E-Conservation Magazine by Gonzalo Chong

e_conservation the online magazine

No. 2, December 2007

the online magazine

Since our first number was published, I have seen with pleasure the conservators community being active and excited about our project. I see readers curious to know more about what was published and authors willing to participate. But I’ve also seen that the conservation community is busy. I know how demanding our profession is but I believe we can always find some time to get involved. Lately, I’ve noticed many of you are keen to participate but do not believe their experience is interesting enough to be shared. We all can learn even from mistakes and failures. As John Powell said, the only real mistake is the one from which we learn nothing. We all know how hard conservators confess mistakes but the truth is that sometimes we commit them… On this second number you will continue to read a series of interesting articles. Since nowadays there is a major preoccupation with Conservation of Contemporary Art, some of you may be interested to read about a recent project of the Faculty of Fine Arts in Porto, where a 1972's neon installation was reconstructed. If you are interested in material characterization, you will find engaging the article about the alteration of cinnabar red from the church of Suceviţa. We continue our Case Study section introducing the problematic of derestoration. What do we do when we are confronted with layers of repaintings during a conservation intervention? Here you can read what was done in the case of a World Heritage Monument, the church from Arbore. What’s special about this number? We opened a new section dedicated to the associations of conservators from all over the world, thus if you were ever curious about organizations in other countries, read about the Chamber of Restorers in Slovakia in this first article. Furthermore, you can find information from interdisciplinary domains like art history, architecture and documentation. I hope you will enjoy it! It is a fortunate coincidence that this issue is launched just before Christmas. Holidays are always needed and so we should all take a well deserved break from the daily routine and start the new year in the best way possible. In the name of the whole team, I wish you a successful 2008! Rui Bordalo, Executive Editor

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Index

NEWS

2007 Worksites Medieval Values Discovered at the Assumption Church, Cepari Village, Argeş, Romania (1752) by Mihail Gabriel Bîrhală

Events Reviews 9

Lecture on Preventive Conservation of Contemporary Art 30 November 2007, Sintra, Portugal

Berlin Conference on Preservation of Himalayan Culture 4-5 December 2007, Berlin, Germany

EVENTS

Upcoming Events

PROJECT

Cultural Project

December 2007 to February 2008

The Sibiel Cultural Centre, Ecomuseum – Contemporary Art Gallery by Ovidiu Daneş

ARTICLES

Material Studies

Conservation of Contemporary Art

CASE STUDY

The Church of "The Beheading of St. John the Baptist" from Arbore Previous Interventions from the Perspective of Derestoration by Anca Dină and Oliviu Boldura

ORGANISATIONS

Conservation Organisations in Europe

ART HISTORY

The Crucifixes of Marginime by Ovidiu Daneş

DOCUMENTATION

Documentation for Architecture Conservation:

Formal References in Funerary Architecture by Maria Carmen Nuzzo

The Urban Planning of Parma Cemeterial System by Silvia Ombellini

The Master Plan for the Safeguarding and Restoration of La Villetta by Elisa Adorni

The Virtual Museum - The Memory of the Cemetery Heritage by Simone Riccardi

Lost City, Resumed Architectures a book by Michela Rossi, reviewed by Federica Ottoni

LACONA VI Proceedings (Laser in the Conservations of Artworks) reviewed by Rui Bordalo

BOOK REVIEW

An Alteration Phenomenon of Cinnabar Red Pigment in the Mural Paintings from Suceviţa by Ioan Istudor, Anca Dină, Geanina Roşu, Doina Şeclăman and Gheorghe Niculescu

Reconstructing a 1972’s Neon Light Installation at the Faculty of Fine Arts, University of Porto by Filipe Duarte

Chamber of Restorers in Slovakia by Barbara Davidson

La Villetta Cemetery in Parma, Italy (part 2) a project coordinated by Michela Rossi

new

2007 Worksites MEDIEVAL VALUES DISCOVERED AT THE ASSUMPTION CHURCH, Cepari Village, Argeş, Romania (1752) Worksite supervision: Mihail Gabriel Bîrhală, Specialist Restorer Period: 2006 - 2007

The conservation works of the

The discovered frescoes were entirely

mural paintings from the church

covered by oil paintings executed between

of Cepari Village brought to light

1889 and 1890. Unexpected evidences of

the existence of a valuable

older painting beneath the new one were

ensemble of Romanian

found during the preliminary research

medieval paintings from 1752.

performed for the submission of the

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News

conservation project. Several stratigraphic

Two conservation projects were submitted

exams and successive cleaning tests were

to approval: one regarding the

carried out in the narthex on the paintings

preservation of the present oil paintings

from the dome, the arches, the

and the other proposing to reveal the old

pendentives and the vertical walls. It was

painting through the removal of the new one.

proceeded with maximum care, taking

This last was approved by the Minister of

advantage of all exfoliations and lacunas

Culture due to for the remarkable value of

of the oil paint layer. The results showed

the original paintings and the opportunity

that there were well preserved frescoes

to recover them. The actual intervention

beneath the entire surface, the new layer

on the original paintings was as less

of painting being applied directly or over

intrusive as possible due to the well

a very thin and strong intermediary layer

preserved state of preservation and

of chalk and linseed oil.

mainly in respect for the preservation

Short History In the north-west side of Argeş County, on the Topolog Valley, Cepari Village can be found. The church from Cepari was erected between 1751 and 1752 by jupân Ştefan Balotă. Nave shaped, the church is built of brick masonry, consisting of the altar, the nave and the narthex. A later inscription located at the church’s entrance says that on the occasion of the restoration works in 1888 an exonarthex was added and the church was entirely repainted. The original painting was made in a fresco technique, on a intonaco support (lime with addition of fine sand and hemp). The 1888’s intervention consisted in a new layer of oil painting applied directly over the frescoes or over a thin separation layer. During the intervention - different stages of the cleaning process.

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Whereas the ulterior layers provoked physical-chemical deterioration of the original paintings, they also protect it against other degradation factors. In consequence a fairly good preservation state was observed. During the conservation works started in 2005, the church environment was monitored and the presence of high, abnormal content of moisture in the interior walls was identified in all church’s compartments. It was proceeded to the removal of the cement repairs which obstructed the exclusion of capillarity moisture from the walls. The small size lacunas were filled with mortar and chromatically retouched. Areas where the painting and the original support were not preserved were filled below the surface’s level with coloured mortars.

of the original matter. During the cleaning

These paintings are unique, having being

of the painting in the narthex, major

made by village painters with no academic

lacunas of the support in the inferior

education but with a native talent and

skills. Cepari’s discovered paintings can be

east pendentives were observed, but after

discussed about at large, from both

completing the intervention around 90%

professional and personal point of view.

of the original painting was recovered.

Cepari is now a point of interest for those

It is expected to meet the same

specialised in conservation-restoration or

situation in the rest of the church.

art history and a controversial event for

Unfortunately at this point the works are

its inhabitants, those village people

stopped due to major structural

and their capability of acceptance of the

problems that require immediate solution.

message that this work of art transmits. Text and photos by Mihail Gabriel Bîrhală

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News

LECTURE Preventive Conservation of Contemporary Art 30 November 2007, Sintra, Portugal Organiser: The Leal da C창mara Museum The Leal da C창mara Museum is a small institution dedicated to the life and work of the Portuguese master Leal da C창mara. Among several artistic activities, the museum promotes regular talks on several subjects including museology and conservation. On this context, on November 30th Nuno In every number of the magazine we will

Moreira, conservator and adviser of the

report temporary worksite activity.

Portuguese Museum Network, gave a

If you want to see news about your worksite

talk on Preventive Conservation of

here, please contact us.

Contemporary Art. The audience, with

However, our news section is not limited to on-site projects, but to any kind of conservation activities. If you are involved in

an average age of nearly 50 years old and from the most diverse backgrounds,

an interesting project and you want to share

showed high interest in the subject.

it with everybody else, please send us your

The talk was structured around three

news or announcements.

main topics: what contemporary art is, the importance of preventive conservation in this field and reflections on the new problems that conservation faces with the introduction of new materials in works of art. The public was eager to participate in the discussion that took place after the presentation, making plenty of questions mainly about the difficulties of the conservation practice in museums. In our opinion, this contact between conservators and the general public is fundamental for a better understanding of preventive conservation and contemporary art, thus these initiatives should be encouraged as much as possible.

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News

Conference Review CULTURAL HERITAGE AND SUSTAINABLE DEVELOPMENT OF HISTORICAL CITIES IN ASIA 4-5 December 2007 Berlin, Germany A project implemented by: ASIA Onlus and Tibet Heritage Fund, Co-funded by European Commission

Safeguarding traditions & ancient knowledge to promote development This was the motto of a project planned

presented gave an overview of Buddhist

and carried out by the two NGOs ASIA

and Tibetan architecture in the region

Onlus (Rome) and Tibet Heritage Fund

(Napoli); of the need for and examples of

(Berlin). Both organizations have been

sustainable interventions in architectural

working for over a decade on

design, architectural conservation, urban

development projects in Tibet that include

planning and financial investment in the

the preservation of Tibet's unique cultural

region (Torino); and examples of

heritage. With support from the EU, a

successful interventions in Buddhist wall-

program to investigate the issues of

painting conservation (Roma).

sustainable preservation of the heritage

To bring these topics to a conclusion, THF

of Tibet seeks to evaluate adequate

and two German universities have

methodologies to preserve aspects such

organized an international conference in

as Tibetâ&#x20AC;&#x2122;s ancient architecture, its

Berlin from December 4-5 2007. This was

traditional cities and its monastic art was

designed to create a forum to discuss and

launched. Activities include seminars and

define parameters and strategies for

exhibitions in Italy and Germany, and

intervention in the Himalayan areas,

publications of the results.

addressed to experts working in the fields,

In June 18 - 22 2007, three seminars

policy makers, donor institutions and the

were held in Napoli, Torino and Roma,

general public. More important, it was

addressing the same topic. The papers

also meant to link different people

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News

working in Himalayan areas with different expertise, to create more holistic project approaches. The first day, held at University of Technology, dealt with themes related to architecture and planning, and included presentations on Lhasa, Ladakh, sustainable new architecture in Burkina Faso and resettlements in Qinghai. The second day, held at Humboldt University, dealt with the relation between Tibetan material culture and development, with a particular emphasis on wall-painting conservation.

Tenzin Nyandak (New Delhi School of Architecture and Planning) presenting Modern Tibetan Architecture in Exile.

Speakers included architect Prof. Dr. Peter Herrle from TU Berlin, who regularly advises German development institutions on urban sustainability; Aga-Khan-Award recipient Francis Kere; the eminent Tibetan art historians Heather Stoddard and Erberto Lo Bue, wall-painting conservators Anca Nicolaescu and Luigi Fieni, and THF and ASIA representatives. In parallel, there was an exhibition made by THF about Tibetan architecture on show, entitled: Exploding City Lhasa: Urban Development on the Roof of the World, shown in the foyer of the Main Building, Humboldt University, Unter den Linden 6, Berlin. More information, including conference abstracts for download, under www.tibetheritagefund.org/pages/news.php

Reviewed by AndrĂŠ Alexander, Tibet Heritage Fund, photos by AndrĂŠ Alexander and Lala, 2007 e_conservation

International Seminars Proceedings - Naples, Turin, Rome 18, 20, 22 June 2007, published by Politecnico Di Torino 2007.

will take you to the homepage

Pre-Columbian Textile Workshop

of the event. In case the event does not have an individual page, you will be directed to our website, from where you can check more details and find out how to apply.

Date: 8 January Read more... Place: Lima and Yarinacocha, Peru Workshop organised by Museum Textile Services - document, conserve, and mount preColumbian textiles - conserving textiles and ceramics salvaged after the August 15, 2007, earthquake, which damaged buildings and archaeological sites around Huaca Malena.

Restoring the Royal Pavilion

December 2008

Date: 12-20 January Place: Brighton & Hove, UK

Nigel J. Seeley Memorial Lecture Date: 13 December Place: London, UK, University College

A range of speakers from different disciplines is invited to give their own unique views on "Sustainable Heritage". These lectures, which are open to the public and free of charge, take place monthly at UCL.

Cleaning the Uncleanable

The Royal Pavilion will host a series of lectures and guided tours exploring the craftsmanship and materials used in the on-going restoration of the most exotic palace in Brighton. Speakers, such as architects and engineers who have worked on the Royal Pavilion, will give specialist lectures including a talk on the current major project to restore the stonework. The project is currently in its fourth phase on the east front of the palace and is due to be completed towards the end of 2009.

Architectural Paint Research In Building Conservation Date: 17-19 January Place: New York, US Columbia University

Treatment of Millais' Hearts are Trumps Date: 19 December Place: London, UK

Natasha Duff from Tate will be talking about the recent treatment of Millais' 'Hearts are Trumps' prepared for the current Tate Britain exhibition. This talk addresses the dilemmas tackled and decisions made as part of such a complex cleaning treatment. Register no later than Monday 17 December.

Topics: Cultural Significance. The examination of finishes as a social, economic and cultural component of material culture. Paint materials and their development, as a history of technology. Wallpapers, historical uses as well as modern conservation and replication approaches. Analytical and instrumental techniques used in architectural paint research and standards for these techniques. Practical Applications. Replicating, recreating and conserving historic finishes.

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January 2008

event

The links in this section

Napoleon’s Legacy

A discussion on artists' white, watercolour pigments in the early twentieth century Date: 25 January Place: London, UK

Read more... Date: 31 January - 2 February Read more... Place: Amsterdam, The Netherlands

The lecture will review the historic and current literature on the manufacture, usage and issues surrounding the ageing characteristics of these pigments. Of particular focus are the potential detrimental effects to paper substrates when zinc oxide and titanium oxide are present.

The Object in Transition A Cross Disciplinary Conference on the Preservation and Study of Modern and Contemporary Art Date: 25-26 January Place: Los Angeles, CA, USA

Presented by the Getty Institute. The conference will explore some of the key issues surrounding the conservation of contemporary sculpture, painting, and mixed-media artworks, and the collaborative possibilities, primarily between conservators, art historians, and curators, working in these fields. Free entrance. Registrations will be accepted until the conference is full.

Training Seminars – ARCHAIA Research Planning, Characterisation, Conservation and Management in Archaeological Sites Date: 28-30 January Place: Copenhagen, DK

Addressed to 90 post-graduate students, scholars and professionals of different backgrounds. The results of some funded EU research projects and COST actions will be presented.

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The Development of National Museums in Europe, c. 1794-1830

International conference, organized by the Huizinga Research Institute of Cultural History (Amsterdam) and the Institute for Museum Research (Berlin). The French Revolution and the subsequent Napoleonic Wars had a major impact on European museums. The central question is how did various European countries in this period, stimulated by these confiscations and subsequent restitutions, design and disseminate the image of a ‘national culture’ through their museums.

Terra 2008 10th International Conference on the Study and Conservation of Earthen Architecture Date: 1-5 February Place: Bamako, Mali

Organized by the Getty Conservation Institute and the Ministry of Culture of Mali with the collaboration of Africa 2009, CRATerre-ENSAG, ICOMOS South Africa, and the World Heritage Centre, under the aegis of ICOMOS and its International Scientific Committee on the Earthen Architectural Heritage. The 10th conference to be organized by the earthen architecture community under the aegis of ICOMOS since 1972, and the first to be held in Africa. It provides a unique opportunity to discuss and observe firsthand conservation issues particular to sub-Saharan Africa, a region rich in earthen architecture. During this conference, specialists will present papers and posters that reflect the latest research and practices in the study and conservation of earthen architecture worldwide. Funding opportunities for participants from developing countries to attend the conference will be available.

January-February 2008

Pigment, extender or adulterant

February 2008

January 2008

Events

The Science behind Paper Structure British Museum Lecture Series - Part 3 Date: 6 February Place: London, UK

Date: 21-22 February Place: London, UK

Was David Hockney right? Did van Eyck, Lotto, Memling and de la Tour trace projected images? Read more...

In 2001, artist David Hockney and scientist Charles Falco stunned the art world with a controversial theory that, if correct, would profoundly alter our view of the development of image making. They claimed that as early as 1420, Renaissance artists employed optical devices such as concave mirrors to project images onto their canvases, which they then traced or painted over. Analysis of the paintings, infra-red reflectograms, modern reenactments, internal consistency of the theory, and alternate explanations allow to judge with high confidence the plausibility of this bold theory.

Risk Assessment and management strategies in Preventive Conservation After (the flood) = Before (the flood) Date: 15-16 February Place: Aschaffenburg, Germany

The conference is to set the state-of-the-art in the field of risk assessment and management strategies. The official languages are German and English. Registration closes by January 31st 2008.

Ancient and modern approaches to joining, repair and consolidation

The physical properties of paper. Tensile strength, tear strength, folding endurance, bending stiffness, brightness, whiteness, opacity, gloss, smoothness, air permeability, resistance to water penetration. How and why each property is measured.

Date: 8 February Place: London, UK

Holding it all together

The aim of this meeting is to bring together conservators, scientists and curators with an interest in the methods by which artefacts have been manufactured, repaired (both in antiquity and modern times) and conserved.

February 2008

Events

Polychromed Wood Icon Stone & Wall Paintings Group: 'Polychromed Wood' - Part 2 Date: 22 February Place: London, UK Hampton Court Palace

A conference in two instalments on the care and conservation of polychrome and gilded wood including architectural panelling, structural timbers and wooden statuary both in-situ and in museums.

Call for Papers Deadlines International Workshop SMW08 - In situ Monitoring of Monumental Surfaces Date: 27-29 October Read more... Place: Florence, Italy Abstracts, preliminary registration: 15 February The main objective of this workshop is to illustrate the ultimate state of the art of portable diagnostic technologies for monitoring cultural heritage and their general and specific uses. The typologies of artefacts involved in this workshop are focused on: monumental buildings, painted facades and archaeological remains, whilst the materials to monitor are: stones, mortars, plasters, bricks, ceramics, tesserae, wooden structures and metals.

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projec THE SIBIEL CULTURAL CENTRE Ecomuseum – Contemporary Art Gallery

by Ovidiu Daneş

DALA Cultural Foundation www.dala.ro

Ovidiu DaneĹ&#x;

Introduction The DALA cultural foundation was The project of the DALA Foundation

established in May 2006 in Romania

started from the idea of restoring the

and operates as an NGO.

dialogue between two cultures, rural and urban. The setting of the Sibiel village

Objectives

provides, through the dynamic of changes, interesting documenting-

1. Promoting and supporting projects in

research-experimenting material. The

the area of visual arts, curatorial

Sibiu outskirts, currently going through a

activities and cultural management;

transformation process that can be

2. Drafting and implementing alternative

followed along several lines (image,

educational projects on various

human composition, and oral tradition),

components of contemporary arts;

provide their journey of identity

3. Drafting and supporting architecture

development up to present times.

projects with an effect on public spaces;

Rearranged old boundaries, drawn anew

4. Supporting research programmes in

on the basis of the recent law on

the areas of stable and mobile heritage,

residential colonisations, weave new

of monument restoration and

centres of tension, new village hearths

conservation projects, of research in

into the rural realm. One of the most easy

the area of old Romanian art;

to observe constants is the immediate

5. Book publishing.

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Ovidiu DaneĹ&#x;

alternation between well preserved areas

established DALA Foundation acquired a

of vernacular architecture, clearly defined

house registered in the local patrimony, in

in vicinity, with the current ambiguous

an attempt to mediate the conflict

insertions, oversized and with standard

between the former owner and the Local

purposes. The demolition or abandonment

Patrimony Department. After the

of the area specific housing system is

takeover, dismantling and transportation

joined more or less symbolically by the

to its new location (approximately 200 m

disappearance of crafts, traditions, or by

from the original location), the house was

the transformation of the image of

prepared for restoration on a land

identity-giving monuments. The

property at the end of the village. Placing

phenomenon is new to the Sibiu outskirts

the Cultural Centre on a land separating

villages, and interventions in recent years

the old Sibiel village from its more recent

are radical.

extension allows for the taking on of the

The Sibiel Cultural Centre will emphasise

double discourse of boundary. Physically,

the contemporary reality in a particular

the proposed boundary is a river stone

manner, by means of the location, the

alleyway, a historical emphasis which will

architecture project and the program.

articulate the architecture project. Being

In the summer of 2006, the recently

the first of the village from the point of

Image 1, 2. Wood houses from RÄ&#x192;Ĺ&#x;inari village (left) and Gura Raului (right).

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The Sibiel Cultural Centre

view of the traveller and the last seen from the village hearth, the alleyway separates the Centre in its two components, the Ecomuseum and the Contemporary Art Gallery, proposing a face to face dialogue between them. The Ecomuseum, seen as a future space for the local community to present its current daily life, will use as raw material the image of the local household; the typology of the latter is that of a Ushaped living area which makes maximum functional use of the land, where the house is always smaller than the auxiliary spaces – stables, barns, workshops. Image 3, 4, 5. Wood houses from Sibiel village (right, up), Fântânele village (right) and Arpaş village (down).

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Ovidiu DaneĹ&#x;

The Ecomuseum program will be

the Ecomuseum and the accommodation

organised around a long term exhibition

centre, will come from demolished or

of 6-9 months, during which one family

abandoned houses and barns; wood

from the village at the time will manage

pillars, large stones strapped with

the living space, and the auxiliary spaces

wrought iron, gates, river stone, tiles.

will host workshops; glasswork, ironwork,

On the other side of the alleyway, the

wood sculpting and cutting, pottery â&#x20AC;&#x201C; all

Contemporary Art Gallery conceived as a

trades which survived until recently in the

container space will host a research

region. The cellar and attic will be used to

centre and a multi-functional space for

store preserves made according to

events hosted by the Sibiel Cultural

methods specific to the area of the Sibiu

Centre: exhibitions, workshops, training

outskirts. An accommodation centre for

sessions, seminars, lectures.

20 persons will be built on the same side

Both the multifunctional space and the

of the alleyway and in the immediate

accommodation centre will periodically be

vicinity of the Ecomuseum, following the

made available to companies interested in

same typology of the U-shaped living

organising events: training sessions,

area. The basement of this space will

seminars etc., thus ensuring the

serve as cooking and dining area.

sustainability of the Sibiel Cultural Centre.

The materials used for the two buildings,

The purpose of the Cultural Centre entails

Image 6. Old house moved to new location and rebuilt.

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The Sibiel Cultural Centre

Image 7. Wood house from Fântânele village.

finding technical solutions with minimal

Project team:

impact on the environment, such as: heat pumps with shafts, a combined system

Ovidiu DANEŞ - art historian,

with solar cells for hot household water,

project manager

thermal insulation through processed sheep wool, wall covering out of clay

Şerban STURDZA - architect

mixed with sand, hemp and straw fibres. Klaus BIRTHLER - architect

Buildings Luiza ZAMORA – art historian - Ecomuseum – old house moved to new location and rebuilt

Ioana POPESCU - research director

- Workshops of the ecomuseum

Romanian Peasant Museum in Bucharest

- Multifunctional building with research offices - Accommodation rooms with dining room

Laurenţiu TOMA - visual artist

- Administrator’s house

DALA Cultural Foundation

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AREAS OF PUBLISHING

Conservation Treatment Mural Painting Painting (any support) Stone Sculpture (any support) Textiles Paper / Documents Photography Metals Tile / Ceramic / Glass Furniture Music instruments Ethnographic assets Archeological objects

Conservation Science Scientific research Material studies and characterisation Analytical techniques Technology development Biodeterioration State-of-the-art Reviews

Preventive Conservation Theoretic principles Case studies

Art History, Iconography, Iconology, Chemistry, Physics, Biology, Photography, Cultural

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Management, Museology, Computer Science,

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Processes, Conservation Policies and any other

Conservation Theory Ethics Conservation History Check out more:

field applied to Conservation and Restoration www.e-conservationline.com

AN ALTERATION PHENOMENON OF CINNABAR RED PIGMENT in the Mural Paintings from Suceviţa Ioan Istudor, Anca Dină, Geanina Roşu, Doina Şeclăman, Gheorghe Niculescu

Alteration of Cinnabar Red Pigment

Introduction The mural paintings from northern Moldavia have always been a point of interest for specialists in conservation, due to their technical qualities that assured their preservation over the years in the severe climate of this region in Romania. Over the years, both exterior and interior paintings showed colour alterations caused by environmental factors like atmospheric deposits, humidity and light among others. Through physical, chemical or biological processes, these factors induced superficial chromatic alterations of the colours, modifying the artistic expression of the paintings. These alterations are generally considered as patina. The term patina, according to Paul

Philippot1,

Image 1. General view of the church, east facade.

is attributed to the

modifications that occur in normal

The conservation works started in 1989

conditions in the colour layer under the

by Oliviu Boldura and Tatiana Pogonat

action of the previously mentioned factors.

gave us the possibility to perform a detailed

When the painting materials are submitted

scientific research on the exterior and

to environmental factors which take

interior mural paintings. Even from the

course at high intensities on long time

beginning our attention was drawn to the

periods, we deal with other alterations

phenomena of alteration of pigments in

which can not be considered as patina

these paintings from which here we shall

anymore. Some of these alterations made

focus on the alteration of cinnabar red.

the subject of a previous

paper2.

In a first phase, while analysing the state of conservation of the paintings from the

1 Paul Philippot, La notion de la patine et le

nettoyage des peintures in Bulletin de lâ&#x20AC;&#x2122;Institut Royal du Patrimoine Arttistique, Bruxelles, IX, 1966, pp. 136-142. 2 Ioan Istudor, Alteration de la couleur observees sur les peintures murales des eglises de Bucovine, in Colloque sur la Conservation et la Restauration des Peintures Murales, Suceava, Romania, 1977, pp. 21- 35.

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churchâ&#x20AC;&#x2122;s dome, we observed significant surfaces coloured in red having dark aspect and turning into black-brown. Ulteriorly, once the conservation works were started, the same phenomenon could be observed as well in other 25

Ioan Istudor et. al.

old masters. Cennino Cennini4 described the alteration of cinnabar as follows: “bear in mind that it is not its nature to be exposed to the open air; it is more lasting on panels than on walls, because, by long exposure to the open air (all’ aria) it becomes black when applied to walls.” Dionysius of Furna writes in his manual (Erminia)5: “[…] as for the cinnabar, when you want to paint outdoors in a place with wind, you should give up, because it turns black while the white must have a high concentration; when you want to paint indoors you should add some ceruse6 and Constantinople ochre and like this it won’t turn black.” The old masters had already noticed the phenomenon, without knowing exactly Image 2. Altar, east apse and triumphal arch

what causes it and still recommended the use of cinnabar for interior and panel

compartments of the church. The visual

paintings, “in order to keep it away from

inspection and the first cleaning tests led

air and wind”.

to the conclusion that we do not deal just

The exact explanation of the phenomenon

with common dirt deposits but with a

was given later afterwards. The mercury

colour alteration.

sulphide presents two enantiomorph

Literature mentions the alteration of

states: a red one, stable, crystallised in

cinnabar (red) into metacinnabar3

the hexagonal system known as cinnabar7

(black). The same phenomenon is

and very appreciated in painting, and a

mentioned in the painting manuals of the

black one, metastable, crystallised in the

3 Rutherford J. Getens, Robert L. Feller and W. T.

5 Dionysius of Furna, Carte de Pictură, Meridiane,

Chase, Vermillion and Cinnabar, in Studies in Conservation, 17 (1972), pp. 45-69. 4 The book of the art of Cennino Cennini: a contemporary practical treatise on quattrocento painting (1922), 15th century, George Allen & Unwin, London, Chapter 40. Of the properties of a red called cinnabar, and how it ought to be ground, free to download from: www.archive.org/details/bookofartofcenni00cennuoft

Bucharest 1979, pp. 86, “Cartea întâi, îndreptar pentru meşteşug”, 66 paragraph. 6 Term used by Dionysius of Furna for the white pigment usually used in the Byzantine frescoes, prepared from grinded old intonaco. 7 The red pigment based on mercury sulphide was artificially prepared since the antiquity from sulphur and mercury. Starting with the 18th century (1785), it is commercialised under the name “vermillion”.

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Alteration of Cinnabar Red Pigment

Methods and materials cubic system or in amorphous state,

The analysed samples were taken from

known as metacinnabar (polymorphism).

both the red and the superficial overlayer

After a long exposure to solar light, the

of black colour from the paintings in the

cinnabar red turns into black

dome of the church (sample no. 1, 1st

metacinnabar. The change takes place

scene, garment of Prophet Solomon and

through the absorption of a light radiation

sample 14, 2nd scene, red frame between

of 400 to 570 nm wavelength. The

the scenes) (see images 3 and 4).

alteration is only superficial, under the

The first data were obtained by

black layer being the unaltered red.

microscope examination with reflected

A similar process occurred in the paintings

light. In the cross section no. 329 (90x)

from SuceviĹŁa, thus we proposed to prove

from image 5 can be observed the

that the red pigment and the alteration

presence of a 5Âľm thick black layer and a

product are indeed mercury sulphides.

25Âľm thick red layer.

Image 3 and 4. Nave, dome, Prophet David. Sampling area. Images during the conservation of the painting.

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Ioan Istudor et. al.

Image 5. Sample no. 329. Cross section (90x) showing a 5µm thick black layer of metacinnabar and a 25µm thick red layer of cinnabar.

Image 6. Microchemical identification of the mercury tetrathiocyanatocobalt - CoHg(SCN)4.

For the chemical analyses, the samples

The obtained results were verified also by

were dissolved in aqua regia (a mixture of

X-ray Diffraction (XRD), using a Dron 2.0

HCl and HNO, 2:1, v/v).

Hg2+

ion was

equipment and the working parameters:

microchemically identified as mercury

- Cu Kα radiation; 36 KV, 20 mA, Ni filter;

tetrathiocyanatocobalt8

- angle range 2θ, goniometer speed 4°/’,

(blue crystals,

CoHg(SCN)4, which belong to the

- cinnabar ASTM 6 – 256, metacinnabar

rhombohedral system) (see image 6) by

ASTM 6 – 261

comparison with HgCl2 (reference

The obtained spectrum is shown in figure

substance) and by the reduction of

Hg2+

to metallic Hg on the copper lamella,

1 that shows the presence of both forms of mercury sulphides.

which makes a deposit similar to a silver mirror.

8 S. Savencu, A. Bordea, J. Linde, A. Luca, Chimie

Analitică Calitativă, Ed. Didactică şi Pedagogică, Bucharest 1963, pp. 185 - 186

Figure 1. Spectrum obtained by XRD, showing the presence of both forms of mercury sulphides: - cinnabar HgS ASTM 6 – 256, - metacinnabar HgS ASTM 6 – 261.

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Alteration of Cinnabar Red Pigment

Results and discussion The chemical reaction has shown crystals of the same shape, colour and size for both the samples and the reference substance. This allows us to state that the analysed samples contain mercury sulphite (cinnabar, metacinnabar, HgS). The metacinnabar presence was confirmed by XRD. The initial hypothesis was confirmed. This is the first case in Romania of mural paintings presenting an alteration of cinnabar. At SuceviĹŁa, the cinnabar red pigment was used in many scenes from all the compartments of the church. It was applied according to the Byzantine technique, on a fresh plaster made of lime

Image 7. Nave, south apse, jamb of the west window. The direct action of sunlight over the mural paintings.

and hemp fibbers. The alteration took

Figure 2. Longitudinal section, south facade. Drawing adapted from G. BalĹ&#x;, Bisericile moldovenesti din veacul al XV-lea, BCMI, Tiparul Cultura Nationala, Bucharest (1928).

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Ioan Istudor et. al.

Figure 3. Longitudinal section, north facade. Drawing adapted from G. BalĹ&#x;, Bisericile moldovenesti din veacul al XV-lea, BCMI, Tiparul Cultura Nationala, Bucharest (1928).

place not only in the domeâ&#x20AC;&#x2122;s paintings, but

in areas where the sun light did not reach.

also on scenes from the nave, narthex

In the nave, due to the six windows

and exonarthex, on the walls exposed to

symmetrically disposed in the north and

solar light through the rather large

south apses (three windows in each), we

windows. The dome, with an interior

can observe the paintings from the

diameter of 3.64 m is fully exposed to

intradoses and jambs suffered a

solar light due to the four 1.83 m

progressive and differentiated alteration

windows. The affected surfaces

of cinnabar red pigment. A first

correspond precisely to the strongly

observation is that the alteration is more

lightened areas. A graphic representation

obvious in the windows of the south apse,

of the surfaces from the dome is

where the sun is stronger in the morning.

presented in figures 2 and 3.

A differentiated degree of alteration can

In the summer of 2007, together with the

be seen in each of the three windows,

coordinator of the conservation works

progressive from east to west. Moreover,

Prof. Oliviu Boldura, our research

the west side of the windows was clearly

extended to other compartments of the

more exposed to sun, thus the paintings

church and to the areas in undergoing work.

from the west jambs are more altered

The cinnabar red did not suffer any alteration

then the ones from the east.

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Alteration of Cinnabar Red Pigment

window (solar light)

interior of the church

Image 8. Nave, south apse, jamb of the west window. The differentiated alteration of red cinnabar.

A detailed analysis of a scene9 shows the

distance from the window, thus here only

transformation process or cinnabar red

a slight alteration to black can be seen

pigment. In near proximity of the window

(see image 10). The alteration is

can be seen that cinnabar turned into

superficial so it is still possible to see the

dark-grey and black, the drawing lines

original red colour. Proceeding to the

applied with ochre-red becoming visible

inside opening of the jamb we notice the

(see image 8 and 9). Next garment

alteration becomes discontinuous, insular

painted with cinnabar is located at 0.5 m

and the red is much better preserved (see image 11).

9 The chosen area to exemplify this process is

located in the south apse, west window, west jamb, as the painting here is rich in cinnabar, applied on several decorative elements located at variable distances from the window.

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In the narthex we meet a similar situation but a more pronounced alteration, due to the wide size of the windows and their large opening angle. Here the alteration 31

Ioan Istudor et. al.

Image 11. Areas where cinnabar is well preserved. Image 9, 10 and 11. The conservation state of the cinnabar red on various surfaces located at different distances from the window.

occurred not only at the jambs of the windows, but also on the north and south walls, especially in the inferior parts. In the exonarthex, due to the three wide Image 9. Strong alteration of cinnabar red.

windows from the west wall and the two lateral doors that are permanently open, important areas where cinnabar was used were affected by light. A similar case was mentioned in literature at a late Byzantine church from Cyprus10, where the light penetrated through a window and produced on the lightened areas the darkening of the red pigment from a repainting of a interior decoration frame. The inversed process of metacinnabar into cinnabar, possible in the laboratory (e.g., by sublimation or sodium polysulfide treatment), was not achieved by now on a painting. Thus, in the present, when the removal of metacinnabar is required it is performed by mechanical means.

Image 10. Alteration of cinnabar in a smaller degree.

10 Rutherford J. Getens et al., loc cit., pp. 54.

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Alteration of Cinnabar Red Pigment

Image 12. Narthex, north wall, inferior level, scene from the life of St. George.

Image 13. Narthex, north, jamb of the east window.

Conclusions

Ioan ISTUDOR S.C. CERECS Art S.R.L. Bucharest

To prevent this alteration phenomenon

Contact: bistudor@gmail.com

from producing the use of adequate window filters (to retain the too strong

Anca DINĂ - S.C. CERECS Art S.R.L.

radiations) is recommended. Knowing

Contact: anca@zappmobile.ro

these types of alterations and taking the right decision to prevent them we avoid

Geanina ROŞU - S.C. CERECS Art S.R.L.

the formation and thus, the mechanical

Contact: geacorest@yahoo.com

removal of metacinnabar as an integrant part of the original painting.

Doina Şeclăman Romanian National History Museum Contact: investita@mnir.ro

*Note: Partial data presented in this article were previously published by Ioan Istudor and Geanina Roşu, in "Un fenomen de alterare al pigmentului roşu cinabru la Biserica Mănăstirii Suceviţa", Buletinul Centrului de Restaurare-Conservare, Iaşi, no 3/2004.

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Gheorghe NICULESCU National Research Institute for Conservation and Restoration, Bucharest Contact: niculescu.geo@gmail.com

RECONSTRUCTING A 1972’S NEON LIGHT INSTALLATION at the Faculty of Fine Arts, University of Porto

FILIPE DUARTE

Reconstructing a Neon Light Installation

A 1972’s neon light installation from the artist António Quadros Ferreira was investigated and reconstructed 35 years after its original presentation, under a pilot project on Conservation of Contemporary Art at the Museum of the Faculty of Fine Arts of the University of Porto (FBAUP). The reconstruction of the artwork was carried out in close communication with the artist without whom this project would not have been possible to be accomplished such was the lack of information available on the artwork. This article aims to describe the whole process behind the reconstruction of Quadros Ferreira’s installation, from the identification of what was left from the original components at FBAUP’s Museum depot until its reinstallation and public exhibition in April 2007.

Introduction

Fine Arts, University of Porto1, of which collection Quadros Ferreira’s installation is currently part of. The very scarce written documentation available on the museum’s database as well as the inexistence of any visual record of the original assembled installation led to a scenario of extremely poor information regarding several aspects of the artwork (even its overall appearance), situation lived in the museum until the beginning of 2007. The case study presented in this article2 reports to the investigation and reinstallation of the artwork by Quadros Ferreira, 35 years after its original presentation and was carried out in the context of a pilot project on Conservation of Contemporary Art currently being developed at the University of Porto3. The intervention was carried out in close communication with the artist between February and April 2007.

1 In 1992 the Fine Arts School of Porto (ESBAP) was integrated in the University of Porto and became the Faculty of Fine Arts of the University of Porto (FBAUP).

In 1972 António Quadros Ferreira presented his final work for graduating in Painting at the Fine Arts School of Porto (Portugal), a peculiar and innovative artwork in its academic context: a study of light, colour and movement in the shape of a neon light installation. That same year, following its original exhibition, the artwork would have been dismantled and all its different components stored in the depot of the Museum of the Faculty of e_conservation

2 Note that the original article was published in Portuguese at the Portuguese Association for Art Historians’ (APHA) bulletin no.5, 2007. 3 The Fine Art Museum and the Science Department of the University of Porto, in collaboration with the Stichting Restauratie Atelier Limburg (The Netherlands), are developing a project focusing on the conservation of modern and contemporary artworks. A group of 10 representative objects, on non-traditional supports, was selected from the museum’s collection and is currently under investigation and/or conservation treatment. The investigation includes topics such as materials’ characterisation, art historical relevance, conservation needs, preservation strategies and artists’ interviews.

Filipe Duarte

The installation

itself and therefore is called by the artist as the perpetual movement of colour.

Despite having been created in the

The introduction of this technological

academic context of a Paintings Degree,

component as support of the artwork,

Quadros Ferreira’s neon light installation is

without which the work does not fully

an example of the diversity of the means

exist, mirrors the modernity sought by

of artistic expression explored by artists in

Quadros Ferreira. The physical structure

early 1970’s. In this particular case,

of the installation (columns, electrical

Quadros Ferreira explores the numerous

wires, transformers and keyboard

possibilities of colour and movement

/programmer) work as a mere support for

through neon lights, in a work understood

the essence of the artwork: the colour, the

by the artist as an example of kinetic art,

light and the movement.

not by the physical movement of the work

The original documentation that was

itself but by the constant movement of

presented in 1972 together with the

light and colour.

installation was still in possession of the

The installation is made of six vertical

artist. This documentation was the

neon light tubes housed in six black-

theoretical fundament of the work, an

painted independent columns with cca. 2

exhaustive and complex study with

metre high. The neon lights are divided in

drawings, diagrams and texts in which the

three pairs of primary colours (i.e. two

artist explores numerous possibilities of

blue, two red and two yellow lights). Each

use for his installation.

of the columns, with its own light tube, is connected by a series of electrical wires to a transformer which in turn connects to a

Condition of the installation prior to reconstruction

central element, a black-painted box with a keyboard/programmer, fully designed by

Until February 2007, very little was known

the artist. The installation is meant to be

at FBAUP’s Museum about the neon light

exhibited in a totally darkened room. The

installation created by Quadros Ferreira 35

spectator is invited to interact with the

years earlier, as a final thesis for his Degree

installation either through the keyboard,

in Painting. In the depot of the Museum

which allows him to turn on/off each of

there were several disperse and non-

the lights independently (creating distinct

identified elements, stored together with

rhythms and light patterns), or by

parts of other artworks (Image 1).

accessing an automatic cycle,

A cardboard-box with a bundle of crooked

predetermined by the artist in the

electrical wires and wooden supports; black-

programmer. This cycle was developed in

painted wood columns lying on the floor;

such a way that it would never repeat

old neon light bulbs on top of wood shelves...

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Reconstructing a Neon Light Installation

In the Museum files, an inventory record dating back to early 1980’s (Image 2) recorded Quadros Ferreira’s installation as part of the museum’s collection (included in the “Paintings” collection). The inventory file of the installation did however not contain any photograph of the work assembled nor did it have any description of the artwork. Furthermore, a series of elements were missing from the brief list of materials that make up the installation. This scenario was clearly insufficient to allow an overall image of the complete Image 1. Card-box with some elements of the installation stored, FBAUP’s Museum depot, February 2007.

artwork, to understand the way the different elements of the installation connect to each other or even to

Image 2. Inventory record of Quadros Ferreira’s installation, FBAUP’s Museum database, early 80’s.

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understand the way the installation relates to the surrounding space.

Filipe Duarte

First steps

together with the installation. The elements that make up the

In February 2007, following preliminary

installation were isolated and organised

investigation on the work, the artist was

according to their typology:

contacted and invited to participate in this project of reconstruction of his 1972’s

1. Six wooden columns and six

installation. Quadros Ferreira, currently

supports

teacher of Painting at FBAUP, was fully available to collaborate and to provide any

The columns, referred to as “modules” in

useful information, without which it would

the original documentation of the artist,

not have been possible to reconstruct and

measure cca. 2 metre high and present a

re-install his work as close as possible to the original work as exhibited in 1972. In the working plan drawn together with the artist in the first meetings it was defined as a starting point the identification of each different original element that make up the installation in the Museum’s depot and to evaluate the condition of each of these separately. This would allow, on one hand, to know whether the installation was complete and, on the other, to obtain an overall view of the complete installation. In order to facilitate the process of identifying the elements and the subsequent reconstruction of the artwork the artist was asked to draw a sketch of the structure of the installation. Thus, all the elements stored in the Museum’s depot were identified and collected at FBAUP’s workshop. The artist also brought along with him a more sensitive element which he had kept in his possession since 1972 (the keyboard and programmer), as well as the original documentation which was exhibited 38

Image 3. Constituting elements of the installation - columns.

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Reconstructing a Neon Light Installation

layer). None of the elements presented damages of particular relevance on these layers, only small damages caused by wear and abrasion and minor losses, particularly along the bottom part of the columns. Structurally, both columns and feet were in good condition Image 4. Constituting elements of the installation - feet.

2. Six neon light tubes

central rail which houses the neon light

The six neon light tubes measure

tubes. The six supports (or “feet”) have

approximately 2 metres long and are

small wheels to facilitate the transport of

grouped in three pairs: yellow, red and

the columns and their adaptation to the

blue4. Regarding their condition it was

surrounding space. Each foot has a

observed that, from the six original light

metallic rod onto which the columns are

tubes, three were irreversibly damaged

screwed. Both modules and feet are

(two clearly broken and one presenting

coated with a monochromatic black paint

small cracks in the glass which proved to

layer (evenly applied over a grey ground

be irreversibly damaged as well). A thick

Image 5. Constituting elements of the installation - neon light tubes.

and opaque dirt layer was covering the light tubes (Image 5).

4 In general terms, the light tubes usually

denominated as “neon lights” are made of a glass tube with two electrodes in the ends. When these electrodes are connected to an electricity source, the gas (in vacuum) inside the glass tube is passed through by the electrical current and light of a specific colouration is produced. Despite being known as neon lights, this is not the only gas used to obtain colour, since different gases and different processes permit different light colours to be produced. While neon gas produces a bright red light, argon gas produces blue. In order to obtain colours other than these two, powder pigments are usually added to the gas or sometimes even painted glass tubes are used. This type of illumination was discovered around 1950’s and was initially used in the publicity world, slowly becoming adopted by artists as a new mean of artistic expression, entering the international scene some years later. Initially, only blue and red colours were available but gradually new colours were introduced in the market, with advancing technology.

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Filipe Duarte

Image 6. Constituting elements of the installation - transformers.

3. Six transformers

4. Electrical wires

Each of the â&#x20AC;&#x153;archaicâ&#x20AC;? transformers is

The long electrical wires establish the

housed in a metallic box (20x18x15cm).

connections between all the elements in

These make the connection between the

the installation: keyboard/programmer,

central keyboard/programmer and the

energy source, transformers and neon

neon lights and have the function of

lights. Despite being crooked and rigid

momentarily increasing the received

from being stored in a box for the past 35

electrical current to a much higher current

years, all the cables were in good working

in order to allow the lamps to be turned

conditions (Image 7).

on during the energetic peak. Tests carried out at a later stage showed that all

5. Central keyboard/programmer

the transformers were in good working conditions (Image 6).

The central device is made of a keyboard and a programmer, housed in a blackpainted wood box (35x25x10cm), similarly to the columns. The programmer is an electrical system associated to a set of meal gears which defines the patterns and light sequences. The keyboard, on top of the box, allows the spectator to Image 7. Constituting elements of the installation - electrical wires.

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Reconstructing a Neon Light Installation

reconstruction of the installation are listed as follows: 1. Removal of thick layer of dirt from the surface of the neon light tubes (Image 9) and surface cleaning of columns, feet and programmer/keyboard. This procedure was carried out by dry cleaning with Image 8. Constituting elements of the installation - central keybord/programmer.

microfibre cloth and soft sponges. 2. Retouching of small damages and

access an automatic program,

losses of the black monochromatic paint

predetermined by the artist in the

layer in different elements of the

programmer, or to access the manual

installation. Retouching was carried out

programme. In this case, the spectator

with gouache, which allowed replicating

creates his own light sequences and

the matte feel of the original paint in the

patterns through the six buttons,

damaged areas5.

corresponding to each of the six lights. This device was in possession of the artist

3. Following information provided by the

since 1972. In the preliminary tests

artist in the first meetings it was possible

carried out, it was observed that the

to find and contact the original supplier

programmer was not working in perfect

company which provided the neon light

conditions (Image 8). 5 The original monochromatic black paint layer was

Course of action

identified through infrared spectroscopy (FTIR) as an acrylic-based paint, in the Scientific Department of the University of Porto.

Once every element of Quadros Ferreiraâ&#x20AC;&#x2122;s installation was identified and separated, a strategy for the intervention was defined. Dialogue with the artist as well as the access provided to the original documentation were of extreme importance for this procedure since they provided essential information about the way the different elements relate to each other. The different steps taken in the process of conservation and e_conservation

Image 9. Detail of neon light tubes during surface cleaning.

Filipe Duarte

tubes and gave technical support to the

decision was taken together with the

artist in 1972. The company, “Neolux”, is

artist to order new lamps to the original

still functioning and was keen to

supplier, with the same length, diameter

collaborate with this project. The original

and colour/light intensity as close to the

and intact light tubes were taken to their

original as possible.

specialised workshop and their condition was investigated by Neolux’s technicians

Original material versus artist’s

(Image 10). Although the three structurally

intention

intact tubes were to found to be working (light was produced), the intensity of one

The six neon lights (three 1972’s originals

of the blue tubes was considerably

and three 2007’s reconstructions) were

reduced in comparison to the others.

then fit in the rails of the columns, set

Since it would not be possible to

side by side and turned on. However, as it

reconstruct the installation with all the

may be observed in image 11, the blue

original elements (half the lamps were

“pair” presented an enormous disparity of

irreversibly damaged) it was necessary to

light intensity emitted. The new tube

take a decision regarding the replacement

presented a much higher luminous intensity

of the missing elements. Therefore,

than the original one, worn by time and

Image 10. António Quadros Ferreira (left) and Neolux’s technician performing preliminary tests to investigate the condition of the original neon lights.

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Reconstructing a Neon Light Installation

possibly weakened by small damages.

imply accepting that the “blue pair”

Although the original blue lamp was

would not work as a single colour since, as

functioning it would have been technically

shown, they presented different intensities.

impossible to replicate its partially lost

After considering different possibilities and

light intensity onto a newly made light

discussing these questions with the artist

tube. In this context, taking the decision

it was decided to order a new blue lamp

of keeping the original blue lamp as part

to replace the original one. This way the

of the reconstructed installation would

blue pair, made of two new neon light tubes, would present a single colour and intensity of blue, which would go much more in conformity to the artist’s original intent of exploring the three primary colours with three pairs of lamps in this installation. The original blue tube, not used in the reconstruction, was stored in the museum’s depot and registered as “an original piece, replaced”. 4. The entire electrical device that makes up the programmer and keyboard was carefully cleaned and lubricated (Image 12). The terminals of the electrical wires were reattached in the correct positions in the programmer and the metal clips associated to each of the rotating gears were individually repaired in order to allow a fluid functioning of the programmer.

Image 11. Blue neon light tubes, reconstruction and original side by side.

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Image 12. Programmer, after cleaning and repairing.

Filipe Duarte

Re-installing the installation

modules. Some of the pages of the original documentation were presented

In April 2007, 35 years after its creation,

together with the installation during the

all the elements that make up Quadros

exhibition period in a contiguous room.

Ferreira’s installation were brought to FBAUP’s exhibition room where the new

Acknowledgments

exhibition of this work was prepared, according to the original plans6. Although

António Quadros Ferreira, Lúcia Almeida

the original documentation would consider

Matos, Jill Sterrett, Ana Martins, Cláudia

different possibilities of exhibiting this

Garradas, Patrícia Almeida, Cláudio

work, decision was taken that - in a

Ferreira, Associação Regional de Protecção

similar way to the original presentation of

do Património Cultural e Natural (ARPPA),

this installation - the columns would be

Neolux.

displayed linearly, in an enclosed room, with minimum possible external light (Image 13). The public was invited to interact with the installation by using the keyboard placed in front of the line of light

6 More information on recovering installations are

available online at the website of the project Inside Installations: Preservation and Presentation of Installation Art, at http://www.inside-installations.org

Image 13. António Quadros Ferreira’s installation, Study of Light, Colour and Movement, 1972. Artwork reconstructed and re-installed in 2007, FBAUP.

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Reconstructing a Neon Light Installation

Call for Submissions e_conservation magazine is open to the submission of articles on a wide range of relevant topics for the cultural heritage sector.

Filipe Duarte Porto, Portugal contact: filipeduarte@hotmail.com

Next deadlines for article submission are: for Issue 3, February 2008 â&#x20AC;&#x201C; submission due 31 December 2007

Following his graduate studies in Art

for Issue 4, April 2008 â&#x20AC;&#x201C; submission due

History, Filipe Duarte completed the MA

29 February 2008

Conservation of Fine Art -Easel Paintings at Northumbria University, Newcastle, UK. He carried out internships at the Modern Art Museum of Barcelona (MACBA) and the I&R conservation Centre in Madrid, Spain. Filipe worked for two years in the

Nevertheless, you can always submit your manuscript when it is ready. Between the receival of the manuscript until the final publication may pass up to 3 months according with: - the number of the manuscripts on hold, submitted earlier by other authors

Netherlands with the Stichting Restauratie

- the release date of the upcoming issue

Atelier Limburg (SRAL), where he had the

- the pre-allocated space in the magazine

chance to be involved in a series of major

to each section

conservation projects (including projects

Please check our publication guidelines for

at the Rijksmuseum Amsterdam and the

more information.

Royal Palace at the Dam). Here he also collaborated with the Instituut Collectie

Nederland (ICN) in a research project on modern paints.. Since January 2007, Filipe Duarte works as a conservator at the Fine Art Museum of Porto University, Portugal, where he is part of a pilot project on contemporary art conservation, focusing on the investigation and treatment of artworks on different nontraditional media from the 1960's and 70's. During this year he has also collaborated with Serralves Contemporary Art Museum, Porto.

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case stud THE CHURCH OF "THE BEHEADING OF ST. JOHN THE BAPTIST" FROM ARBORE

PREVIOUS INTERVENTIONS FROM THE PERSPECTIVE OF DERESTORATION by Anca Dină and Oliviu Boldura

General Data The painting from the church “The Beheading of St. John the Baptist” from Arbore, Romania, can be described as vivid in chromatic harmonies, often using the dialog between green and pale-red and spontaneous by its

Image 1. The church of "The Beheading of St. John the Baptist”, south facade.

graceful and beautifully modulated drawing. Dynamic in the interaction

These qualities, the stylistic and chromatic

between the characters’ gestures and

particularities, made the church become

attitudes, the painting is minutely

part of the UNESCO World Heritage.

elaborated in the smallest detail and compositionally determined with blocks of architecture carefully distributed.

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Image 2. South facade, detail from the scene “The Last Judgement”.

Anca DinÄ&#x192; and Oliviu Boldura

Image 3. General view of the west facade.

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The Church from Arbore

Built in 15021 in a single work campaign, the church was established by Luca Arbore boyar, tutor and later counsellor of prince Ştefăniţă. Modest in proportions, the church is remarkable through its simplicity and its impressing polychrome decoration. Both the interior and exterior walls were decorated with frescoes in the first half of the 16th century. The difficult historic conditions in Romania at that time culminated with the assassination of the founder together with two of his sons. The decrease of the economic resources and the division of the estate and dominions drove the church to abandonment. The same factors - natural causes and negligence - contributed to the partial deterioration of the artistic components -

1 G. Balş, Bisericile lui Ştefan cel Mare, Buletinul

Comisiei Monumentelor Istorice 1925, Ed. Cartea Românească S.A., Bucharest, 1926

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Image 4. West facade, portrait detail.

Image 5. West facade, scene from the life of St. George representing the saint at the court of the Emperor Diocletian.

Anca Dină and Oliviu Boldura

mural painting and iconostasis. Since the church remained without a roof for more than one century, the continuous humidity infiltration led to the detachment and loss of important surfaces from the superior mural painting as well as to other irreversible alterations of the pigments from the adjacent areas. However, this article will not focus on the deterioration produced by natural degradation factors, but on the human factor, on those deliberate interventions that led to the partial alteration of the original aspect through repaintings. Image 6. Nave, west wall, detail from “The Mocking of the Christ”. Image 7. Narthex, west wall, “The Fourth Synod”.

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The Church from Arbore

Image 8. Narthex, west wall, portraits detail from “The Fourth Synod”.

Previous interventions Undertaking extensive conservation works

On the overall, the alterations found at

at the moment, the mural painting from

the inferior level are mainly portrait

the church allows direct access to certain

replacements.

details, otherwise impossible to observe.

Even if within the same mural ensemble,

Among the problems we confronted,

the interventions belong to different time

we will refer here just those previous

periods and are executed in different

interventions which had the objective of

techniques. Thus, each case requires a

“refreshing” the original through

differential approach and the final decision

repainting.

is imposed by all the contributing elements.

At the church from Arbore, the repainting

Within this context, we recall the problem

interventions were identified on clear

of derestoration, addressed in a well

delimited surfaces located especially on

defined thematic framework with the

the lower and accessible areas. It can be

occasion of the “Peintures murales”

observed that the authors of these

conference in Dijon, 19932, where

interventions made their choice according

specialists from complementary domains

to the iconographic importance of the

had participated.

scenes or to their position within the

The decision of preserving or removing

mural ensemble. Thus, the aesthetic

the repaintings required a detailed

alterations by repainting can be seen at

study of all the characteristics of the

the ex-voto in the central nave, at the

original matter and the additions,

funerary scene from the narthex, at the

study made in collaboration with

prophets’ scene, at the image of Virgin

art historians and chemists.

Mary painted at the entrance of the nave and at the icon of the patron saint, St. John the Baptist, located at the main entrance of the church. e_conservation

2 Dijon Conference, "Peintures Murales", Section

Française de l'Institut International de Conservation (SFIIC), Dijon, 1993.

Anca DinÄ&#x192; and Oliviu Boldura

Image 9. Narthex, north wall, detail from the scenes of Martyr Saints.

Image 10. Narthex, north wall, scenes of Martir Saints, detail of hammer marks.

Starting with the identification of the

our decision took into consideration the

execution technique, the aim was to

state of conservation of the original and

establish when each intervention was

of the overlayers, permanently according

made and its author3, as far as possible.

with the historic and aesthetic instance

Further, it was attempted to find out the

as they were stated by Cesare Brandi4.

reason that could cause the need for the

After analysing all the involved components,

new layer â&#x20AC;&#x201C; if it was added due to the

the identified interventions were classified

poor conservation state of the original,

either as historic periods or as discordant

if it was done according to the time

elements covering the original. Thus, the

fashion, if it was imposed by certain

critic commentary concerning their

historic events or from the simple desire

preservation or removal was made in

of the founder to remind certain facts,

accordance with the artistic aspect which

as for example the act of the donation.

supposes the transmission of the image

After acquiring this information,

together with the historic-documentary

3 In the case of the church from Arbore, we were

4 Cesare Brandi, Teoria restaurarii, Ed. Meridiane, Bucharest 1995, pp. 61-80.

unable to find any documentation concerning the repainting interventions, understandable fact due to the age when the events took place.

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The Church from Arbore

message of the work of art, taking into

Repaintings "a fresco"

consideration the technical elements and the evolution of the matter in time.

A first repainting was made in the central

For a better understanding of the

nave west wall, on the ex-voto

repainting interventions from Arbore

representing the family of the founder.

church, we will divide them in two

Other alterations were identified at the

categories. The first is the category of the

inferior scenes of saints and martyrs from

interventions that took place a short time

the main nave and the narthex of the

after the original painting was made. In

church.

principal, these are additions in the same

These are due to vandalism actions5 and

technique (a fresco) of some surfaces

had affected the majority of the

deteriorated by vandalism in the period of

portraits and some important compositional

political instability from that time. The

elements. Our supposition is confirmed by

second category is the one of the

the existence of numerous marks left by

repaintings made a secco, some centuries

sharp objects on this particular surface in

after the creation of the original painting.

comparison with other scenes and well

These are mainly due to the style

preserved portraits which do not present

influences of those times.

this kind of marks. Some of the lacunas

The observations we made before any

produced in this way were ulteriorly

intervention were completed by the data

filled and repainted. Others, smaller in

obtained after the removal of the dirt

dimensions and situated in less important

deposits from the surface. Until all the information was gathered and a final decision was established, the layers of repainting were conserved and maintained on the surface. The intervention results were partially presented in scientific sessions organized by the â&#x20AC;&#x153;George Oprescuâ&#x20AC;? Art History Institute and the Ministry of Culture and Cults from Romania.

5 During the politic instability of that time, the painting

was vandalised by the invaders, these marks being produced by sharp objects like swords and spears.

Image 11. Nave, ex-voto, portrait of Luca Arbore, the founder of the church. Image in grazing light.

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Anca Dină and Oliviu Boldura

areas are still visible, remaining as they were. It is also obvious that the vandalism actions were performed preferentially giving more importance to the portraits and the hands of the saints, which were decorated with religious symbols. On this matter, we recall the representations of Archangel Michael whose hand holds the “Sword of Truth'' and St. Peter whose hand holds “The Keys to the Kingdom of Heaven”, both scenes situated on the east

Image 12. Narthex, funerary painting, detail of hammer marks.

side of the narthex. The same may be observed on the ex-voto and the funerary painting, at the hands pointing in the direction of the church. The repaintings were performed a fresco in the areas where the painting presented lacunas. These repairs belong to different time periods and can be differentiated not only stylistically but also because of the technical skills of the author to apply the mortar or paint layer. These interventions were preserved as witnesses of the

Image 13. Narthex, east wall, inferior scene, detail from the representation of Archangel Michael.

historic events since they show real

but the major intervention is visible in the

artistic qualities and the original surfaces

central area of the scene and occupies

were irreversibly damaged.

cca. 45% of the whole surface. It is well delimited by the technological elements

The ex-voto

parametrically identified and by the junctions with the original.

This vandalised scene was "repaired" in

The repainting evidently reduced the

the same way as all the other scenes from

dimensions of the central scene depicting

the inferior level. Still, there can be

the Arbore family (Luca boyar and his wife

observed certain marks caused by a sharp

together with their five children - four

object which remained unfilled.

boys and a girl).

Repaintings are localised at the portrait of

The scene shows the family offering the

St. John the Baptist and at the portrait

church to the Divinity, represented by

and right hand of the founder, Luca Arbore,

Jesus Christ. This act is intermediate by

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The Church from Arbore

Image 14. Nave, ex-voto, repainted scene.

Image 15. Nave, ex-voto, two overlayed representations of Luca Arbore holding the shrine.

St. John the Baptist, the protector of the

presence of the shrine, the scaled

church. An angel is leading the laic

representation of the church. There can

characters towards the throne where

be clearly differentiated two different

Jesus is seated.

images of the church: the first (original),

The reason for repainting this scene is not

with the dome and a divided roof for the

yet completely known. A first supposition is

church and the altar; and the second

that the scene was vandalised due to the

(repainting) without dome, a simple roof

politic instability in Moldavia at the

covering the entire church7.

beginning of 16th century, thus the

Technologically, both representations are

repainting was necessary for completing

executed a fresco but differences can be

the lost areas. The second possibility is

found between the composition of the

that the family enlarged with time and the

intonaco layers and the drawing and

younger members wished to be represented

painting techniques. The composition of

together with the rest of the family6.

the added intervention layer is clearly

Beneath the image of Iuliana, the wife of

richer in vegetal material, respectively in

Luca Arbore, can be distinctly seen traces

tow. By simple visual exam in grazing

from the first representation of her richer

light, the surface shows a matte, rough-

veil and garment. An important

cast aspect. The original method of

inadvertence in matching the details from

transposing the drawing onto the wall was

the central area is given by the doubled

by incision while the intervention was

6 This supposition comes from the reduced scale of

7 The first that mentioned and treated the subject

the representation, which is evident as the original representation of the wife of Luca Arbore is still partial visible.

of this double representation of the church in the ex-voto was Prof. Dan Mohanu â&#x20AC;&#x201C; expert conservator, in a communication from 1974.

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Anca DinÄ&#x192; and Oliviu Boldura

Image 16 and 17. Nave, ex-voto, during the cleaning of the surface (left) and after the conservation treatment (right).

Repaintings "a secco" performed by pouncing. This detail can be

A second category of interventions come

observed where the colour layer is

from the 19th century, when a general

missing, as a sequence of black points,

change of taste and style was adopted.

marks of the applied pigment through the

These interventions do not respect neither

perforated paper. The sinopia contour

the Byzantine style, specific for the 16th

lines are carefully but spontaneously

century, nor the original execution

executed while the pigments were applied

technique, having been executed in tempera

late, on a support already poor in water

or oil. In fact, this period is known for a

content and unable to fix sufficiently the

general decadence of the wall painting in

particles in the plaster. From this reason,

this side of the country (northern

the colour had poor adherence to the

Moldavia, also known as Bucovina).

surface and most part of it was lost with time.

The icon of the patron saint

In the case of the ex-voto, the alternative of removing this intervention was

This icon represents St. John the Baptist

excluded, since the repaintings are

and is located in the exterior, on the south

themselves historic stages of the image

facade, in the lunette within the arch

of today.

above the entrance door. The traditional

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The Church from Arbore

Image 18. Exterior painting, south facade, the icon of the patron saint before the conservation intervention with visible repaintings on the surface.

Image 19. The icon of the patron saint during the conservation intervention â&#x20AC;&#x201C; the removal of the repaintings.

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Anca DinÄ&#x192; and Oliviu Boldura

representation of the Baptizer, with the head on a plate, was replaced with a chromatically ordinary representation, without expression. Even if the author is not known, the inscription shows that the intervention was performed in 1845. The repainting is made a secco, on a 2 millimetres thick gypsum plaster. According with the historic instance, any intervention is marking a stage in the existence of a work of art, thus it can not be removed. In this case the historic instance comes secondary after the aesthetic one, the 19th century representation being clearly inferior to the 16th century one. In addition, the original painting and the repainting needed urgent conservation treatment. The plaster on which tempera was applied partially lost the adherence to the original painting causing visible lacunas on the entire surface. Loss of adherence being an evolutional process, to save the repainting would imply the consolidation of the plaster, which would have affected the underlayer, thus the original painting. At the same time, the lacunas of the repainting allowed a clear estimation of

Image 20, 21. The icon of the patron saint, details showing the loss of the adhesion of the two layers, the original and the ulterior intervention.

the conservation state of the original. The grazing light examination confirmed

of the superior intervention layer.

that the green pigment from the garment

These elements showed that to keep the

lost its adherence to the support layer.

repainting would have meant to lose the

The detachment of the colour, the micro

original, which was an extremely important

cracks and the exfoliations proved once

aspect that determined our decision to

more that the process was evolutional. Thus,

conserve the 16th century original by

the original painting was under constant

removing the additions. Through

deterioration by strappo due to contractions

derestoration the authentic image was

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The Church from Arbore

Image 22. The icon of the patron saint after the conservation treatment.

revealed. Even if some elements were

from the adherent deposits was

partially deteriorated by repainting, the

performed for a better examination of the

uncovered image has a high artistic value.

repaintings. On both sides of the scene

The repainting was also inducing an

discontinuous marks of oil repaintings

iconographic and artistic fake, since the

could be seen, giving a stained and

head on the plate was replaced with

unclean aspect to the surface. The original

a phylactery and the blessing gesture

layer of colour seemed well preserved,

with a denotement sign.

with few lacunas and exfoliations, in comparison with the layer of repainting

Narthex, east wall

which was cracked, detached and exfoliated. Thus, it was decided to remove

In the narthex, the main repainted area is

the repainting, preserving only one

the prophetsâ&#x20AC;&#x2122; scene from the east wall. In

portrait (of the first prophet from the north

the centre of the scene are represented

side) and some witnesses of small size.

The Virgin and The Child (Hodighitria),

The central sector reveals another

surrounded by angels and three prophets.

approach of the author of the repainting:

The problematic of the repaintings was

the oil layer was applied thicker and the

treated separately for the central part of

grazing light exam revealed this was in

the scene and for the side parts since

fact the third layer of repainting. The

their state of conservation differed in

name of the painter, Ion BodnÄ&#x192;rescu, was

great amount. Cleaning of the surface

visible on the blue background of the

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Anca Dină and Oliviu Boldura

garment of the Virgin. The second layer of intervention took over the subsidence and abruptness of the plaster from the first intervention layer. The loss of colour in certain areas allowed to distinguish both the colour from the first repainting - redbrown (a secco) and the original - yellow. Child Jesus’ portrait, hands and garment were partially showing marks of repainting. The original portrait of the Virgin was visible through the small lacunas of the intervention layer. Thus, it could be observed that the original was unaltered under the repaintings and its aesthetic value, reported to the rest of the original mural ensemble, was hard to come up with. On the other hand, the association between the colours from the Child’s portrait – pale-red from the Image 23, 24. Narthex, east wall, Prophets scene, details during the cleaning (up) and the conservation state of the original and the repainting (down).

repainting and green from the original – was breaking the homogeneity, thus to preserve these layers would have been

scene and the entire inscription was

difficult. To selectively remove the

revealed during the cleaning. Unfortunately,

repainting, up to their extension degree on

this layer was affected by exfoliation due to

the surface, would have determined an

the thickness of the repainting but the year

optic discomfort as well as an ambiguous

of intervention was identified as 1887.

image. The Virgin would have had a pale-

Finding this inscription between two similar

red coloured portrait while the Child, a

colour layers proves that the author

green one. More over, to preserve all the

changed his intention while painting and

repaintings from this area would have

covered the text himself, letting visible only

meant to induce difficulties to the aesthetic

his signature.

presentation of the entire surface. Lacunas

Critical comments concerning the decision

could not be attenuated by chromatic

of removing or preserving the interventions

integration as the original would have

on this painting took under consideration

been altered and small discontinuous

more factors. As mentioned before, there

surfaces where the oil was present on the

were two repaintings overlaid on the

surface would have given a stained aspect.

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The Church from Arbore

Image 25, 26. Narthex, east wall, central area of the Prophets scene, “The Virgin and The Child” before the intervention (left) and during the surface cleaning (right).

Image 27, 28. Details from “The Virgin and The Child” during the surface cleaning. Visible repaintings on the hand (left) and portrait of the Child Jesus (right).

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Anca DinÄ&#x192;, 2005

Image 29. Portrait detail during the removal of the repainting.

The Church from Arbore

Image 30, 31. Narthex, east wall, stages during the removal of the repaintings: the three different layers of colour, two repaintings and the original (left) and general view after cleaning the most recent of the repaintings from the garment of the Virgin. Image 32. The original representation of the scene, after the removal of the repaintings and the aesthetic treatment of the lacunas.

The reason for repainting this scene could be assigned to the non-canonical colour of the Virginâ&#x20AC;&#x2122;s garment. This is why the first repainting covered only the surface of the garment. The alteration in time of the red lead (minium) that was used for the new garment, as well as the partially loss of its plaster, determined a second repainting, this time on all the surface and in oil technique which was a fashion at that time. The authors of these interventions did not appreciate the artistic quality of the 16th century representation, the brightness of the Virginâ&#x20AC;&#x2122;s garment given by the simplicity and the viridity of the colour and of the Childâ&#x20AC;&#x2122;s garment given by the light enrichment decorations with gold.

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Anca Dină and Oliviu Boldura

Image 33, 34. Details from the scene “The Virgin and The Child” after the removal of the repaintings. Portraits of Virgin Mary (left) and of Child Jesus (right).

Conclusions Considering the problematic of the

with a unique character, with significant

repaintings from Arbore in retrospect, it

details over which time left visible traces.

was possible to liberate the original

Our intervention is more valuable as

surfaces from the intervention layers, due

more information is preserved, being

to the technique in which these were

useful in the research of art historians and

performed. Thus, through the degradation

other specialists. On the other side, the

and the partial loss of the repainting,

conservation-restoration of mural

we could analyse and correctly establish

paintings must bring in front of the

the relation between the importance of

general public the authentic values of

the original versus the addition and

the past.

backwards. In the end, we must recognise that the conservation of an iconographic ensemble implies a responsible consciousness from the restorer facing a historic document 64

All photos by Anca Dină, 2005 - 2007

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The Church from Arbore

Anca Dină contact: anca@zappmobile.ro

Anca Dină is a conservator-restorer specialised

Oliviu Boldura contact: oliviu_boldura@zappmobile.ro

Oliviu Boldura is professor at the

in mural paintings. She graduated in

Conservation-Restoration Department from

Conservation from the Art University in

the Art University in Bucharest and holds a

Bucharest where she also completed a

PhD in Aesthetics of Visual Arts. Since

Master in Visual Arts, with specialisation in

35 years he has been continuously working

Conservation. She works for the enterprise

in the field of conservation-restoration of

CERECS ART S.R.L., having coordinated several intervention areas from onsite conservation projects as St. George Church from the “Sf. Ioan cel Nou” Monastery in Suceava (2003), “The Beheading of St. John the Baptist” Church from Arbore (2004–2006) and the Church of Suceviţa Monastery (2007). She has participated in several national communication sessions within the national Art History Institute “George Oprescu” in (2005 and 2006) and within the Ministry of Culture (2007), with results under publication at the moment.

mural paintings from important monuments in northern Romania. These churches date from the 15th and 16th centuries and are recognised for their remarkable value, some of them being part of the UNESCO World Heritage: Voroneţ, Arbore, Moldoviţa, Probota, Suceviţa, "Sf. Gheorghe" from Suceava, Bălineşti. The diversity of the information collected during the conservation works is disseminated by Oliviu Boldura in numerous scientific sessions and publications. On the on-site conservation projects that he coordinates, he is the promoter of experimental applications of laser and nano-

Besides the present authors of this article, the following conservator-restorers have participated on the conservation works of the mural painting in Arbore church: Magdalena

technologies in the mural painting conservation and documentation. He is of the opinion that the use of polymeric resins should be limited in conservation treatments.

Drobotă, Dumitru Dumitrescu, Georgiana

Oliviu Boldura is also member in the

Zahariea, Natalia Danilă-Sandu and Paula

speciality commissions from the Ministry of

Vartolomei.

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Culture and Cults in Romania.

organisation

Chamber of Restorers in Slovakia http://www.restauro.sk contact: komora.restauratorov@restauro.sk ▪ Established in 1994 ▪ 28 specializations ▪ 192 members ▪ 3 membership categories ▪ Access to university graduates ▪ Independent work reserved to licensed restorers ▪ Member of E.C.C.O.

Presentation

Professional restorers in Slovakia, who want to work on listed heritage objects, have to be a member of the Chamber of Restorers (Komora reštaurátorov, further only KR). The KR is a self-governing, non political professional body and a law entity which was established on the base of Slovak law act 200, from the July 14, 1994 on the 1st September, 1994. If you Text by Mgr.art. Barbara Davidson.

are interested in reading the law itself, you can do so even in English on our web site www.restauro.sk. Why such a body

Barbara Davidson is member of

was created and how it was possible we

the Board of Komora Reštaurátorov

have to look back on the development of

(Chamber of Restorers), delegate

the situation in restoration in the

for E.C.C.O. and works as a

socialistic Slovak Republic, which used to

conservator-restorer of

be a part of the Czechoslovak Socialistic

easel paintings in the

Republic. From 1973, in the times of so

City Gallery of Bratislava.

called “normalization” after the invasion e_conservation

Organisations

of the Warsaw Pact armies in August

long period of time. After the political

1968, the execution of restoration activity

change in autumn of 1989 the long-term

as a freelance profession in Slovakia was

absence of a natural and fluent evolution

stopped and forbidden by the Ministry of

in the field of restoration worked as a

Culture of SSR. The Ministry composed of

strong accelerator of the future

communists did not trust freelance artists

development. After years of the

with their â&#x20AC;&#x153;suspiciousâ&#x20AC;? ways of thinking

profession's suppression the restorers

and production, even working on objects

have been well aware of the need and

of cultural heritage. On top of that, from

necessity to decide about and for

the second half of the nineteen seventies

themselves without mediation of other

this situation worsened by the

parties. This resulted in the only possible

traumatising fact of the invitation of a

solution - attempt for constitution of a

certain part of Polish restorers from the

chamber based on law. As a source for

Polish state institution PKZ to work on

preparation of specialised bases for the

heritage objects in Slovakia. Slovak

proposal of the law we cooperated with

restorers could only work as employees of

our Czech colleagues and used data from

galleries and museums. Immovable

partner professional organisations abroad.

cultural heritage was for them not

The proposal itself was formulated so that

accessible. By this decision the space for

it would reflect our own specific situation

work, professional development and

and needs in restoration in Slovakia.

growth of Slovak restorers was lost for a e_conservation

Slovakia

Membership in KR

listed as national heritage. The aim for the future though is to have all collections

Who can become a member of KR? The

which are currently treated under another

procedure is described in our basic

law special for museums and galleries to

documents which you can look up on our

be considered as listed. At the moment,

website mentioned above. But basically

institutions dealing with restoration of art

the membership is open for university

objects can employ people with lower

graduates, physical persons with

education or non-members of KR, but in

specialization in restoration â&#x20AC;&#x201C; in Slovakia

case of restoration of a listed artwork,

the only school providing university level

they have to work under supervision of a

of education in restoration is the Academy

member of KR. It means, for these types

of Fine Arts and Design in Bratislava

of institutions it is preferable to employ

(AFAD). The membership does not

restorers, members of KR. Currently KR

automatically entitle to work

has about 200 members which can apply

independently and the issuing of a licence,

for 28 specialisations and members in

even in case of MA graduates is based on

categories cooperating member and

a 3 years period of practical execution of

honourable member.

the profession under supervision of a

The Chamber works according to standard

licensed restorer. The KR invites also

democratic principles. Starting with self-

Bachelors to become members, to be able

determination and asserting of restorers

to understand and learn better and get

in the cultural and social space the

into contact with practice in real

Chamber has gradually become an

conditions. The state examination which is

integral and accepted part of the

provided from the Academy is sufficient

institutions in the area of heritage

for a restorer to work independently on

protection in Slovakia. It registers its

private collections and collection objects

members, protects and creates conditions

of galleries and museums, which are not

for their practise, professional growth and

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Organisations

development, watches over their professional activity. The Chamber of Restorers is the highest professional guarantor of the quality of restoration in Slovakia.

Conservation-Restoration education in Slovakia The education into becoming a conservator/restorer in Slovakia is provided also on the level of a high school graduation (pupils 14 – 18 years old, or as lifelong learning) which specialises in conservation/restoration of collection objects of applied art from galleries, museums and libraries. It is realised in a

determined according to your pre-choice

four year study program finishing with a

of specialisation (either restoration of

practical and theoretical examination.

paintings or sculptures). The pass rate is

The pupils absolve artistic preparation

usually 10% of applicants. The existence

and restoration practice. The theoretical

of schooling for restorers in state

part of the education is in the area of art-

accredited schools begun in Slovakia

history, iconography and restoration

already in the year 1949 when the

technology. This type of education is

Academy of Fine Arts (Vysoká škola

provided in two state high schools for

výtvarných umení) was established. The

applied arts – in Bratislava since 1980 and

restoration department was started by a

in Košice since 1981.

personality from the Czech Republic –

The university levels are the 4 year study

Prof. Karel Veselý. At those times in

to become a BA and then you can apply

Czechoslovakia already existed by the

for MA studies, which takes another two

Academy of Fine Arts in Prague the School

years. It means you will study for 6 years

of Restoration of Painted Artworks

in total. In the year 2000 the AFAD

established in 1945 by Prof. Bohuslav

(www.vsvu.sk ) opened the possibility of a

Slánský. The Bratislava‘ AFAD offers these

post-graduate study in restoration, which

specialisations in restoration: easel

is awarded with the Art D title. To be

paintings, panel paintings, wooden

accepted to the AFAD it is necessary to

(polychrome) sculpture, stone sculpture,

pass the talent examination which is

metal, paper, photography and textile.

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art history

THE CRUCIFIXES OF MĂRGINIME by Ovidiu Daneş

The Crucifixes of Mărginime

“A window is more of a cross than a

The role they played was initially a sacred

crucifix proper which, logically speaking

related one par excellence and due to

should be a cross per se… and that is a

their ritualistic involvement, apotropaic

weird thing, at least at first glance.”

purpose, and funereal character they

Horia Bernea

consisted merely of a stone or wooden cross placed in spots with a significant symbolical charge. Their being consecrated – which also brought consecration to the site of their location –

The Crucifixes of Mărginime – the

allowed them to protect that place against

outskirts of Sibiu – are public architecture

the mischievous presences that would

elements that consecrate crossroads,

haunt the folk imaginary. Therefore a

boundaries, road twists, springs and

subtle realm laid between what was at

homesteads in a way that qualifies them

hand, familiar, and proximitous on the one

as a narrative of the folk imagination.

hand and sheer otherness on the other.

Time and form are both located

Sites that were consecrated during

somewhere between a craftwork related

specific religious services on Ascension

poetic simplicity – so typical of the

(Ispas), Epiphany, Pentecost, temporarily

monuments erected in the 18th century –

became public places that could

on the one hand, and the more recent

occasionally be perceived and used as

ready-made culture of double-glazed

typical places for folk socials – customs

windows on the other.

that have survived to this day in Sibiel and Cacova (Fântânele).

The 35 crucifixes that have been spotted up to the present – all erected between

The 1764 watershed when “the city

1784 and 1879 – are located between

council of Sibiu decreed us bondsmen, […]

Turnu (Porceşti), the south-eastern tip of

although we had always been yeomen,” is

the region and the north-western one –

shortly followed by the erection of the first

Jina. By their compact volume, their

masoned crucifixes as the disputes

squarish footprint, and their frugal outer

between the locals of Mărginime and the

adornments the crucifixes leave a

bulkingmaestro (in Romanian bulgăr-

significant mark on their surroundings,

meşterul, a humorous alteration of the

being part and parcel of the overall image

German Burgermeister, Town Mayor) over

of the Mărginime villages as they

tax and land ownership related issues

participate in the rhythmical proportions

went on until the 40s of the next century.

of both private estates and houses of

Erected during that period of time mostly

worship as well.

on the boundaries of the villages off the

Previous page image: The crucifix from Răşinari, 1795

Ovidiu Daneş

Images 1, 2: The crucifix from Sibiel, 1803 Exterior view (left) and detail of mural painting (right).

salient penchant for scenes taken from the Passion cycle, for depictions of the proto-martyrs or of the military saints,

city of Sibiu, the crucifixes marked those

sometimes duplicated as both interior and

borders as according to the unwritten law.

exterior paintings could be seen as an

The people of Răşinari for a good instance

implement of pointing at certain social

erected no less than three such

realities.

monuments within a tight area on the eastern boundary of the village. There

The crucifix of Sibiel (house no.166, the

was a time when the locals involved

year 1803) displays an iconography quite

crucifixes in their various political

relevant in the aforementioned

machinations, but even then they did not

perspective. On the outside, but still

do away with their original symbolic

within the precincts of the homestead,

dimension. In certain cases a specific

there are scenes from the Passion cycle

message was made explicit by resorting

representing a sequel to the two interior

to a remarkably elaborate iconographic

iconographic registers: the Prayer in the

program that was quite often borrowed

Garden of Gethsemane, the Last Supper,

from the liturgical field and thus made

the Judas Kiss, Jesus before Caiaphas,

into a sure way of asserting identity. The

Pilate’s Judgment, all of them arrayed in

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The Crucifixes of Mărginime

quite an unusual order; the Resurrection of Lazarus, and once again Jesus before Caiaphas and Pilate’s Judgment; the Bearing of the Cross, the Humiliation and Scourging. The Roman soldiers are clad in the uniforms of the Orlat frontier guard regiment whose troops were Romanians converted to the Church United with Rome (Greek-Catholic), in charge with collecting taxes, among many other duties. The depiction of certain military saints – St. George, St. Demetrius, and St. Theodore Tyron – on the interior posts is itself integral part of a common rhetoric of representing social realities in monuments whose status was growing more and more public. On the other hand, the collective memory of those times was still emotionally bonded to figures like the priests Moise Măcinic of Sibiel, Ioan of Galeş, Ioan of Sadu or shepherd Oprea Miclăuş of Sălişte, a fact which will have to be taken into account by the future iconographic analyses. And similarly, the conflicts between the municipality of Sibiu and the villagers of Mărginime bursting out right after 1750 could likewise turn out to be the right key to the question regarding the numerous masoned crucifixes phenomenon in the outskirts of the Sibiu of that historical period. In the different social context of the early 1800s the private use crucifixes started to appear in the locals’ homesteads, displaying spectacular iconographic discourses, some of them mere e_conservation

Image 3 (up): The crucifix from Apodul de Jos, 1812. Image 4 (down): The crucifix from Arpaş, 1813.

Ovidiu Daneş

Images 5: The crucifix from Răşinari, 1808 Exterior.

Gethsemane, the Judas Kiss, Jesus before Caiaphas, the Last Supper, and the Images 5: The crucifix from Răşinari, 1808 Detail of mural painting.

Carrying of the Cross, all of them surrounded by the four Evangelists,

abbreviations of the mural iconographic

against a seraphim background. The

programs in the churches near by, but at

cycles of the miracles, the Virgin’s life,

the same time genuine proofs of

and the pageant of Christian feasts

masterliness on the part of the painters

complete the arches, while the stone

and of well-to-do-ness on the one of the

cross painted on both sides advances a

beneficiary. The crucifix of Răşinari (house

prolepsis kind of dialogue – the

no.195, the year 1808) breaks away from

anamnesis triggered by the depiction of

the common established patterns both in

the Crucifixion and the Epiphany. The

terms of size and iconography. It is twice

narrative zest of the painter lives on

as large as the average ones and one can

ardently to reach the socle of the cross

still make out the outlines of a

where it brings forth two scenes that

monumental depiction of St. Archangel

correspond in due order to the main

Michael as part of the exterior painting,

images: Abraham’s Sacrifice and the Fall

just under the prophet medallions. Inside,

from Eden, whereas on the sides there

the vault is decorated with Passion

are seraphim surrounded by prophets and

scenes: the Prayer in the Garden of

by pious saints.

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The Crucifixes of Mărginime

Another appearance, quite unique in the architecture of Mărginime proposes a different kind of visual discourse which was very much simplified on the architectural / iconographic / theological level as well as in terms of its political and social message, while managing at the same time to be more suitable for the place and the general village scenery. Its imagery pertains to a poetics of vagueness straightforwardly besieging the physical palpability of the passer-by: an atypical shape, a whitewashed thick-base/ t-wall with a hat-shaped awning and roof and a niche whose painting represents the orant Mother of God with the orant Emanuel child on her lap-throne and an inscription unfurling and girding the whole lintel thus indicating the place to pray for those crossing the region while in transhumance. The Healing Spring and the image in the recess are the ones that have set since 1795 the place where the crucifix should be erected. e_conservation

Image 7 (right): The crucifix from Răşinari, 1795 Image 8 (left, up): The crucifix from Turnu, 1787 Image 9 (left, down): The crucifix from Sibiel, 1814.

Ovidiu Daneş

Image 10: (right, up): The crucifix from Sibiel, 1812.

In Săliştea Sibiului just in front of house no. 37 (according to the present day numbering) there is a crossroad crucifix

Image 11 (middle, up): The crucifix from Sălişte, 1817. Image 12 (left, up): The crucifix from Saliste, 1842. Image 13 (down): The crucifix from Sibiel 1814.

(undated yet) with a relevant iconographic program with regards to the relationship between such monuments and the pace of life in the local communities. As transfigured by the modern taste and sensibility, the monument still preserves its exterior paintings, right under the cornice, along with the prophet medallions, while on the inside it still presents besides its refined decorations, the four scenes in the unique register of the tympana: the Annunciation, the Entry of the Holy Theotokos into the Temple, the Baptism of Christ, and Saints Constantine and Helen. The latter Emperor Saints are quite a puzzling

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The Crucifixes of Mărginime

appearance in the context of the whole

on the pillars there are representations of

cycle but it makes sense in a wider

the Archangels, St. Nicholas and St.

perspective as they were the patron and

Archdeacon Stephen.

patroness of the school (founded 1779) in

No doubt the crucifixes in Mărginime – the

the proximity of this crucifix. May 21st

outskirts of Sibiu – represent a cultural

was in those times celebrated with special

phenomenon whose implications and

pomp and ceremony as “the girls and the

ramifications are yet to be looked into.

younger housewives would wear the

Unfortunately the paintings they display

embroidered bandannas they wore only

are currently undergoing dramatic

on the greatest feasts.” The day was

alterations as they are abandoned, stored

chosen as the last school day as well as

in museums, or repainted while the

the landmark for the beginning of the

crucifixes are intoning their last tale in the

pastoral year. The iconographic framework

same voice with the villages of Mărginime.

of the crucifix in the hearth of the village

Text by Ovidiu Daneş

of Rodu (1871) is a purely liturgical one, with Jesus Emanuel in the keystone and a quite unusual version of the Liturgy of the Angels in the vault, as the Old of Days replaces one of the images of Christ, while

Photography by Şerban Bonciocat and Ovidiu Daneş English translation by Chris Tănăsescu

Ovidiu Daneş contact: ovidiudanes@yahoo.com is a graduate of the Art University of Bucharest, the Faculty of History and Theory of Arts and holds a Master degree at the Centre of Excellence in Image Study - University of Bucharest. He worked at the Brukenthal Museum, Sibiu, UNESCO Romania and his main research activities are on old Romanian art. From 2006 he is the president of DALA Cultural Foundation. Images 5, 6: The crucifix from Sălişte, 1827.

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documentatio

Documentation and Architecture Conservation:

La Villetta Cemetery in Parma, Italy (part 2)

A project coordinated by Michela Rossi

Formal References in Funerary

MARIA CARMEN NUZZO

Architecture The Urban Planning

SILVIA OMBELLINI

of Parma Cemeterial System The Master Plan for the

ELISA ADORNI

Safeguarding and Restoration of La Villetta The virtual museum - the memory of the cemetery heritage

SIMONE RICCARDI

Formal References in Funerary Architecture

FORMAL REFERENCES IN FUNERARY ARCHITECTURE By Maria Carmen Nuzzo

With the advent of the consumer society and the standardisation of life, the city of the living has created homogeneous neighbourhoods of dormitories and globalised malls and the city of the dead has been filled with crowded burial chambers in anonymous and “normalized” structures. The modern culture has created the “not places”, which means spaces lacking identity, non relational and with no

Image 1: The cemetery of the ideal town of Chaux (N. Ledoux 1775 d.C.)

history. The loss of the sense of life identity is expressed by the loss of the sense of death, so that “the spaces to

who live in the silence of the boulevards,

spend one’s life and death” have lost their

the memory that appears like ruins in the

“reason for existence”1.

green lushness of grass3.

The space for death, which the modern

The city of the dead in Parma, founded

world with its hedonistic and omnipotent

by Maria Luigia inside the suburban villa,

mentality wants to ward off and remove,

is organised in the same way as the city

is the place where one can listen to the

of the living, according to the edict of

story of life: in cemeteries, evil and virtue

St. Cloud4.

crystallize for eternity. Giving importance

The quality of the shapes and architecture

to the grave as a place of exchange

of the cemetery, which is expressed by

between the living and the dead, place

measurements and archival research to

which encourages the correspondence of

define its monumental aspect, is important

dating meaning, as Foscolo2 reminds us,

in the development of the new funerary

means rediscovering the memory of those

typologies that accompanied the

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Maria Carmen Nuzzo

post-Enlightenment rebirth in the out-of-

meanings: it is an arrangement that

town necropolis.

indicates a separation and a segregation

The layout of Parma cemetery refers to

but also follows acts of acknowledgement

the architectural aspects of the enclosure

and implies care, assures protection from

and to the description of these places

and towards the outside. It is an erected

given over to burial which is suggested by

border that characterises and gives

Francesco Milizia5.

architectural complexity and sense to the

The architectural shapes of the arcades

paths, to the subdivisions and to the logic

joining on the axes of the portico follow the

of the building.

typology of the columbarium found in early

The Villetta cemetery became a place visited

Christian catacombs and burial chapels.

to recall memories. It is reachable by going

The significant elements of the cemetery

down a long boulevard with trees that from

are: the geometric and symbolic centre

1862 onwards has connected the cemetery

marked by the orthogonal axes; the

to the city of the living, as documents and

austerity and seriousness of the Doric

iconographic witnesses demonstrate.

order; the crosses on top of the obelisks,

The tombs and the burial chapels,

which dissolve the reminiscence of pagan

witnesses of a stylistic vocabulary

cultures in Christian symbolism; the fronts

ranging from Neo-Medieval to Neo-

and the different parts of the entrances,

Byzantine and from Neo-Romanic to

representing the relation between the

Neo-Rococo, reflect an architecture

burial places and the outside areas and

whose symbolic values and formal

mainly, the outside enclosure. “Sacred

elements derived from a burial culture

Enclosure” is a widespread expression that

becoming the physical features of the

implies as well anthropologic and symbolic

expression of the memory.

1 Marc Augè, 2005, Not places. Introduction to an anthropology of surmodernità, Eleuthera. 2 U. Foscolo, 1856, from poem “Sepolcri” 3 L. Sciascia, 1952, The flower of poetry romanesca, Caltanisetta, (with a preface P.P. Pisolini) 4 State Archive Parma, Governatorato di Parma, 1817, busta 543. 5 F. Milizia, 1972, Principles of civil architecture, Finale 1781, rist. anstatica dell’ed. 1847, Milano, Mazzotta, pp. 331-333.

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The Urban Planning of Parma Cemeterial System

THE URBAN PLANNING OF PARMA CEMETERIAL SYSTEM By Silvia Ombellini

Like Laudomia, every city has at its side

The cemetery planning, which is required

another city whose inhabitants are called

by Italian law, is strictly connected with

by the same name: it is the Laudomia of

the urban planning.

the dead, the cemetary. (...) The more

In 2004 the Italian region Emilia-

the

Romagna, through a specific rule

Laudomia

the

living

becomes

crowded and expanded, the more the

(L.R. 19/04), has imposed to all the

expanse of tombs increases beyond the

municipalities the cemetery planning.

walls.

Parma is one of the first cities in EmiliaFrom Invisible Cities by Italo Calvino

Romagna that made a cemetery plan, approved in 2007. This project is called

The cemetery is “another city”. Its

“PCm” (Cemeterial Planning). The main

foundation and its increase are similar to

objectives of this plan are: to protect the

the urban one. The cemeterial system,

historical architectures, to regulate the

which in Parma was born in the last half of

growth of structures, to improve their

19th

quality and to draw new spaces like

century, presents various analogies

with the urban system. Cemeteries are

memorial gardens. The cemetery planning

orientated according to the roman centuriation.

started by the detailed research of these

They are characterised by the presence of

places from their origins to the present

the external wall, in analogy to the urban

state, in order to focus themes, problems

wall, and by the symbolism of the centre.

and visions for the future.

Since the Second World War, the plot of the

In the past, cemeteries were important

cemetery has become untidy, chaotic and

public spaces for the city. The project

anonymous, like that of the city. The city of

intended to recover this public function,

the dead has spread out, and its limit has

without alienating the cemetery use.

come nearer the living city.

Cemeteries, which were born as meeting

Today the space of relation between the

places for the society of the 19th Century,

two cities is strategic for their regenerations.

have been progressively ghettoized from

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Silvia Ombellini

the city and from the public living. Now it

avoid the risk of abandonment of the

is essential that cemeteries should

existent structures. Therefore the PCm

recover their original role of public spaces.

foresees new alternative uses for the

They are stone archives of the city, places

historical structures, optimization of use

of silence and memory, strongly

of the existent structures, and exclusion

connected with the landscape and the

of incongruous parts, in order to recover

urban space.

the original quality.

The first step of the PCm is the estimation

In the historical structures, the project

of demographic and mortality trend in

foresees the increase in value of the main

order to approximate the needs and to

architectures, the recovery of original

program the increase of the new

values, material and forms, and the

cemeterial structures.

support of their use.

The knowledge of the economic,

The historical parts, in particular the

demographic, social and urban changes

â&#x20AC;&#x153;Villetta Octagonâ&#x20AC;?, have to accentuate the

has been the point of departure of a

role of the memory, and will be

search of longer distance that has

designated to the graves of illustrious

produced the PCm.

citizens. This part will be a museum of the

To limit the growth of cemeteries is the

town memory. The project foresees the

main choice of the project in order to

valorisation of open spaces, through the design of internal gardens, the recovery of trees and vegetation, the reorganization of access and internal routes and the insertion of monuments, fountains and signs.

THE CITY IN THE CITY The cemeterial system of Parma

The Master Plan of La Villetta

THE MASTER PLAN FOR SAFEGUARDING AND RESTORATION OF LA VILLETTA

By Elisa Adorni

The Master Plan for the safeguarding and

The Master Plan has tried to individualize

the restoration (afterward called PPO) of

an alternative use of all the existing

the Villetta’s monumental Octagon is part

structures, with the exception of perpetual

of a larger intervention of the cemetery

graves and valuable monuments.

planning system in Parma. The PPO is

Following the Cemetery Rules, the PPO

the completion of the Cemetery Rules

also tries to promote the planning and to

recently adopted.

delineate specific planning lines. This

The development of a specific rule, with

project concerns the restoration of

the individualisation of the historical

preserved monuments and also the planning

centre of the urban cemetery, has allowed

of collective spaces (garden and paths).

the evaluation of the historical-architectural

Studies about the Monumental Octagon

heritage of the monumental cemetery.

and about the type of restoration

Editing the Master Plan has probed the

interventions for the historical building

analysis of the monumental part, which

and the arcade were conducted.

needs safeguarding and exploitation.

To reconstruct the original unity will

Therefore, the preliminary remarks of the

require to foresee layer analysis

Master Plan were to stimulate the

(stratigraphies) of the painted surfaces

environmental qualification and the

of the arches and the galleries.

architectural exploitation in order to

However, different problems arose:

guarantee a continuity of use of the

coexistence of different juridical titles of

historical structures.

“ownership”, presence of low quality

The “safeguarding” does not mean

interventions, construction of incongruous

“musealisation” but control over the

elements, tendency to space saturation -

quality of the interventions, maintaining

not always in accordance with the general

alive the monument in respect to the

project of the cemetery, existence of over-

regulations in use.

dimensioned private graves, difficulty

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Elisa Adorni

to adapt the historical constructions to the

There are 5 categories of intervention, as

rules, precarious state of care of some

follows:

historical architectures - with evident

- Safeguarding: includes objects (chapels,

structural disarrangements and superficial

graves, arches) and artistic-architectural

degradation of the exterior layer.

records corresponding to a particular

The plan is also useful as control for new

historic memory for the city;

future interventions. The PPO characterizes

- Maintenance: includes objects (chapels,

the destinations, the categories, the

graves, arches) of high architectural and

interventions and the intervention rules.

artistic quality;

The intervention rules must consider the

- Exploitation: includes historical objects

variety of monumental elements and their

that do not have particular artistic-

specific and original use.

architectural merit and the non-historical

Different ways of intervention can be

objects with incongruous punctual

individualized: the greatest architectures

elements, on which the transformation

(sectors) and the interior of the chapels

(e.g. plastic fixture) is preferred;

and the arches (units) are all subjected to

- Remodelling: includes non-historical

safeguarding. The PPO allows to perform

objects of scarce quality with incongruous

interventions of restoration directly on the

elements, on which the transformation is

single unit or partial consolidation of the

preferred (covering material);

structures.

- Morphological Reconfiguration: includes

Image 1: The Porch Arcades - the initial state of conservation

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The Master Plan of La Villetta

incongruous objects which need

avoid the presence of incongruous

morphology, material and dimension

elements.

reconfiguration. This sort of intervention is

These documents are intended to be

only for graves and aedicules.

consulted in the future, serving the next

For chapels, arcades and aedicules,

restoration interventions. Finally, the

classified by categories of intervention,

obtained files allowed us to compile a

there are specified ordinary maintenance

catalogue of references, which were

recommendations.

integrated into a technical glossary that is

For the monumental sectors (galleries and

able to give more useful indications on the

arcade) we have consulted the archive

constructive technologies and on the used

documents to analyse the original project

techniques and materials.

indications (specifications of a building

The Master Plan (PPO) is a complex of

contract) and to compile specific

forecast rules for future administration

interventions of restoration.

and it aims to the safeguarding of the

The PPO gives also general indications

historical monuments inside the Villetta

about compatible materials to use in the

Cemetery. The PPO includes some

new chapels and graves and in every kind

planning proposals to increase the value

of interventions in the monumental

of the Octagonal monument through new

Octagon, with the specific intention to

and alternative uses of its structures.

Image 2: The Porch Arcades - the initial state of conservation

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Simone Riccardi

THE VIRTUAL MUSEUM, THE MEMORY OF THE CEMETERY HERITAGE By Simone Riccardi

The idea of a Virtual Museum comes from

video, text and images through the main

the need to control and to distribute a

stage of the plan and the construction of

complex data system. The research about

the cemetery, starting from the history of

the Villetta cemetery developed by the

the duchess Maria Luigia.

University and Municipality of Parma - has

Another route of visit passes through the

generated a great deal of historical, social,

stories of the main illustrious citizens’ life,

artistic and iconographic information.

which are all “inhabitants” of the Villetta.

The main goal of the virtual museum is to

The museum route narrates the lives and

organize this information through routes

the works of musicians, writers, architects,

of knowledge and tools of research.

artists and politicians. Therefore, the

The virtual museum should not replace

cemetery looks like a family photo book of

the real space of the cemetery, instead, it

the city, made in stone.

should invite to a personal visit inside

The last route leads the guests inside the

the Villetta.

artistic richness of the Villetta cemetery.

At the entrance of the virtual museum,

The visitor can see and learn more about

the visitor can see all the possible “routes

architectural works, as chapels, arches,

of memory” so he can plan his virtual trip

sculptures, mosaics, paintings and bas-

inside the cemetery. The cemetery is the

reliefs made by important local artists.

memory of the city and hence the virtual

Each visitor can draw and print his personal

routes are named “routes of memory”.

map, in which he can bookmark his own

Moreover, the visitor can switch to a real

route with his relevant points of interest.

trip inside the Villetta where he can find a

The memory of the city past becomes

map with relevant points of visit, and

readable through a system of virtual

some useful information, like the schedule

routes interlaced with each other.

of the cemetery, how to reach, etc.

The ways of the city past weave

The first route of memory that the visitor

themselves with the routes of the

can choose is the history of the cemetery

present visitors, resulting in new maps

foundation. The visitor can browse by

of favourite paths of memory.

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La Villetta Cemetery

Documentation and Architecture Conservation: La Villetta Cemetery in Parma, Italy A project coordinated by MICHELA ROSSI

Dipartimento di Ingegneria Civile, dellâ&#x20AC;&#x2122;Ambiente, del Territorio e Architettura, UniversitĂ degli Studi di Parma web: www.unipr.it email: michela.rossi@unipr.it

MARIA CARMEN NUZZO,

PhD student in Civil Engineering at the University of Parma, she graduated in Architecture in Milan. She is interested in the study of funerary

architecure

and

symbols

and

collaborates

teaching

Architectural Drawing.

SILVIA OMBELLINI,

PhD student in Forms and Structures of Architecture at the University of Parma, she obtained her architect degree in Florence. She is interested in architecture and urban design and collaborates with the City Planning Office of Parma

ELISA ADORNI,

PhD student in Forms and Structures of Architecture at the University of Parma, she graduated in Architecture. She is interested in architecture conservation and structural rehabilitation of historic architecture.

SIMONE RICCARDI,

PhD student in Forms and Structures of Architecture at University of Parma, he graduated in Architecture at the University of Florence. His main interests are digital applications and urban planning.

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book revie

LOST CITY, RESUMED ARCHITECTURES The cemetery Octagon of Villetta and other funeral architectures in Parma By Michela Rossi ETS Editions, Pisa, February 2007

Book Review

Project: Cemeteries Planning of Parma

This book is the result of a two years-

Planner: University of Parma, Department of

long research, conducted by University of

Civil engineering, Environment, Territory

Parma, under the guide of Architect

and Architecture.

Michela Rossi, together with the

Place: Municipality of Parma

Municipality of the city, in order to set up

Period: 2005-2007

a strategy of valorisation and conservation of the nine cemeteries which constitute the city of Parma funeral system. By defining architectural

There are many ways to enter into a cemetery. We could inquire it by reading stories of ancient poets, looking at old paintings on its surrounding walls, or searching for old documents about its foundation. Alternatively, we could walk all around the city, through fields drawn by channels and trees, trying to detect a network of buried structures. There, a system of cemeteries seems to be created for an unexpected escape. Probably from life. Then, there are several ways to bring a lost architectural system back to its original significance. We could try to preserve these architectures from the outside, by restoring them to their ancient brightness and arresting their evolution in a static time, or we could try to transfer them outside, in the network of cemeteries which represents a different city. It’s the city of deaths: the place in which our past is preserved from life.

and political features of the principal cemetery of the city, called “the Villetta”, the study has investigated the landscape by focusing on its link to the other signs on the territory, represented by the smaller funeral structures all around it, ancient strongholds of a power which doesn’t care the passing time. The result it’s a strange mixed book, created by different authors, each one with a story to tell and with a personal way to do it. Starting from the history of a cemetery, we could read about its foundation, finding out the way of construction of the city of deaths, looking at its political and architectural grown, in order to resume a lived memory, as if we could recognize all the inhabitants of this lost city. Religion and communities are investigated in their relationship with death, also focusing on the original urban connection between the city and the cemetery, through an analysis in which the boundaries between architecture and social features are not so defined. Ancient maps show the boulevard

Review by Federica Ottoni

planned at the time of the cemetery 89

Book Review

construction, which represents both a

becomes a pretext to research a correct

physical and symbolic road from life to

way of managing a real system of several

death, and from present to past.

separated structures, which could recover

Sculptures and paintings, architectures

their connection in an architectural

and plan, connections and cloisters,

general plan.

become the elements of a great collective

The past seems to be a good point from

wall painting, from which the characters

which start an investigation on the future.

of our past continue to tell us their

So a statistical analysis of social and

stories, buried by soil and stones.

political data represents the natural

The original architectonic point of view

evolution of a study which involved

involves then other type of analysis,

structures and functions, aesthetic and

extending itself on a urban scale. In this

social relationships; it seems to give

way, the previous object of this study, the

fundamental hints for the following

main urban cemetery of the â&#x20AC;&#x153;Villettaâ&#x20AC;?,

planning of the burial-places of a city.

As if the architecture could be the common place on which all the problems involved in a urban and social organization would be solved, the last pages of this dense and interesting trip are reserved to the new projects. Three different ways of thinking death are showed in three designs of new architects, concluding a research always suspended between life and death. To recover a lost city to present.

Contact: web: www.unipr.it email: michela.rossi@unipr.it 90

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Book Review

LASERS IN THE CONSERVATION OF ARTWORKS LACONA VI Proceedings Vienna, Austria, Sept. 21-25, 2005 (Series: Springer Proceedings in Physics Vol. 116) by Johann Nimmrichter; Wolfgang Kautek; Manfred Schreiner (Eds.) 2007, 647 p. 419 figures. ISBN: 978-3-540-72129-1 Hardcover Price: $260 / â&#x201A;Ź210

LACONA VI was held in Vienna in

in Venice back in 1972, where he

September 2005 but the proceedings

describes in detail an unthinkable and

were only recently published by Springer.

incredible series of events that started in

LACONA is the conference of reference to

1942 and culminated with his discovery.

all those interested in laser applications

A must read.

to Cultural Heritage, from scanning to cleaning and analysis of works of art.

Metal (part I) is an important material but it is still far from being one of the

The proceedings of LACONA VI present

most studied. This section contains 5

74 articles organized in 6 parts: metal,

articles about laser cleaning of corroded

stone, inorganic materials, organic

steel, gildings, coins and the follow up of

materials, analytical techniques,

the laser cleaning of Ghiberti's Porta del

scanning techniques and safety and

Paradiso in Florence (page 29).

miscellaneous. Besides being the first material where The book opens with an independent

laser cleaning was employed, stone

article by John Asmus, the scientist that

(part II) is the most studied material.

discovered the cleaning application of

However, on the middle of so many case

laser when using holographic technology

studies and articles focused on the use of

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Book Review

laser, it is interesting to read a reflection

materials investigated, such as

about the demand of laser cleaning in

polyurethane foam (page 295). On this

Austria. Pummer (page 143), based on

regard, Staal Dinesen and Westergaard

his 10 years and 40,000 man hours

investigated the usefulness of using laser

experience, reveals that this technology

cleaning instead of vacuum cleaning of

(Nd:YAG laser) “or equivalent” is

polyurethane foam (PU-foam), a normal

currently too often used in official service

material used in Contemporary art. It

agreements, mostly without awareness.

was proven that laser cleaning is more

The author compared 2 usual techniques

effective than vacuum cleaning on dust

– microblasting and Nd:YAG laser - and

removal despite damaging some PU-

concluded that, apart the high difference

variants. However, laser cleaning on PU-F

of cost per hour between them, the

was found recommended on the given

methods can not be referred to as

parameters.

equivalent concerning the cleaning results. Despite the fact that part III is dedicated

Part V (analytical techniques) is devoted

to inorganic materials, a very

to material characterisation. Many of the

comprehensive category, in this section

materials characterised, either for their

are included those materials which didn’t

study or identification, are pigments or

fit the previous sections. Perhaps the

stone-based materials followed by paper,

most uncommon material in this section

ceramics and others. The analytical

is the eggshell. Cornish et. al. (page

techniques are mostly recurrent, such as

169), used a scanning electron

Raman spectroscopy, laser-induced

microscope (SEM) to assess Nd:YAG

breakdown spectroscopy (LIBS), laser-

laser cleaning on eggshell. Preliminary

induced plasma spectroscopy (LIF) and

results show that Nd:YAG has potential,

laser-induced fluorescence (LIF).

as no visible difference was identified by SEM, but that other more sensitive

Without disregarding the importance of

analytical techniques should be employed

other materials in this section, I believe

in order to fully establish the usefulness

that the characterisation study of

of this technology.

cinematographic film, by Oujja et. al. (page 421), stands out by its unusual

The second biggest section is the one

subject. The study reflects the suitability

dedicated to organic materials (part IV).

of LIBS to characterise silver-gelatine

Textiles, paper and resins use to belong

photographic film, to identify different

to this section, as well as Nd:YAG and

gelatine types and to obtain information

excimer laser. However, Er:YAG lasers

on developers and hardeners used on

start to be often used and other

the film.

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Book Review

The scanning techniques section (part VI)

(120 fs) lasers. Among other conclusions,

proves itself to be a highly considered

it is stated that femtosecond lasers

field as it is the biggest section of the

produce finer particles. Health

book. Its 18 articles confirm the huge

recommendations are also suggested

range of this type of application to

such as the use of a built-in fume

Cultural Heritage: from examination of

extraction.

paintings (page 487) and its cleaning (page 473) to damage assessment (page

Concluding, I will be expecting the next

543) and diagnosis of historical

proceedings of the recently finished

monuments (page 583). A good example

LACONA VII which was held last

is given by Bajraszewski et. al. that used

September in Madrid, Spain.

optical coherence tomography (OCT) to assess the environmental influence on

Reviewed by Rui Bordalo

canvas paintings. Under laboratorial controlled conditions, the sample was submitted to humidity changes. OCT analysis revealed a 170 Âľm translation of the whole painting surface and quantified the morphologic change of the sample crack system, confirming the suitability and sensibility of this technique. Part VII (Safety and Miscellaneous) is the last and the smallest part of the book, with only 3 articles. Despite that laser presents exceptional advantages on laser cleaning, health safety assessment is a current necessity. Ostrowski et. al. (page 624) verified, using a nanosecond laser (15 ns), that at the highest laser fluence 78% of the particle matter is in the nanoparticle size range (30-100 nm). Barcikowski et. al. (page 631), collaborating with the previous author within the same project, draws a similar conclusion. However he compares nanosecond (15 ns) with femtosecond 93

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