Tétreault, within ASTRA National Museum Complex.
adviser and researcher on environmental The presentation gave an insight into the
condition directives, pollutants, exhibit general organisation mode of the course.
and storage products and strategy on the Before the actual course, two
preservation assessment of collections at
the Canadian Institute of Conservation,
introduced the problematic of pollutants
in museums and of products used for
display and storage of collections.
e_conserv@tion 11
News
We also wish to draw the attention over The good organisation and the ambient
“The Tales at the Palaces: Internal access of Sibiu are just some of the many
at Historic Royal Palaces” of Laurie Gibbs, things which are worth being mentioned
preventive conservator, which presented regarding this successful event. After
some very interesting issues and practical the conference has ended, we asked the
solutions for the problems raised by coordinator of the organisation team,
setting up scaffoldings. According to odd Marta Guttmann, her personal opinion
spaces or locations, scaffolding systems about this experience: “The outcome of
have to be adjusted and new solutions the event exceeded our expectations.
must be found and implemented by the The invited key speakers gave excellent
conservator. The team, made mainly from lectures. The other presentations were
women used to work at considerable diverse and of high quality, the
heights, has participated in several information conveyed was interesting
demanding projects for the protection and relevant, the atmosphere was nice,
and preventive conservation of the royal so every necessary element of a
palaces in London. Quoting Laurie successful conference was there. We
Gibbs, “introducing equipment such as truly hope the event will be a long term
scaffolds and mobile access platforms benefit for every participant, a starting
into our fragile interior is a very risky point of many useful professional
12 e_conserv@tion
News
contacts. We are sure that interest for the Sibiu 2007 Program for their
preventive conservations grew substantially financial support and finally special
among Romanian participants due to the thanks to the whole enthusiastic
conference; professionals became more organising team.”
aware of the complexity of the issue and
of their responsibilities in the field. We, Now, it is our turn to thank Marta
the CePCoR, will continue to focus our Guttmann for the invitation at the
activity on preventive conservation, conference and to congratulate her for
aiming the development of a national this initiative. We hope to attend more
prevention policy and program for our of these successful events in the future,
cultural heritage, and the allocation of as CePCoR is known by its rich activity
the necessary funds. and dynamism among the institutions
I would like to express thanks to our that deal with conservation of cultural
key speakers, who considerably raised heritage in Romania.
the professional level of the event, to
the excellent participants, without whom
the work of the organisers is useless, to Text by Teodora Poiată
e_conserv@tion 13
open acces
THE OPEN ACCESS CONCEPT
INTRODUCTION
DISCUSSION OF E-CONSERVATIONLINE POLL RESULTS
e_conserv@tion
Open Access
e_conserv@tion 15
Introduction
16 e_conserv@tion
Open Access
The Getty Conservation Institute (GCI) is a well known institute dedicated to the
The Getty
conservation through scientific research, projects and training on international
Conservation
level. They publish a large amount of documents and some are available on their
Institute
website in pdf format.
Internet Internet archaeology is “the premier international e-journal for archaeology and
Archaeology has been publishing on the web since 1996”. The content can be accessed by
paid subscription.
JAIC is the well known Journal of the American Institute for Conservation. The
JAIC journal is paper-based but the articles published from 1977 to 2005 can be found
archived online in html format.
The Systems The Systems Thinker was also pointed by a user. Unfortunately we found it is
Thinker an e-newsletter that does not have much to do with heritage conservation.
Table 2. List of publications and websites referred by the respondents as using Open Access system.
make the content available to the entire they wish to be better informed and only
world (see table 4). No matter the costs 2% would not publish in this system.
involved, for the reader the access is Asked about the reasons why they never
always free, hence the information and published until now in OA, the majority
knowledge dissemination is done towards (55%) replied they never had the
a bigger market with less money. opportunity, followed by 38% which
Going back to the results of our survey, were not familiar enough with this
we found out that 55% of the people concept. 3.5% considered the OA
that never published an article in OA journals have low prestige and 3.5%
were ready to publish in this system, that the readership is smaller of OA than
43% were willing to publish but first for the paper based publications.
18 e_conserv@tion
Open Access
Italian, English,
Web Journal on Cultural Patrimony History of arts, Archaeology
Spanish, French
Why some people and in fact, everybody Overall we notice that people show a high
may show precaution when it comes to curiosity and interest towards publishing
Open Access? Sometimes “being free” is in OA. Especially because of this high
confused with “having low quality” because interest which we remarked, we find
of the tradition in paying for everything we useful to draw the attention over other
own and mistrusting the fact that important issues which must be known.
something free can have a real value. Issues like intellectual property, copyright,
Concerning our survey, asked about their data protection are all part of the next
reasons for publishing in OA, the issues of e_conservation magazine and
majority of our respondents named the will be discussed one by one.
free access for all readers as the most Each of us should evaluate the
important factor. Faster publication, advantages and possibilities which Open
reaching a larger readership and being Access gives and, in accordance, should
more frequently cited were mentioned in decide if it does or does not serve to our
this order, in intermediate positions. The needs. What is certain is that OA is one
concern for the costs of the publication way to improve knowledge dissemination
placed last on the list of reasons for by sharing information with all the other
choosing OA as publishing system. professionals in the conservation field.
e_conserv@tion 19
intervie IOAN ISTUDOR
A Lifetime Dedicated
to Conservation Science
Professor Ioan Istudor, 79, may well be considered the first conservation
scientist that worked in the field of conservation-restoration in Romania.
In June 2007 e_conservation magazine interviewed this scientist who
dedicated his professional life to the study of works of art.
the result of a pure incident which came Ioan Istudor graduated from the Faculty of
the end of 1961 I heard that the Historic of professor C. D. Neniţescu. He has been
chemist because they were planning to From 1975 to 2002 he taught applied
In fact, at that time there was no departments of the National Art University
Whenever something was needed, they conservation company Cerecs Art S.R.L., for
institutes, but very few things were made performs scientific research.
even this way. So… the first laboratory of During almost half-century of continuous
22 e_conserv@tion
Interview
entire professional activity and he was Which was your first task on the
attributed the National Order, Knight Rank field?
for his merits.
e_conserv@tion 23
Ioan Istudor
24 e_conserv@tion
Interview
Is it wrong to let the legend the entire institution under this pretext.
continue? Then, all the responsibilities passed to
the Ministry of Culture. The laboratory
The legend is very charming as long as it was assigned as independent but it was
does not contradict the truth, but to state working together with a decoration
after so many years that we still do not enterprise. After some years I spoke
have the answer to this “mystery” means with Vasile Draguţ, the director of the
all our scientific work was a waste. Art University in Bucharest, and he
decided to set up another laboratory in
How did communism influence your the University. We moved all the
profession? equipment and from 1980 until
1991, when the Conservation-Restoration
In 1962 I started the installation of the department was established, I worked
basic equipment in DMI’s laboratory. and made the analyses on demand. I
There, I carried out the analysis was also teaching chemistry at the Mural
required for most of the monuments in Painting and Museology departments. In
restoration. In 1977 the communists 1991, when the Conservation Department
demolished the Enei Church which they started, I continued to teach and manage
said was damaged irreversibly during the the laboratory research in the same time
earthquake of that year. DMI objected to until 2002 when I retired from the
this action so the communists suppressed academic activity.
Ioan Istudor
What is your opinion about the How do you find the conservation
Conservation Department that was practice of those times compared to
established in the ‘90s? the one of today?
It was very necessary and it shows Back in 1973 there was a very good
continuous development since it started. team. Prof. Vasile Draguţ, as member of
It needs better equipment, of course. ICOMOS, brought here Paolo and Laura
Nowadays in Romania, instead of Mora together with Paul Philippot and
establishing so many little laboratories, many others such as Garry Thomson,
each with their own equipment, it would which was working at the Scientific
be better if they would combine their Department of The National Gallery in
efforts and make a competitive one, up London. They came to establish contacts
to the international standards. and to cooperate with conservators from
our country, to promote new approaches
and methodologies, and to change
experience about materials. They set up
the pilot worksite for the conservation of
the paintings from the Church of Humor
Monastery. They started in the tomb’s
chamber and there is a funny story that
I remember about this experience.
While performing the cleaning tests, they
tried several methods, first by dry means,
then by wet means and none with
satisfactory results. They tried several
types of cleaning rubbers and Mora even
phoned to Rome and ordered more
special rubbers to be sent immediately. In
a week the rubbers were delivered, but
still the results were not good enough.
While struggling to find a solution, a
student which was in a corner of the
scaffold took out from his pocket a little
ordinary rubber and tried it on a side.
e_conserv@tion
Interview
e_conserv@tion 27
Ioan Istudor
28 e_conserv@tion
projec
Leh Old Town
Conservation Project
Ladakh,
Indian Himalayas
www.tibetheritagefund.org
André Alexander and Andreas Catanese
30 e_conserv@tion
Leh Old Town
names, owners and photographing each made famous by the slightly later Potala
building. THF then decided to begin an Palace in Lhasa. The old town, consisting
urban conservation program modelled on of two hundred stone, mud and timber
the Lhasa Old Town Conservation project houses sandwiched between thick
(1996-2000). rammed earth walls, is located on the
Lhasa and Leh share not only a common slope below the palace, still accessed by
architectural heritage, but the historic a number of ancient stupa gateways.
districts of both faced some of the same
problems. Both had infrastructure 2. THF’s Intervention Strategy
deficits, such as lack of piped water and
drainage facilities, and both had been In 2004 the THF team returned to Leh
deserted by many of the original owners to carry out more surveys. The findings
– in Lhasa for political reasons, while in revealed that, for example, over 55% of
Leh the wealthier families simply moved the historic building stock was in bad or
to the leafy green suburbs of the town. poor condition, and that average monthly
Modern Leh is a city of some 35,000 household income of the residents of old
inhabitants. The population almost Leh was little more than 100 US$. The
triples in size during the summer tourist social data obtained during the surveys
season, when people from all over India strongly suggested intervention to
come here looking for work. To protect improve people’s livelihood and living
the rural Ladakhis from economic conditions. This was matched by a
competition that they are not prepared generally expressed desire by many
for, the government has made impossible community members to reverse the
for outsiders to acquire land, and even to decline of the old town.
open a businesses or to work requires Drainage is a problem, there are only a
permits and often a Ladakhi partner. handful of open channels that are
Thus, Ladakhis are benefiting more from frequently blocked (or frozen). Heavy
tourism than their cousins in Lhasa. rainfalls or a neighbour’s washing day can
However, 15,000 tourists wanting regular trigger the flooding of one’s basement.
showers and flush toilets and producing Houses in the old town generally have no
mountains of garbage (water bottles, running water, residents rely on a handful
food wrappings, toilet paper etc.) are of public taps.
putting a severe strain on Ladakh’s The toilets are all of the standard
fragile economy. Himalayan composting type.
Old Leh is dominated by the former royal Technically, some aspects of improving
palace, a nine-story stone structure conditions in the old town do present a
erected around 1600 in the Tibetan style challenge; especially building a drainage
e_conserv@tion 31
André Alexander and Andreas Catanese
system into the sheer rock for a town Conservation Program. In Leh, this
which has nearly six months of sub-zero consisted of five components:
temperature winters. Mostly, however, - Working together with the local
the technical problems can be solved administration to create a planning
with locally-available technologies and framework (a new Masterplan for Leh)
materials. The houses are built in and to improve the infrastructure. THF
Tibetan fashion with sun-dried mud (and most local community members)
bricks around a timber frame on stone expect government action to take long
foundations. Local clays and soils are time and are slow to come. From early
traditionally used ingeniously to create on, all local government departments
waterproof roof layers and dust-free expressed their support for our activities,
plastered interior surfaces. The task and made available official maps and
would be to successfully identify and use surveys. In 2006, THF and the local
the best of the traditional skills, which government, the Ladakh Autonomous Hill
have slid into obscurity since the advent development Council (LAHDC) have
of subsidized cement and steel, and signed a Memorandum of Understanding
blend them with adequate modern to work together to preserve historic Leh.
technologies where necessary. - THF designed a model to offer 50% co-
THF opted for an integrated approach, financing for adequate rehabilitation of
developed for the Lhasa Old City homes, on the condition that indigenous
labour and indigenous skills are mainly
used. Based on comparable work in
Lhasa, we also offered improvements
such as bathrooms with drains, bringing
more light into the often dark houses
(built when glass was not known or
available), improving the composting pits
of the traditional latrines and increasing
the efficiency of traditional clay mixes
based on our experience and the skills of
the best traditional craftsmen. Several
house owners immediately took up the
offer, so that presently there is a waiting
list as THF’s finances only allow for a
limited number of buildings to be
upgraded each year.
Map of Leh (J&K government 1990, updated by THF
2003-2007 Alexander/MRTZ/Jäkle/Wozniak/Klein)
32 e_conserv@tion
Leh Old Town
- Starting a crafts revival, training (and those inhabitants of the old town who do
employment) program. THF spent several not own land and have little education,
weeks identifying Ladakhi craftsmen. The and therefore giving them an economic
THF team travelled to surrounding villages perspective.
and interviewed many craftsmen, and - Choosing a model restoration object:
finally hired a small group consisting of THF next worked with this core group of
two masons, Jamyang Tarchin and Sonam artisans to restore a communally-owned
Dorje, and two carpenters, Tsering Dorje shrine, the 17th century Guru Lhakhang,
and Tsering Puntsok. This became the first to demonstrate the practicalities and
project in Leh and vicinity to work again desirability of restoring Leh’s historic
with Ladakhi craftsmen. Three years later building stock. After conducting
all except one are still working for the old several community-meetings, a model
town project. For training and labour, rehabilitation area was next chosen, the
preferential hiring is given to poor Stagopilok residential lane, where
residents of Leh. housing and infrastructure was to be
This is aimed to give employment to upgraded.
From left: ground floor plan showing composition vault and store rooms (THF), section before project
(THF), mason Hanupa Dorje at work (THF, 8.2006), north elevation. (André Alexander, 9.2006)
e_conserv@tion 33
André Alexander and Andreas Catanese
- Registering a local NGO, the Leh Old The changing weather conditions and the
Town Initiative. This consists of local changing needs of the people represent
experts and community representatives, serious challenges. The problems can be
to whom the project can be handed over solved through proper reutilization of the
in the future. materials and the way they are used. But
Three years later the project can look in most of the cases the house owners
back on the successful rehabilitation of take a questionable approach. Cheap
several clusters of buildings and materials are available on the market
monuments in old Leh. This work has and no skills are needed to fix them onto
received a 2006 UNESCO Asia-Pacific the leaking roofs.
Heritage Award, and a Dubai Best
Practice Award from UN Habitat.
3. Conservation of historic
architectural structures
34 e_conserv@tion
Leh Old Town
During THF’s first year in Ladakh, we have The analysis showed that markalak is
collected samples of different soil qualities indeed 80% pure clay with some silt
used in construction. These included the but zero sand, while all the other soil
famous soil of Shey, used to make the samples, including the arga from Tibet,
best quality of mud bricks, yellow soil (ser- contain sand, silt and a little bit of clay
sa) of Stakmo (near Tiktse), the tap-sa (see figure 1). It is interesting to note
soil used to build traditional stoves but that the quality of the Shey soil appears
also for flooring and markalak. We had to be related to the high silt content.
these samples analysed thanks to the The order of layers in an improved
kind help of Prof. Achim Bräuning of the Ladakhi roof starts with a ceiling of
University of Stuttgart, and compared the wooden beams, rafters and willow-stick
results with samples from Tibet. joists, on which we place woven straw
In Tibet, a fine grained limestone (micrite) mats to prevent dust from falling
is used to waterproof roofs, known in through the joists. Next comes a layer of
Tibetan as arga. Arga is rare in Ladakh, Ladakhi “yagtses” grass, a traditional
and we only found one sample at Mangyu. stop-gap layer: if water makes it thus
Figure 1. Analysis of Ladakhi and Tibetan soil samples, courtesy A. Bräuning, Stuttgart
e_conserv@tion 35
André Alexander and Andreas Catanese
far, the grass can absorb water several The traditional water spouts can be
times its volume. The grass also serves improved by fitting them with stainless
to insulate the roof. Next comes a layer tin pans in the crucial area between the
of rough soil, and then the layer of wooden spout and the mud of the roof.
“markalak” clay. The final layer of soil on It is helpful to use cement to paste the
the roof is applied wet, and its mix can wooden spout solidly onto the roof, in
include straw, and even the dung of the form of a cement pan in which the
cows, donkeys or horses to increase its spout lies.
solidness as people often walk on the flat
roofs. They are used for gathering and
for performing certain household chores.
The parapets are being improved by
capping them with finely-cut slate stone,
a method commonly used in Tibet and
introduced to Leh by THF.
36 e_conserv@tion
Leh Old Town
concreted in the inside, to prevent seepage decades ago when they asked the Goba
of urine into the foundations, a very family to service the temple instead.
common problem in Tibet and Ladakh. The monastery was planning to eventually
The old Sankar Labrang house in the demolish the house and to construct
Manekhang area is an example of modern shops there. THF successfully
adaptive re-use of a historic building. persuaded the monastery to keep the
Erected possibly several hundred years house, and offered to restore it in return
ago around a group of five stone-carved for a nominal and limited lease. After
Buddha-s slightly smaller than life-size, conversion, it became the Leh Heritage
the upper floor served as residence of House, a gallery showing alternately
the caretaker monk of the White modern art and photography and an
Maitreya Temple nearby. exhibition about historic Leh. Maps of the
The mother monastery, Sankar Gonpa old town and information about the
near Leh, abandoned the house two conservation project and about old Leh
(and Italian Espresso) are also available.
The conversion plans included the gutting
of the upper floor, which was split into
several small rooms, so that a single
large exhibition room was created.
Sankar Labrang, south facade elevation Sankar Labrang, now the Leh Heritage House
before restoration (up) and after restoration (down) (A. Alexander 2006)
(THF/Catanese)
e_conserv@tion 37
André Alexander and Andreas Catanese
The flooring and roofing was designed to the tradition of the now-lost Buddhist
accommodate many visitors with trampling civilization of Kashmir, while later murals
feet, so slate stone was laid on the were done in the traditional styles of
floors and roof. The paving has so far Western and Central Tibet.
withstood several dancing parties with Compared to Tibet, where many historic
Ladakhi, Bollywood and Western music, monasteries and their paintings were
some of it played live. damaged during the Cultural Revolution,
the small territory of Ladakh preserves
4. Conservation of Buddhist an astounding number of early paintings.
wall-paintings But no professional local mural restorers
have existed prior to the THF project.
Wall-paintings are an important component Soon after setting up its office in the old
of Tibetan Buddhist heritage. The interior Lakruk House just below the Leh Palace
walls of temple halls, monastic assembly in 2005, THF received requests for
halls and shrines would be painted in their assistance from numerous monastic
entirety. Traditionally, mineral pigments establishments, and we saw numerous
with animal glue as binder would be temples whose ancient murals were
applied on a preparation of chalk on dry damaged by leaking roofs, structural
mud plaster. In Ladakh, several temples faults or badly-executed restoration.
still preserve early murals executed in Sensing the need for local experts in
mural conservation, THF set up its
conservation training program in the
Spring of the same year. Initially two
young Ladakhis, Yangchen Dolma and
Skarma Lotos, were trained in situ by
international restorers. This program
“Local” restoration of wall-paintings seen in Alchi The THF team 2007 with local artisans,
Choskhor, Ladakh (A. Alexander, 2006) foreign experts and volunteers (A. Alexander)
38 e_conserv@tion
Leh Old Town
Back in Leh, the caretaker of the Red Presently, Romanian restorer Anca
Maitreya temple, the venerable Ngawang Nicolaescu and German conservation
Tsering, requested THF to carry out students from Erfurt are working on
routine roof repairs to prevent rain leaks these paintings, doing research,
from soiling the 15th century three-storey recovering and conservation. Initial
image of Maitreya, the Future Buddha. analysis of the iconography indicated
that the paintings are indeed from the
founding period but confirmation
depends on whether an inscription,
located next to a painted portrait of the
founder, can be deciphered. At present,
it is illegible but hope rests on special
equipment offered by Erfurt University.
It is planned in the near future to publish
further technical reports on some of these
projects in this magazine.
Red Maitreya Temple (A. Catanese, 2007)
e_conserv@tion 39
André Alexander and Andreas Catanese
40 e_conserv@tion
article
AREAS OF PUBLISHING
Conservation Treatment
Mural Painting
Painting (any support)
Stone
Sculpture (any support)
Textiles
Paper / Documents
Photography
Metals
Tile / Ceramic / Glass
Furniture
Music instruments
Ethnographic assets
Archeological objects
Conservation Science
Scientific research
Material studies and characterisation
Analytical techniques
Technology development
Biodeterioration
State-of-the-art
Reviews
e_conserv@tion
In between
the concept and the reality
falls the practicing conservator…
CHOOSING VARNISHES
CHRISTABEL BLACKMAN
Choosing Varnishes
e_conserv@tion 43
Christabel Blackman
44 e_conserv@tion
Choosing Varnishes
In the field of easel painting conservation, Varnish is a protective layer which filters
the in-painting styles and materials are oxygen and light, it also serves to
considered to be vital choices. However, saturate colours and form an overall
often the way we re-varnish paintings sheen. Aging and yellowing of varnish
does not take on as much importance as (oxidization) occurs because of the
it should. breakage of the double bonds in the
molecular structure, resulting in free
The original varnish of a painting was radicals that form new cross-linking.
applied in a deliberate manner, it was These changes at a molecular level alter
intentional. The choice of varnish, its drying the state of the original varnish, forming
qualities, thickness, colour, mixture with a more complex structure and for the
other substances, its shininess or its sheen, practicing conservator that means that
spot varnishing, over glazing and so forth the polarity of the material changes and
were all deliberate choices. We should take the varnish is no longer soluble in its
into consideration these different qualities original solvent. The stability of a varnish
of the original varnish when we think about is an important quality because it
the alternatives that are available to us on ensures a greater reversibility for future
the product shelf of our studios. interventions.
e_conserv@tion 45
Christabel Blackman
46 e_conserv@tion
Choosing Varnishes
e_conserv@tion 47
Christabel Blackman
48 e_conserv@tion
Choosing Varnishes
The big advantage of these varnishes is harmony and eliminate optical confusion
that they can be eliminated in the future when applied over blooming paint or
without affecting the underlying layers varnishes.
due to the differentiation that is
achievable because of their distinctive Painting conservators may work for
polarity parameters of solubility. As a months on tedious and very complicated
consequence, it is possible to apply low retouching on pictures that have suffered
weight molecular varnishes on top of extensive damage to the paint surface,
other varnishes with a distinctive be they large lacunae or numerous
polarity, thus isolating different layers diminutive blister spots. In cases like
and facilitating future removal. They are these it can be beneficial to apply a final
particularly useful when applied over coat of sacrificial varnish, so that in some
historical varnishes (and coloured glazes) future moment, the upper varnish may
to saturate and protect. They are an be eliminated without the laborious
excellent choice to regenerate visual underlying restorations being touched.
e_conserv@tion 49
Christabel Blackman
Accordingly, a sacrificial varnish may also intrinsic nature of the painting is all part of
serve to separate out different layers that that decision making process. Obviously
may in the future need to be removed. It the greater the knowledge we can count
may be applied and then later removed on the better. However, direct and useful
during various stages of the conservation information is needed to avoid overdose
process if necessary. In large public extremes which can cause a retracting
works like modern murals that are at the effect on the conservator towards
continual mercy of problems like graffiti the good-old, always-on-the-studio-shelf
or pollution, it may also be used so that products. It is important that hands on
future conservators have an easier job. conservator-restorers share their wealth of
In this way we are not only thinking of experience with their fellow colleagues as
future generations of observers, but also it can be as equally useful as scientific
of future colleagues. findings, if not, more so.
Finishing Off
50 e_conserv@tion
Choosing Varnishes
Bibliographical references
Paintings on Wood and Canvas, and is Jill Whitten, “Regalrez 1094,” “Measuring Tinuvin
currently completing the Official European 292,” “Varnish Solutions,” “Characteristics of Low
Molecular Weight Resins,” and “Characteristics of
Masters Degree in Conservation and Polymers,” in Painting Conservation Catalog,
Restoration in Valencia. Volume 1: Varnishes and Surface Coatings,
Paintings Speciality Group, The American Institute
She works as freelancer from her own for Conservation of Historic & Artistic Works,
private studio for public institutions, Washington, DC. (1998)
ecclesiastical and private collectors, etc. Jill Whitten, “Low-Molecular-Weight Resins for
She has written several monographic Picture Varnishes,” Paintings Specialty Group
Postprints, The American Institute for Conservation
publications for the Generalitat Valenciana, of Historic & Artistic Works, Washington, DC.
catalogue chapters, congress papers, (1995) 124
newspaper and magazine articles, etc. Salvador Muñoz Viñas, Contemporary Theory of
She was born in Melbourne, Australia in Conservation, Butterworth-Heinemann (2005)
1959, has lived and worked in Valencia, Rafael Romero, et al., “Una reseña sobre el análisis
Spain for the last twenty years and y caracterización de barnices originales en pintura
de caballete del siglo XVII”, Actas, I Congreso del
holds dual nationality. GEIIC, Valencia (2002)
e_conserv@tion 51
CREATING ENCLOSURES
USING
MICROSOFT ®
EXCEL
SHELAGH LINKLATER
Figure 1. Template.
Printout of a template for clamshell box showing all features.
e_conserv@tion 53
Shelagh Linklater
As record measurements are input by the Accompanying this are materials and
user, the custom dimensions for cutting suppliers with hyperlinks to websites so
and folding appear within the diagram in current prices can be researched.
these textboxes. Expenditures are calculated at the end
of the worksheet. This table calculates
the number of enclosures that can be
made per sheet plus the cost of each
enclosure (Fig. 4).
Figure 3. Instructions.
Detail of template showing instructions and supplier’s lists with hyperlinks.
54 e_conserv@tion
Creating Enclosures Using Microsoft Excel
Diagram
e_conserv@tion 55
Shelagh Linklater
Figure 7. Sketch.
Image of Excel spreadsheet
with image of a slip case inserted.
56 e_conserv@tion
Creating Enclosures Using Microsoft Excel
e_conserv@tion 57
Shelagh Linklater
and from the drop down menu select board dimension in these cells. In the
Insert Hyperlink. Type the text to next two columns, label them with the
represent the hyperlink in the box labelled height and width of the purchased
Text to display. This could for example be board. Multiply the purchased board
the name of the supplier (Fig. 13). In the measurements and subtract them from
box labelled Address, type in the URL of the overall board measurements to
the supplier’s website and then click OK. estimate the number of enclosures
made from a single sheet (Fig. 14).
Cost Calculation Table Insert the price and dimensions of the
single, purchased sheet retrieved from
Price information can be retrieved from the supplier’s website. Divide the
these websites and inserted in a cost number of projects per sheet by the
calculation table. To create this table, price of a single sheet to calculate the
insert seven columns and label two cost per enclosure.
columns with the length and width of
the overall board measurement. Insert
the cell number of the calculated overall
Figure 13. Hyperlinks.
Illustration showing the Insert Hyperlink box.
58 e_conserv@tion
Creating Enclosures Using Microsoft Excel
To protect data, open the worksheet and Protection and Protect Sheet… and click
press CTRL+A to select the entire sheet OK to activate protection (Fig. 17). To
(Fig. 15). From the Format menu, choose deactivate protection later, from the
Cells (or press CTRL+1) and then click the Tools menu select Protection and
Protection tab. Deselect the Locked Unprotect Sheet.
check box and then click OK. Press F5, Figure 16. Go To Special menu. Illustration
and then click the Special button. Click showing a Go to Special menu with check boxes.
e_conserv@tion 59
Shelagh Linklater
References
[1] P. Cullhead, “The 5-Minute Phase Box”, The Abbey Newsletter, Volume 24, Number 2, May 2000,
http://palimpsest.stanford.edu/byorg/abbey/an/an24/an24-2/an24-204.html
(accessed 10 February 2007)
[3] R. Frieda, “Designing a Book Wrapper”, The Abbey Newsletter, Volume 9, Number 3, May 1985,
http://palimpsest.stanford.edu/byorg/abbey/an/an09/an09-3/an09-308.html
(accessed 10 February 2007)
60 e_conserv@tion
Creating Enclosures Using Microsoft Excel
[5] Protective Enclosures for Books and Paper Artifacts, CCI Notes 11/1 (1988).
[6] A. Rupp, “The Library Company’s Corrugated Clamshell Box”, The Abbey Newsletter, Volume 15,
Number 6, October 1991, http://palimpsest.stanford.edu/byorg/abbey/an/an15/an15-6/an15-610.html
(accessed 9 February 2007)
[7] E. Schlefer, “Wrappers With Magnetic Closures”, The Abbey Newsletter, Volume 10, Number 5,
October 1986, http://palimpsest.stanford.edu/byorg/abbey/an/an10/an10-5/an10-509.html
(accessed 9 February 2007)
e_conserv@tion 61
case stud THE CHURCH OF
SUCEVIŢA
MONASTERY
The conservation of
mural paintings
ANCA DINĂ
The Church of Suceviţa Monastery
1The area is also known by the name of Bucovina, and not only. Without getting into details about the
received during the domination of the Austro- genealogical ties of this family with the royal
Hungarian Empire, from the end of the 17th courts of different countries, it may be mentioned
century to the beginning of the 19th century. that Ieremia Movilă was the prince of Moldova
(1595–1606), his brother Simeon Movilă, was the
2The Movilă family was one of the most important prince of Walachia (1600-1602) and Moldova,
families of boyars in Moldova in the 16th century; Gheorghe Movilă (1588–1591; 1595-1605) was a
from its members rising numerous princes or Metropolitan Bishop of Moldova and Petru Movilă
important personalities in the history of Romania (1633-1646) was a Metropolitan Bishop of Kiev.
This room has a small door and a small constructions and the high walls3, with a
spiral stairway to the vault, where constant monastic life, the Church of the
valuable objects were kept. The church Suceviţa Monastery retains almost all the
has entrances on the north and the south original painting.
sides, through two small opened porches
communicating with the exonartex. All the The painting: dating and
rooms are separated by thick walls, with iconographic information
access through stone framed portals. As a
whole, the church appears lean and In the absence of precise documents from
imposing. The massive walls, thicker than that time, art historians have dated the
1.5 meters, are sustained by seven big painting based on the representation of
abutments. The roof is individualized by
architectural elements that can be roughly 3For the other monument churches of North Moldova
identified from the exterior. (the Church of Voroneţ Monastery, the Church of
Moldoviţa Monastery, the Church of the Humor
All the rooms are adorned with mural
Monastery and the Arbore Church), also with mural
paintings in the Byzantine style continued exterior painting, the absence of the surrounding
walls led to the loss of the mural painting
on the exterior walls as an impressive
especially on the north facade, in the predominant
polychrome garment. Protected by the way of the winds.
64 e_conserv@tion
The Church of Suceviţa Monastery
4The principal evidence of the art historians is the Suceviţa), Publisher: Axa Botoşani, 2006, pg. 3-
representation in the votive picture of the ruler’s 31, republished article.
children. Due to the painter’s practice at that time,
the church was painted starting with the altar 7Oliviu Boldura, Evoluţia în timp a ansamblului
towards the exterior, fact which allows the mural de la Suceviţa. Aspecte tehnologice şi
approximation of the moment when the votive modificări estetice (The Evolution in Time of the
painting was made and thus, the period of creation. Mural Ensemble of Suceviţa. Technological Aspects
and Aesthetic Modifications), article to be
5Victor Brătulescu, Pictura Suceviţei şi datarea ei published in the text review “Movileştii. Istorie şi
(The painting of Suceviţa and its dating), in spiritualitate româneasca” („The Movilă Family.
“Movileştii, Istorie şi spiritualitate românească”, Romanian History and Spirituality”), Muşatinii ed.
Publisher: Muşatinii, 2006, pg. 219-242, Suceviţa, 2007, 3rd volume.
republished article.
8This kind of decoration of the exteriors is seen
6Sorin Ulea, Datarea ansamblului de pictura de la very often at the churches in Oltenia, a region in
Suceviţa (The dating of the Painting ensemble of the south of Romania.
e_conserv@tion 65
Anca Dină
the south porch is painted with Synaxarium is represented. The east wall
apocalyptical scenes9. of the exonarthex is reserved to The
In the interior, in the altar, there are Doomsday, while the other walls display
scenes dedicated to Virgin Mary or related illustrations from the life of the saints.
to the religious rituals such as The Holy Inside the scenes are small, with miniature
Eucharist, representations of Hierarchs, representations, rich in theological
and scenes from The Genesis that significations and iconographical symbols.
continue in the navel on both apses, at Currently undergoing a wide restoration
the level of the inferior register. In the process, this painting offers new data to
nave’s spire, starting at the calotte, is the restorers and scientists, very important
represented The Pantocrator; the picture to the knowledge of the work techniques,
continues on the inferior plane with the the used materials10, the iconography, and
seraphic hierarchy represented by the the different degradation types, imposing
cherubs and seraphs, angels, prophets also the search for optimal solutions, in
and The Seraphic Mass positioned at the order to preserve all the information and
base of the spire. On the walls of the to hand it over to the next generations.
nave, from south to north, are displayed
the cycles of The Miracles done by The
Savior and the one of His Passion. On the
inferior area of the west wall there are
two votive paintings illustrating the
founders of the monastery, the prince
Ieremia Movilă and his family and the
Metropolitan Bishop Gheorghe Movilă. In
the grave room we can see scenes from
the Old Testament, and in the narthex,
beside the life of Saint Nicholas and Saint
George on the inferior registrar, the
66 e_conserv@tion
The Church of Suceviţa Monastery
11The execution technique is identified based on 14To remark the painters’ knowledge of the
the technological elements: incisions, compass sensibility of the pigments in different environmental
traces, polishing on the form with local returns, the conditions, which forced them to replace the
presence of the clocking and the giornatas. cinnabar red used abundantly on the interior, with
ochre red on the exterior. This way its
12Depending on the differences of level of the wall transformation into the black metacinnabar due to
structure, locally, before the application of the the exposure to the solar light was avoided.
intonaco layer, it was also identified another
intermediate arriccio layer, with an equalization 15From the churches with exterior painting, upon
e_conserv@tion 67
Anca Dină
17Many graffiti can be noticed on the northern mentioning different years and names
porch and the exonarthex. of the travelers17 can be identified.
68 e_conserv@tion
The Church of Suceviţa Monastery
There are other specific degradations of alternating with mechanical ways, dry and
the colour layer. On the surface of the wet, operation performed with a lot of
painting we can see variable quantities of prudence. After the rehabilitation of the
adherent and non adherent deposits, adhesion of the colour layer at the
accumulations of saline efflorescence and support, treatments are applied for the
wax from the candles18, different stabilization of the cohesion, using barium
developing forms of biological agents. All hydroxide. This intervention is done after
of these are super positioned on a layer of a methodology experimented and taken
colour marked multiple times on large from Opificio delle Pietre Dure in Florence
surfaces of accentuated losses of the and applied at the restoration site at the
cohesion and adherence to the support. Church of the Probota Monastery, during
We can also see alterations of the an UNESCO restoration program. Using
pigments, the most evident being the
transformation of the smalt blue from an
intense blue nuance into different faded
nuances to almost brown white with
chalk appearance19 and the surface
modification of the cinnabar red pigment
into brown and black20.
Methodological aspects
18The most quantities of adherent and non the superior areas) in the narthex and exonarthex.
adherent deposits, especially smoke from the In the altered form, the smalt blue pigment is very
candles burned and also wax were identified in the decohesive, its preservation rising big problems.
altar, where the religious ritual takes place.
20Chromatic modification of the cinnabar red
19The alteration is visible in different forms on pigment can be noticed on the areas close to the
almost all the mural surfaces in the altar, nave and windows, where it is exposed to the solar light.
the chamber of graves and partially (especially on
e_conserv@tion 69
Anca Dină
70 e_conserv@tion
The Church of Suceviţa Monastery
22The work in the nave and the altar are almost 24The church is not provided with any kind of heating.
finalized.
25Besides the specialists, on this worksite many
23The months in which the work is possible are generations of conservators were trained among the
June-October, with some variations imposed by the years. Together with the Romanian students were
climacteric conditions. also practicing students from Poland, Italy of Japan.
e_conserv@tion 71
Anca Dină
Anca Dină
contact: anca@zappmobile.ro
72 e_conserv@tion
educatio
This permanent section is dedicated to Education
and Training in Conservation and Restoration,
which we consider an essential and actual issue
in our profession. Thus, in each number of the
magazine we randomly pick a country from
around the world, review and describe its training
in conservation to the best of our knowledge.
We are aware that education in this field is still
recent in many countries, that it has a fast
development and evolution in others and that
there are multiple models of training. Many
countries have already a solid tradition in
education and training while others are just
starting to have their first university courses in
Conservation. In this section we present the
readers a review of the existing multiple choices
on a given country.
The section is divided in two main parts: the
THE NEVER ENDING STORY OF CONSERVATION
74 e_conserv@tion
RECOGNISED TRAINING INSTITUTIONS
Admission
*The ECTS system is widely used in all Europe. It
stands for “European Credit Transfer and Accumulation
La Cambre offers 18 courses in every System”, was introduced in 1989 and is based on the
student workload that is required to complete the
artistic specialisation, from conservation
course. For more information please visit:
and restoration to photography, sculpture, http://ec.europa.eu/education/programmes/socrates/ects/index_en.html
e_conserv@tion 75
Education
The course of Conservation and Restoration The internships are not compulsory, but
offers 4 possible specialisations: Painting students are encouraged to attend them,
(vessel and canvas), Sculpture, Ceramics- especially during the summer holidays.
glass and Paper. From next year La Cambre is planning to
The first year the students are introduced give ECTS credits for the internships
to the work of art. They study the students undertake.
technological process and its ageing.
The second year of study is focused Laboratory Equipment
towards theoretical and practical
apprenticeship by the application of La Cambre does not have its own
different techniques to the works of art. research laboratory for conservation, the
In the final year, the students must analyses being performed somewhere
prepare a thesis, supervised by a else if necessary.
teacher and an external specialist,
where they will develop their personal Publications
research work.
The school does not have an official
Internships, publication but every year an intern jury
International Programs selects some of the works belonging
to each department, including the
The Department is involved in Erasmus Conservation-Restoration one, for what
and Socrates programs. Foreign students they call “coup de cœur”. The selected
are accepted in a large number and they students make an exhibition and a small
have the same regime as the Belgian edition is printed in the school’s printing
ones. studios.
76 e_conserv@tion
Education
All of the professors involved in The works of art which we work on are
Conservation-Restoration have their own mostly from Museums or Churches.
e_conserv@tion 77
Education
Does the Department charge for the Till now, nothing. All the proposals of
conservation interventions performed? ENCoRE demand time and money, which
we do not have.
We charge for the costs of the materials.
Could you give us an insight of the
Has the school participated in any admission process? Which are the
international projects related with most important conditions students
conservation? need to fulfill in order to get admitted?
Yes. Since some years we work in Syria, The admission process has a general
in Croatia, France etc. We are working part (equal for all the 18 workshops of
on a project in Cairo-Egypt. La Cambre) which is a drawing test and
In Syria, since two years ago, some of a theoretical test. The rest is specific for
our students and professors have gone our Department: practical tests (copies
to work on icons in a monastery. In etc...) related to each speciality we
Croatia, we have participated since have, theoretical tests (art history,
three years ago on conservation projects scientific tests…), an interview during
with the schools of Split (Croatia), which we test the motivation, the
Antwerp (Belgium) and Köln (Germany) preparation, the general knowledge, etc.
on a 16th century altarpiece in the Marja
Sjun Church on the island of Lopud. Does the Department usually follow
Last year, some of our students went to the students on their professional
work on the Versailles conservation- life after they leave the school?
restoration project.
We keep contact by the way of festivities,
Recently the Bologna Process was happenings, thematic evenings, colla-
introduced throughout Europe. Is La borations on the workfield, and internships.
Cambre going to introduce it as well?
78 e_conserv@tion
Education
Specialisations
ECOLE SUPÉRIEURE
DES ARTS Right from the beginning, the department
SAINT-LUC comprised the two specialisations which
for teaching this demanding profession: 3 (ceramics restorer) Mr. Nico Broers,
Assistant and lecturer: Ms. Inge Noppe
years for a Bachelor’s degree, a Master’s
Ms. Anne-Sophie Dagneau (paintings restorers)
degree and a Master in depth degree (2 (ceramics restorer)
years), focusing on modern techniques Lecturer:
Mr. Johan Janssens
and material.”
(ceramics restorer)
e_conserv@tion 79
Education
80 e_conserv@tion
Education
Muriel Verbeeck
Interview with
Laboratory Equipment
ESA has 4 laboratories: chemistry, Ms. Muriel Verbeeck is a trained historian, Doctor of
photography, testing laboratory, ceramic Philosophy and Master of Information Sciences
and Documentation, curently professor at “École
technologies laboratory (processing, Supérieure des Arts” (ESA), St. Luc and editor
baking, enamelling, ceramography). of the CeROArt magazine.
We thank her for the kindness in answering all our
These are equipped with binocular questions. The interview was carried out by email
microscopes, microscopes on swinging- by Rui Bordalo, in on July 2007.
81
e_conserv@tion
Education
82 e_conserv@tion
Education
Why did your school decide to from our evolution. Few students choose
implement the Bologna process for to stop there; indeed, we offer a
the Conservation Department? specialisation in contemporary material in
the 5 year, as well as many workshops,
th
Since the beginning and throughout the internships, but above all we offer
evolution of the division we focused on assistance in writing a thesis, which is the
the E.C.C.O. recommendations. Bologna final element of our theoretical and
is for us one of the means to achieve practical educational aims.
that goal. We find there by the way
values that are pedagogically important We believe ESA is considering offering
to us, like education centered around a PhD program in conservation in the
the student, and an implementation nearest future. Could you tell us more
flexibility facilitating initiatives and about this program?
innovations. There is one downer however…
the limited financial means often dampen The “French Community” of Belgium has
enthusiasm. recently created the “PhD Institute No.
20”, which deals with “art and art
What changes did the Bologna sciences”. We would like to cooperate with
process bring to the Department? different academic institutions, in Belgium
and abroad, and develop a specific
The reform is being introduced one year module of courses, which would consist of
after another. We’ve now finished workshops, colloquiums, conferences.
awarding a diploma to our last licentiates Our focus point of research, already
(4 years), at the same time as we developed during workshops, is axiology,
awarded the first Bachelor’s degrees. In i.e. raising questions about the values
the coming academic year we will start which determine the choice of
with our very first Master’s degree year. conservation, restoration, but also the
choice of working with objects of art.
At the present time, your Department Indeed, the extension of the working field
offers 3 degrees of 3, 4 and 5 years. of conservation from works of art to
Which are the differences between objects of art, raises questions, not only
them and why such an organisation? related to contemporary art, but to the
whole of cultural assets, which are by
Our degrees after 3 and 5 years nature heterogeneous. Any person or
correspond to what is awarded in other institution concerned by this topic may
institutions. The Master’s degree after 4 contact us right away: the magazine
years is a particularity, which we inherited CeROArt (www.ceroart.org) will discuss
e_conserv@tion 83
Education
this topic in its first edition of October and Could you give an insight into the
there will be an international colloquium admission process?
on this subject in autumn 2009.
ESA’s admission exam is not really an
Is ESA a member of ENCore? instrument of selection. Contrary to other
institutes, we do not expect specific
We are not an ENCore member, but we experience or knowledge in the fields of
have asked for a partnership. conservation-restoration, art or history of
art: we want to stimulate an existing
How did CeROArt project start and passion which should entice students to
what are your expectations? choose any course. However, we do
evaluate students’ capacities using several
The project grew out of a need: there practical tests, which help them
is no platform in French to enable a understand color and material and we ask
dialog between conservators, restorers, for his or her motivation during an
museologists, who are all confronted with interview. In fact the aim of the tests is
difficult professional problems regarding to assess those qualities of the
works of art (from the piece of ceramics students which we find indispensable:
to the contemporary painting, and in dexterity, rigor, analytical spirit… but
fields like mobile industrial patrimony, also sensitivity, open-mindedness and
object design, books, ethnologic objects, personal engagement.
scientific collections…). Fortunately, there
is the Internet which makes it possible to Does the Department usually follow
create a “melting pot of art and culture” the students on their professional life
that can give information about what is after graduation?
thought (research), what is planned
(projects), what is achieved (interventions). Yes, with pleasure… some work
Out of the confrontation of diverse currently on their own, others within an
experiences ideas can grow, exchanges institution; many also decided to
and collaboration can take place. Our bet specialise, especially in archeometry.
is that communication stimulates creativity We follow their career with much
- and the conservation profession is more interest... and satisfaction: for ESA, like
than ever in need of creativity and for Montaigne, teaching is not filling a
inventiveness when it comes to proposing well, but lighting a fire. Those going
solutions for the (many) problems it gets into research show us that we have
confronted with. accomplished this task, which is so
important for us.
84 e_conserv@tion
Education
Why did you choose to study Which are your plans after
conservation? graduation?
I like association between craft side and I would like to open my own workshop.
reflection. Beautiful objects fascinated I’ve already restored a Chinese stoneware
me, I like their story and to have the dragon and now I’m working on a glass
privilege of taking care of them. This is boat. In one month I’ll work on Gallo-
why I chose this profession. Roman ceramics, which belong to French
Community, preserved in Gallo-Roman
Why did you choose ESA Saint Luc Museum in Ath.
over the other universities? I’ve also received an offer to work at
zoological Museum of Liège University to
ESA Saint-Luc is the nearest school from continue my work on Blaschka’s glass
my home and courses are given in French, models that I’ve studied in my thesis.
my native language. This school is also
We thank Isabelle Pirotte for filling out our
open to 18 years students who come from questionnaire. The interview was carried out by
secondary school and without other training. email in August 2007, by Rui Bordalo.
e_conserv@tion 85
Education
ROYAL ACADEMY
OF FINE ARTS
(ANTWERP)
Blindestraat 9-13, 2000 Antwerpen
BELGIQUE
YOU CAN HELP US
www.academieantwerpen.ha.be
IMPROVE THIS SECTION!
86 e_conserv@tion
Education
In Belgium there are some other training simply list all the available institutions,
courses in conservation that do not offer a according with the international accepted
university level degree or they only give criteria (such as those of E.C.C.O. among
short courses, with the duration of less others). Thus, a course is classified as non-
than 5 years, thus they are classified as recognised when its degree is not enough
non-recognised courses. In this section we to achieve, by international standards, the
are not making a judgement of value, we professional level of conservator-restorers.
www.formatpme.be Overhaemlaan 11
(French only) B-3700 TONGEREN
www.opleidingen.syntra-limburg.be
IFAPME stands for “Institut wallon de (Dutch only)
Formation en Alternance et des
indépendants et Petites et Moyennes
Entreprises”. IFAPME is a network of 9
training centres all over the Walloon SYNTRA Limburg is a school that
region which offers different types of promotes entrepreneurship assuring
training such as apprenticeship and life professional courses in all sectors. The
long training in over 200 areas, mostly school is organised in 7 campuses in the
focused on training for small and medium region of Limburg.
enterprises. FORMATPME, located in Limal In the campus of Tongeren, the school
(Wavre), is one of this network centres organises long training courses in conser-
that offers conservation courses in the vation of paper and furniture (no longer
following areas: paper, furniture and easel 9292available at this point). A candidate
paintings. The course is organised in 3 must be 18 years-old in order to attend
years. The students must undertake an them. The course paper conservation is
internship and prepare a final work in the developed in 3 modules: paper study, paper
end of their last year. chemistry and paper restoration. The school
FORMATPME also organises short courses also offers short-term courses on restoration
and conferences. of paper, paintings and scientific research.
e_conserv@tion 87
portrai Information and Knowledge
Management of
Cultural Heritage
Case studies
from the work of the
Foundation for Information Society
Hungary
Foundation for Information Society
The Foundation for Information Society started its current activity in the frame work
ensured by the Information and Knowledge Management Department of the Budapest
University of Technology and Economics. Our colleagues have started to perform
research, development, innovation and application development activities in the field
of finance and financial information technology deserving the most sincere
acknowledgments from professionals of the field of banking, economic institutions in
the field of financial and money IT. Representatives of this professional group
undertook a decisive role in the Foundation; meanwhile ensure continuity of a high
quality and high standard research work. These results have
been applied by technological transfer in heritage management.
by LIA BASSA
e_conserv@tion 89
Portrait
90 e_conserv@tion
Foundation for Information Society
base and to make them easily available coordinated research since there has not
and searchable. In connection with the been any methodologies or procedures for
above, a review of the basic thesaurus of such activities approved yet.
relevant areas and organisations, as far as
possible, had to be integrated into a State Parties have to be capable of
flexible Internet based structure, to creating comprehensive site, regional or
provide conversion keys, including search even thematic collections, learn and
engines, for more effective use of the create data processing and knowledge
present knowledge base. management standards, as well as rules
to update information and provide
e_conserv@tion 91
Portrait
Figure 1. Starting points and the series of goals: the research project generator.
92 e_conserv@tion
Foundation for Information Society
The system is made up of the following of states and sites, site numbers) and an
components: advanced, multiple topic search mode
(by combining two functions: search for
• Web-based user environment data in world heritage web sites and
including preference driven multi simultaneously for words or expressions
language support; in the world heritage documentations);
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Portrait
Image 3. Rural Heritage House in Fertőhomok, world heritage site. (Photo: Gábor Madarász)
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Another basic requirement of this system awareness and last but not least, their
is that it should be suitable for later visit is a financial resource for the site.
extensions. Some parts of the contents Tourism is the main way of contribution to
should be accessible for the general public the preservation of the past and our
in the future but its main objective is that heritage by the presentation that
it should be able to satisfy professional meets all requirements of information
users that is also a complex task. Namely, management.
the work of university students, research
workers, authorities and experts has to Heritage is entrusted for us by our
be considered and a legally clarified, ancestors and our responsibility is to
scientifically appropriate access has to be preserve it for future generations. The
assured for each layer of them. Subject means of conservation and transmission
maps and thesauri are necessary for the have been changing a lot in the recent
adequate handling of metadata and in the times. Our cultural heritage protection
same time, for the establishment of a projects have the duty to connect the
conception structure, the systems of values to be protected with the up-to-date
environment, contents and classification technical potentials. Through their
have to be carried out. (Image 3) application, new ways of value protection,
presentation and popularization come into
The management of use to promote the human track of
heritage sites requires globalization by connecting people with
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Portrait
the language, national customs, music, are set up in conclusion of data collected.
dance are all changing in the course of Data mining can contribute to the
time. While carrying out the processing, application of the collected and
various sorts of data collection, registration, systematically arranged data to tourism, it
archiving and retrieval methods have been assists caretakers to be prepared for the
applied. requirements of the visitor, and thirdly
decision makers, professional bodies and
Our basic aim is to record the current authorities possess a full set of data, to
status so that the managers could keep select the relevant ones for their own
maintenance of the creations of the above purposes. The management of heritage
areas. Their protection could be sites requires new methodologies in the
professional and in order to make people subject of supervision, administration,
acquainted to the values surrounding organisation, planning, control and
them so that they could appreciate it and marketing.
transfer it to the next generations.
Monitoring can be completed when the The first step is the search for values,
priorities of the activities to be carried out their systematic arrangement and the
Image 4. Rural Heritage House in Fertőszéplak, world heritage site. (Photo: Gábor Madarász)
96 e_conserv@tion
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documentatio
La Villetta Cemetery
in Parma, Italy (part 1)
Cemeteries as
Heritage Monument
MICHELA ROSSI
La Villetta,
the Main Cemetery in Parma
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Michela Rossi
All cemeteries represent the mutual The mapping is difficult because of the
identifying element of a society, and thus, complexity of the settlements, where
all of them should be preserved just like elements such as the urban scale fencing
any other historical building. Their of the cemetery and the micro
rehabilitation will also give great architecture of each individual tomb differ
improvement to the urban environment. greatly in dimensions. This complexity is
Cemeteries are a miniature of the city, reflected in the management, which
reproducing its developing process and inevitably affects the general maintenance
presenting the same managing issues and of the monuments. The ambiguous scale
thus their conservation and valorisation of the cemetery and the big number of
strategies should be similar. The main monuments in it are some of the main
focus is on the structure’s functionality, problems concerning their conservation.
including changes required to respect the
new work safety standards, which could The research work carried out in Parma and
contrast with the preservation of the in the Villetta cemetery itself constitutes a
buildings. significant example on this matter.
2 2
Image 2, 3. The Villetta Cemetery in Parma. The original plan.
Image 4. General view of the cemetery, historic image.
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Cemeteries as Heritage Monument
5. The entrance
6. The northern gallery
7. Detail of the arcade 7
8. The main alley
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11
12
13 14
Monuments from La Villetta Cemetery. Details of chapel architecture,
sculptures and decorative motifs.
9. Marchesi’s Chapel
10. Leoni’s Chapel
11, 12, 13, 14. Sculptures decorating the chapels
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10
Cemeteries as Heritage Monument
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Michela Rossi
Silvia Ombellini, in no. 2/2007 of The next step was to build a digital
e_conservation magazine), and by now it cadastre of the cemetery, which is
is possible to foresee the next steps. considered important for the conservation
The cemeteries are complex systems management and for the future planning.
that, from an architectonic point of view, Most of the properties are temporary and
introduce one ambiguous scale between the placements are reused every 10 years
the city’s main structures and the micro- (simple earth burials), 40 years (single
architecture of the particular burials, with coffin place) or 99 years (family chapels),
constructions inserted one inside the depending on the building type. Only the
other like China boxes. Besides that, the porch arcades and the chapels into the
architecture often merges with the artistic twin galleries seem to be perpetual
objects, making difficult the distinction particular estate.
between them. These projects have also evidenced the
The first result of the cataloguing has possible economic significance, with
been the location of the monumental important profits for the conservation of
zone, characterised by the historical the monument.
memorials built before or short after the Although the historic cemetery constitutes
Second World War. Italian law imposes an open-air museum by itself, it would be
special attention to public buildings more wrong to underestimate the funerary
than 50 years old. The cataloguing value. To be preserved, it should not be
introduced the study of analogous transformed in a mere tourist attraction,
behaviours between the city organism and but it would be advisable to guide the
the cemetery and therefore has visitors along the path of its significance.
delineated the rules for writing the The historical importance of burial
Cemetery Planning. architecture needs to be popularized, and
Meanwhile, the physic importance of the the community should be more aware of
burial settlement historic core required a such valuable artistic monuments.
new specific plan for the right Because of its characteristics, the entire GIS
monumental zone (see Elisa Adorni, in no. cannot be destined to the general public. It
2/2007 of e_conservation magazine), in is available for professionals and experts
order to guarantee the protection and the such as the cemetery managing offices,
rehabilitation of the cemetery as a restorers and academics, but for the public
monument. different strategies should be developed.
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Cemeteries as Heritage Monument
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Michela Rossi
LA VILLETTA,
By Michela Rossi
La Villetta Cemetery (image 1) is the Besides its artistic value, this monument
main funerary ground in Parma and it is interesting because it is related to the
represents one of the most valuable development of a new urban type, short
monuments of the city. The cemetery is after Napoleon forbade burials within
characterized by many historically rich cities. It was built between 1819 and
artefacts, owning a great amount of 1823 on behalf of last Napoleon’s wife
valuable local documentation collected Maria Luigia of Habsburg (image 2), who
from the 19th century throughout the 20th became Duchess of Parma when he was
century. exiled in St. Helen Island.
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La Villetta
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Michela Rossi
110 e_conserv@tion
La Villetta
that the passage along the porch would their porches (image 6). The South
not be compromised. The services are Gallery, built between 1876 and 1884, is
located along the perimeter: the neoclassical, with lowered barrel shaped
mortuary and the oratory in line with arches (image 7), while the North Gallery
the entrance. – influenced by innovative projects in
The internal area, divided in four fields, 1880, and later in 1893 – was built by
was destined to public burials and to the Sante Bergamaschi between 1898 and
individual monuments located on the 1905, with square shaped arches and
sides of the main avenue (image 5).
Different functions were assigned to the
four triangular areas: the charnel house,
the non-catholic cemeteries, people
sentenced to death and the suicides close
to the executioner and his family, and
lastly the children who were born dead or
who died before being baptized. These
four angular sectors were finished by
1856, but in 1864 the Hebrew sector
required enlargement.
The expansion of the cemetery started in
the last quarter of the 19th century with
the addition of two twin galleries for the
placement of more coffins and family
chapels. The base is Latin cross shaped
and the galleries are accessible from two
breakthroughs in the central arches of
Image 6. Bergamaschi’s project for two twin Image 7. The southern gallery.
galleries. (1872)
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Michela Rossi
112 e_conserv@tion
The Cemetery Information System
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The Cemetery Information System
The tables count more than 1500 records, compilation of synthetic cards in which the
3462 attached files – images and data has been inserted in specific fields
bibliographies – and a collection of regarding information about the legal
architectonical remarks divided by units, property, the architecture and, when
dimension, relevance, with different scales possible, the construction licence.
according to their size. This project The archive material has turned out to be
involved a thorough scanning work, which richer than initially supposed and thus GIS
constitutes a great knowledge for became the frame where to insert non-
architecture, allowing new generations to homogeneous information (data, drawings,
enrich the work that already exists. photographs and documents) which
The first phase of the project was to subsequently allows the specific consultation
define how to perform the restitution of all of this material.
the collected information. In this phase Altogether the research can be divided in
the cemetery has been the arena that two branches:
allowed verifying the effectiveness of the - The data collection and the comparison
various instruments of architectural of the archive documents with the actual
survey and the respective modalities of units;
restitution. The relative scale and absolute - The database organisation.
dimension of the objects were the The whole historic cemetery has been
determining elements related to the divided into homogeneous sectors,
understanding of the architectural described by specific and independent
settlement real consistency. The use of a records.
GIS, as ArcView software, offers many The main criteria involved in the creation
advantages, especially concerning the of the database and of its informative
new data update which is one of the most tables can be listed as follows:
important requirements for the survey. - Physical and juridical identification;
Therefore, the job has been carried out - Architectural description
proceeding to the correction and (style, typology, ornaments and decoration,
integration of the available architectural materials and construction techniques,
surveys, to the writing of a bibliography photos);
and a list of documents conserved in the - Maintenance state;
city main archives (State Archive for - Archive references.
documents before 1861, and City Archive All information is geographically linked to
for later). The data has been located single sectors and units by which the
according to hierarchical levels of system allow quick thematic researches,
homogenous portions, respectively based on keywords, and offers the
sectors and units. This has involved the possibility to search information about
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Cecilia Tedeschi
each small architecture (unit) inside it, with new data, such as the artistic filling
simply from its map. of decorative objects.
So “La Villetta Information System” In this way, GIS helps to investigate the
includes all the gathered information on complexity of cemeteries and offers itself
the architecture and it organises the as the best software available to simplify
available data. The records count more the survey plotting of different scales that
than 3500 attached files, including the have to be studied together, demonstrating
vectorial files of available architectural its powerful significance in architectural
surveys, which have different scales knowledge and monument conservation,
according to the building size. The system besides cemetery management.
is also available for later implementation
116 e_conserv@tion
La Villetta Cemetery in Parma
Contact:
Dipartimento di Ingegneria Civile, dell’Ambiente, del Territorio e
Architettura, Università degli Studi di Parma
web: www.unipr.it
email: michela.rossi@unipr.it
CECILIA TEDESCHI
PhD in Civil Engineering at University of Parma, graduated in
Architecture in Milan. She is interested in CAD and GIS applications to
historic architectural representation and collaborates in several
important architectural surveys.
Main Publications
M. Rossi, “Waterways in surveys and drawings: E. Bacino, “I Golfi del silenzio. Iconografie
water management and the geometric patterns of funerarie e cimiteri d’Italia”, Firenze (1991)
the landscape around Parma”, in Disegnare n° 26,
Gangemi Editore, Roma (2003) P. Albisinni, “l disegno della memoria. Storia rilievo
(full English translation) e analisi grafica dell’architettura funeraria del XIX
secolo”, Edizioni Kappa, Roma (1995)
M. Rossi, “Strade d’acqua - navigli canali e
manufatti idraulici nel parmense”, Mattioli, Fidenza L. Bertolaccini, “Città e cimiteri: dall’eredità
(2004) medioevale alla codificazione ottocentesca”,
Edizioni Kappa, Roma (2004)
M. Rossi, “Nature’s architectures and built forms:
Structures and surfaces between Idea and Design”, M. Felicori, a cura di, “Gli spazi della memoria,
Nexus Network Journal, vol. 8, n°1/06, Birkhauser, Architettura dei cimiteri monumentali europei”,
Basel (2006) Luca Sossella Editore (2005)
M. Rossi, a cura di, “Città perduta – architetture G. Gonizzi, “I luoghi della storia I/II/III, in Atlante
ritrovate, L’Ottagono del Cimitero della Villetta e topografico parmigiano”, PPS Editrice, p.30 e sgg.,
altre architetture funerarie a Parma”, Quaderni di Parma (2001)
architetture, Ets, Pisa (2007)
117
heritage in dange CALL FOR PAPERS
“All cultures and In a world of globalisation and homo
means of tangible
and intangible We usually blame the lack of money when
e_conserv@tion
Heritage in Danger
“Approaches should
also build on and
Therefore, trough this section dedicated
facilitate international
to heritage in danger, we are trying to
cooperation among
reduce the indifference and to bring back
all those with an
the sensitive, insightful view of cultural
interest in conservation
heritage appreciation. By presenting
of cultural heritage,
images and short descriptions of the
in order to improve
endangered monuments from all over the
global respect and
world, we can assess the risks or draw
understanding for the
attention to urgent situations and,
diverse expressions
hopefully, find possible solutions. Anybody
and values of each
who wishes to draw the attention over
culture”.
monuments in this situation is warmly
encouraged to participate. From Nara Document on Authenticity
e_conserv@tion 119
CHRISTOS KARYDIS
book revie
INTRODUCTION
TO THE
PREVENTIVE
CONSERVATION OF
TEXTILES
Book Review
e_conserv@tion 121
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No. I, October 2007 LICENCE
Cover
Photo by Şerban Bonciocat
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specified by our licence, best by linking to CC website.
Executive Editor, Director
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