The panels of Martyrdom of Saint Sebastian and Saint Lucy, executed after 1610 by the Portuguese mannerist painter Belchior de Matos for the main altarpiece of the chapel of Saint Sebastian and Saint Lucy of Geraldes, Peniche, were subject to an intervention of conservation and restoration which aimed, in the first place, to restore the dignity indispensable to their adoption by the community and to their return to a place of worship. The works had several damages, but the most serious were the structural problems that jeopardized their stability and compromised the aesthetic value of the paintings. Therefore, it was necessary to reassemble the boards using a synthetic adhesive (PVA) with sawdust and phenolic resin microspheres. The frames, with significant lack of wood, were reconstituted with wood in the joints and with a filler paste (Araldite SV427) over a bamboo dowels structure in the grooves where the supports are inserted.
{"title":"Intervention in Mannerists wooden paintings representing Saint Sebastian and Saint Lucy, by Belchior de Matos, constituents of a diptych of the chapel of Geraldes, in Peniche","authors":"Elisabete Ferreira, António João Cruz, C. Rego","doi":"10.14568/CP2020051","DOIUrl":"https://doi.org/10.14568/CP2020051","url":null,"abstract":"The panels of Martyrdom of Saint Sebastian and Saint Lucy, executed after 1610 by the Portuguese mannerist painter Belchior de Matos for the main altarpiece of the chapel of Saint Sebastian and Saint Lucy of Geraldes, Peniche, were subject to an intervention of conservation and restoration which aimed, in the first place, to restore the dignity indispensable to their adoption by the community and to their return to a place of worship. The works had several damages, but the most serious were the structural problems that jeopardized their stability and compromised the aesthetic value of the paintings. Therefore, it was necessary to reassemble the boards using a synthetic adhesive (PVA) with sawdust and phenolic resin microspheres. The frames, with significant lack of wood, were reconstituted with wood in the joints and with a filler paste (Araldite SV427) over a bamboo dowels structure in the grooves where the supports are inserted.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47841057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the art market, it is a real possibility that the conduct to be adopted in the preservation of contemporary art cannot be put into practice without secession with the conservation and restoration guidelines. The aim of this study is to analyse if the most prominent professional guidelines fit into the market framework, or if it is possible to find divergences or reasons to lay aside in commercial practice. The work compared the fundamental guidelines with the practical objectives of the art market, qualitatively analyzing the results with the personal testimony collected from the agents of the national market on the issue raised. From this analysis, it was possible to identify the need for diagnostic models balanced with the safeguard of the commercial circumstance of the assets, seeking to develop a line of diagnostic guidelines that offer analytical usefulness to the conservator, in actions in the context of the contemporary art market in Portugal.
{"title":"Care to value. Preservation strategies in the Art Market’s context","authors":"João Henrique Macedo Marrocano","doi":"10.14568/CP2020025","DOIUrl":"https://doi.org/10.14568/CP2020025","url":null,"abstract":"In the art market, it is a real possibility that the conduct to be adopted in the preservation of contemporary art cannot be put into practice without secession with the conservation and restoration guidelines. The aim of this study is to analyse if the most prominent professional guidelines fit into the market framework, or if it is possible to find divergences or reasons to lay aside in commercial practice. The work compared the fundamental guidelines with the practical objectives of the art market, qualitatively analyzing the results with the personal testimony collected from the agents of the national market on the issue raised. From this analysis, it was possible to identify the need for diagnostic models balanced with the safeguard of the commercial circumstance of the assets, seeking to develop a line of diagnostic guidelines that offer analytical usefulness to the conservator, in actions in the context of the contemporary art market in Portugal.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66720818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Antoni Colomina Subiela, Vicent Guerola Blay, Anastasia Papenkova
The festive culture encompasses different representations that enrich the collective imagination as elements of heritage identity reinforcement. Giants and big heads are a statement of such folkloric richness, symbolically linked to the tradition of immaterial connotation. This article contextualizes, historically and ichnographically, one of the papier mâche giants from the Corpus Christi festival in the Valencian city of Xativa. The technical, material and physiognomic examination of the sculpture, popularly known as “La Turca”, served as a preliminary study to determine its state of conservation. As a festive element used in processions, this sculpture exhibited significant structural and dimensional problems, as well as previous intrusive interventions, especially in polychrome areas, repeatedly applied with the purpose to recover the work’s appearance. Finally, based on the preliminary examinations, curative conservation and restoration treatments were performed, aimed at the most relevant deteriorations.
{"title":"Technical approach and curative conservation and restoration processes of a papier machê giant: “La Turca” from the Corpus de Xàtiva","authors":"Antoni Colomina Subiela, Vicent Guerola Blay, Anastasia Papenkova","doi":"10.14568/CP2020073","DOIUrl":"https://doi.org/10.14568/CP2020073","url":null,"abstract":"The festive culture encompasses different representations that enrich the collective imagination as elements of heritage identity reinforcement. Giants and big heads are a statement of such folkloric richness, symbolically linked to the tradition of immaterial connotation. This article contextualizes, historically and ichnographically, one of the papier mâche giants from the Corpus Christi festival in the Valencian city of Xativa. The technical, material and physiognomic examination of the sculpture, popularly known as “La Turca”, served as a preliminary study to determine its state of conservation. As a festive element used in processions, this sculpture exhibited significant structural and dimensional problems, as well as previous intrusive interventions, especially in polychrome areas, repeatedly applied with the purpose to recover the work’s appearance. Finally, based on the preliminary examinations, curative conservation and restoration treatments were performed, aimed at the most relevant deteriorations.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47785672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Conservation and restoration on archaeological objects in glass often involve the removal of materials from previous restorations and comprise a deep knowledge about present and past methodologies. This article presents a literature survey and critical analysis of the main materials used in the different stages of intervention: cleaning, consolidation, joining fragments and filling gaps. A considerable number of used products was identified, which illustrates the use of various methodologies among professionals from this area. Cleaning methods vary from mechanical methods using a brush (less invasive) to the use of various acidic solutions, some of which can endanger the integrity of objects, being the most common ethylenediamine tetra-acetic acid. We highlight the use of epoxy resins as adhesive, consolidant and filler, as well as the acrylic resin Paraloid B-72, identified as reversible, colorless, stable and inert. This survey and analysis of the bibliography reveals the need to implement common intervention methodologies dedicated to this material.
{"title":"Archaeological glass conservation and restoration intervention materials – a literature review","authors":"A. Pereira, M. Vilarigues, I. Coutinho","doi":"10.14568/cp2020045","DOIUrl":"https://doi.org/10.14568/cp2020045","url":null,"abstract":"Conservation and restoration on archaeological objects in glass often involve the removal of materials from previous restorations and comprise a deep knowledge about present and past methodologies. This article presents a literature survey and critical analysis of the main materials used in the different stages of intervention: cleaning, consolidation, joining fragments and filling gaps. A considerable number of used products was identified, which illustrates the use of various methodologies among professionals from this area. Cleaning methods vary from mechanical methods using a brush (less invasive) to the use of various acidic solutions, some of which can endanger the integrity of objects, being the most common ethylenediamine tetra-acetic acid. We highlight the use of epoxy resins as adhesive, consolidant and filler, as well as the acrylic resin Paraloid B-72, identified as reversible, colorless, stable and inert. This survey and analysis of the bibliography reveals the need to implement common intervention methodologies dedicated to this material.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66720612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper presents the creation of tridimensional models by using digital photographic techniques and Structure for Motion software, applied for the particular case of the archaeological and ethnographical collections of the Storage Area of the Instituto de Arqueologia y Museo, Universidad Nacional de Tucuman, Argentina. As a result, we present the workflow elaborated to create the 3D record of the objects belonging to the collection. Our aim is to test possibilities, scopes and limits of this approach applied to the record, research and exhibition in the archaeological and museology fields.
本文介绍了使用数字摄影技术和Structure for Motion软件创建三维模型的方法，该软件适用于阿根廷图库曼国立大学Arqueologia和Museo研究所存储区的考古和民族志藏品的特殊情况。因此，我们介绍了创建属于集合的对象的3D记录的详细工作流程。我们的目标是测试这种方法应用于考古和博物馆学领域的记录、研究和展览的可能性、范围和局限性。
{"title":"Photogrammetric documentation on archaeological and ethnographic collections of the Institute of Archaeology and Museum, Tucumán, Argentina","authors":"Roy Arturo Casañas Rigoli","doi":"10.14568/CP2020032","DOIUrl":"https://doi.org/10.14568/CP2020032","url":null,"abstract":"This paper presents the creation of tridimensional models by using digital photographic techniques and Structure for Motion software, applied for the particular case of the archaeological and ethnographical collections of the Storage Area of the Instituto de Arqueologia y Museo, Universidad Nacional de Tucuman, Argentina. As a result, we present the workflow elaborated to create the 3D record of the objects belonging to the collection. Our aim is to test possibilities, scopes and limits of this approach applied to the record, research and exhibition in the archaeological and museology fields.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45415477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present work describes and organizes a set of causes or deterioration agents to help the description of the state of conservation of altarpieces in polychrome wood. The work addresses the issue of previous interventions, presenting a proposal for classification and terminology that aids the description of damages.
{"title":"Interventions taken on altarpieces throughout their history: a proposal of classification","authors":"B. Domínguez-Gómez","doi":"10.14568/CP2020029","DOIUrl":"https://doi.org/10.14568/CP2020029","url":null,"abstract":"The present work describes and organizes a set of causes or deterioration agents to help the description of the state of conservation of altarpieces in polychrome wood. The work addresses the issue of previous interventions, presenting a proposal for classification and terminology that aids the description of damages.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48951529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
T. López-Martínez, F. Collado-Montero, A. García-Bueno
Consolidation is a treatment of great importance for archaeological wall paintings due to their state of preservation, in which the lack of cohesion of the mortar and the pulverulence of the pictorial layer are common. The objective of this work has been to evaluate consolidation tests that have been carried out on decontextualized fragments belonging to five different wall paintings (from different periods and with differences in their state of conservation and in their painting techniques). For this, two of the most used treatments in consolidation of archaeological coatings, such as an acrylic resin and ethyl silicate, have been compared with two treatments that use nanoparticles, such as nanolimes and nano ethyl silicate, together with a bioconsolidation treatment used until present mainly for the consolidation of stone material: bacterial carbonatogenesis.
{"title":"Consolidation tests in archaeological wall painting: comparing treatments depending on the painting technique","authors":"T. López-Martínez, F. Collado-Montero, A. García-Bueno","doi":"10.14568/CP2020040","DOIUrl":"https://doi.org/10.14568/CP2020040","url":null,"abstract":"Consolidation is a treatment of great importance for archaeological wall paintings due to their state of preservation, in which the lack of cohesion of the mortar and the pulverulence of the pictorial layer are common. The objective of this work has been to evaluate consolidation tests that have been carried out on decontextualized fragments belonging to five different wall paintings (from different periods and with differences in their state of conservation and in their painting techniques). For this, two of the most used treatments in consolidation of archaeological coatings, such as an acrylic resin and ethyl silicate, have been compared with two treatments that use nanoparticles, such as nanolimes and nano ethyl silicate, together with a bioconsolidation treatment used until present mainly for the consolidation of stone material: bacterial carbonatogenesis.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44022886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
T. Ferreira, Sílvia O. Sequeira, A. Claro, Ana Zélia Miller, Elin Figueiredo
2020 was an untypically difficult year. The global COVID-19 pandemic has forced the closure of various sectors of activity, including universities, laboratories and businesses, impelling researchers and technicians to temporarily halt their research or, at their best, to develop it in a limited way. Less recognised but equally significant was the direct impact of COVID-19 on the preservation and protection of cultural heritage. Online: 2021-2-10Publication: 2021-2-10
{"title":"2020: heritage, the pandemic and the journal","authors":"T. Ferreira, Sílvia O. Sequeira, A. Claro, Ana Zélia Miller, Elin Figueiredo","doi":"10.14568/CP36FM2","DOIUrl":"https://doi.org/10.14568/CP36FM2","url":null,"abstract":"2020 was an untypically difficult year. The global COVID-19 pandemic has forced the closure of various sectors of activity, including universities, laboratories and businesses, impelling researchers and technicians to temporarily halt their research or, at their best, to develop it in a limited way. Less recognised but equally significant was the direct impact of COVID-19 on the preservation and protection of cultural heritage.\u0000 \u0000Online: 2021-2-10Publication: 2021-2-10","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43207322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ângela Santos, Beatriz Rodrigues, V. Otero, M. Vilarigues
This article intends to define and make available guidelines for the preventive conservation of hand-painted glass slides for magic lanterns, the first optical instruments for the projection of images, invented in the 17th century. For this purpose, around 300 hand-painted glass slides from the Portuguese Cinematheque – Museum of Cinema (CP) and Nacional Museum of Natural History and Science of the University of Lisbon (MUHNAC), were studied in terms of representativity in these collections, discursive genre, type of construction or movement mechanism, state of preservation and degradation problems. A survey was designed and distributed to institutions across the globe aiming for an overview of the formal characteristics of the collections of magic lantern slides and the preventive and interventive conservation measures undertaken. The guidelines are focused on the environmental conditions (temperature, relative humidity, and light), fine particles and pest control, storage and display conditions and materials, as well as handling. Recommendations on performative projections or demonstrations are also provided.
{"title":"Defining the first preventive conservation guidelines for hand-painted magic lantern glass slides","authors":"Ângela Santos, Beatriz Rodrigues, V. Otero, M. Vilarigues","doi":"10.14568/CP2020033","DOIUrl":"https://doi.org/10.14568/CP2020033","url":null,"abstract":"This article intends to define and make available guidelines for the preventive conservation of hand-painted glass slides for magic lanterns, the first optical instruments for the projection of images, invented in the 17th century. For this purpose, around 300 hand-painted glass slides from the Portuguese Cinematheque – Museum of Cinema (CP) and Nacional Museum of Natural History and Science of the University of Lisbon (MUHNAC), were studied in terms of representativity in these collections, discursive genre, type of construction or movement mechanism, state of preservation and degradation problems. A survey was designed and distributed to institutions across the globe aiming for an overview of the formal characteristics of the collections of magic lantern slides and the preventive and interventive conservation measures undertaken. The guidelines are focused on the environmental conditions (temperature, relative humidity, and light), fine particles and pest control, storage and display conditions and materials, as well as handling. Recommendations on performative projections or demonstrations are also provided.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46225576","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper proposes a reflection on the evolution of the concept of preventive conservation in archaeology and its social interaction (or socialization), from a reflexive and theoretical point of view. It is a manuscript that outlines the current role of Preventive Conservation Plans and how the participation of society in heritage management is addressed. Heritage is understood as a multi-temporal entity that transcends the materiality of the object and enables us to turn towards a preventive archaeological conservation that preserves current contexts and their stories, integrated into participatory or community archaeology. Through a series of questions, the reader will become an active player in questioning who conservation actions are targeted at, whether society or experts. Lastly, it will outline some proposals for promoting a preventive conservation that tackles, transforms and broadens its desired social dimension.
{"title":"Thoughts on the socialisation of preventive archaeological conservation in Spain","authors":"Ana Pastor Pérez","doi":"10.14568/cp2020017","DOIUrl":"https://doi.org/10.14568/cp2020017","url":null,"abstract":"This paper proposes a reflection on the evolution of the concept of preventive conservation in archaeology and its social interaction (or socialization), from a reflexive and theoretical point of view. It is a manuscript that outlines the current role of Preventive Conservation Plans and how the participation of society in heritage management is addressed. Heritage is understood as a multi-temporal entity that transcends the materiality of the object and enables us to turn towards a preventive archaeological conservation that preserves current contexts and their stories, integrated into participatory or community archaeology. Through a series of questions, the reader will become an active player in questioning who conservation actions are targeted at, whether society or experts. Lastly, it will outline some proposals for promoting a preventive conservation that tackles, transforms and broadens its desired social dimension.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66720506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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