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36 EDITORIAL

The first RE-ORG workshop in Catalonia Page 2

INTERVIEW

Gener Alcántara Page 3

CONSERVATION–RESTORATION

Façade of the old church of Santa Maria d'Almatà Page 8

The Gothic Christ in Sant Antoni de Cervera Page 15

Main façade of the church of Santa Maria de Guissona Page 20

All Saints altarpiece in Girona Cathedral Page 30

Set of tapestries at the headquarters of the IEC Page 38

The Ripple, by Santi Moix Page 48

INNOVATION AND RESEARCH

The floors and mosaics in situ of Empúries Page 52

TRAINING AND KNOWLEDGE Page 62

A MUST-READ Page 65

CONSERVATION-RESTORATION

MAIN FAÇADE OF THE CHURCH OF SANTA MARIA DE GUISSONA

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EDITORIAL

THE GENERAL DIRECTORATE OF CULTURAL HERITAGE, IN ACCORDANCE WITH THE MUSEUMS PLAN 2030, SUPPORTS THE FIRST RE-ORG WORKSHOP (COURSEINITIATIVE) IN CATALONIA One of the aims of the Museums Plan 2030 is to improve collection conservation and management and promote the development and stimulation of this activity so that collections can fulfil current and future needs. Within this aim, the Plan is directly targeting storage spaces: ‘Creation and maintenance of the storage system and/or collection centres’.

The importance of the storage space in a museum is undeniable, given that 80–90% of all international collections are found in these areas. Therefore, warehouses need to be adapted to the volume of the collections, be equipped with the appropriate furniture, and offer the right environmental conditions according to the type of material being stored there, in accordance with the concept of collection centres or hubs.

As part of the proposed improvement and reorganisation initiatives, December 2019 saw the launch of the first pilot project, which aims to reorganise and improve conservation conditions in the storage space of one of the participant museums, the Víctor Balaguer Library Museum, in Vilanova i la Geltrú.

The method chosen is Re-Org, a system to improve the organisation of museums’ storage spaces created

by ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property –

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Participants in the first Re-Org workshop in Catalonia, in front of the façade of the Víctor Balaguer Library Museum, in Vilanova i la Geltrú.

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UNESCO), which has been applied to museums all over the world for 20 years now.

The workshop, led by Gaël de Guichen (ICCROM), has two parallel aims: to reorganise the museum’s storage spaces, by grouping its collections together and improving access to them, and to train the staff responsible for implementing the Re-Org methodology in Catalan museums, under the guidance of the Centre for the Restoration of Artefacts of Catalonia (CRBMC).

The course is being attended by 20 professionals, most of whom are conservators linked to museums all over Catalonia.

Through the Museums Department and the CRBMC, and with support from ICCROM, the General Directorate of Cultural Heritage’s intention is to disseminate methodological knowledge among the professionals taking care of museum storage all over Catalonia and to implement it in the cases deemed necessary to improve the state of these spaces. The project is being carried out in collaboration with Barcelona Provincial Council, the Barcelona Institute of Culture (ICUB), regional museum networks and the National Art Museum of Catalonia (MNAC).

Elsa Ibar, General Director of Cultural Heritage

INTERVIEW

Maite Toneu Puig, head of the Painting on Canvas Department of the CRBMC

GENER ALCÁNTARA RODRIGO Conservator-restorer, lecturer at the College of Conservation and Restoration of Cultural Assets of Catalonia (ESCRBCC)

THE CAREER OF ONE OF THE PIONEERS OF MODERN CONSERVATIONRESTORATION IN CATALONIA GENER BEGAN HIS CAREER AS A CONSERVATOR-RESTORATOR WORKING FREELANCE ON JOBS FOR THE DEPARTMENT FOR THE RESTORATION OF ARTEFACTS AT THE GOVERNMENT OF CATALONIA (NOW THE CRBMC), FROM 1981 TO 1999. IN THE EARLY YEARS, HE COMBINED THIS WORK WITH TEACHING TECHNICAL DRAWING IN HIGH SCHOOLS. LATER ON, HE TOOK PART IN THE IMPLEMENTATION OF THE FIRST SYLLABUS AT THE ESCRBCC, WHERE HE TAUGHT FROM 1992 UNTIL HIS RETIREMENT IN 2019. HE HAS TRAINED STUDENTS IN THE SPECIALITIES OF MURAL PAINTING AND PAINTING ON WOOD.

Gener Alcántara was born in Badalona on 17 September 1956. He is a fine arts graduate, specialising in painting (1981) and conservation and restoration (1984).

He also holds a diploma in chalcographic engraving (1981).

All of these studies took place at the Faculty of Fine Arts at the University of Barcelona.

In 1983, he was awarded a grant by the Ministry of Culture for plastic arts and research into new forms of expression. Also that year, he was rewarded at the ‘First annual award for the acquisition of works for the artistic heritage of the University of Barcelona’.

He worked at the College of Conservation and Restoration of Cultural Assets of Catalonia (ESCRBCC) from 1992 until 2019, the year he retired, first teaching the conservation and restoration of sculpture (1992–1994), then the conservation and restoration of paintings (1994–2019).

He also carried out artistic heritage conservation and restoration work for the Department for the Restoration of Artefacts (now the Centre for the Restoration of Artefacts of Catalonia, or CRBMC), part of the Ministry for Culture at the Government of Catalonia, from 1981 until 1999.

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Out of all the heritage interventions you have been involved with, which stands out the most for you?

The intervention on the Baroque altarpiece in Santa Maria d’Arenys de Mar Church, by Pau Costa; the discovery of the Roman paintings in Sant Miquel de Fluvià Church; the Baroque main altarpiece in Sant Llorenç de Morunys Church, by Josep Pujol; the Baroque Rosary altarpiece, in the Basilica of Santa Maria de Mataró, by Antoni Riera i Mora, and the paintings in the Meeting Room in the Els Dolors chapel, in the same church, built between the seventeenth and eighteenth centuries and completed between 1722 and 1737 with frescos, oil paintings, canvas

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SINCE 1994 HE HAD BEEN A PROFESSOR OF PAINTING CONSERVATION AND RESTORATION, UNTIL 2019, THE YEAR IN WHICH HE RETIRED

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During the restoration of the Sant Bernat i Sant Bernabé altarpiece, in Santa Maria la Major Church, Montblanc.

Photo: ESCRBCC. 2000

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In the middle, Gener Alcántara.

Photo from the CRBMC Activity Report 1989–1996. 1997

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paintings and sculptural elements, by Antoni Viladomat.

I would also highlight the intervention on the coffering in Sant Miquel de Montblanc Church, carried out over the summer months by students on placement from the ESCRBCC from 2001 to 2009.

Where did your interest in conservation-restoration come from?

It came from my interest in knowing how works of art were made and in how they could be restored, if they were damaged.

When I finished high school, I went to Madrid to find out about studying at the School of Restoration there. But for financial reasons, and due to my interest in painting, I chose the College of Fine Arts in Barcelona, which later became the Faculty of Fine Arts, in 1982. After studying painting, I went on to specialise in restoration, and got my degree after submitting my validation assignment.

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What was your training in conservation-restoration like?

I have fond memories of my tutors, Josep Maria Xarrié, Maria Antonia Heredero and Antoni Pradell. And of my preventive conservation and chemistry tutors, Eduard Porta and Antoni Palet, respectively. In fact, my education has never ended; I’ve constantly refreshed my knowledge with various courses. This is essential if you want to be a good teacher.

Which bibliographical resources were useful during your formative years?

For mural painting, I read Paolo and Laura Mora and Guido Botticelli; for interventions on wooden structures, Gennaro Tampone; for pictorial techniques, Max Doerner, Ralph Mayer and Antoni Pedrola, and many more.

What was it like starting out in conservation-restoration?

It was hard in terms of finances and training. And it was difficult to find information, as most of the bibliography available was in Italian.

What was your first intervention as a professional?

My first job was on the main altarpiece in the Santa Maria d’Arenys de Mar Church, which consisted of conducting documentary research, cleaning the surface and securing the pictorial layer and gilding. The varnishes were maintained. The project was directed by what was the Department for the Restoration of Artefacts (SRBM), part of the Ministry of Culture.

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What difficulties have you had to overcome on a technical level?

Every project has its issues, really. You need to do the necessary preliminary studies, analyses and tests to see how the materials behave. The materials you use should be similar to and compatible with the materials originally used to make the piece.

It’s also worth remembering how impractical interventions in situ can be – on ceilings or niche altarpieces, for example – due to difficult access and the time needed to work on them. Temperature can cause problems too; conditions may be too hot or too cold, depending on the season.

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During the restoration of the eighteenth-century coffering in Sant Miquel de Montblanc Church. Photo: ESCRBCC. 2003–2004

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What do you feel most proud of and satisfied with in the professional sphere?

I’m proud of all the successful interventions and of my long stint as a teacher, training future conservator-restorers.

Are there any anecdotes that stand out from your career?

When I was working on the altarpiece in Sant Llorenç de Morunys, I fell off the scaffolding and onto some railings.

There was a plank on top of the iron railings, which were like spears. In the ’80s, scaffolding wasn’t as safe as it is today. Luckily, security measures have changed on all levels.

Then there was the discovery of the Roman paintings from the first century during the excavation of El Clos de la Torre Vella, in Badalona. When we were removing the

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material on top of the painting, we came across a nest of bugs. I ended up filthy and had to jump into a tank of water. Then, they took me to the hospital for the bites.

Over the past 30 years, how has the profession evolved from a technical and scientific point of view?

A lot has changed since the early 1980s. Information is more accessible. We have a better idea of how materials behave, thanks to international research and immediate access to information provided by the internet. Technological progress has given us new machinery, instruments and intervention techniques, including reflectography, transportable microscopes, apps and photographic techniques, such as 3D photogrammetry. Another new and important contribution has been made by a new, aqueous type of cleaning system, with pH and conductivity control, using gels or organic solvents. This system is much less toxic than those used before for cleaning pictorial surfaces. And, luckily, educational centres now emphasise the importance of safety measures for professionals in all areas.

What is your assessment of your time at the College of Conservation and Restoration of Cultural Assets of Catalonia?

A very positive one. In fact, a lot has changed there. When I started, it was a three-year diploma course. Now, it’s a degree course and Master’s courses are even being rolled out, like the one in photography conservation. The College also organises refresher and monographic courses, for professionals and students, like the one on the new cleaning system, given by Paolo Cremonesi and organised in collaboration with the CRBMC; courses via video call; courses on scientific photography, etc.

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During the restoration of the eighteenth-century coffering in Sant Miquel de Montblanc Church. Photo: ESCRBCC. 2009

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End-of-year group photo 2014–2015 at ESCRBCC. Photo: ESCRBCC. 2015

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One improvement that could be made is to increase the hours spent doing practical work in the workshop.

And in terms of retraining for ESCRBCC staff, it would be great if the Government of Catalonia’s Ministry of Education could organise courses related to conservationrestoration, which the teaching staff could attend.

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2018–2019 year. Class being given. Photo: ESCRBCC. 2019

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If you were a politician and could make two decisions to improve heritage conservation management, what would you do?

I would emphasise the importance of cultural heritage and make efforts to preserve it, then raise awareness of it and make it visitable. This would be a way of making money to maintain the heritage. There’s a real lack of maintenance and awareness at the moment. People need to be made aware of the importance of our heritage; it needs to have a bigger presence in the media. We shouldn’t just promote the heritage for tourists in the city of Barcelona.

Instead, the wealth of heritage all over Catalonia should be supported. A lack of information means that this heritage is not well known and no one visits it, so there are not enough resources to preserve it.

There are villages with plenty of hidden heritage. One example is the case of Montblanc. Thanks to Father Albert Palacín and contributions from the village residents, funds were raised to restore the church’s coffering.

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Gener Alcántara during the interview with Maite Toneu.

2019

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CONSERVATION-RESTORATION

ARCHITECTURAL HERITAGE

Recovery of the Romanesque façade of the old church of Santa Maria d’Almatà, now the Santuari del Sant Crist de Balaguer

ON 7 NOVEMBER 2017, the conservation and restoration works of the main façade and part of the north façade of the old Romanesque church of Santa Maria d’Almatà were presented.

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Introduction This intervention marked the end of a series of actions aimed at recovering, dignifying and displaying the parts of the old Romanesque church which had not been absorbed by the Santuari del Sant Crist de Balaguer baroque church.

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Description The façade of Santa Maria d'Almatà, created between the 12th and 13th centuries, consists of a composite wall, where the façade and the rear are built of rows of ashlars, well cut and squared, laid in a running bond pattern using lime mortar.

Between the two faces of the composite wall or leaves there is a central core filled with a mortar consisting of lime, gravel and river pebbles. The oldest preserved element of the façade is the portal, constructed between the end of the 12th century and the start of the 13th century. The shafts remain in place, supporting three simple archivolts in a state of disrepair and a canopy.

The substantial superficial deterioration suffered by the architectural elements that make up this portal makes it impossible to determine if they had originally been decorated with reliefs. This, however, can be seen in the large rose window that presides over the façade. Built in the late 13th century, it was a work commissioned by Count Ermengol X of Urgell.

With a diameter of almost four and a half metres, the rose window is framed by five large concentric rings decorated with mouldings, which

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View of the main façade of the old church of Santa Maria d’Almatà before the conservation and restoration work of 2017. Photo: Ramon Solé

alternate torus, astragal and bead mouldings with diamond-shaped bossage. The oculus is in a circular shape with several extending lobes which have a checkered strip which follows the outline. The spandrels of the lobes are decorated with reliefs, depicting floral and symbolic motifs inscribed in a medallion. Unfortunately, the façade was not in one piece, as some parts had been lost and others altered. To understand the reasons behind the

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current state of conservation of the façade, it is necessary to go over its history.

History The name of this church, dedicated to the Virgin Mary and raised on the Madina Balaghi's main mosque, comes from the plateau where it was built, a name inherited from its Al-Andalus past, Santa Maria d’Almatà. After the conquest of Balaguer by Count Ermengol IV of Urgell, in 1105, it served as a parish church until 1352, when it became a convent church for the Order of Saint Clare.

By the 17th century, the growing number of worshippers of the miraculous image of the Holy Christ of Balaguer, probably initiated and encouraged by this female community, meant that this place of worship had to be extended. The old church of Almatà, built according to canonical standards, had a Latin cross floor plan. It was extended along the only place where there were no geographical barriers to impeded it, the north-south axis. The new nave was created from the extension of the arms of the cross. To the north, the so-called "new chapel" was built, which housed the shrine of the Holy Christ and the high altar, while to the south of the nave, the main portal was built. The old eastfacing Romanesque apse was demolished and turned into a side entrance. Finally, the so-called “sunken chapel" was built on the western side, which contained what was left of the nave and the Romanesque façade.

This was the reason why the places of worship were rotated and the old Romanesque structure was adapted for use as part of the new church dedicated to the Holy Christ. The figure whom the old church was named after, the Virgin Mary of Almatà, was relegated to privative worship in the cloister of the convent of the Order of Saint Clare.

The final transformation of the inside of the church took place in 1787, when the vaults were raised, to increase the interior space, since up to that point they only reached as high as the Romanesque vault. To be able to do this, however, part of the old vault had to be demolished. The strength of this construction made it difficult to manually demolish, so gunpowder was used.

The shock wave from blowing up the vault caused serious damage to the façade of the church of Santa Maria d’Almatà. As a result, the façade was slightly dented, with the concave part facing outward. This structural movement demolished the crown of the façade and also significant parts of the rose window and the portal. In addition, the façade at that time was probably not in the best state of conservation, which further aggravated the damage.

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View of the north façade of the old church of Almatà before the conservation and restoration work of 2017.

Photo: Ramon Solé

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Theoretical location of the old Romanesque church of Santa Maria d’Almatà superimposed on the current floor plan of Santuari del Sant Crist de Balaguer.

(Plan: Alarcon & Matosas i Associats.

Arquitectura i Disseny SLP))

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The repairs that were carried out afterwards further damaged the façade. The collapsed parts were filled in with stone fragments from the demolition and with gypsum mortar. The upper part of the façade which had collapsed was rebuilt with recovered stones and topped with a brick cornice, protected by an overhanging roof with tiles. The archway of the portal, which had been reduced to a small door, and the rose window, was also covered.

In the latter case, the surrounding outer moulding was recarved to make it flush with the façade, so

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Appearance of the Romanesque façade of the Sanctuary of Santa Maria d'Almatà, in 1918. Photo: Salvany collection.

Biblioteca de Catalunya.

Barcelona

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no elements would stick out that could impede the application of a coating of "black gypsum" mortar.

During last third of the 20th century, with the aim of recovering this historic façade, the walled up mouldings of the rose window were uncovered.

However, it was not until the recent conservation and restoration intervention that the oculus was reopened to once again let in light after 230 years.

Conservation and restoration process. 2017 This article describes the two challenges faced during the process: firstly, stopping the alteration and deterioration of the stone on the two façades, and secondly, recovering the original Romanesque architecture from underneath the previous coatings and repairs.

The main and north façades of the old church of Almatà are west-facing, which means they do not get many hours of sunshine throughout the

year, leaving them exposed to the effects of rain, wind and low temperatures in winter.

They are built on land soaked by underground leakage from the wells in the area of the Santuari del Sant Crist, leading to damp in the lower parts of the walls on both façades. The impact of these factors on the type of stone used in the construction of the façades, a type of sandstone from the outcrops that line the edge of the Almatà plain, explain the deterioration. The stone material of the façades has been altered, to a greater or lesser degree in parts, as a result of disintegration, superficial deterioration, cracking and flaking.

Consolidation One of the main tasks involved a process of consolidation in order to recover and guarantee the conservation of the stone elements of the façade.

This was done in two stages. In the first, a solution

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Fragmentation of the ashlar.

Photo: Ramon Solé

of Nano Estel® with deionized water was used to consolidate the disintegrated parts. This is a water-based hardener containing dispersed silica nanoparticles. Depending on each case, it was applied either by injection or impregnation, and the dilution percentage and the number of applications varied.

This hardener was chosen because it has been tested on these types of stones before with perfect results; also, because it is compatible with later applications of lime water. The second phase consisted of the structural consolidation of the stone base material through the injection into cracks and gaps of a light mortar made from NHL-2 natural lime, tufa and lime water.

The consolidation process was completed by spraying several layers of lime water over the stone elements of the façade. The mortar joints were also recovered using natural lime mortar and river aggregate from gravel pits in the area, similar to what had been originally used. Many of the façade mortar joints had been lost and the few joints that had been preserved had leached.

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Open cracks in the torus moulding that runs along the sill of the upper archivolt Photo: Ramon Solé

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Romanesque moulding segment from the rose window, reused as repair material. Photo: Joan Dorel

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Recovery of the original walls through the treatment of gaps The other goal was to recover the interpretation and readability of the Romanesque façades by eliminating the 12th - 13th century repairs. These were subsequent to the Romanesque construction phase, suffered from preservation issues and moreover, after their removal, did not compromise the structural stability of the walls. This operation, in addition to exposing the significant losses of ashlar, enabled the recovery of a small percentage of the original Romanesque wall, which, as a result of its superficial deterioration, had been hidden beneath the repairs.

This find was implemented through the recovery of an impost fragment on the left side of the portal, and some fragments, with decorative relief, on the outside moulding of the rose window. All of these sculptural elements had been used as filler material.

Finally, the gaps were plastered over with a lime mortar expressly prepared and remade with respect to the original level. The conceptual and visual mission of this lime mortar is to display the losses suffered by the original façades, using a

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Before and after the intervention on the upper left part of the façade. The old plaster, made of black gypsum mortar, was replaced with lime mortar. As for the crown of the façade wall, the Baroque cornice made of bricks was consolidated and cleaned.

The tile roof was removed due to its weight and visual impact and replaced with a lighter zinc roof. Photo: Ramon Solé

— soft and reversible material, and to avoid, as far as possible, the inclusion of new stone elements.

Showing up the losses at the same time highlights what remains of the original façades. This treatment, however, should never visually overshadow the rest of the work. This is why there must be a balanced dialogue between the gaps and the original parts, and this is obtained through the effect of light on the texture and colour of the mortar used to fill them in.

In our case, several tests were carried out using natural lime mortars, with different aggregates, different granularity and mineral pigment content.

These tests produced the most suitable tone and texture of the lime mortar to be used in filling all the gaps on the two façades.

This mortar was also used in the volumetric reconstruction of the tracery of the rose window oculus, an intervention that was possible thanks to the construction of a wooden formwork mould. The treatment carried out on the gaps which shows the missing parts of the façades allows us to read and interpret the structure of the Romanesque work, without erasing the historical vicissitudes its has experienced, the legacy of which is always some form of damage or loss.

Finally, it should be noted that in some very specific cases, it was necessary to carry out replacements using standard architectural stone elements. This was the case of the six voussoirs on the archivolts of the portal, whose replacement was structurally necessary to ensure the proper weight transfer to the jambs. Three pieces of stone were also incorporated into the outer moulding of the rose window.

These were cut by copying the cross-section of the original pieces, but the floral decorations and the diamond shapes were not recreated. The incorporation of these new elements, together with the original fragments, enabled the recovery of part of the outer moulding of the rose window and its functionality: preventing rainwater from draining into the rose window.

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Mechanical cleaning of the reliefs that decorate the oculus of the rose window.

Photo: Ramon Solé

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Appearance of the rose window after the completion of the conservation and restoration work. The reconstructed portions of the oculus tracery, in accordance with the general criterion used for the gaps in the façade, were recreated in line with the original. Photo: Ramon Solé

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Appearance of the rose window before the conservation and restoration process. Photo: Ramon Solé

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Once the stone from the rose window had been cleaned and consolidated, a wooden formwork mould was made to recover the missing parts, using lime mortar. Photo: Albert Pui

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Appearance of the portal in 2011. The accumulation of repair work carried out using different materials masked the remains of the Romanesque work.

Photo: Amadeu Matosas

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Replacement of the voussoirs in the archivolts of the portal. Photo: Joan Dorel

Appearance of the portal after the previous repairs had been eliminated and replaced with lime mortar-treated gaps.

Photo: Ramon Solé

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Finished look of the portal at the end of the process of recovering the Romanesque façade. Photo: Ramon Solé

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GENERIC CLASSIFICATION: architectural elements | OBJECT: façade, portal and rose window | MATERIAL/TECHNIQUE: carved stone and lime mortar | DESCRIPTION: façade of the church of Santa Maria d’Almatà | DATE/PERIOD: 12th - 13th century | LOCATION: Santuari del Sant Crist, Balaguer (Noguera) | OWNER OF THE PROPERTY: Bishopric of Urgell | CRBMC REGISTER NO.: 12034 | COORDINATION: Pere Rovira | RESTORATION: Ramon Solé (management), Rosaura Janó and Gemma Piqué | ARCHITECTURAL MANAGEMENT: Amadeu Matosas and Albert Pui | YEAR OF RESTORATION: 2018

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Lourdes Domedel, conservator-restorer of cultural artefacts Núria Albalat, carver

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POLYCHROME SCULPTURE

The Gothic Christ in Sant Antoni Parish Church, Cervera

THE CHRIST FROM SANT ANTONI CHURCH IN CERVERA is a round-bodied polychrome wood sculpture, chronologically situated in the Gothic period – specifically, the fourteenth century – by historian Francesca Español. The sculpture represents the figure of Christ on the cross and evokes his sacrifice, as a symbol of redemption and the salvation of the human race. The image corresponds to the iconographic category of the crucifixus dolorosus.

Description Christ is depicted dead, with his eyes closed and his head tilted to the right. The figure has lost some verticality and rigidity, both of which are characteristics of earlier representations; now, it has adopted a more natural position, with the arms at a diagonal due to the weight of the body, which collapses and bends as it hangs there, motionless.

Christ is depicted with just a perizoma, represented as a skirt that reaches the knees, arranged asymmetrically and diagonally. The fabric, with its carefully sculpted folds, adapts to the body and is held up without a knot, gathered and turned down twice in the middle, from which point the ends of the fabric fall, forming angular folds at the sides arranged in a zig-zag formation.

State of conservation It is a fully carved and polychromed sculpture, even on the back, which suggests that it may originally have been intended to be seen from all angles, possibly attached to a very stylised cross.

Analysis of the piece has revealed that it is made from a large block of riberian tree wood, hollowed out then finished at the back with a sculpted cover. The head, arms, one of the legs and some of the folds in the perizoma are attached to the torso with rivets. Meanwhile, the currently visible cross and hands are not part of the Gothic original.

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Front view of the sculpture before restoration

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Back view of the sculpture once removed from the cross

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X-ray image showing the original construction system with rivets and the system used in a previous restoration to reconstruct the hands

— This large sculpture, which maintains its role as a figure for devotion even today and is the protagonist of the city’s main festival (the Festa Major del Sant Crist Cervera), has undergone various restoration attempts over the years. The surface layer, made up of overlapping oxidated and/or discoloured varnishes, waxes, layers of paint and fillers of different kinds, had led to the general darkening of the pictorial surface, creating a uniform brown finish, which did not correspond to the original image of the crucifixus dolorosus. A careful examination of the surface before restoration suggested that, below, there was a light skin tone stained with drops of blood.

The conservation-restoration process When the piece was removed from Cervera and arrived at the CRBMC’s premises, the first process to be carried out was the disinfestation of the structure. A treatment that removed and prevented further xylophagous insects was carried out. The piece was placed in the CRBMC’s anoxic chamber for around three weeks and subjected to a non-toxic procedure with altered atmospheres, which eliminated all insects at all stages and reduced microorganism activity.

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Close-up of the pictorial layer before restoration

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Opening in the head that held parchment with handwritten text from 1924

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The next step was an examination of the piece, which needed to clarify, as far as possible, the scope of the various restoration attempts the sculpture had undergone throughout its history, on both a pictorial and a structural level.

With the results obtained from the extensive photographic and radiological examination (including diffused light, UV and X-ray) and the analysis of the material samples taken, a series of exploratory tests were carried out and confirmed the existence of two pictorial layers, while more information was revealed regarding the construction elements. The sculpture had clearly been structurally mutilated, with losses of various pieces: both hands, the back of the head and part of the rear cover, which corresponded to the figure’s back.

The pictorial explorations were carried out on the back, as this was deemed the least risky area.

Two small windows were opened (skin and perizoma). First, the brown surface layer was removed, revealing a previous pictorial layer depicting light skin (the pictorial level displayed after restoration), then the investigation continued until reaching an earlier and therefore older pictorial layer with another skin tone. This previous tone was slightly orange, with small drops of blood painted crudely, and was found on a preparatory base made up of a covering of bast fibres and a traditional preparation.

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Work-in-progress image, after cleaning and volumetric reintegration of losses

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As we did not know how much of this polychrome remained on the whole surface or its state of conservation, we decided to document its presence but not reveal it all. Meanwhile, analyses determined that the pictorial technique used on the two levels of skin tone localised involved a lipidic binder, potentially oil.

During this study phase, the Bishopric requested that we check the cavities in the sculpture (perhaps once used as a reliquary) to see if there was anything inside. The two hollows found, in the back and in the head (as confirmed by Xrays), did not hold any relics, but two documents were found (and returned to Cervera Church) that referred to two restorations carried out on the sculpture: one in 1924, the other in 2004. The older text, a parchment found in the head thanks to an endoscope, lay horizontally, making it impossible to extract it without removing the cover on the reliquary. For this reason, we removed this

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Reconstruction of the hand

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Front view of the sculpture after restoration

recently constructed cover and replaced it with a new one, made with a more appropriate wood.

The most difficult part of the conservationrestoration process was removing the various materials that made up the surface layer covering the last pictorial decoration, due to both its compositional diversity and the difference between the skin tone revealed and that on display before the restoration.

This is the reason behind the decision to recover the pictorial level found below the outer layer, which was possibly Baroque and exhibited a realistic style, with a light skin tone, various wounds with drops of blood and hair details. This was based on consensus among CRBMC technicians and representatives for the Bishopric of Solsona, who own the artefact.

As the restoration operation advanced and the sculpture recovered its original colour and shape (thanks to the removal of various fillers), the possibility of replacing the hands, which were not original or well made, with new ones was discussed. This decision was made with the collaboration and expertise of Francesca Español, who suggested a model to follow, in harmony with the era in which the sculpture was created. The result was a pair of slightly closed hands sculpted then attached to the figure and polychromed to match the original. So as not to distort interpretation of the piece, the final presentation system (the pictorial reintegration) was made fully discernible from a short distance.

Once the restoration was complete, the sculpture was attached to the cross again and returned to its owners in Cervera.

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Back view of the sculpture after restoration

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Close-up of one of the open windows on the back, where we can see a previous pictorial layer

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GENERIC CLASSIFICATION: polychrome sculpture | OBJECT: sculpture | MATERIAL / TECHNIQUE: carved riparian wood with oil polychrome | DESCRIPTION: Crucifixus dolorosus | DATE/PERIOD: fourteenth century | DIMENSIONS: 244 x 154 x 47 cm (Christ) and 325.5 x 182.5 x 7 cm (cross) | LOCATION: apse of Sant Antoni Church, Cervera (Segarra) | ORIGIN: of Sant Antoni Church, Cervera (Segarra) | CRBMC REGISTER NO.: 13492 | COORDINATION: Pep Paret | RESTORATION: Lourdes Domedel (restoration); Núria Albalat (carving of the hands), and Carmelo Ortega (woodwork) | YEAR OF RESTORATION: 2018-2019

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CONSERVATION-RESTORATION

ARCHITECTURAL HERITAGE

Restoration of the main façade of the church of Santa Maria de Guissona

THE DIMENSIONS OF THE RESTORED AREA, about 560 m2, and the marked deterioration of the stone material were two very significant factors in this project. The poor state of conservation of the façade of the church of Santa Maria de Guissona is a symptomatic case that demonstrates the difficulties associated with the maintenance of a large work, and the irreversible damage that can result from a delay in the restoration of the balance of an architectural work characterized by the low quality of the stone used.

Description The church sits on top of the Roman necropolis of ancient Iesso, and its origins can be found in a building from the 5th century AD, associated with of Augustinian monks. In 1098, the Romanesque church, a subsidiary of the Chapter of Urgell, was consecrated and due to its progressive deterioration the current baroque building was built between 1776 and 1800.1 The façade is structured in three vertical segments, delimited by adjoined columns, composed of bossed ashlar blocks, adorned with mascarons that have lost their trumpets, and topped by five large pinnacles.

The central body incorporates a three-eyed belfry naturally connected to the lateral segments by means of a curvilinear crown in accordance with the standards of the Baroque style of the 17th century. This central space also houses a portaloverdoor made up of four sections, one on top of the other. The first contains the entrance door to the church, topped by a semicircular arch, with a moulded soffit and a fleuron that decorates the arch’s keystone. It is flanked by two large striated columns raised on two bases, with a characteristic bulb shape and crowned by Corinthian capitals on which the entablature rests.

The next section contains the niche with the statue of Mary in bronze, flanked by an extensive 1

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Main façade of the church of Santa Maria de Guissona after its restoration

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decorative repertoire in which two panels with commemorative inscriptions stand out. The third section houses a large window, decorated with volutes, capitals and striated columns in relief and topped by an entablature supporting the three pinnacles that crown the overdoor. Above the niches of the lateral segments there are two polychrome shields that initially included texts commemorating the construction of the church and the venera-

AADD, Inventory of the Architectural, Archeological and Artistic Heritage of the Segarra, v. VII, Guissona, Jordi Casas i Llebot Foundation, 2013.

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Albert Gaset, conservator-restorer of cultural artefacts

tion of the relics of Saint Placid, the patron saint of Guissona.

The advanced erosion of the pictorial layer and the presence of drops of black paint on the entire surface of the field had left both shields in a woeful state. A comprehensive analysis of the pictorial remains based on IR imaging, physicochemical analysis of pigments and historical and documentary research helped establish the restoration criteria for rearranging these decorative elements to a certain degree.

The presence of three pictorial layers corresponding to three different moments in time was detected. The shield located on the right of the façade initially read the following commemorative inscription: "THIS COLLEGIATE CHURCH WAS STARTED ON 1 OF OCTOBER OF MDCCLXXVI AND CONSACRATED ON THE XXVI OF OCTOBER OF MDCCC”. At the beginning of the Liberal Triennium period in Spain there a decree established that texts from the Constitution should be transcribed on public buildings, with the aim of raising a certain awareness of it among the public. Therefore, the original text was replaced in the early 1820s with Title 1, Chapter 2, Article 9 of the Constitution of 1812: “EVERY SPANISH CITIZEN MUST BEAR ARMS AND DEFEND THE FATHERLAND WHEN CALLED UPON BY LAW. ARTICLE 9”. After 1823, with the repeal of the Constitution and the return to absolutism of Ferdinand VII, these texts were removed, allowing us to date the latest layer of black paint and its drips to the Ominous Decade (1823-1833).

With the exception the odd section, the majority of the façade was built with the same type of stone, a local sandstone, composed mainly of quartz and feldspar bound by calcite. The main characteristic is the high content of clays, illite, kaolinite and montmorillonite, often heterogeneously distributed in the form of seams and nodules, ranging in diameter from 1 to 25 mm. The high capacity of this sandstone to absorb small crystals and of the minerals to expand, especially

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The instability of the clays found in the base material is the reason for the fragmentation and loss of architectural elements. Photo: Albert Gaset

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montmorillonite, explains the major alterations resulting from the effects of water, after successive hydration and evaporation processes A decorative desire, and probably also the need to protect such vulnerable material, explains the existence of a pictorial programme that initially embellished and covered the façade. Today only some pictorial coatings are preserved to varying degrees in the least exposed areas. The friezes of some entablatures contain patinas of lime, alum and iron oxides in two different proportions, which can be distinguished in two very distinct tones.

Other architectural elements, such as capitals and columns, preserve their limewash pictorial layers, and numerous parietal elements, such as

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The entablature of the lateral segments support the remnants of a trim along the surface of the frieze. Photo: Albert Gaset

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Detail of the mascaron in a 1940 photo. Enlarged detail of a scan of the glass plate original.

Photo: Archive of Guissona City Council. 1940. Pané collection

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Current detail of one of the four mascarons that adorn the façade. The comparison of the current image with that of 1940 shows the rapid acceleration of the alteration process of the work during the second half of the 20th century. Photo: Albert Gaset

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the niches and adjoined columns, were embellished by linear decorations composed of red and white lead, in which the presence of phosphorus indicates tempera paint.

State of conservation The usual effects of rainwater on sedimentary rock have been exacerbated due to the presence of clays, the expansion of which contributes to a process of fragmentation and loss of material. The accumulation of deposits associated with the presence of birds and the subsequent collapse of the water evacuation systems of the roofs and of the frontispiece crown have resulted in even more water being discharged onto the façade. To a lesser extent, a succession of inappropriate restorations such as the application over the whole area of a synthetic mortar and the massive presence of cement along a lower section deteriorated by the strong presence of rising damp also exacerbated water retention.

The advanced deteriorated state of some elements of the façade was a very significant factor in establishing the guidelines that needed to be followed to properly homogenize the entire piece. Every part had to be stabilized and, at the same time, the limits of the restoration needed to be established to ensure the application only

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of what was necessary. Only by establishing these limits could the balance between the formal needs of such a work, characterized by the symmetry and sharpness of the architectural lines, and the conservation-restoration concepts embodied in international charters be ensured.

The suitability of the executed processes would be understood in the medium and long term only with the inclusion of numerous preventive conservation measures already proposed initially in the restoration plan.

The conservation-restoration process About 90m2 of the façade correspond to the horizontal surface, composed mainly of a succession of architectural entablatures with double cornices. Without even the slightest slope, these parts were among the most deteriorated, since the accumulation of pigeon droppings, soil deposits, plants and lichen formations exacerbated the retention of moisture.

First, the various material deposits had to be removed, including a large number of detached stone fragments and the old installation of bird spikes, in many places firmly attached to an extremely delicate base material.

A biogenic effect caused by a dense carpet of lichen of the candelaria family was concentrated

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Images that show the poor state of conservation of the architectural complex. Photo: Albert Gaset

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of the elements to be treated required a variety of cleaning procedures, depending on the needs, and selective actions, with the aim of homogenizing the entire work and improving its aesthetic appearance, paying special attention to natural and artificial patinas and the remains of pictorial coatings.

The whole of the façade wall was cleaned mechanically through the blasting of aluminum particles using a CTS 10/3 mini spray gun at a controlled pressure of between 2 and 4 bars. Dust and surface deposits were removed dry from the sculptural elements, which were then cleaned chemically using a hydroalcoholic solution (1:1), synthetic brushes of varying hardness, and cotton swabs, with the occasional use of a micro sandblaster.

The abrasive action of the aluminium oxide particles was the most suitable option for removing a polyester resin that had been applied to protect the panels containing the commemorative texts. This had been applied during a restoration in the 1980s, in which the inscriptions had been repainted. Some areas of the uppermost part of the frontispiece required the removal of a black crust combined with the widespread formation of built-up deposits, forming a layer 3 mm thick. The use of chisels and other pneumatic tools made it possible to restore the mouldings and architectural lines of the affected cornices.

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The process of removing the surface deposits allowed the recovery of the moulded cornices of the upper entablature.

Photo: Albert Gaset

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on the upper part of the frontispiece and was eliminated by two sprayings of biocide diluted at 5% in hydroalcoholic solution (1: 1). Subsequently, the remains were mechanically removed with the help of scalpels, spatulas and synthetic brushes of varying sizes and hardness.

Pneumatic tools of different sizes and power were then used to eliminate two very different types of modern mortars. Much of the lower section of the façade had undergone in the late 50s a volumetric restoration using a cement mortar, which hid the deterioration of the material caused by rising damp going back to ancient times.

At the same time, a synthetic mortar which had covered all the joins between ashlars after a clearly aesthetic intervention carried out in 1998 was eliminated. Thanks to the size and resistance of the mortars removed from the base area and the proportions of the grouted surface, (about 1,700 linear metres were treated), this was undoubtedly one of the most laborious processes of the restoration.

The size of the work, the varying state of conservation of each area and the different nature

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Stabilization of a corbel through the injection of hydraulic mortar.

Photo: Albert Gaset

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The significant fragmentation of the base material required an extensive process of sealing cracks and small gaps. Photo: Albert Gaset

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Completion of the reintegration process on cornices, pillars and pinnacles, some of the architectural elements most affected by loss of the original base material. Photos: Albert Gaset

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About a quarter of the façade needed a cohesive treatment for the weak base material, through the impregnation of ethyl silicate. The high degree of deterioration of some elements required a careful cleaning of the openings caused by deformation to remove the deposits of dirt and the disintegrated base material so as to fill them in with hardener.

A much more complex consolidation process was then required to stabilize the deterioration of certain architectural elements, especially the decorative reliefs that embellished the two upper sections of the portal-overdoor. These elements were suffering from severe cracking, deformation, and large scale peeling issues, as a result of the expansion of the clays contained in the base material. The altered material was stabilized by injecting a hydraulic mortar (PLM-A®), after the area had been moistened with a hydroalcoholic solution (2: 1). This process involved the dismantling, cataloguing and relocation of numerous

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The very poor condition of one of the two female figures crowning the estipites meant it had to be recreated. Photo: Albert Gaset

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fragments of very variable sizes and weights, which is why a combination of different fastening systems were used. The smaller ones were stuck on with the same PLM-A® injected mortar and with natural lime and sand mortar, since the reintegration of the lost base material itself ensured the fixation of fragments. Larger fragments were reinstated using a natural hydraulic lime bed, for horizontal surfaces, and Araldit® Rapid or CTS EPO 121® in all other cases. In these other cases, resin and fibreglass pins were included to ensure proper anchoring and minimize the use of epoxy adhesive.

As a result of the poor condition of the work, we could say that the reintegration process was the last stage of consolidating the base material.

In fact, this was the main objective. A secondary objective was to restore the aesthetic balance of the work, but without worrying about the formal recovery of those elements which had been greatly altered.

Following archeological criteria based on a policy of intervening as little as possible, a single type of mortar was used, both for large losses in the stone base and for losses in the mortar joins.

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Applying a single mortar, understood as neutral, enabled a more ordered and interpretable result.

Each reintegration process used natural mortar of the same colour and granularity as the original base material, using a mixture of washed aggregates and natural hydraulic lime (Lafarge® NHL 3.5) in a 3: 1 or 4: 1 ratio, depending on the characteristics of each area. Along the lower surface of the façade a mixed mortar, that is, a mixture of hydraulic lime and aerated lime, was used to increase the breathability of the added material and allow the moisture present in the wall to escape.

The addition of natural inorganic pigments enabled the application of a similar colour to the original stone material. Due to their poor state of conservation, the reintegration process was

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Protection using zinc sheets ensures water drainage and facilitates the fastening of the anti-bird electric shock system

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Finished look of the left shield at the end of the chromatic balancing process

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especially significant for the pinnacles that crown the piece, for the two upper ends of the façade with their bossed pillars, for the set of cornices of the six entablatures and along the lower section of the work.

For five of the architectural elements, this restoration came a little too late. Due to their very poor condition, and after having carried out the corresponding individualized assessments with technicians from the Bishopric of Urgell and the Centre for the Restoration of Artefacts of Catalonia (CRBMC), two cornice angles on the far right-hand side of the façade, the crown of the two pinnacles and one of the two female figures supported by the estipite columns that flank the central large window were replaced. In the first two cases, the two cornice angles were reintegrated using natural stone. However, the remaining decorative elements were recreated using fibreglass and synthetic resin, with a finish similar to the original base material, taking advantage of the fact that they had no structural function. The existence of other identical elements made it possible to obtain reproductions using silicone moulds.

The process of chromatic reintegration was carried out using pigments dissolved in lime

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water, restoring the formal readability of the two polychrome shields, by enhancing those sections of the contour that were more eroded. As explained during the analysis of the shields, the restoration of the text layers preserved on the field was rejected in order respect the their historical evolution.

Preventive conservation The fragility of the work as a result of the conditions already described: the high porosity of the base material, the presence of clays, and the retention of water on the cornices, among other things, necessitated the application of different preventive conservation measures to prolong the stability of the work for as long as possible as a result of this restoration.

In order to regain some of the protection provided by the artificial patinas (lost through the gradual water erosion of the stone), to increase the resistance of the base material and minimize the hydration of the clays, the whole surface was sprayed with lime water. The number of applications ranged from two to five, depending on the state of conservation of the base material, which determined the degree of absorption.

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Mapping of the preventive conservation measures. Photo: Albert Gaset

In some parts, the most damaged and exposed architectural elements, which had undergone a process of consolidation through impregnation, a waterproofing product was applied by brush. One of the most necessary operations was the need to protect the upper part of the cornices, in order to avoid both the stagnation of water and erosion by it along a very deteriorated surface.

The adopted solution was to place 0.8 mm thick zinc sheets, placed through a small incision in the wall and fixed to the cornice by means of stainless steel screws. In most cases, the incision was made in the mortar used to reintegrate the walls, since it was an area that had suffered a lot of material loss due to the rising damp and, therefore, had undergone several restorations.

Each protective element was given a slightly sloping sill along the outer perimeter, to ensure the evacuation of water and prevent any return.

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The inclusion of a polyethylene nodular sheet helped to create the slope and fasten the protective element, minimizing any potential condensation under the metal sheet.

Despite the magnitude of the losses, the study and comparison of all the cornices allowed the dimensions of the initial perimeter to be transferred to each sheet, which meant a certain rearrangement of the whole work as a result of the restoration of the lost architectural lines.

Also with the aim of ensuring the evacuation of rainwater and eliminating its impact on the façade, the gutter and drainpipe system on the roofs was fixed and two spouts were included in the mascarons at the two ends, the only ones that acted as gargoyles to drain the water accumulated along the curvilinear crown of the frontispiece.

Guissona's industrial agricultural activity explains the extraordinary pressure exerted by a large colony of pigeons in the centre of the town, and especially around the entire architectural complex of the parish of Santa Maria. For this reason, extreme anti-bird measures were

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Detail of the area of the portal overdoor at the end of the restoration project

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implemented, based on a combination of three different systems: deterrent spikes attached to the highest part of the frontispiece; an electric shock system installed along most of the façade; and polyethylene mesh, to close the openings of the bell tower and the niches containing the statues.

For other reasons, mesh was also used to coverer six sculptural elements on the façade.

Despite the stabilization achieved with this restoration process and through the elimination, where possible, of expanding clay nodules, the transpiration of the different applications performed, the exposure to atmospheric agents and, clearly, the presence of clays were reason enough to take long-term preventive measures.

The likeness with the colour of the stone base material and the height at which the decorative elements are positioned, between 14 and 25 metres high, mean that the protective mesh that has been installed is almost imperceptible, so it integrates well with the work as a whole and does not create any kind of aesthetic distortion.

DETAILS GENERIC CLASSIFICATION: architectural heritage. Pictorial and stone material | OBJECT: main façade | MATERIAL / TECHNIQUE: local sandstone, mortars and tempera paint | DESCRIPTION: architectural work with sculpted and painted ornamentation | DATE/PERIOD: 1776–1800 | AUTHOR: Marià Enric and Josep Burià (arcuitects) | DIMENSIONS: 20 x 29 metres (560 m2 approx.) | LOCATION: Church of Santa Maria, Guissona (Segarra) | CRBMC REGISTER NO.: 12356 COORDINATION: Pere Rovira | RESTORATION: Management: Albert Gaset, Restoration team: Ricard Bernet, Mireia Canyadell, Elena Iglesias, Jose Latorre, Esteve Loire, Anna Marzemin and Conxita Piqué, Sculptural reproductions: Enric Porta Stone replacements: Joan Ribera | YEAR OF RESTORATION: 2018

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CONSERVATION-RESTORATION

SCULPTURE

Restoration of the All Saints altarpiece in Girona Cathedral IN 1594, CANON BALDIRI GALÍ asked the Girona Cathedral Chapter if, in the All Saints chapel, a set of three elements could be installed: an altarpiece, a tomb and railings to close off the chapel.

Introduction The sculptor behind the structure of the altarpiece, made in 1594, was Esteve Bosch from Girona. All his work was thought to have been burned until it was discovered that he created this altarpiece, for which he followed the example of Venetian architect Andrea Palladio.

Four years later, in 1598, Milanese painter Giovanni Battista Toscano was tasked with the polychrome for the piece, which he carried out following modern methods and in harmony with Late Mannerist tradition in sixteenth-century Italy. Various other works of his have been restored at the CRBMC over the last few years, including the main altarpiece at Sant Andreu de Llavaneres Church (2009–2012) and both doors on the Our Lady of the Rosary altarpiece in Sant Feliu de Cartellà Church (2016), which are some of the few surviving pieces by this artist.

The structure is organised as a frame to a large central scene, with the image of Christ resurrected and holding the cross, inspired by drawings for the Risen Christ by Michelangelo, in the Church of Santa Maria sopra Minerva, Rome.

This figure is surrounded by all the saints and the Virgin Mary. The scene is flanked by two canopies and four fluted columns, the lower third of which displays fretwork and precious gems.

Above, there is an entablature and an attic with a split pediment. Underneath is a predella with the Adoration of the Shepherds scene. Either side of this scene, there are two high reliefs of allegorical women, representing the Church and Religion.

The whole altarpiece rests on two wooden bases with fretwork that frames the Galís’ coat of arms.

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General view of the altarpiece before restoration

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Organoleptic examination As is the norm, this altarpiece is constructed from pieces placed one on top of the other, in layers, and joined together through various fastening systems: mortises and tenons, T half lap joints, rivets, organic glue to join blocks and posts that make up one piece, etc. The various posts on the central panel present mitred dovetail joints, and some are reinforced at the back with plant fibres and organic glue.

Laia Roca i Idoia Tantull, conservator-restorers of cultural heritage

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Allegory of Religion before restoration

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Allegory of Religion after restoration

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Left part of base before restoration

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Left part of base after restoration

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Graphic report with organoleptic examination and alterations to the structure Photo: Laia Roca and Idoia Tantull

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Hooks (L)

Areas of accumulated damage from xylophagous insects

Burns

Rivets

Cylindrical nails with eyebolts

Holes

Nails / spikes

Spindle-shaped rivets (no head)

Lining

Detachments

Loss of base material

Ring shaped nails

Cracks / fissures

Separation of joints

Elements found behind the altarpiece

All Saints altarpiece. Graphic report of alterations: base material.

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Additions

CRBMC. 13495

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Predella scene before restoration. Its deterioration made it hard to understand

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Process of removing the varnish. With UV light, we can see how the varnish was applied. Photo: Laia Roca

The whole structure is fastened to the wall with an iron bar that joins the back of the entablature to the north wall of the chapel. There are also wooden wedges that wedge the altarpiece between the stone ribs and the narrowing walls of the chapel.

As was the case with other altarpieces in Girona Cathedral, a great number of metallic elements were found, which were used to hold various types of candles.

The techniques used are: water gilding with fine, burnished gold and applied on a reddish bole, made from a protein-based binder; sgrafitti in the form of plant motifs done with azurite blue; and oil paint for the skin.

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State of conservation In terms of state of conservation, on a structural level, the piece showed signs of xylophagous insect infestations (Anobium punctatum), cracks, fissures and various missing pieces. As for the polychrome and gilding, the main issue was the significant deterioration to the predella scene, which made comprehension of it rather difficult.

Meanwhile, at some points leakages from the vault had caused the preparation layer to turn to dust.

At the surface layers, we found thick dust, soot from candles and various layers of oxidated varnish, which made interpretation of the whole piece difficult. As usual, the lower part of the altarpiece was especially dirty and darkened.

Examination and analysis techniques The altarpiece was restored in situ, but beforehand, a thorough visual examination was carried out, along with studies involving photographic

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Consolidation of an area of the piece weakened through attacks from xylophagous insects. Photo: Laia Roca

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Reinforcement at the back of the altarpiece.

Photo: Laia Roca

— techniques based on different kinds of radiation, such as digital infra-red (IR) and UV light.

IR did not reveal any preparatory drawings or corrections made by the artist. However, UV light showed an irregular application of the oxidated varnish layer present on the surface of the piece.

Furthermore, samples were taken so that the altarpiece’s constituent materials could be analysed. This analysis, carried out at the CRBMC laboratory, determined that the general layer of varnish was made from colophony, and that, subsequently, a layer of alkyd resin-based varnish was applied to the lower parts of the altarpiece.

The analyses also defined the pigments used on the piece and the layer of paint covering Saint Peter’s robes; originally, they were orpiment yellow with plenty of details and pleats, but this was later covered by a more uniform red.

Various wood samples from the structure were analysed, and corroborated that the contract was correct, that two different types of wood were used: white poplar (Populus alba) and cypress (Cupressus).

As is essential for all interventions, all stages of the conservation and restoration process were thoroughly documented through photographs.

The conservation-restoration process Although the piece was not dismantled, work was carried out to both the front and the back. Access to the back of the altarpiece was essential, so that the significant accumulation of dust and debris

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Fragment of the inscription found behind the altar, seen with UV light.

Photo: Laia Roca

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could be removed, elements that had fallen off and landed behind the structure could be recovered, the structure could be disinfested and strengthened, and the attic – which was clearly insecure and risked falling off – could be stabilised.

This movement was solved through the installation of various stainless steel brackets and an anodised aluminium profile to fasten the altarpiece to the wall. Reinforcements were made without removing any of the original anchors from the altarpiece.

To ensure access to the back, the altar stone was moved temporarily. This revealed an inscription on the back of the altar stone, which could be read with ordinary light but was even more visible

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Conductivity analysis with agarose tablets on a varnished area and on a non-varnished area. Photo: Idoia Tantull

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under UV light: ‘M[ossèn] Balth[asar] Alràs entra bene[fici]at en la p[rese]nt.’ This indicated who the beneficiary of this altar stone was at some point in its history.

On the back of the altarpiece, various pencil inscriptions were found, as well as incisions that mark where the joints went or indicate whether the pieces were to be installed on the left or on the right. There were also drawings of the column bases and the inscription ‘Au’.

Once the dust was removed, any loose fragments were fixed and holes and cracks were filled with wood filler. Furthermore, rust was removed from metal elements and steps were taken to inhibit corrosion.

Subsequently, on the back, after the candle wax was removed, the cleaning process began. First, the pH and conductivity of the various pictorial surfaces (skin, temperas, gilding and bole) were analysed to determine the safety parameters required of the cleaning products, so as not to chemically alter the polychrome.

With the results obtained, it was decided that, for aqueous cleaning on the surface, the pH buffer needed low conductivity and a pH between 5.5 and 6. After various tests, a first cleaning phase was designed, with a pH 6 aqueous solution of conductivity 1.15µmS, with strong chelating agent Kolliphor [6(5)].

Given the thickness and oxidation presented by some varnishes, when it came to removing them, gel solutions were required. Following various tests, two gels were selected: 1. For the gilded areas and skin: ethanol apolar gel and white spirit D40 (35:65). The day after the preparation, it was emulsified with some drops of Tween® 20 and the buffer from the aqueous solution (50:50) to achieve a consistency that made it easy for the varnish to be rinsed and removed, especially in the most sculpted areas.

2. For the uppermost layer of varnish and extra layers of paint on the polychrome panel: ethanol polar gel. Both the gel and the emulsion were left to act for 5 minutes: first, the layers were peeled away, then they were rinsed using ethanol and white spirit (50:50).

3. Second cleaning of the polychrome panel: gel resin soap with Klucel® G with conductivity control (0.51 mS/cm) and pH below 8.5. The product was spread with a swab after 5 minutes of being left to sit then rinsed with a pH 7 buffer.

Once the chemical cleaning was complete and the filler was applied, in order to protect the polychrome from the retouches, 10% Paraloid®

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Protection of an opening at the back with Tyvek® Photo: Idoia Tantull

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During the cleaning process

B-72 varnish in propyl acetate was applied with a paintbrush to the gilding and estofado. In the case of the polychrome panels and skin, it was applied at 5%.

As a final presentation system, an archaeological reintegration was carried out on the architectural elements, while on the painted scenes and skin, gaps were filled in by joining the remaining traces of colour. On the predella scene, where the gaps were larger, a neutral tint that imitates the surrounding colour was used to blend the holes in with the background.

On the parts retouched with watercolours, another layer of 5% Paraloid® B-72 varnish in propyl acetate was applied with a paintbrush to protect the retouches.

To solidify the powdery areas on the altar stone inscription, a 7% Aquazol® in ethanol solution was applied with a paintbrush.

Finally, as a conservation measure, Tyvek® microperforated fabric was installed on parts of the back of the altarpiece to block out insects and other pests, to avoid any accumulation of dust or moisture, and to prevent water reaching the wood.

This restoration enhanced an altarpiece that had been darkened significantly, so that art historian Joan Bosch could study and analyse

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it. What is more, it recovered the piece’s original colours, facilitated interpretation of the predella scene and revealed details that had been hidden by the aforementioned darkening.

One final important detail is that, before the restoration of the altarpiece was started, curative conservation measures were taken on the polychrome stone elements in the chapel.

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General view of the altarpiece after the conservation and restoration process

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DETAILS GENERIC CLASSIFICATION: sculpture | OBJECT: altarpiece | MATERIAL / TECHNIQUE: polychrome carved wood with oil paint, gilding and tempera estofado on white poplar and cypress wood | DESCRIPTION: All Saints altarpiece | ARTIST: Esteve Bosch (altarpiece maker and sculptor) and Joan Baptista Toscano (painter) | DATE/PERIOD: 1594–1598 | DIMENSIONS: 742 x 295 x 75 cm. Central panel: 176 x 142 x 3 cm | LOCATION: All Saints chapel, Girona Cathedral, Girona (Gironès) | ORIGIN: All Saints chapel, Girona Cathedral, Girona (Gironès) | CRBMC REGISTER NO.: 13495 | COORDINATION: Pep Paret | RESTORATION OF STRUCTURE AND POLYCHROME: Laia Roca and Idoia Tantull | ESTABILITZACIÓ ESTRUCTURAL: Josep Paret i Idoia Tantull | YEAR OF RESTORATION: 2018 - 2019 | HISTORICAL AND ARTISTIC INFORMATION: Joan Bosch Vallbona1 Taken from Joan Bosch Vallbona’s article ‘El periple pictòric d’un pintor milanès a Catalunya: Joan Baptista Toscano, actiu entre 1599 i 1617’, in Locus Amoenus, 11, 2011–2012, pp. 97–127.

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CONSERVATION-RESTORATION

TEXTILE MATERIAL

Set of tapestries belonging to the Government of Catalonia at the headquarters of the Institut d'Estudis Catalans (IEC)

IN MEMORIAM This article contains the valuable contribution of our friend Joaquim Garriga (†), who passed on to us his knowledge about the history and importance of the set of Renaissance tapestries from the Palau de la Generalitat. This was not a one-off.

Quim always alerted us of the need to act when a particular artefact was in danger. Indeed, working with him and his team on conservation projects was a privilege and he was an example to us all.

Thanks, Joaquim, we will always remember you.

(CRBMC) History of the tapestries belonging to the Government of Catalonia at the headquarters of the Institut d'Estudis Catalans (IEC) On 27 October 2016, the four tapestries of the Government of Catalonia that lined the walls of the Sala Prat de la Riba room at the Institut d'Estudis Catalans (IEC), the old Casa de Convalescència, were dismantled by the technicians of the Centre for the Restoration of Artefacts of Catalonia (CRBMC), in order to carry out some emergency restoration work on them that would at least stop the rapid deterioration they had suffered. The dismantling was also used as an opportunity for the Centre's textile artefact experts to carry out the pertinent analyses of the tapestries, in order to understand their current state, to accurately diagnose their pathologies and to determine the most appropriate actions, both immediate and in the medium and long term, with the aim of ensuring their conservation.

All the effort employed to guarantee the survival and conservation of these tapestries –so they can be passed on to future generations–are wholly justified because they are works of huge artistic significance and historical importance even though they are not well known and almost never put on public display. They are significant, first of all,

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because they are splendid seminal works originating from the Flemish Renaissance workshops, the most important in 16th century Europe, and, secondly, due to their huge historical importance since they have been part of the fittings of the Palau de la Generalitat de Catalunya from the beginning.

They are part of the original furnishings of some historical sections of the building built in the fifteen hundreds and have survived to this day with an essential continuity, despite the adventures they have experienced, and despite the tragic historical ups and downs suffered by the most important institution of our country.

The tapestries are documented as being unambiguously and unquestionably part of the moveable property of the old “Casa de la Diputació del General”, or Palau de la Generalitat: it is said that they came from acquisitions made specifically by the parliamentary members during the fifteen hundreds. The four works that were hanging in the Sala Prat de la Riba room of the Institute were part of two batches composed of two different series: one of the tapestries referred to the series called the "Triumphs of Petrarch" and the other three to the series called “The Loves of Mercury and Herse”. The parliamentary members had acquired them in two stages around twenty years apart, in 1557 and 1578.

On 30 October 1557, they bought the first batch from the nobleman Jaume Terça, of Tortosa, for 654 pounds. It consisted of four tapestries from the series known as the "Triumphs

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Signature of the tapestrymaker Willem de Pannemaker (1535-1578) on the border of the tapestry showing The Bridal Chamber

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Joaquim Garriga (†) (Malgrat, 1945-Barcelona, 2018), art historian. University of Girona; IEC, Historical-archeological department (history of tapestries) Carme Masdeu i Luz Morata, conservator-restorers of textile material (restoration of tapestries)

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Mercury walking with Herse

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Aglauros stopping Mercury

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of Petrarch" –inspired by Petracrch's well-known allegorical poem, Trionfi (c. 1340-1374)– which was incomplete because the original set was composed of six works. The tapestries were produced in Brussels, possibly in Willem Dermoyen's workshop, woven around 1530-1540 with wool and silk, measuring 420/500 x 625 cm (according to the pieces, the last of which is 890 cm wide).

The six tapestries in the complete series, corresponding to the six "Triumphs" of Petrarch’s poem, represented, in this order, 1) The Triumph of Love over Man; 2) The Triumph of Chastity over Love; 3) The Triumph of Death over Chastity; 4) The Triumph of Fame over Death; 5) The Triumph of Time over Fame; and 6) The Triumph of the Eternity over Time. The tapestries that were not included in the batch belonging to Jaume Terça purchased by the parliamentary members are the first and second in the series. However it should be noted that, fortunately, the four that were purchased in 1557 have all been preserved –despite the various transfers

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The Bridal Chamber of Herse

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and journeys they were subjected to between the 18th and 20th centuries at the hands of various institutions, between the Palau de la Generalitat and the Palau de Justícia– albeit in varying states of conservation. The third tapestry, the Triumph of Death over Chastity (approx. 500 x 625 cm), is one of those that decorated the Sala Prat de la Riba room in the Institut d'Estudis Catalans which is now at the CRBMC. The three remaining items from the "Triumphs of Petrarch” series, which were housed in the building of the Generalitat and restored some years ago, have been stored in the reserve warehouses of the National Art Museum of Catalonia (MNAC) since 2006.

The second batch of tapestries from the Generalitat was purchased by the parliamentary members on 15 February 1578, for a price of 6,200 pounds, from the captain general Don Fernando de Toledo –lieutenant of Catalonia from 1571 to 1580–. It was made up of the entire eight pieces of the series “The Loves Mercury and Herse", weaved

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The Triumph of Death over Chastity

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in wool and silk in Brussels. Some of the tapestry borders are signed with the name Willem de Pannemaker and the date “157?” (Maybe 1574), and measure approximately 500 x 500 cm; the design of the cartoons is attributed to Giovanni Battista Lodi da Cremona, a painter who was a disciple of Giulio Romano.

By 1555, the cartoons had already been used

by Willem Dermoyen to weave an edition of this series, most likely the "Princes", which belonged to the House of Savoy –today only one tapestry is preserved, the last one of the collection, in the Quirinal Palace in Rome Subsequently, in 1570, Pannemaker produced a new edition using the same cartoons, which was especially splendid because it incorporated gold and silver metal threads, recorded in 1603 as belonging to the Duke of Lerma, Francisco Gómez de Sandoval y Rojas. Of this "rich" series all the specimens are preserved, although they are currently distributed in different collections.

The complete narrative sequence of Pannemaker's work, which contains eight episodes from Ovid’s passages, The Metamorphoses (II, 708-835), shows: 1) Mercury in love with Herse; 2) Mercury

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walking with Herse; 3) Aglauros stopping Mercury; 4) Cecrops welcomes Mercury; 5) Envy infecting Aglauros; 6) Dancing in Cecrops’s Palace; 7) The Bridal Chamber of Herse; and 8) The Transformation of Aglauros and Mercury fleeing.

The series purchased by the parliamentary members in 1578 has not been preserved in its entirety. After the general surrender of 1714 before the armies of Philip V, the tapestries were left in the Generalitat building, which at the time housed the Royal Court of Catalonia, until this institution moved to its new headquarters of the Palau de Justícia, opened in 1908, and the tapestries were moved there to furnish it.

At that time, the eight tapestries were down to six –the fourth and fifth had disappeared, except for a few fragments–, which were restored following "decorative" criteria, including the reintegration of torn fragments using fabric painted by the artist Enric Simonet. In any case, in September 1937, in the midst of war, the six surviving pieces of the “The Loves of Mercury and Herse" were returned to the Ministry of Culture of the Generalitat thanks to the efforts of Josep Andreu i Abelló from the Royal Court and Messrs. Antoni M. Sbert and Carles Pi i

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In situ, preparations before dismantling

Sunyer from the Ministry of Culture, and they were placed under the responsibility of the Board of Museums of Catalonia.

However, after the transfers that took place during the Civil War and subsequent post-war period, the tapestries were distributed across different physical locations, albeit in spaces run by the Barcelona Provincial Council. Three of the specimens in the series were assigned to the Casa de Convalescència, that is, to the Sala Prat de la Riba room of the Institut d'Estudis Catalans —these being the second (Mercury walking with Herse), the third (Aglauros stopping Mercury) and the seventh (The Bridal Chamber of Herse)— which, once dismantled, in October 2016, were stored at the CRBMC. The other three pieces belonging to the Generalitat were housed in the Biblioteca de Catalunya, where the first tapestry of the series is still on display (Mercury in love with Herse); the remaining two –the sixth (Dancing in Cecrops’s Palace) and the eighth (The Transformation of Aglauros and Mercury fleeing)– are stored in warehouses of the Barcelona Provincial Council.

Still in relation to the acquisitions by the Generalitat during the fifteen hundreds, it should be noted that a few years after obtaining the complete series of “The Loves of Mercury and Herse", on 26

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Taking down the tapestries

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April 1583, the parliamentary members purchased a third batch of Flemish tapestries from the aforementioned Fernando de Toledo for 4,000 pounds.

It was a series of ten Bible-themed tapestries manufactured in Willem de Pannemaker's workshop in Brussels, illustrating “The Story of Noah" as narrated in the book of Genesis (chapters 6-9). The series replicated the same method of manufacture that Pannemaker had used in the first edition commissioned by Philip II (1561-1563), using cartoons attributed to Michael van Coxcyen (Michel Coxcie).

Only three whole tapestries, plus the odd fragment, of the ten that comprised the original series purchased in 1583 have survived. The two representing The Blessing after the Flood and Noah's Drunkenness have always been kept in the Palau de la Generalitat –on the walls of the chapel of Sant Jordi– while the third, showing The divine order to Noah to build the ark, is stored in a warehouse belonging to the Barcelona Provincial Council. No piece from this collection –which we mention here simply for the purposes of inventory to cover all the Flemish tapestries acquired by the Generalitat in the 16th century– has never been kept in the Casa de la Convalescència. The four tapestries that were on display in the Sala Prat de la Riba room of the IEC until 27 October 2016, which this document has

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Analysis and gathering of information on the state of the tapestry The Triumph of Death over Chastity.

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described and put into context, have been examined by CRBMC technicians, with their observations and conclusions detailed below RESTORATION OF THE TAPESTRIES Introduction and dismantling of the tapestries The following four renaissance tapestries, weaved in Brussels were housed at the Sala Prat de la Riba room of the IEC: Mercury walking with Herse Aglauros stopping Mercury The Bridal Chamber of Herse The Triumph of Death over Chastity Unfortunately, the organoleptic examination of these works revealed that they were in an extremely poor condition: the colours had been altered; almost nothing of the silk wefts remained, and there were large gaps and cut-off sections, among other things. In addition, the tapestries had undergone numerous restorations throughout their history, some of which are irreversible.

Therefore, as Joaquim Garriga indicated, removing the four tapestries from the Sala Prat de la Riba room was essential in order to stop the alterations that were gradually damaging their structure.

To begin with, a system was designed and organized to take them down, taking into account their characteristics, format, weight, strength and state of conservation, as well as the accessibility and care of the space. These actions were undertaken by a team of experts coordinated by the CRBMC.

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The tapestries had been hung using twine that was not original in any of the cases and which was sewn to the top of the back side of each tapestry and hung on a hook. A pulley system was used to take them down, a commonly used method for this type of task but with the particularity that this had to be placed on the perch to avoid having to drill a hole in the wall or the ceiling. This meant that the tapestries had to be transferred to a separate aluminium bar, 6.20 metres long.

The transfer was carried out using polypropylene twine loops, 35 cm long. The loops were first passed through the string at intervals of 20 cm apart and hung again on the perch in readiness for the aluminium bar to which they were later attached. Then, two different types of pulley were attached, one fixed and one moveable, to make it easier to lower the tapestries, with the fixed part attached to the perch and the moveable part to the aluminium bar. To complete the transfer, the aluminium bar simply had to be kept at the same height as the perch.

The tapestries were therefore brought down with no risk. Once they had been placed on the ground, they were folded in a zig-zag shape on packaging tissue paper and then transferred to the CRBMC for analysis, diagnosis of any pathologies and any necessary restoration work before being stored.

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Mercury walking with Herse tapestry Map showing the losses, in yellow, and the parts where it was trimmed, in blue. Photo: MorataMasdeu, scp

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Mercury walking with Herse tapestry Map showing the loss of the weft of both wool and silk.

Photo: Morata-Masdeu, scp

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Detail of the tapestry Mercury walking with Herse, showing a pictorial reintegration carried out around 1908

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Detail of the trim of the tapestry Aglauros stopping Mercury showing the delicate state of conservation

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Description of the materials and diagnosis In all the tapestries the warps are of ecru wool, twisted in an S shape, but they differ in the number of heads and in the density. For example, in the tapestry Aglauros stopping Mercury the warps have 5 heads and the density is of 8 threads/cm; in the Mercury walking with Herse and The Bridal Chamber tapestries they have 4 heads and a density of 9-10 threads/cm, and in The Triumph of Death over Chastity they have 3 heads and the density is 7 threads/cm. As for the wefts, they are all wool and silk, 2-headed, S-shaped, polychrome, in various tones and halftones, and required an extensive repertoire of technical procedures.

With respect to the deterioration of the works, the most severe aspects were the loss of constituent parts, water stains, the disintegration of a large part of the wool and silk weft and its discolouration, the result of the environment to which the tapestries had been exposed. Moreover, the accidental historical comings and goings these works had suffered, as J. Garriga explained, resulted in intense and repeated restorations of all kinds, the most recent in 2000 and the majority irreversible.

For example, apart from the carelessly carried out pictorial reintegration, reweaving, sewing and embroidery (in some cases with fishing line), the labels attached using staples, the hinged rings, etc., other more invasive restorations were also detected, such as the one undertaken on the Triumph of Death over Chastity tapestry, in which the entire back was glued to canvases using adhesive. The analyses performed by the CRBMC showed that a synthetic polymer, such as a contact adhesive, had been used with very little possibility of reversing it. Another restoration process, in this case on the Bridal Chamber

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Detail of the tapestry The Triumph of Death over Chastity. The deformations produced by the sewing using fishing line are clearly visible

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Removal of surface dirt from the front face of the tapestry through vacuuming

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Removal of the upholstery straps, made from jute and plastic

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Removal of surface dirt from the back of one of the tapestries, from the lining, through vacuuming

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tapestry, affected the perimeter border, which had been completed using a machine-sewn fabric. Finally, it should be noted that the Mercury walking with Herse tapestry had lost much of the left side, from top to bottom, and also a piece of the top and bottom, all the way from one side to the other.

Restoration First, the dimensions of the tapestries and their most significant alterations were mapped out.

Subsequently, samples of threads, painted fabrics and other elements added during the different restoration processes were taken to identify their nature.

Restoration began on the front faces of the tapestries, first by vacuum cleaning the surface dirt. Some samples of the vacuumed dirt were collected for examination using a binocular microscope. This revealed that along with the dirt a lot of fibres from the tapestries had been vacuumed, which demonstrated the fragility of all the threads. Other harmful elements, such as studs, nails and hinged rings (which were probably used

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Moment when the stitches that were damaging the bottom of one of the tapestries were removed

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for the previous displaying of the works) and the sewn elements using nylon thread, were also removed from the works.

As for the consolidation of the fragmented parts, only those that were at risk of being lost were stitched together (herringbone), temporarily and easily reversible.

The restoration continued on the back side with the removal of the elements used for hanging (strings and twine). It was noticed that the lining was not the original on any of the tapestries and that this had also caused alterations.

For example, on the Triumph of Death over Chastity tapestry, the lining was thin in relation to the whole piece; Aglauros stopping Mercury was

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Final phase of the process.

Protective packaging of one of the tapestries

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doubly lined, and Mercury walking with Herse was also doubly lined, with the exception that the outer lining was badly damaged due to leaks.

In order to continue the restoration, the outer linings had to be removed, and later, for conservation reasons, it was decided not to put them back on. However, the lining on the Bridal Chamber tapestry was re-sewn manually after the restoration to protect the back. It was also strange to find beneath the lining a whole bunch of upholstery straps, made of jute and plastic, in a terrible state of conservation, attached with stitches and pins, so these were removed for obvious reasons. The backs of the works were then vacuumed. The identification labels stapled onto the liners were put in small bags and sewn on the backs of the works.

Finally, each of the tapestries was rolled into a cylinder, Ø 35 cm, for storage. The cylinder was

insulated with a polyethylene fibre fabric and the works were rolled up in the direction of the weft, that is, with the warp perpendicular to the cylinder. Once rolled up, they were secured with a tubular cotton fabric. The ends of the cylinders were covered with polyethylene foam plates, and at the moment they rest on half moons, also made from this foam, waiting for them to one day be restored.

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The cylinder containing the tapestry Mercury walking with Herse ready for storage

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DETAILS GENERIC CLASSIFICATION: textile material | OBJECT: 4 tapestries | MATERIAL / TECHNIQUE: wool and silk | DESCRIPTION: 4 tapestries: CRBMC reg. no. 11721: Tapestry from the series “The Loves of Mercury and Herse” (The Bridal Chamber of Herse) CRBMC reg. no. 11722: Tapestry from the series “The Loves of Mercury and Herse” (Aglauros stopping Mercury); CRBMC reg. no.

11723: Tapestry from the series “The Loves of Mercury and Herse” (Mercury walking with Herse); CRBMC reg. no. 11724: Tapestry from the series "Petrarch's triumphs" (The Triumph of death over Chastity) | AUTHOR: Willem de Pannemaker (1512-1582): the love series; Willem Dermoyen: (active between 1520 and 1530 in Brussels): the triumph series | PERIOD: Renaissance | DIMENSIONS: CRBMC reg. no. 11721: The Bridal Chamber, 402 x 518 cm; CRBMC reg. no. 11722: Aglauros stopping Mercury, 412 x 591 cm; CRBMC reg. no. 11723: Mercury walking with Herse, 410 x 470 cm; CRBMC reg. no. 11724: The triumph of Death over Chastity, 415 x 617 cm | LOCATION: Palau de la Generalitat de Catalunya, Barcelona (Barcelonès) | ORIGIN: Sala Prat de la Riba room, in the Institut d’Estudis Catalan (IEC), Barcelona (Barcelonès) | CRBMC REGISTER NO.: 11721, 11722, 11723 i 11724, respectively | INVENTORY NO.: 139 FA (CRBMC 11721), 140 FA (CRBMC 11722), 141 FA (CRBMC 11723) and 142 FA (CRBMC 11724) | COORDINATION: Maite Toneu | RESTORATION: Carme Masdeu and Luz Morata (Morata-Masdeu, scp). Dismantling: Carmelo Ortega, Pep Paret and Maite Toneu (CRBMC team), Amanda Cerdà, Maria Sala, and the IEC team.

Review and assessment of the state of conservation and minimal curative measures before storage: Carme Masdeu and Luz Morata (Morata-Masdeu, scp). | YEAR OF RESTORATION: 2016-2017 | HISTORICAL AND ARTISTIC INFORMATION: The theme of the tapestries from the series “The Loves of Mercury and Herse” is inspired by the fables of Ovid’s Metamorphoses (book II).

The tapestry from the series “The Triumphs” is inspired by the poetic work Trionfi, by the Italian humanist Petrarch.

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CONSERVATION-RESTORATION

GRAPHIC WORKS

The Ripple, by Santi Moix

A RIPPLE is a concentric wave that is created on the surface of water when an object falls into it. This is the title of the work in question.

Introduction The Jeroni de Moragas Foundation, located in Valldoreix (next to the CRBMC), cares for people with intellectual disabilities and mental illnesses.

In 2016, they started the Pas per tu project, which uses artistic creation to raise awareness and give visibility to those in care and also to raise funds for the Foundation.

This exciting project finally took shape on 6 June 2016, when Santi Moix came to Valldoreix and created Description It is composed of eight 100 x 70 cm Canson® cards, fastened with pins on industrial cardboard, attached vertically to the wall. On the surface, glued together in the form of a collage, are several coloured circles that the artist asked the people in care to paint before he arrived.

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The people in care at the Jeroni de Moragas Foundation during the work’s creation process.

Photo: Jeroni de Moragas Private Foundation

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Those in care cutting out the circles.

Photo: Jeroni de Moragas Private Foundation

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The circles of different colours that the people in care had painted before the start of the artistic creation. Photo: Jeroni de Moragas Private Foundation

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Esther Gual, conservator-restorer of contemporary art at the CRBMC

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Santi Moix with the people in care at the Jeroni de Moragas Foundation during the work’s creation process. Photo: Jeroni de Moragas Private Foundation

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Santi Moix during the work’s creation process.

Photo: Jeroni de Moragas Private Foundation

— When Santi Moix designed the work while in New York, he requested eight Canson® sheets, imagining several individual works that could be sold separately in order to raise money for the Foundation. But when the time came, having arrived in Valldoreix, the dynamics of the creative process led to the creation of a single work that could in no way be divided up.

The issue then arose about how this considerably large work could be taken down from the attic where it had been painted (it wouldn’t fit down the tiny staircase) and how it could be properly supported.

Intervention The CRBMC was contacted and a team of conservator-restorers from the Documents and Contemporary Art departments arrived.

To be able to transfer the work it had to be separated into 4 vertical fragments. To do this, the 3 cardboard circles that acted as connection points had to be mechanically unattached. A custommade polycarbonate folder was prepared in situ and each fragment was individually protected with Dartek® clear nylon film.

The purpose of the intervention was to join the fragments together to regain the unity of the work and to create a rigid support as a display/protective system for the piece.

Once in the CRBMC's restoration lab, the three connection points (coloured cardboard circles) were attached once again and the display system was designed.

Because the original support consisted of eight Canson® cards that had been nailed to the wall and only joined together by the cut-outs that made up the collage, the work had suffered numerous

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Moment prior to moving the work from the attic of the Jeroni de Moragas Foundation to the CRBMC

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Detail of the stresses caused by the elements stuck on to the cards.

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Preparing the lattice that connects the piece with the support made of Klug® cardboard

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Diagram showing the construction of the support. ©Anna Ferran A Artwork by Santi Moix, consisting of 8 cards that are only joined together by the elements of the collage B Japanese paper lattice C Honeycomb conservation cardboard

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deformations, due to the stresses created by these added elements.

We believed that the ripples and the relief of the work had to be respected and we that we should not create a display system that would eliminate them. Therefore a lattice of Japanese paper was constructed that adapted to the relief of the work and acted as a mechanism for transferring the work onto a rigid support.

The lattice was made using Sekishu® Japanese paper, weighing 13 g/m3, woven like taffeta. Wheat starch was used as the adhesive. Then the lattice was stuck to the rigid support (Klug® honeycomb conservation cardboard 1.5 cm thick) only around the edges, so that the work was loose and maintained its original ripples.

Finally, so the work could be handled more easily, analuminium frame was added behind the honeycomb cardboard. The aluminium added very

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Appearance of the work at the CRBMC before the intervention

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Attaching the aluminium grid

little weight to the piece (3cm profiles), but gave it rigidity, made handling easier (you didn’t have to touch the back to move it), protected the edges and also served as a support for possible future framing. The aluminium structure was machined and stuck to the Klug® cardboard from behind with double-sided adhesive tape.

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Photo of the finished front and back of the work after mounting on the new conservation support

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DETAILS GENERIC CLASSIFICATION: Documents, Graphic works and Photography | OBJECT: graphic works | MATERIAL / TECHNIQUE: color pencil, acrylic paint, oil pastels, white glue and Canson® 125 g paper | DESCRIPTION: The Ripple | AUTHOR: Santi Moix | DATE/PERIOD: 6 July 2016 | DIMENSIONS: 200 x 280 cm | LOCATION: Jeroni de Moragas Private Foundation, Valldoreix (Vallès Occidental) | ORIGIN: Jeroni de Moragas Private Foundation, Valldoreix (Vallès Occidental) | CRBMC REGISTER NO.: 12964 | COORDINATION: Esther Gual | RESTORATION: Carme Balliu, Anna Ferran and Esther Gual | ALUMINIUM MACHINING: Carmelo Ortegal | YEAR OF INTERVENTION: 2016-2017

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INNOVATION AND RESEARCH

ARCHEOLOGICAL MATERIAL

Documentation, study and analysis of biodeterioration in the conservation project of the floors and mosaics in situ at the archaeological site of Empúries 1. Introduction Since the beginning of the excavations at the archaeological site of Empúries, in 1908, about 170 floors and mosaics have been excavated, making it one of the largest and most important collections discovered in the Iberian Peninsula, both due to its typological and decorative diversity and its state of conservation.

This project to document the floors and mosaics of Empúries and to study the microorganisms and the strategies to combat them, promoted by the Centre for the Restoration of Artefacts of Catalonia (CRBMC) and the Archeology Museum of Catalonia (MAC-Empúries), has been carried out in several phases.

The first, started a few years ago by Sílvia Llobet, involved establishing a methodology for studying and documenting the construction technique of the floors and mosaics and detecting previous interventions and the factors causing alterations. The second involved carrying out the interdisciplinary analyses necessary to understand the current state of the floors and mosaics, to eventually establish the protocol of actions for preventive conservation, maintenance and restoration.

2. Proposed methodology for the analysis of the floors During the first phase, a methodology was defined for the documentation process, which was then used in the analysis of the 170 preserved floors and mosaics. For the first time, each floor was studied individually, in order to establish more

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common links between all of them. This enabled the creation of a glossary of terms, accompanied by photographs, which aimed to establish a common and unambiguous vocabulary, in order to name and describe the typology of floors and to define the previous interventions, alterations and conservation treatments.

The process of photographic documentation was carried out on several levels. The first, focused on scanning the floors and the sectors in which they are located; photogrammetry was used to obtain orthophotographs and 3D models.

On a second level, detailed photos of the floors, the construction technique, the decorative motifs and the pathologies were taken. Finally, digital microscope photographs were also taken to obtain a first estimation of the composition of the materials and their alterations.

The orthophotographs were used to create the overall cartographic documentation, which shows the various typologies, chronologies and relocated mosaics and highlights the areas at risk. In the individual maps we documented aspects related to the construction technique, sample collection, state of conservation and conservation treatments.

To organize all the generated information, a database was created and which was divided into four parts. This former, common to all typologies of floor, details the location, the building and atmospheric data, and the bibliography. The latter is for the basic general information of each floor, the year of excavation, the typology, the chronol-

Sílvia Llobet, conservadora-restauradora (Àbac, SL) M. Àngels Calvo, catedràtica de Sanitat Animal, Facultat de Veterinària, Universitat Autònoma de Barcelona (UAB) Pere Rovira, conservador–restaurador responsable de l’Àrea de Pintura Mural, Escultura en Pedra i Jaciments Arqueològics

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Example of the photographic documentation carried out during the analysis of a floor made up of marble fragments in the basilica in Neapolis: orthophotography, detail of the stratigraphy, detail of the surface finish and detail of the original materials seen through a portable microscope.

Orthophoto: Jaime Salguero Photos: Sílvia Llobet

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Example of the photographic documentation carried out during the analysis of a mortar floor decorated with tesserae in a house in Neapolis: orthophotography, detail of the stratigraphy, detail of the surface finish and detail of the materials seen through a portable microscope. Orthophoto: Jaime Salguero. Photos: Sílvia Llobet

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Collection of mortar samples for analysis and for studying the morphology and nature of the aggregates used. Photos: Sílvia Llobet

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ogy, the dimensions, the decoration and the state of conservation. The third is dedicated to the construction technique and the analysis of materials. And the fourth and final part, describes the conservation treatments.

At the same time, research has begun on the documenting previous restoration works. From the beginning of the 20th century, the various teams of restorers who worked on Empúries left little written and graphical testimony of the measures they took. Extensive research was begun on more than 100 years of restoration works looking at documentary and photographic archives, such as those of the Archeology Museum of Catalonia, while recorded interviews were conducted with two of the conservators who worked at the site.

During this period, the entire opus tessellatum was uprooted and restored, and replaced in its original rooms on new cement foundations, a common method at the time. The other typology, mortar floors commonly known as opus signinum, made up of stone fragments and sectilia, were not extracted, but were consolidated with cement on several occasions.

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Detail seen through the optical microscope of a tessera with paint on the back (x100) used to outline the preparatory design. On the right, a spectrum showing the results of the μ-FTIR analysis.

Photo and analysis: Ricardo Suárez (CRBMC)

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3. Preliminary analyses Together with the team of archaeologists at Empúries, the stratigraphy of each floor was analysed to document the relationship between the floors with their environment and construction technique. The latter involved analysing the preparation layers and the surface layers, which contain the decorative displays, consisting of mortars and stone elements.

Representative samples of various aspects, basically chronologies and typologies of flooring, were collected from the different layers of the mortars. The purpose was to determine the proportion of binder and aggregate and to study the morphology, nature and granularity of the aggregates. This data was useful for us to know the types of mortar originally used, and from there to develop the conservation and restoration mortars that would be most compatible with them. Similarly, the stone material was analysed to identify the stones used in the manufacture of the tesserae, the inserted fragments and the marbles of the sectilia.

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Findings from the exploration using a high-frequency ground-penetrating radar of a polychrome mosaic preserved in the forum of the Roman city.

The purpose of the study was to determine the wire mesh used to reinforce the cement and to assess its condition and continuity. Created by: SOT, archeological prospection

Pictorial layer applied to the polished surface of a mortar floor of a cubicle in a house in Neapolis.

Detail of the mortar and the pictorial layer (x50) and the results of the μFTIR stratigraphy and spectrometry analysis. Photos: Ricardo Suárez (CRBMC) and Sílvia Llobet; Analysis: Ricardo Suárez (CRBMC)

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Collection of samples for the study of microorganisms on a mortar floor affected basically by bacteria and cyanobacteria, using Rodac plates with tryptone soya agar (TSA) and swabs.

Photos: Sílvia Llobet

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Another study focused on the remains of documented pictorial layers, mainly floors made of mortar decorated with tesserae.

An analysis was done on the preparatory outlines of the decoration (or synopia) on a floor in Domus 2B, made of earth pigments in red and ochre, with a high content of iron oxide (Fe2O3) which had been applied when the mortars were still fresh. Meanwhile, an analysis was also carried out of the pictorial layers applied on the floors as a decorative final finish. The remains in a cubicle of a house in the Neapolis, among other things, were analysed in this way. Here the red polychrome is a thin layer applied on the polished mortar, therefore when it was already dry, and it is composed of calcium carbonate (CaCO4) and a red earth pigment rich in iron oxides. This already shows us that it might be limewashed, although other techniques such as the addition of protein binders should not ruled out.

Additionally, a high-frequency GPR (groundpenetrating radar) scan was performed. This device emits and receives short electromagnetic pulses to map underlying structures that are not visible, and in this case, was used to determine the layers of the floors and diagnosis them.

In this way, for the uprooted mosaics, restored and replaced in situ, it was possible to determine the thickness of the foundations on which they were currently supported, define the various fragments with which they were laid down and also evaluate the state of conservation. At the same time, we were able to assess the dimensions of the cement reinforced with wire mesh and, above all, its state of oxidation. This technique was also used to test the effectiveness of the consolidations we carried out during the restoration of the mosaics in situ, which had serious drainage problems.

The GPR allowed us to document the stratigraphy of the mortar floors (since it can measure the various preparatory layers), as well as analyse the deterioration and determine the presence of roots that cause uplift.

Other studies were also undertaken, in particular to find out the materials that had been applied

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in ancient restorations, including a physicochemical analysis of samples taken from the surface of the floor which revealed the use of synthetic resins (acrylic types) in previous restorations.

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Collection of samples for the study of microorganisms on a bichrome mosaic affected by bacteria and cyanobacteria, using Rodac plates with tryptone soya agar (TSA) and hyssop. Photos: Sílvia Llobet

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4. Analyses of the microorganisms in the floors and mosaics. Strategies for combatting them The approximately 170 floors and mosaics to date located at the Empúries site and under study are in different conditions: some have been covered for decades, to preserve them; others are semicovered or permanently uncovered, and the most fragile are covered and uncovered depending on the season.

Some of the floors exposed to climatic forces, even seasonally, often suffer problems due to the pooling of water and the accumulation of soil deposits, conditions that lead to the rapid development of microorganisms, such as bacteria, cyanobacteria, fungi and lichens that proliferate in the soil and which eventually deteriorate the floors.

At the start of the analysis of this serious pathology, in 2015, we first established which were the most affected and at the same time the most representative floors, according to the different typologies and locations. The aim since then has been to identify the different species of pathogenic microorganisms involved, then to propose actions to eliminate or delay their growth and to stop the deterioration that they cause.

First, each floor is measured using a luminometer that determines the amount of residual cellular adenosine triphosphate (ATP). It is an indirect and practical method of physical analysis that reveals the presence of certain types of cell metabolism, which confirms there is macrobiotic activity and indicates the area to assess. If the results give us values of >100 RLU, then a sample

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is taken to determine the type of microorganism. Rodac plates with tryptone soya agar (TSA) are used to detect bacteria, Rodac plates with Sabouraud agar with antibiotic (S+) to detect filamentous fungi and yeasts, and swabs to identify species of lichen.

4.1. Mortar floors Six decorated mortar floors have were studied, in which the most significant microbiotic presence identified in 2015 involved bacteria, mainly Bacillus spp., Kocuria spp. and Streptomyces spp. In a only a few analyses their presence was <100 CFU/plate, reaching values of >1,000,000 CFU/plate on floors that had been covered with anti-germinating fabric and sand during the coldest seasons. We also identified these bacteria in floors exposed to climatic forces, in shaded damp areas, especially after rainy weather, since mortar is a porous material which retains moisture.

With regards to the cyanobacteria, high values (> 1,000,000 CFU/plate) were recorded on floors where water pools and soil deposits accumulate and which receive little sun For the same floors, in areas which receive a lot of sunlight, the results are very low. The dominant species are Gloeocapsa sp., Chroococcus sp. and Scytonema sp. They appeared in higher concentrations after some floors were uncovered, 1,000,000 CFUs/plate, since they can remain viable or alive without light, although they need it later for oxygenic photosynthesis.

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Macroscopic and microscopic details of the lichens documented on a floor made of marble fragments.

Photos: Sílvia Llobet

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We also documented a proliferation of fungi, although their effect is not so significant. Their Tests using numbers rarely rise above >100 CFU/plate, with the different biocides. Photo: most dominant species being Alternaria spp., FusaSílvia Llobet rium sp., and Cladosporium spp. The fungi detected are aerobic and when the floors are covered during colder periods they have difficulty growing, as they need oxygen and light to mature.

Finally, lichens have also been identified but at very low values, with the most dominant species being Caloplaca sp.

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Measuring devices including probes to monitor ambient T and RH, the temperature of the surface of the floors and the soil moisture. Photos: Sílvia Llobet

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4.2. Mosaics Of the 8 mosaics studied, the most damage has been caused by cyanobacteria and bacteria. Of the latter, the most abundant are: Bacillus spp., Kocuria spp., followed by Streptomyces spp. and Pseudomonas spp. At the start of our analysis, several floors located in shaded areas, where there are accumulations of soil and higher humidity, showed values of >100,000 and >1,000,000 CFU/plate. In the sunniest and least humid areas the values was <250 CFU/plate. During the study we observed that colonization starts in the lime mortar of the interstices (a more porous material which retains more moisture) and spreads to the tesserae.

Regarding cyanobacteria, the most abundant are Gloeocapsa sp. and the Chroococcus sp..

These species appear in the highest numbers (>100,000 and >1,000,000 CFU/plate) in areas where bacterial presence is highest as they develop under the same conditions. In a bichromate mosaic in Domus 1 in the Roman city, the samples taken after heavy rain showed immeasurable numbers of both bacteria and cyanobacteria.

For the other floors, with more sunlight, without water pooling issues and with periodic cleaning, the values drop to <120 CFU/plate, extremely low.

In terms of fungi, the most common genus are Cladosporium spp. and Alternaria spp., though even these appear in low numbers (<100 CFU/ plate). Even more insignificant are the values for lichen (<6 CFU/ plate), possibly because these floors are covered during the colder months and are regularly cleaned.

4.3. Other typologies of floors Two cases of floors made with marble fragments inserted in a hydraulic mortar were analysed. One of them, in the private baths of Domus 2B, has been covered for years and only contains very low numbers of bacteria (<200 CFU/plate). However, in the other case, in the ancient baths of Neapolis, the number of lichen were immeasurable, probably because it has always been uncovered and

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never been cleaned regularly. The genus identified is Caloplaca sp., a very common nitrophilic lichen, which usually grows on limestones as well as on mortars, and needs light and warmth to grow.

4.4. Strategies to control the damage caused by microorganisms This study, carried out over three years (20152018), has enabled us to establish a series of actions to combat the growth of microorganisms and to delay their impact on the floors and mosaics.

The first action was to design a protocol of periodic cleaning on each of the uncovered floors in order to remove the accumulated soil deposits and delay the proliferation of microbes. Also, when it rains abundantly, action is taken quickly to remove the pooled water. And if after these downpours cyanobacteria or bacteria start to grow, a mixture of alcohol and deionized water (70:30) is applied as an initial biocidal treatment.

Apart from these more routine tasks, we experimented with several biocides applied on those occasions when the results of the analyses revealed a high number of microorganisms. We tested three biocides: Biotin® R, Biontin® T and benzalkonium chloride. Their effectiveness was tested after 30, 60 and 90 days, while continuous monitoring was carried out over the three years of the study.

A solution of 5% Biotin® R in alcohol was applied and proved to be a very effective biocide for removing lichens, for example on the floor with marble fragments in the Neapolis, where these were prevalent. After a month of two applications, the lichens were radically reduced, from immeasurable to <8 CFU/plate.

Biotin® R applications were tested on mortar floors in which the presence of lichen was negligible before being covered for the winter. When uncovered once more, the cyanobacteria and bacteria values were found to be very high (>100,000 CFU/plate).This method is very expensive because the biocide uses alcohol as a solvent, apart from the fact that on mosaics with a white background it generated yellowish discolourations. In the end,

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Detail of the lifting up caused by the Tyvek© film tested to cover the mosaics during colder periods. The moisture level on the floor is high, and microorganisms develop in the area of contact between it and the film.

Photos: Sílvia Llobet

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it was decided to only apply it to floors which were severely affected by lichens.

Meanwhile, the Biotin® T was applied at an amount of 3 to 5 % in deionized water. Tests carried out on mortar and mosaic floors proved it to be very effective at removing bacteria, some of which had reached values of >1,000,000 CFU/plate.

After the application of this biocide on a mosaic, prior to being covered for the winter, the value when uncovered was <80 CFU/plate. On another mortar floor that had been uncovered for many years in the Roman forum, the number of bacteria was 45,000 CFU/plate, and after two applications, after 60 days, the values were also negligible.

It should be noted that the results obtained on the cyanobacteria and bacteria using the Biotin® T were very similar to those obtained using the benzalkonium chloride, which was applied in a solution of 3-5% in deionized water For example, on a Roman city mosaic the initial number of bacteria was >1,000,000 CFU/plate and for cyanobacteria it was >100,000 CFU/plate. After 30 days of applying benzalkonium chloride the values in both cases were <180 CFU/plate. Another example was a mosaic with initial values of >1,000,000 CFU/plate for bacteria and >100,000 CFU/plate for cyanobacteria, which, after several cleaning processes and two applications of the biocide, before and after seasonal covering, showed values of <10 CFU/plate for bacteria and <60 CFU/plate for cyanobacteria.

5. Control of surface plants and trees The proliferation of plants and trees also causes serious problems for the floors. The most severe damage documented is physical. First, the damage caused by the root systems of plants, which can cause the detachment of tesserae and small fragments of mortar. And, second, damage caused by the roots of trees which can lift up large areas of the floors. In the case of trees, it is very difficult to determine the path of all the roots, since those in question are mostly acacia and cypress which have very developed root systems. For this reason, we will shortly initiate an internal exploration

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monitoring. Surface temperature measurements (HOBO 12-Bit Temperature Smart Sensor) are taken from a mosaic that is covered in winter, so we have measurements for when it is covered and uncovered. And from two mortar floors, one that is covered all year and one that is covered and uncovered seasonally. To study the levels of moisture in the soil, the probes (HOBO Soil Moisture Smart Sensor) have been buried 25 cm under each of the three floors being analysed.

At the same time, climatic data and the changes it undergoes is gathered to understand the ambient conditions, by extracting data from stations belonging to the Meteorological Service of Catalonia, by comparing temperature data, days of frost, precipitation, RH, directions and gusts of wind, and sunlight over several years.

Finally, a study of the land contours is being carried out, which is very important for analysing the internal circulation of rainwater, as well as the areas where water pools and where concentration of moisture is high, in order to design the rainwater drainage systems, a very complicated task for Empúries which is such a large and complex site.

Needless to say, all the problems that come from rainwater, which cause most of the mechanical and biological damage, would be solved by covering the site.

project using a ground-penetrating radar to try to trace the affected path below the surface, while also exploring the vicinity of the affected floors to locate the entry points of the roots.

The study we are currently conducting focuses on the biology of each documented plant species, the environment in which they develop, and the systems that can be used to eliminate them or delay their proliferation. In terms of the latter, we are looking to find the least harmful methods both for the environment and for conservators who apply them, starting with mechanical control systems (pruning) in the case of plants. Regarding the treatments being tested on the trees, these involve applying sodium chloride to the cut roots to dry them out.

6. Analysis of the climatic conditions To calculate the temperature and humidity conditions experienced by the floors and the mosaics, both when covered and uncovered, we have installed measuring devices including probes to monitor ambient T and RH, the temperature of the surface of the floors and the soil moisture, connected to a receiving station (HOBO Micro Station /H21-USB) with several channels for

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Detail of the lifting up caused by the white non-woven polypropylene film, tested to cover a mortar floor over two years. Plant growth is very high and the film sticks to the surface as well. Photo: Sílvia Llobet

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7. Preventive conservation and maintenance proposals Since the start of the project we have established a set of preventive and maintenance routines that have been used to stop the documented deterioration of the floors, stabilize the whole area and establish future proposals for restoration and museumization.

A maintenance routine has been established for the floors and mosaics displayed in the itinerary, which is carried out every month in a sector of the city. During this work, the floors are cleaned, plants are mechanically removed, potential problems are documented and biocidal treatments are carried out where appropriate. Following this methodology, all the floors, as well as the walls and cladding materials, are monitored so that urgent action can be taken if necessary.

With regard to the floors that were semi-covered or uncovered, cleaning and documentation of their state of conservation is being carried out, to ensure they are under control and to guarantee their preservation.

One of the most important preventative conservation actions is the covering of floors, whether permanent, semi-permanent or temporary, for which different materials have been

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Details of the most effective covering system using black woven polypropylene film. Washed river sand is generally used as filler, although gravel has also been tested.

Photos: Sílvia Llobet

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analysed. First, several types of film have been tested for use as an intermediate layer between the floors and the filler, which must ensure proper transpiration, provide protection from UV rays, be water resistant and not stick in any way to the surface of the soil. We tested white non-woven polyethylene film (Tyvek©), black woven polypropylene (anti-germinating fabric) and white nonwoven polypropylene (geotextile) film.

The Tyvek© film provided good mechanical strength in that it did not tear, but generated very high levels of moisture on the surface of the floors, while facilitating the proliferation of bacteria and cyanobacteria in values that double those documented in floors protected with anti-germinating fabric. The geotextile film also resulted in high levels of moisture on the surface, the proliferation of both microorganisms and surface plants, and is also a material that, when exposed to climatic forces, deteriorates after 6 months. It also sticks to the surface of the floors and causes the material to lift up.

The most satisfactory results were obtained using black woven polypropylene film (antigerminating fabric), since it does not stick to the surface, slows down the growth of microorganisms and plants and provides good transpiration, a very important factor.

On all of these films a layer of filler is applied, usually clean river sand (between 3 to 5 cm), although a light grey gravel has been used in the peristyle area of Domus 1, to improve the museumization of the space.

The annual covering ritual is unavoidable and necessary to protect the floors and mosaics, and represents a lesser evil for their conservation. But in the long run it involves technical wear, gradual deterioration and an economic expense that can only be resolved by permanently covering the site as a museum piece.

DETAILS GENERIC CLASSIFICATION: archeological material | OBJECT: various archeological floors | DATE/PERIOD: end of the 2nd century BC - beginning of the 2nd century AD | LOCATION: Archaeological site. Archaeology Museum of Catalonia, Empúries (Alt Empordà) | STUDY COORDINATION: Sílvia Llobet i Pere Rovira | CONSERVATION ACTION: Àbac, SL | YEARS OF STUDY: 2015-2019

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2019 Conserving Canvas Symposium Yale, 14–17 October 2019

The most significant event in the field of canvas conservation since the ’70s took place from 14 to 17 October 2019, at Yale University’s Art Gallery (New Haven, USA). Its predecessors were the Greenwich Lining Conference of 1974, organised by the International Institute for Conservation of Historic and Artistic Works (IIC), and the Lining and Backing Conference of 1995, organised by the United Kingdom Institute for Conservation of Historic and Artistic Works (UKIC).

The Yale symposium was organised by the Institute for the Preservation of Cultural Heritage at Yale University and funded by the Getty Foundation. It attracted around 370 professionals from over 25 countries, including three conservator-restorers from Catalonia: Núria Pedragosa, conservator-restorer at the National Art Museum of Catalonia (MNAC); Teresa Schreibweis, freelance conservatorrestorer, ex-intern and collaborator with the Centre for the Restoration of Artefacts of Catalonia (CRBMC), and Maite Toneu, conservator-restorer and head of the Painting on Canvas Department of the CRBMC. The four-day conference began with a participant reception event and the organisation’s welcome and opening speeches, which were followed by the first of 43 presentations, each lasting 20 minutes. They were spread out over morning and afternoon sessions and grouped into differ-

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The conference attendees during the question and answer session, after the presentations on History, Principles and Theory, with Stephen Hackney

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TRAINING AND KNOWLEDGE

ent themes with the following titles: ‘History, principles and theory’, ‘Current practices’, ‘Problems and research’, ‘Continuous research and practical case studies’, ‘Adhesive issues’, ‘Localised interventions and collections’, and ‘Modern and contemporary’. A question and answer session and round table, made up of a moderator and the presenters from the group, followed each set of presentations.

The presentations were complemented by a poster session, which allowed the creators of the 25 posters on display and the participants to exchange information directly.

What’s more, those who had registered in advance could attend various sandboxes, with practical demonstrations of new devices and new canvas treatment techniques.

And there was plenty of time for casual networking during breaks, in the meeting spaces equipped with all the necessary hospitality facilities.

The momentum generated at the first Greenwich conference continues with improvements to the minimumintervention thread-by-thread tear mending technique, invented by Winfried Heiber.

Interesting developments have been made to the ‘mist lining’ technique, a general canvas strengthening system consisting of the application of the minimum possible quantity of adhesive, through cold spraying, adhesive activation and gentle pressure. This technique was developed by Jos van Och and disseminated by Kate Seymour, from the Stichting Restauratie Atelier Limburg (SRAL), in Maastricht. A new proposal presented at the conference was the use of adhesive mesh, which is being investigated

by Mona Konietzny.

Meanwhile, though used less and less, general restretching techniques through traditional methods exist alongside these innovations, sometimes as a substitution for old, damaged restretching interventions.

In terms of research, a significant part of it was focused on studying the behaviour of the structural materials used in paintings. The importance of the materials’ viscoelastic properties was highlighted, and the consensus was that more research into adhesives is required.

In short, the Symposium was an opportunity to evaluate our activity here at the CRBMC in the painting canvas conservation area and to situate it within a global context.

It confirmed the quality and effectiveness of the techniques we use, which comply with current criteria, while proposing new challenges in the form of implementing new structural treatment techniques.

All in all, the conference was a great platform for taking stock of the current state of the art and for approaching new challenges in the area of structural treatments for painting canvasses.

Maite Toneu,conservator-restorer and head of the Painting on Canvas Department of the CRBMC

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CRBMC takes part in the ‘Restoration of Japanese Painting’ International Forum 29 and 30 July 2019

On 29 and 30 July 2019, the ‘Restoration of Japanese Painting’ International Forum took place, organised by the Tokyo National Research Institute for Cultural Properties (TNRICP) at the Manggha Museum of Japanese Art and Technology (Krakow, Poland).

Representatives from the CRBMC attended the event and enjoyed a presentation of interventions on Japanese art works, in accordance with Japanese restoration techniques, which were exhibited at the Manggha Museum of Japanese Art and Technology specially for the occasion.

It was a pleasure to meet the TNRICP team, observe their work and see how the paper and tools with which we work are made in situ.

On the agenda were various workshops, which enabled us to dive deeper into this world: we worked with paper and practised measuring, cutting, folding and gluing following traditional Japanese methods.

Participating in this Forum was a fruitful experience that allowed us to meet other professionals and encouraged us to work with Eastern techniques, which are increasingly being used within our Western culture.

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Photo of the presentation where we can see the different pathologies affecting a kakejiku

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Different Japanese paintbrushes used to restore graphic works on paper for different uses and applications

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Carme Balliu,conservator-restorer of paper, graphic works, photography, parchment and paper at CRBMC

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Participation in the workshop

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Different types of hair for making the Japanese paintbrushes used to restore paper for different uses and applications

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TRAINING AND KNOWLEDGE

CRBMC attends the ‘Storage, loans, handling and installation of works of art’ course On 6 and 7 June 2019, the head technicians at the Preventive Conservation Department and the Conservation-Restoration of Documents, Graphic Works and Photography Department at the CRBMC attended the course organised by the Institute of Spanish Cultural Heritage titled: ‘Storage, loans, handling and installation of works of art’.

This fascinating course, designed for museum professionals, conservators, restorers, cultural managers, technicians and students of related subjects, took place at the Historical Heritage School in Nájera (Rioja) and examined the systems used for the conservation, handling, packaging, moving and exhibition of cultural artefacts established in various institutions.

The presenters looked at practical cases, which shone a light on the need to establish protocols and criteria, as well as setting the necessary parameters, in accordance with current regulations, to store and move cultural artefacts in a way that suits their specific preventive conservation needs.

Link to the course programme: https://ipce.culturaydeporte.gob.es/dam/jcr:889ae15d -b1b0-44c9-ba3a-05763c31cda6/programa-manipulacion -obras.pdf Carme Balliu, head of the Documents, Graphic Works and Photography Department at CRBMC M. José Gracia, head of the Preventive Conservation Department at CRBMC

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Images taken from the presentation of the conference Preventive conservation in the management of reserve areas in Museums.

Storage systems and criteria, by Pureza Villaescuerna Ilazarra. Head of the MNCARS Art Works Warehouse.

Photo: Carme Balliu

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Image taken from the presentation of the conference The transfer of complex art works. Case study: The Collection of anatomical wax models of the Faculty of Medicine of the UCM, by Alicia Sánchez Ortíz, professor of conservation and restoration and head of the PaintingRestoration department of the UCM. Photo: Carme Balliu

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A MUST-READ

Issues in the Conservation of Paintings David Bomford and Mark Leonard (Ed.) Los Angeles: The Getty Conservation Institute, 2004, 581 p.

This volume focuses on the specific topic of the conservation of paintings and includes over seventy texts, dating from the fifteenth century to the present day.

The first part is a miscellaneous historical overview that allows us to travel through the centuries to see how restoration started being practised by artists. It is not until the eighteenth century that we begin to see the rise of specialist figures.

Different opinions have clashed throughout all this time, and continue to do so in the twenty-first century.

The second section of the book focuses on the history of the profession, providing a glimpse into the evolving role of the painter-conservator in the nineteenth century.

One of the most important figures in this period was P. Edwards, who helped to establish many of the founding principles of restoration.

Next comes J. Brealey’s perspective on the role of the restorer in the late twentieth century. He trained a new generation of art conservators and turned them into professionals.

The following part sees a shift in focus onto the study of artists’ materials and techniques and how methods have been applied with increasing sophistication from the nineteenth century up to the present day. Trends covered include the growing prevalence of UV rays to examine works of art and of X-rays for the study of paint layers, revisions and authenticity.

The penultimate section in the book examines the structural treatment of paintings, which had been largely neglected in conservation literature until the Greenwich Conference of 1974.

Finally, we find an exploration of the cleaning controversy, at the core of which was the opposition between the aesthetic and the material.

This book is an essential read for anyone looking for a general overview of how the field of restoration has changed over time.

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Y la arqueologia llegó al aula Alejandro Egea, Laura Arias i Joan Santacana (coord.)

Gijón: Ediciones Trea, SL, 2018, 343 p.

This publication is coordinated by two lecturers from the University of Murcia, Alejandro Egea and Laura Arias, and one from the University of Barcelona, Joan Santacana.

The text brings together a host of national and international educational experiences, occurring in various centres and at different levels of education, that aim to bring history closer to pupils and make it more inspiring. Above all, as put forward by Egea and Arias in the book’s conclusion, it aims to make students the protagonists of the learning process and encourage them to think like archaeologists when approaching historical matters.

Through their own experience, the authors argue that teaching history through archaeological methodologies puts heritage in the spotlight and instils respect for our artefacts and their protection.

They see archaeology as a cross-cutting discipline, thanks to its exciting nature and its connotations of adventure and discovery. In their teaching, they also propose the application of a current methodology known as gamification – a technique to motivate through rewards or, in other words, the use of game elements and mechanics in other contexts – with a view to managing students’ behaviour and achieving certain goals.

Through all these examples, the authors reiterate the benefits of including archaeology in school dynamics, as it is a positive, cross-cutting way of working on various skills included in the curriculum.

They define archaeology through two main lenses: its technical and scientific part, and its human and artistic side, which links it to imagination and dialectics.

They also, quite rightly, celebrate multidisciplinarity in the archaeological environment.

In short, the authors present various realities, brought together in a book for the first time, designed to act as a model for teachers looking to innovate in their classrooms.

Maria Ferreiro, Conservator of cultural artefacts and documentalist

Giulia D’Agostino, conservator of cultural artefacts

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RESCAT

CRBMC. CENTRE DE RESTAURACIÓ DE BÉNS MOBLES DE CATALUNYA C. Arnau Cadell, 30 – 08197 Valldoreix Tel. 935 902 970 – Fax 935 902 971 crbmc.cultura@gencat.cat http://centrederestauracio.gencat.cat www.facebook.com/RestauraCat www.instagram.com/restaura.cat

PUBLISHER Departament de Cultura de la Generalitat de Catalunya EDITOR Àngels Solé EDITORIAL BOARD Esther Gual, Josep Paret, Àngels Planell, Pere Rovira,

Mònica Salas, Àngels Solé i Maite Toneu GENERAL COORDINATION Àngels Planell TEXTS © The authors TRANSLATION Àngels Planell PHOTOGRAPHS Ramon Maroto (CRBMC) i els seus autors DOCUMENTATION Maria Ferreiro, Àngels Planell i Mònica Salas LABORATORY OF PHYSICAL-CHEMICAL ANALYSIS AND EXAMINATION PHOTOGRAPHS

Ricardo Suárez X-RAY LABORATORY Esther Gual GRAPHIC DESIGN ciklic COVER One of the two female figures crowning the estipites which was in such poor

condition that it had to be recreated. Photo: Albert Gaset LEGAL NUMBER B-13.856-2012 ISSN NUMBER (ELECTRONIC PUBLICATION) 2013-3251 Títol Clau: Rescat (Barcelona, Internet) Títol abreviat: Rescat (Barc., Internet)

Generalitat de Catalunya Departament de Cultura