7 Textile material

7

Textile material

Material/Technique

Wool and linen. Serge; concentric and embroidered rhombuses, and stem stitching. Natural dyes of plant originl

Title/Topic

The Girona Cathedral Tapestry or Embroidery of Creation

Author

Unknown

Date/Period

Between 1081 and 1094

Location

Girona Cathedral Treasure, Girona (Gironès county)

CRBMC Register NO

9121

Coordination Maite Toneu

Restoration

Carme Masdeu and Luz Morata (Morata-Masdeu, SCP)

The following is a summary of the latest conservationrestoration intervention on the tapestry, which was undertaken to stop the deterioration of the work, following the principles of minimal intervention.

In the world of textile artefacts, the so-called Tapestry of Creation is a unique work of medieval art. Only a large fragment is preserved, which depicts three iconographic cycles: Creation, the calendar and the legend of the Invention of the Cross.

State of conservation

Initially, a comparative review was carried out, based on the photographic documentation of the 4 known interventions and the images of the non-destructive physical analyses. These showed that the tapestry had undergone a large number of reconstructions designed to create an illusion, which have become an integral part of the work.

An analysis of the technical aspects, the manufacture and the nature of the constituent materials was crucial in revealing the main alterations, both of the original elements and of the interventions. A comparison of the front and the back of the work during the intervention revealed that the integrity of the threads had been altered by environmental factors and perhaps also as a result of the treatment it had received. In this regard, the loss of material and colour was more noticeable on the front side.

The tapestry contained dirt, deformations and stresses due to its vertical display, in a frame, stitched to a hessian fabric and attached with studs. An added negative factor was the difficulty of moving the piece, for security reasons. All this required a solution which involved preventive measures and curative actions. The former were aimed at adapting the exhibition space and the latter at stabilizing the work.

Intervention

In order to meet the requirements for the new intervention, the work had to be removed from the frame. Then, a graphical representation of the stitches that attached the tapestry to the hessian fabric was made, in order to determine the repercussions. This examination confirmed what had been revealed during the preliminary study. As a result, it was decided that the stitching and the hessian base should be removed, a very laborious task since a large number of the embroidered reconstructions penetrated through this fabric.

Close-up using raking light of the left side of the tapestry. The deformations caused by the stitching to the hessian support can be seen Photograph taken with UV light before the intervention. The most recent interventions in maroon brown and fluorescent white can be seen

 The back, after cleaning and reduction and removal of patches from previous interventions. The purple colour can be seen, unlike on the front

X-ray image of the representation of the Gihon river which clearly show the pictorial alterations of an old intervention made with white lead Close-up of the of the second ring, of an area where the embroidery is missing

Completely uncovering the back of the work turned out to be a discovery, revealing the original colours in all their splendour, and the presence of patches (279, of 13 types) in the reconstructed areas. Removing the patches enabled us, among other things, to confirm the name of the character that appeared on the faded inscriptions on the back, something which had given rise to a great deal of debate. It is Hercules.

In order to place the work in the correct position and given its irregular border, a grid was outlined using a thick thread, which also served as a guide for all the treatments. Dirt, both on the front and back, was removed using a micro-vacuum cleaner. It was also decided that a great deal of the darning which was not part of the embroidered reconstructions should be unstitched.

Throughout the process, glass was placed on top of the work to prevent the fabric from moving. Later, the glass was used to correct deformations, and weights were placed on top in some parts, with their position frequently changed to prevent them from leaving indentations.

Work on the back of the tapestry, separation of the support fabric and removal of superficial dirt

Process to correct deformations on the front of the tapestry

The consolidation intervention was carried out to restore balance and stability to the tapestry and also to reinforce certain parts. This was done through stitching and the use of base fabrics, following a comprehensive approach aimed at the presentation and conservation of the piece.

As for the new display support, it was decided that the best option was a standalone mobile structure, consisting of an easel that supports a frame, which can be tilted.

Finally, the tapestry was placed in the same location from where it had come, the last room of the Girona Cathedral Treasure, but with an adapted display system and area that improved its preventive conservation and exposition.

— Carme Masdeu and Luz Morata

The Tapestry of Creation in situ after the restoration

Procés de correcció de les deformacions a l’anvers del tapís

Material/Technique

Oil painting and gilding on silk serge

Title/Topic

Mother of God with child

Author

Attributed to Antoni Viladomat i Manalt (1678-1755)

Date/Period

1724

Dimensions

434 × 280 cm

Location

Girona Cathedral Chapter Archive, Girona (Gironès county)

CRBMC Register NO

11176

Coordination Maite Toneu

Restoration

Beatriz Urbano and Montserrat Xirau

Year of restoration

2014

The banner of the Corpus preserved in the Girona Cathedral Chapter Archive is a unique piece, both because of its dimensions and because it preserves paintings on both sides that are attributed to Antoni Viladomat.

The central image is the Mother of God with child, on a throne, with a holy bishop kneeling in adoration, complete with two angels at the top, with the inscription «Ave maria, gratia plena», and two at the bottom, with the date «1724». The analyses performed confirmed that it is oil painting and gilding with gold leaf, on silk Batavian serge.

State of conservation

The fabric was in good condition, but the large number of rips and gaps drastically weakened the piece. This deterioration was due to the stresses caused by the pictorial layer and the many folds during use and storage.

To mitigate the risk caused by these gaps, multiple repairs had been carried out–re-sown rips, placement of patches and a large 84 cm fold in the tongue–which changed the shape and size of the piece. Despite the wear and tear, the pictorial layers still adhered well to the base material.

Intervention

The main aim of the intervention was to stabilize the work and improve its readability, using the following criteria: minimum intervention and reversibility, so that more complete action could be taken in the future; avoid the concealing of both sides, and avoid the use of fabric consolidation methods that could damage the pictorial layer. Various cleaning processes were carried out: controlled vacuuming; wet cleaning of the fringe, and cleaning of the pictorial layer and of the gilding using a pH buffer solution. Wetting the piece with cold water vapour helped loosen the fibres and was crucial for opening and restoring the lower fold.

Different methodologies from various specializations were combined to stabilize the fabric. First, a thread-by-thread suture technique was used for fixing tears, with sturgeon glue and wheat starch, used in the consolidation of the fabric base of the paintings. Meanwhile, an encapsulation technique was used for the textile restoration. It was applied during the reinforcement of the upper area and in the consolidation of the recovered lower area. The small fragments were immobilized, and the area was strengthened by placing the original serge between two fragments of tulle fabric which were sewn together along the perimeter of the missing parts with a basting stitch.

This ensured that the intervention was as non-invasive as possible and could be reversed and ensured the painting was visible thanks to the use of a highly transparent fabric.

The process restored the piece’s original shape, recovered the pictorial composition and gave cohesion to the banner. This enabled the piece to be put on display in the Girona Art Museum, in 2014, as part of the exhibition «Antoni Viladomat i Manalt (1678-1755). Life and Work», with Dr. Francesc Miralpeix as curator.

— Beatriz Urbano and Montserrat Xirau

 Vacuuming and correcting of the deformations of the folded area, after unfolding it  Close-up of the consolidation process by encapsulation

Close-up of a rip after consolidation (reintegrated with microfibres) General image of the banner after the conservationrestoration process

Author

Unknown

Date/Period 17th century

Dimensions

90 × 300 cm

Origin

Old Hospital de la Santa Creu, Barcelona (Barcelonès county)

CRBMC Register NO

11704

Coordination Maite Toneu

Conservation-restoration

Carme Masdeu and Luz Morata (Morata-Masdeu, SCP)

Showcase refurbishing

Carmelo Ortega, carpenter (CRBMC)

Years of restoration

2016-2017

The altar frontal dates back to the 17th century, although it was restored subsequently, and is currently in an old showcase in the Auditorium of the Hospital de la Santa Creu i Sant Pau. It is a velvet piece with embroidery made of silks, stretched raised gold and or nuè; almond-shaped muslins; passementerie, and galloon trimmings. It no longer had the original frame, and before the intervention it was nailed to a plywood sheet. The central part depicts Calvary surrounded by crosses, rosettes and palmettes arranged in an elegant staggered pattern. The side and front panels —upper frieze— depict plant stylizations and grotesque mascarons. In addition, in the centre of the side panels there is a cartouche containing the coat of arms of the old Hospital de la Santa Creu.

State of conservation

The work was in a very poor state of conservation, due to the high intrinsic sensitivity of the constituent materials to environmental variations and exposure to light. Among the many alterations, it is worth mentioning the disintegration of the velvet hair and also the multiple gaps in the velvet, on the front and sides in particular, with out-of-place fragments that had been poorly rearranged. In addition, the threads of the embroidery had significantly lost their cohesion.

Intervention

The intervention was a very delicate and thorough process which lasted 10 months. The measures taken focused on stopping the deterioration that compromised the conservation of the work. Therefore, the intervention began with an evaluation of the results of the analysis of the constituent materials and of the multispectral analysis.

Meanwhile, the direct intervention began with the dismantling of the multiple fragments that made up the front of the altar and with superficial cleaning. Subsequently the small waxy deposits were removed using a scalpel tip and the metallic elements were cleaned with a combination of both organic solvents and aqueous solutions containing chelating agents, depending on the nature of the dirt that had to be removed and on the sensitivity of the base material.

During these processes it was necessary to combine this cleaning with a consolidation of the most delicate areas, and to sew up the metal threads that had come loose in certain parts.

Because the piece was particularly fragile, each part —the centre, side and front— had to be completely supported on a base made of cloth that was dyed to match the piece. Some parts also had to be protected using monofilament tulle, and flannelette stuffing had to be applied to some of the raised decorations so they could maintain their shape.

Finally, the piece was mounted on a new support, adapted to the old showcase so that it could be returned to its original location.

— Carme Masdeu and Luz Morata

The altar frontal after the intervention

Photograph of the altar frontal before the intervention, in situ

 Close-up of the frontal before and after the intervention.

Material/Technique

Industrially manufactured fabrics, with wool and cotton taffeta weave; rope and metal fasteners; fabrication: machine sewn

Title/Topic

Starred Catalan flag: «Estelada blava». (blue estelada) Flag with a blue triangle and a white 5-pointed star, a symbol of Catalan independence

Date/Period

c. 1915

Dimensions

85.5 × 172 cm

Location

Museum of the History of Catalonia, Barcelona (Barcelonès county))

CRBMC Register NO

12142

Coordination Maite Toneu

Restoration

Beatriz Urbano and Montserrat Xirau

Historical information

Museum of the History of Catalonia website and information provided by the historian Joan Esculies

Years of restoration

2013-2014

«The starred flag established itself as an unmistakable symbol of Catalan independence during the First World War years. On 11 September 1915, in front of the statue of Casanova, the Catalanist Union presented this starred flag to the Catalan volunteers who had gone to fight in the first great war of the century. The flag has a blue triangle fastened with a brooch, with the idea being that it could be removed if independence were achieved. After the war, the starred flag was given to Dr Joan Solé i Pla, promoter of the campaign in favour of the Catalan volunteers, was preserved by his descendants and finally added to the collection at the Museum of the History of Catalonia. Today it is the oldest surviving starred flag and is of huge historical and symbolic importance»1

State of conservation

This starred flag is made up of two separate pieces: the flag and the blue triangle with the white star —the latter can be removed and attached by means of metal fasteners—, made entirely of cotton and wool fabric. What has been preserved is a fragmented and incomplete flag, only a third of what would have been 270 cm long flag, which would have also had a triangle with a star on the other side.

It was in a moderate state of conservation. The deterioration of the piece was mainly due to the dried fibres, the missing material and the folded and frayed fabrics. It had also been affected by other alterations such as dirt deposits and loss of colour.

Intervention

Various dry mechanical cleaning processes were performed to remove the accumulated dirt. The application of cold water vapour —generated by an ultrasonic humidifier— slightly loosened the folds; the goal was not to completely eliminate the marks that attest to the history of the piece, but to mitigate the risk of the fibres in these areas from breaking.

The processes undertaken to consolidate the fabric were instrumental in stabilizing the piece. The technique of overlocking was used for the torn edges and the gaps in the centre were consolidated by sewing on a new partial base. A highly transparent silk fabric was used for this base —dyed yellow, red or blue, depending on the area being consolidated— to highlight the gaps.

To ensure proper handling, storage and exposure, a flat, rigid support was made from honeycomb conservation cardboard, lined with inert materials. The flag was fixed to the support using its own fasteners on the back.

Its recovery was completed for the occasion of the exhibition «300 Onzes de Setembre. 1714-2014» (300 Elevenths of September) at the Museum of the History of Catalonia. The described procedure was undertaken because of its symbolic importance, prioritizing its huge historic value over any aesthetic or material value. This minimal intervention helped to slow down the deterioration process while preserving the physical marks that explain its history and use.

— Montserrat Xirau

1 / Museum of the History of Catalonia (MHC): https://www.mhcat.cat/col_leccio/el_museu_presenta/ bandera_estelada [Consulta: 15 de maig de 2020]

Wetting process

General image before and after the intervention

Consolidation of missing parts of the fabric

Study and conservation of the medieval fabric from the lipsanotheca of Santa Maria de Cap d’Aran

Material

Silk and braided thread with gold leaf

Technique

Lampas decorated with pattern wefts and swivel weave (honeycomb)

Title/Topic

Encircled pairs of lionesses rampant and tree of life, and flowers and palmettes in the interstices

Author

The Almeria workshops, Al-Andalus

Dimensions

9.2 × 13.4 cm

Origin

Lipsanotheca of the church of Santa Maria de Cap d’Aran, Tredòs, Naut Aran (Val d’Aran county)

Location

Val d’Aran Museum, Vielha, (Val d’Aran county)

CRBMC Register NO

12472

Coordination Maite Toneu

The fragment of fabric in question was stored in a wooden lipsanotheca and had almost certainly been used to envelop a relic.It is worth remembering that silk and gold fabrics of Hispanic-Muslim origin were often used to wrap these prized pieces, since they were considered luxury items.

State of conservation

The fabric was in a very delicate state of conservation; the drying and ageing of the fibres had weakened it, as had the accumulation of inorganic deposits. The fabric had been folded as a result of its use. This along with the numerous tears and gaps in the weft and warp meant that the decorative motif was hard to read and had resulted in a loss of cohesion and stability.

The conservation intervention

The intervention focused on stabilizing the state of conservation of the piece and improving its readability. With this in mind, the deposits were removed, dirt was eliminated as much as possible and the deformations were fixed, through a combination of low-powered micro-vacuuming methodology and wetting the fabric with cold steam — making use of stereoscopic microscopy to do this.

Bearing in mind the small dimensions of the piece and its fragility, the idea was to intervene as little as possible, and a system was designed to avoid it being directly handled. This involved creating a support that improved its horizontal preservation, allowing the front and the back to be viewed (conservation folder).

Meanwhile, samples of the inorganic deposits found on it (CaCO3 and aluminosilicates) were collected and analysed, given that they could be associated with the relic it had contained. This fragment of fabric, a lampas depicting pairs of animals inside circles, is a clear example of the refined fabrics of the tiraz workshops. We took the opportunity while carrying out the intervention to analyse it and date it. The technical analysis and comparative observation of similar fabrics, in accordance with the published studies on Hispanic-Muslim fabrics, allowed us to determine its age.

The fragment fits in the group classified by D. Shepherd as fabrics produced by the workshops in Almeria (Al-Andalus) in the first half of the 12th century, in the middle of the Almoravid era (1086-1143).

The technique of a lampas with an irregular taffeta background, the use of double threads for the underlying warp, the use of pattern wefts to sow the decorative motif and the use of a weft of swivel-weaved brass leaf (golden animal organic membrane) with a honeycomb effect —only on the heads—, the decorative motif and the colours all distinguish this piece as being part of this group.

There are technical similarities with the Fabric of St Daniel (CDMT 2498 and IVDJ 2087).

However, there is an even greater technical and aesthetic similarity with the MTIB 49743 fabric, which was used to envelop the MNAC 1147 Romanesque Christ, although in this case the pairs of animals are birds. The fabric of Tredòs, however, stands out from the others because it preserves its dark coloured pattern weft, something which the aforementioned pieces have almost completely lost due to deterioration.

— Montserrat Xirau

 Close-up of the head of the animal with the weft of swivel-weaved brass leaf, after the intervention (front)

 Process of microvacuuming and elimination of concretions using a microscope

General image before and after the intervention (front)

Material/Technique

Silk, velvet, jacquard satin and trimmings

Title/Topic

Seating upholstery

Date/Period

Early 20th century

Dimensions

Armchairs: 128 × 68 × 65 cm; chairs: 108 × 45 × 46 cm, and sofa: 148 × 193 × 68 cm

Location

Episcopal Palace, Seu d’Urgell (Alt Urgell county)

CRBMC Register NO

12622

Coordination Maite Toneu

Restoration

Carme Masdeu and Luz Morata (Morata-Masdeu, SCP)

Years of restoration

2015-2016

In 2015, we began the conservation-restoration of the fabrics of the early 20th-century seating which was located in different rooms at the Episcopal Palace of La Seu d’Urgell. There were a total of 29 neoclassical Louis XVI style pieces, upholstered in silk cloth, mechanically produced, containing several features, such as velvet and jacquard satins with a damask effect, all accompanied by matching trimmings.

State of conservation

These were pieces that had been made for everyday use. In fact, their function and the inevitable ageing of the materials were the main cause of the alterations. For example, in the chairs, tears of different sizes were visible; the corners and seat backs were perforated and torn; in the armchairs the same alterations extended to the arms, and in the sofas some seams had opened up, and in the velvet cloth, in addition, the hairs had changed direction, resulting in chromatic irregularities. There was also evidence that they had undergone poor restoration processes. in some cases, for example, adhesives had been used to reassemble several parts.

Intervention

Taking into account the previous interventions, the upholstery was restored without separating it from the furniture. First, the holes were stuffed with flannelette, and then they were consolidated and reintegrated with cotton and silk fabrics, placed as a base, and cut, following a pattern, to fit the size of the hole, and finally, the fabrics were sewn to the original upholstery. Meanwhile, the tears in the cloth on some of the seats and backs needed protecting using monofilament tulle, which was sewn to the trimmings around the edges.

As a final point, it is worth noting that when a piece of furniture is restored, it is often forgotten that the upholstery is an integral part of the piece which makes contributes to the whole aesthetic. In this case, however, it was gratifying to see how the efforts of restorers focused on preserving the upholstery.

— Carme Masdeu and Luz Morata Close-up of a chair before the conservationrestoration

Close-up after the intervention in showing the restored upholstery

Chair after the conservationrestoration

Author

Unknown

Date/Period

1932

Dimensions

Ribbon: 156 × 14 cm. Display support: 166 × 24.5 × 2 cm

Coordination Maite Toneu

Conservation-Restoration

Carme Masdeu and Luz Morata (Morata-Masdeu, SCP)

Year of restoration

2017

Image of the piece before the restoration

The ribbon is part of what we call ethnological heritage, and its value derives from the fact that it is representative of a traditional recreational activity from Catalan popular culture, the castells (human towers). Since 2010, these have been included in the UNESCO Representative List of the Intangible Cultural Heritage of Humanity.

State of conservation

The alterations to the piece had been caused by both external and internal factors. The external factors included the use that had been made of it and the way it had been displayed. Its significant discolouration was evident when comparing the front with the back; also noticeable were the marks left by the items that had been used to attach the ribbon to its support, such as pins and remnants of adhesive putty, and there were also some gaps, wrinkles, and dirt deposits on the piece.

As for internal factors, the textile analysis revealed that the red ribbon is made of artificial silk, regenerated cellulose, a material that in unsuitable environments, such as those with excess moisture, loses resistance and has difficulty in recovering its elasticity. This was possibly why the fabric was so wrinkled and had opened up in some parts.

Intervention

The first stage of the actual intervention involved dry cleaning the piece, using a micro-vacuum. The putty concretions were removed mechanically, using a spatula and a kneaded eraser, and the wrinkles were flattened through moisture transmission and with the aid of glass and weights.

The loose threads of the embroidery were reattached using small cotton thread stitches. The damaged and perforated parts were consolidated with localized patches of cotton, dyed the colour of the area being treated, tinged with crepeline to achieve the shine of the ribbon. These patches were attached to the back of the ribbon with couching and basting stitches, made of 1-head organza silk thread.

Also, the back of the ribbon was lined with crepeline, to reinforce it and to prevent the consolidation patches from folding. The edge of the ribbon, which was missing a piece of the fringe, was also chromatically reintegrated. Monofilament tulle was used here, attached be means of basting and twisted stitches. The stitching was carried out with very thin, straight needles. Finally, the ribbon was displayed on a rigid platform, padded and lined, without any form of attachment.

— Carme Masdeu and Luz Morata

Image of the piece after the intervention

Cleaning process using a micro-vacuum cleaner Moment in which the deformations were corrected

Material/Technique

Silk, linen, gold and silver braided threads; taffeta, velvet and embroidery

Title/Topic

Piece of embroidery from a liturgical vestment depicting the coat of arms of the old Countship of Urgell

Date/Period

15th-16th centuries

Dimensions

47.5 × 20 cm

Location

Museum of la Noguera, Balaguer (Noguera county)

CRBMC Register NO

13334

Coordination Maite Toneu

Restoration

Carme Masdeu and Luz Morata (Morata-Masdeu, SCP)

Year of restoration

2017

State of conservation

The importance of this embroidery lies mainly in the fact that it bears the coat of arms of the old Countship of Urgelll, which stood until 1413.

A preliminary analysis showed that the image of the saint depicted in the centre of the composition and a fragment of the galloon trim on the left side did not belong to the original work. The embroidery displayed other alterations, such as the upper and lower areas, which had been cropped; the silk that attaches the braided threads to the base, which had been lost in many areas, and the silk fabrics, which had holes in.

Intervention

The intervention consisted of separating the added elements (image of the saint and the galloon), by unpicking the threads that attached them to the base. Subsequently, to clean the piece, the surface was vacuumed and the fabrics were moistened using water thickened with agar-agar, which also helped to remedy the deformations in some of the fabrics. Finally, the damaged parts were consolidated and restored, by filling in the gaps with small supports (grafts) made of cotton and silk. Meanwhile, the most fragile parts were protected using monofilament tulle. In both cases, the consolidation was carried out through sewing, and the fabrics, the tulle and the threads were previously dyed so that the affected areas could regain their original colour scheme. The loose braided threads were reattached to the original base with small stitches, following the direction of the twist in the braid, while those that make up the outer galloon trim were attached following the original stitch, in order to recover the structure of the muslin.

The removal of the added elements was especially interesting, because it allowed the iconography of the work to be recovered and also made part of preparatory drawing of the embroidery visible.

— Carme Masdeu and Luz Morata Restorer and chemist taking samples for analysis of the materials

Protection process

The embroidery before the intervention The embroidery after the intervention

Material/technique

Base made of cotton and braided metal threads; jacquard fabric, satin and cotton velvet; embroidered with metallic threads; central medallion with mercerized cotton thread and bugle embroidery; painted medallion on cotton fabric, with direct polychrome on the fabric; cotton cord, with wooden core in the tassels; ancillary items: viscose ties, metal medals and leather banner

Date/Period

1922

Dimensions

148.5 × 76.5 cm (after the intervention)

Origin

Headquarters of the Lira Poblense Choir Group, La Pobla de Claramunt (Anoia county)

The first documented references to choir singing in La Pobla de Claramunt date back to the end of the 19th century, with the Parish Choir and the singing of Caramelles (popular Catalan songs) during the Easter festivities. This banner, from the first quarter of the 20th century, is a valuable testimony to how the activity of these choir groups has been maintained over the years.

It is a rectangular banner, with fastening loops attached to the pole. The back is made of garnet-coloured jacquard fabric, added during a previous intervention, with three applications of brown velvet, with perimeter trim and embroidered inscriptions that read «Agrupació Choral/LIRA POBLENSE /POBLA DE CLARAMUNT»; a lyre; embroidered plant motifs and beads; a strip of the Catalan flag on the right side, and the Spanish flag on the left side. The back is made of ivory-coloured cotton satin, with a medallion painted directly on the fabric (Claramunt Castle). Below, there is an inscription with the date of manufacture: «1922».

State of conservation

With regard to the piece’s state of conservation, the ivorycoloured satin was stained with red spots, and in the upper right half the Catalan flag had a water stain.

There were remains of rust from the braided metal wires, folds and wrinkles, and some of the attached elements had come loose. The covered buttons contained salts, some of which had penetrated the silk fibres, eroding and cutting them. The fringes had warped and the core of the threads had become exposed. On the back, a large part of the bugle embroidery had come off.

The painted medallion on the back displayed serious alterations, especially in terms of loss of the base material and loss of cohesion of the fabric. The main problem was the loss of warp and weft, over the whole base; rips from one side to the other, and darning from a previous intervention, which had tightened the fibres causing folds and deformations.

Intervention

First, all the added elements were removed: the metal medals and the rusty safety pins that held the Catalan flag in place. The piece was then placed on a worktable, with drying paper in between, and then taken apart. The satin on the back was washed in an immersion bath with deionized water.

With regard to the trimmings, the salts were cleaned with a buffer solution (with a pH of 5.7), applied with a cotton swab, and with the interposition of non-woven fabric, to absorb the dissolved crystals by capillarity. The salts disappeared and although the red stains were not removed completely, they did visibly fade.

Chemical cleaning was also carried out of the ties. Since the conductivity of the fabric was quite high (3000 µS), a buffer isotonic solution was created, applied with a brush and dried using a micro-vacuum cleaner. This obtained good results, removing the green stains, dirt rings and salts. The bugle embroidery that had come loose was stuck back in place using an epoxy adhesive, with the help of a syringe. The previous interventions on the medallion on the back were removed, and the losses of warp and weft were resewn.

Final photo of the back

— Rosa M. Martínez

Coordination Maite Toneu

Conservation-Restoration

Rosa M. Martínez

Year of restoration

2018

 The painted medallion on the back after the intervention