The concept of enlarged painting refers to the technique of extending the support of an easel painting as well as its compositional space, to simulate a continuity with the original painting. Enlargements of support are considered historical additions with a huge documentary weight, so making decisions about their conservation entails great responsibility. Furthermore, additions can be key for a painting to fulfil its function within a certain social assemblage or network, so to promote correct decision making, it is vital to know the reasons why a painting was enlarged. The aim of this research has been to develop a classification of enlarged paintings, according to the purpose of the enlargement. The classification includes the following categories: updating pictures, adaptation to a new space and/or a new frame, completing mutilated paintings, changes in iconography, enlargement in order to create independent works, and grouping paintings together.
{"title":"Enlarged paintings: a proposal for classification","authors":"A. Bonilla, José Manuel Barros García, S. M. Rey","doi":"10.14568/cp2019032","DOIUrl":"https://doi.org/10.14568/cp2019032","url":null,"abstract":"The concept of enlarged painting refers to the technique of extending the support of an easel painting as well as its compositional space, to simulate a continuity with the original painting. Enlargements of support are considered historical additions with a huge documentary weight, so making decisions about their conservation entails great responsibility. Furthermore, additions can be key for a painting to fulfil its function within a certain social assemblage or network, so to promote correct decision making, it is vital to know the reasons why a painting was enlarged. The aim of this research has been to develop a classification of enlarged paintings, according to the purpose of the enlargement. The classification includes the following categories: updating pictures, adaptation to a new space and/or a new frame, completing mutilated paintings, changes in iconography, enlargement in order to create independent works, and grouping paintings together.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49302939","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 study aims to assess the wind behavior and its effect on the thermal sensation in urban canyons of the historic center of Cuenca. The methodology is based on the selection of case studies of the functional unit of the historical center to assemble simplified models according to the height/width (H/W) ratio and east-west and north-south directions. These models are simulated through the application of computational fluid dynamics (CFD), whose calculation uses values from the wind for the month of greater intensity and according to prevailing speeds and directions. The results show that the geometric relationship affects the change in wind speed and therefore modifies the apparent temperature inside it, which may increase or decrease up to 4 °C depending on the H / W ratio, orientation and time of day.
{"title":"Characterization of the wind and apparent temperature in the urban canyons of the historic center of Cuenca, Ecuador","authors":"A. Campoverde","doi":"10.14568/cp2019034","DOIUrl":"https://doi.org/10.14568/cp2019034","url":null,"abstract":"The study aims to assess the wind behavior and its effect on the thermal sensation in urban canyons of the historic center of Cuenca. The methodology is based on the selection of case studies of the functional unit of the historical center to assemble simplified models according to the height/width (H/W) ratio and east-west and north-south directions. These models are simulated through the application of computational fluid dynamics (CFD), whose calculation uses values from the wind for the month of greater intensity and according to prevailing speeds and directions. The results show that the geometric relationship affects the change in wind speed and therefore modifies the apparent temperature inside it, which may increase or decrease up to 4 °C depending on the H / W ratio, orientation and time of day.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48051258","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 investigates the importance of meteorites as a scientific heritage. While the significance of meteorites as natural heritage is relatively easy to establish, the implication of their meaning as scientific heritage may be more difficult to define. With this aim in mind, in this paper, we present the catalogue standards for meteorite specimens, preserved either in natural history museums or in private collections, proposed by the Italian Istituto Centrale per il Catalogo e la Documentazione–ICCD (Central Institute for Catalogue and Documentation). This work outlines the structure of the catalogue card that describes the meteorite specimen along with other information related to the sample (e.g., archival documentation on collectors and traders, museum catalogues and inventories, general bibliography). This essay concludes discussing the cataloguing, according to ICCD standards, of two Renazzo meteorite specimens, which fell in the eponymous Italian village in 1824 and are now preserved at the Natural History Museum of the University of Firenze.
{"title":"Meteorites as a Scientific Heritage","authors":"A. Franza, G. Pratesi","doi":"10.14568/cp2020018","DOIUrl":"https://doi.org/10.14568/cp2020018","url":null,"abstract":"This paper investigates the importance of meteorites as a scientific heritage. While the significance of meteorites as natural heritage is relatively easy to establish, the implication of their meaning as scientific heritage may be more difficult to define. With this aim in mind, in this paper, we present the catalogue standards for meteorite specimens, preserved either in natural history museums or in private collections, proposed by the Italian Istituto Centrale per il Catalogo e la Documentazione–ICCD (Central Institute for Catalogue and Documentation). This work outlines the structure of the catalogue card that describes the meteorite specimen along with other information related to the sample (e.g., archival documentation on collectors and traders, museum catalogues and inventories, general bibliography). This essay concludes discussing the cataloguing, according to ICCD standards, of two Renazzo meteorite specimens, which fell in the eponymous Italian village in 1824 and are now preserved at the Natural History Museum of the University of Firenze.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47467584","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}
Wax effigies, fully dressed life-size models of human figures, have been constructed since the medieval times. The construction materials of historical effigies differ to the contemporary ones, yet the construction process of the wax parts has more or less remained unchanged over the centuries. This paper starts with the history, construction materials and manufacture techniques of wax effigies. The inseparable relation of the wax effigies and their costumes is explained, and the characteristics and deterioration agents of their most important construction materials are presented in order to understand their needs for preservation, with emphasis on wax and fabrics. The aim of this paper is to suggest preventive conservation guidelines for wax effigies, with proposals for appropriate environmental conditions during display and storage, and suggestions for proper handling, storage and transportation. Advice for disaster preparedness and actions in cases of emergency situations is also provided.
{"title":"Clothed wax effigies: construction materials, challenges and suggestions for preventive conservation","authors":"Christos Karydis, Evangelia Kyriazi, Christina-Alkisti Staka","doi":"10.14568/cp2020006","DOIUrl":"https://doi.org/10.14568/cp2020006","url":null,"abstract":"Wax effigies, fully dressed life-size models of human figures, have been constructed since the medieval times. The construction materials of historical effigies differ to the contemporary ones, yet the construction process of the wax parts has more or less remained unchanged over the centuries. This paper starts with the history, construction materials and manufacture techniques of wax effigies. The inseparable relation of the wax effigies and their costumes is explained, and the characteristics and deterioration agents of their most important construction materials are presented in order to understand their needs for preservation, with emphasis on wax and fabrics. The aim of this paper is to suggest preventive conservation guidelines for wax effigies, with proposals for appropriate environmental conditions during display and storage, and suggestions for proper handling, storage and transportation. Advice for disaster preparedness and actions in cases of emergency situations is also provided.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48188197","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}
Biodeterioration has been a central subject for libraries and archives. Throughout the ages, different preventive and curative conservation measures were adopted to manage biodeterioration in Portuguese institutions, but the problem persists. A historic review of different methodologies used to prevent biodeterioration in the Portuguese context is presented and compared to international trends. It focuses on theories and practices of paper conservation on par with their evolution and a comparison between the art collectors' world and Libraries and Archives is also made. Biodeterioration management has always been a major concern, namely amid librarians and archivists, among the first ones to endorse the implementation of preservation policies. Although preservation awareness has a relatively long history, it is vital to encourage a better understanding of it at the decision-making level. In fact, the implementation of preventive conservation strategies continues to be unsatisfactory, despite the current sustainability issues and the dangers of handling contaminated documentation.
{"title":"Portuguese Archives and Libraries: a Century of Preservation and Conservation Practices for the Control of Biodeterioration","authors":"Maria da Conceição Lopes Casanova, A. Pinheiro","doi":"10.14568/cp2020004","DOIUrl":"https://doi.org/10.14568/cp2020004","url":null,"abstract":"Biodeterioration has been a central subject for libraries and archives. Throughout the ages, different preventive and curative conservation measures were adopted to manage biodeterioration in Portuguese institutions, but the problem persists. A historic review of different methodologies used to prevent biodeterioration in the Portuguese context is presented and compared to international trends. It focuses on theories and practices of paper conservation on par with their evolution and a comparison between the art collectors' world and Libraries and Archives is also made. Biodeterioration management has always been a major concern, namely amid librarians and archivists, among the first ones to endorse the implementation of preservation policies. Although preservation awareness has a relatively long history, it is vital to encourage a better understanding of it at the decision-making level. In fact, the implementation of preventive conservation strategies continues to be unsatisfactory, despite the current sustainability issues and the dangers of handling contaminated documentation.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43734035","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}
On the 27, 28 and 29 September 2018 the II Colloquium "Investigations in Heritage Conservation" took place. It resulted from the partnership between the Faculdade de Belas-Artes da Universidade de Lisboa (Faculty of Fine Arts of the University of Lisbon) and the Museu da Farmacia (Pharmacy Museum). It was also an initiative of a group of researchers from the research units of CIEBA (FBAUL), CITAR (UCP/Escola das Artes), de Fisica (UM) and the Consorcio Heritas.Like the I Colloquium [1], held in September 2016, it was intended to disseminate, through a multidisciplinary environment and transversal to the various areas of heritage, the investigation in cultural heritage conservation performed at masters, doctoral and post-doctoral works, although the colloquium was extended to all professionals working with heritage conservation.
2018年9月27日、28日和29日举行了第二次学术讨论会“遗产保护调查”。它源于里斯本大学美术学院（Faculdade de Belas Artes da Universidade Lisboa）和制药博物馆（Museu da Farmacia）之间的合作。这也是来自CIEBA（FBAUL）、CITAR（UCP/Escola das Artes）、de Fisica（UM）和Consorcio Heritas研究单位的一组研究人员的倡议。与2016年9月举行的第一次学术讨论会[1]一样，它旨在通过多学科环境，对文化遗产保护的调查在硕士、博士和博士后作品中进行，尽管座谈会扩大到所有从事遗产保护工作的专业人员。
{"title":"Editorial: II Colóquio \"Investigações em Conservação do Património\"","authors":"Ana Bailão","doi":"10.14568/cp34fm2","DOIUrl":"https://doi.org/10.14568/cp34fm2","url":null,"abstract":"On the 27, 28 and 29 September 2018 the II Colloquium \"Investigations in Heritage Conservation\" took place. It resulted from the partnership between the Faculdade de Belas-Artes da Universidade de Lisboa (Faculty of Fine Arts of the University of Lisbon) and the Museu da Farmacia (Pharmacy Museum). It was also an initiative of a group of researchers from the research units of CIEBA (FBAUL), CITAR (UCP/Escola das Artes), de Fisica (UM) and the Consorcio Heritas.Like the I Colloquium [1], held in September 2016, it was intended to disseminate, through a multidisciplinary environment and transversal to the various areas of heritage, the investigation in cultural heritage conservation performed at masters, doctoral and post-doctoral works, although the colloquium was extended to all professionals working with heritage conservation.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":"34 1","pages":"8-9"},"PeriodicalIF":0.3,"publicationDate":"2020-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44089757","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}
J. Linhares, L. Cardeira, Ana Bailão, Ruben C. Pastilha, S. Nascimento
The ability to digitally remove the varnish layer during the pre-conservation diagnostic of a painting, without any chemical or physical intervention, could be an advantage because it enables the prediction of the outcome of the cleaning procedure of the protective layer and contributes to the treatment proposal. Two paintings from Adriano de Sousa Lopes were investigated by hyperspectral imaging in the visible range, before and after the varnish layer removal. The spectral ref lectance was estimated in each case and its comparison used to assess the effect of the varnish layer removal. The simulated paintings with the old varnish layer were compared with those restored, with no varnish, by comparing the chromaticity coordinates and other chromatic descriptors. It was found that considering the effect of the varnish layer of each painting individually produces lower errors than considering the average of the varnish layer across paintings. It was also found that simulating the varnish layer removal without knowing the varnish transmittance produces limited results and that the errors are smaller if the chromatic content is assessed without considering lightness. Resumo A capacidade de remover digitalmente a camada de verniz na fase de diagnóstico de uma pintura, sem qualquer intervenção química ou física, poderá ser uma vantagem, pois permite prever o resultado do procedimento de limpeza da camada de proteção e auxiliar a proposta de tratamento. Duas pinturas de Adriano de Sousa Lopes foram investigadas por imagiografia hiperespectral na zona da luz visível, antes e após a remoção da camada de verniz. A ref lectância espectral foi estimada em cada caso e sua comparação utilizada para avaliar o efeito da remoção da camada de verniz. As pinturas simuladas com a camada de verniz envelhecida foram comparadas com a intervencionada, sem verniz, comparando as coordenadas cromáticas e outros descritores cromáticos. Verificou-se que considerando o efeito da camada de verniz de cada pintura individualmente obtêm-se erros mais baixos do que considerando a média da camada de verniz das duas pinturas. Verificou-se também que simular a remoção da camada de verniz sem saber a transmitância do verniz original produz resultados limitados e que os erros são menores se o conteúdo cromático for obtido sem considerar a luminosidade.
在对画作进行预保护诊断时，无需任何化学或物理干预，就能以数字方式去除清漆层，这可能是一项优势，因为它可以预测保护层清洁过程的结果，并有助于制定处理方案。两幅来自Adriano de Sousa Lopes的画作在去除清漆层之前和之后的可见光范围内进行了高光谱成像研究。估计了每种情况下的光谱反射率，并将其比较用于评估清漆层去除的效果。通过对比色度坐标和其他色度描述符，将有旧清漆层的模拟画与没有清漆层的模拟画进行比较。研究发现，单独考虑每幅画的清漆层的效果比考虑每幅画的清漆层的平均值产生的误差要小。我们还发现，在不知道清漆透光率的情况下模拟清漆层的去除会产生有限的结果，而在不考虑亮度的情况下评估色度含量的误差更小。恢复一种数字处理能力，一种处理能力，一种处理能力，一种处理能力，一种处理能力，一种处理能力，一种处理能力，一种处理能力，一种处理能力，一种处理能力，一种处理能力，一种处理能力，一种处理能力，一种处理能力，一种处理能力。Duas pinturas de Adriano de Sousa Lopes foram investigadas穷图像成像高光谱研究，研究区域达鲁兹visível, antes e após和远程达camada de verniz。本文提出了一种反射式 ncia光谱图像估计方法，并将其应用于利用-近似于利用-近似于利用-近似于利用-近似于利用-近似于−计算。由于pinturas simuladas com和camada de verniz信封形成了comparadas com和intercionada，似乎verniz, comparadas坐标cromáticas和outros描述cromáticos。Verificou-se, considerando o efeito da camada de verniz de每pintura individualmente obtem-se论述但是浅滩做什么considerando媒体da camada de verniz das dua pinturas。verificue -se tambsamm que类似于remoremo; verificue -se camada de verniz似乎是一个传输; verificue -se camada de verniz似乎是一个传输; verificue -se camada de verniz似乎是一个传输; verificue -se camada de verniz原始产品的结果是一个限制;verificue camada de verniz似乎是一个错误。
{"title":"Chromatic changes in paintings of Adriano de Sousa Lopes after the removal of aged varnish","authors":"J. Linhares, L. Cardeira, Ana Bailão, Ruben C. Pastilha, S. Nascimento","doi":"10.14568/cp2018064","DOIUrl":"https://doi.org/10.14568/cp2018064","url":null,"abstract":"The ability to digitally remove the varnish layer during the pre-conservation diagnostic of a painting, without any chemical or physical intervention, could be an advantage because it enables the prediction of the outcome of the cleaning procedure of the protective layer and contributes to the treatment proposal. Two paintings from Adriano de Sousa Lopes were investigated by hyperspectral imaging in the visible range, before and after the varnish layer removal. The spectral ref lectance was estimated in each case and its comparison used to assess the effect of the varnish layer removal. The simulated paintings with the old varnish layer were compared with those restored, with no varnish, by comparing the chromaticity coordinates and other chromatic descriptors. It was found that considering the effect of the varnish layer of each painting individually produces lower errors than considering the average of the varnish layer across paintings. It was also found that simulating the varnish layer removal without knowing the varnish transmittance produces limited results and that the errors are smaller if the chromatic content is assessed without considering lightness. Resumo A capacidade de remover digitalmente a camada de verniz na fase de diagnóstico de uma pintura, sem qualquer intervenção química ou física, poderá ser uma vantagem, pois permite prever o resultado do procedimento de limpeza da camada de proteção e auxiliar a proposta de tratamento. Duas pinturas de Adriano de Sousa Lopes foram investigadas por imagiografia hiperespectral na zona da luz visível, antes e após a remoção da camada de verniz. A ref lectância espectral foi estimada em cada caso e sua comparação utilizada para avaliar o efeito da remoção da camada de verniz. As pinturas simuladas com a camada de verniz envelhecida foram comparadas com a intervencionada, sem verniz, comparando as coordenadas cromáticas e outros descritores cromáticos. Verificou-se que considerando o efeito da camada de verniz de cada pintura individualmente obtêm-se erros mais baixos do que considerando a média da camada de verniz das duas pinturas. Verificou-se também que simular a remoção da camada de verniz sem saber a transmitância do verniz original produz resultados limitados e que os erros são menores se o conteúdo cromático for obtido sem considerar a luminosidade.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":"34 1","pages":"50-64"},"PeriodicalIF":0.3,"publicationDate":"2020-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45134988","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}
V. Antunes, V. Serrão, A. Candeias, J. Mirão, S. Valadas, M. Carvalho
Goa Cathedral former altarpiece, attributed to Garcia Fernandes and made around 1538, is one of the oldest western pictorial works in India. It is a work of great importance in the establishment of the conquest of Goa by the Portuguese but also for understanding the influence of Portuguese painting overseas. Goa Cathedral former altarpiece is revealed as a crucial study source of Garcia Fernandes' creative process. There is evidence in the vigorous underdrawing of these paintings, of the existence of different types of drawing, as well as abandoned iconographic themes, or formal alterations of compositions. The iconographic and stylistic study evidences north and south-European influences in the choice and representation of the themes around the Martirio de Santa Catarina. In the present study, this work is compared in the making of the underdrawing with other works attributed to Garcia Fernandes.
{"title":"An Artist's Sketchbook: the former altarpiece of Goa Cathedral (India) attributed to the painter Garcia Fernandes - iconographic and stylistic influences and underdrawing study","authors":"V. Antunes, V. Serrão, A. Candeias, J. Mirão, S. Valadas, M. Carvalho","doi":"10.14568/cp2018068","DOIUrl":"https://doi.org/10.14568/cp2018068","url":null,"abstract":"Goa Cathedral former altarpiece, attributed to Garcia Fernandes and made around 1538, is one of the oldest western pictorial works in India. It is a work of great importance in the establishment of the conquest of Goa by the Portuguese but also for understanding the influence of Portuguese painting overseas. Goa Cathedral former altarpiece is revealed as a crucial study source of Garcia Fernandes' creative process. There is evidence in the vigorous underdrawing of these paintings, of the existence of different types of drawing, as well as abandoned iconographic themes, or formal alterations of compositions. The iconographic and stylistic study evidences north and south-European influences in the choice and representation of the themes around the Martirio de Santa Catarina. In the present study, this work is compared in the making of the underdrawing with other works attributed to Garcia Fernandes.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":"34 1","pages":"73-87"},"PeriodicalIF":0.3,"publicationDate":"2020-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43930365","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}
Ana Sofia Neves, Ana Bailão, F. Henriques, Andreia Ferreira
The present article has two objectives: the first one is to present the collection of medals of the extinct Research and Studies Section Volte Face – Medalha Contemporânea, of the Research Unit of the Faculdade de Belas Artes da Universidade de Lisboa, CIEBA, constituted by medals of various sizes, formats and materials (organic, inorganic and synthetic), whose characteristics influence the way they degrade and how they are conditioned; the second objective is to present the packaging proposals for the packing of the medals, for which we used 3D modelling, vector drawing and 3D printing. In the first case, we present the inventory of objects, their documentation, identification of constituent materials and degradation factors. For the second case, criteria were defined for the selection of the packaging format and for the choice of construction materials. The alveolar polypropylene for the box and the low-density polyethylene were selected for the filler material.
本文有两个目的:第一个目的是介绍已灭绝的研究和研究部门Volte Face - Medalha contempornea的奖牌收藏，该部门由各种尺寸、格式和材料(有机、无机和合成)的奖牌组成，其特性影响了它们的降解方式和处理方式;第二个目标是为奖牌的包装提出包装建议，为此我们使用了3D建模，矢量绘图和3D打印。在第一种情况下，我们提出了对象的清单，他们的文件，组成材料和降解因素的识别。对于第二种情况，定义了选择包装格式和选择建筑材料的标准。箱体选用了多孔聚丙烯，填充材料选用了低密度聚乙烯。
{"title":"Conservation of contemporary medals: packaging solutions","authors":"Ana Sofia Neves, Ana Bailão, F. Henriques, Andreia Ferreira","doi":"10.14568/cp2018066","DOIUrl":"https://doi.org/10.14568/cp2018066","url":null,"abstract":"The present article has two objectives: the first one is to present the collection of medals of the extinct Research and Studies Section Volte Face – Medalha Contemporânea, of the Research Unit of the Faculdade de Belas Artes da Universidade de Lisboa, CIEBA, constituted by medals of various sizes, formats and materials (organic, inorganic and synthetic), whose characteristics influence the way they degrade and how they are conditioned; the second objective is to present the packaging proposals for the packing of the medals, for which we used 3D modelling, vector drawing and 3D printing. In the first case, we present the inventory of objects, their documentation, identification of constituent materials and degradation factors. For the second case, criteria were defined for the selection of the packaging format and for the choice of construction materials. The alveolar polypropylene for the box and the low-density polyethylene were selected for the filler material.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66720118","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 model 1859 clothes backpack was used to carry soldier's spare clothing and necessaries. It was strictly made according to a pattern and was constructed in a box shape from leather and canvas, painted black on the exterior. An example of this model, which belongs to the Lisbon Military Museum collection (MML02048), was removed from the storage in 2016 in order to be inventoried. It was subsequently restored within the curricular unit “conservation and restoration project” of the Conservation and Restoration Bachelor so it could be placed on permanent exhibition. This object was likely used in campaign in Mozambique in 1894-95 by the bugler Antonio Moura, taking part on the combat of Marracuene. Areas of deterioration, such as f laking paint and canvas losses, were caused mainly by storage conditions and improper care over the course of more than a century. The treatment was guided towards its ideal state, enhancing mostly historical and aesthetical values which were obtained through investigation. Received: 2018-12-9Revised: 2019-9-6Accepted: 2020-5-28Online: 2020-7-31Publication: 2020-7-31
{"title":"Model 1859 Portuguese army clothes backpack. Historical note, conservation and restoration treatment","authors":"André Filipe Nunes Fernandes","doi":"10.14568/cp2018069","DOIUrl":"https://doi.org/10.14568/cp2018069","url":null,"abstract":"The model 1859 clothes backpack was used to carry soldier's spare clothing and necessaries. It was strictly made according to a pattern and was constructed in a box shape from leather and canvas, painted black on the exterior. An example of this model, which belongs to the Lisbon Military Museum collection (MML02048), was removed from the storage in 2016 in order to be inventoried. It was subsequently restored within the curricular unit “conservation and restoration project” of the Conservation and Restoration Bachelor so it could be placed on permanent exhibition. This object was likely used in campaign in Mozambique in 1894-95 by the bugler Antonio Moura, taking part on the combat of Marracuene. Areas of deterioration, such as f laking paint and canvas losses, were caused mainly by storage conditions and improper care over the course of more than a century. The treatment was guided towards its ideal state, enhancing mostly historical and aesthetical values which were obtained through investigation. \u0000 \u0000Received: 2018-12-9Revised: 2019-9-6Accepted: 2020-5-28Online: 2020-7-31Publication: 2020-7-31","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":"34 1","pages":"155-165"},"PeriodicalIF":0.3,"publicationDate":"2020-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48148821","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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