old post of restauronovaars.spaces.live.com
01/11/2008 12:00:07
http://cid-ed2ca20165a7dbb1.skydrive.live.com/play.aspx/.res/ED2CA20165A7DBB1!1240 ? ref = 1 & sa = 836364624
SUBJECT: polychrome wood carving depicting St. Elizabeth of Hungary
LOCATION: SAN FRANCISCO CONVENT
PLACE ': Bracknell (SA)
SIZE: m. 1.70 x 0.4 x 0.5
TIME OF RESTORATION: 2007
CONDITION
The statue of S. Elizabeth of Hungary, the subject of the restoration, before the intervention was presented in poor condition. The entire surface was
widely and heavily remodeled, covered by several layers of riammaniture and repainting that obstruct and distort the modeled completely altering the perception of the image that had been taken, especially in the face look grotesque. From the earliest short essays
removal performed on the surface, it became clear the seriousness conservative, in fact, beneath the layers mentioned anything not emerged. On the other hand, the status of the image as it came, was so compromised, so defaced, runs roughly, that it is unbearable and keeping it unlikely, because, remained detectable on closer inspection, some sweetness of expression and style of modeling, with a twist of the torso and a movement to remember the fifteenth-century sculptures.
In the first instance, it was nearly impossible to examine the real state of conservation work, much was covered by remakes. Only later, after the removal of layers sovrammessi, we were able to realize the Conservative position, which looked very dramatic.
The old paint film remaining was less than 20%, mainly concentrated on the face and hands, all the rest of the surface of the exposed wood, also fortemente degradato. ; ; ;
The previous attacks by insects xylophagous had so weakened the structure will affect the static function. Gaps were evident in parts of the model, cracks in the wood, cracks and disconnections, the right arm was just glued to the shaft, his hands were poorly assembled, the base also was not partially detached from the original sculpture for this reason that swayed dangerously.
observing the issues raised during the restoration was possible to identify a number of previous interventions, including, most recently going back a few years ago. It has witnessed the discovery of copies of children's drawings dated 1998, used compensate for the gaps and cracks in the wood.
The carvings, usually were frequently subjected to resettlement assistance, aimed at the recovery aesthetic misunderstanding is often resolved in gross alterations to the structure and exterior renovations through practices that today are considered inconceivable. Often the original color was clear and repeated damage from scratch, or even assemble parts from different operas, also coming to change the subject, according to the liturgical requirements. This practice therefore tends to effortlessly handle the work regardless of its value of cultural heritage and often causing irreversible damage.
In the case of our sculptures, we have no documents certain by which to trace the conditions that led to the current conservative outcome, therefore we can not know whether the almost total lack of color loss is due to natural or brought to zero by restorers in the past. Looking closely you could see the surface of the wood fibers, residue of an ancient ammanitura certainly this artificially removed at a time not documented.
LOCATION: SAN FRANCISCO CONVENT
PLACE ': Bracknell (SA)
SIZE: m. 1.70 x 0.4 x 0.5
TIME OF RESTORATION: 2007
CONDITION
The statue of S. Elizabeth of Hungary, the subject of the restoration, before the intervention was presented in poor condition. The entire surface was
widely and heavily remodeled, covered by several layers of riammaniture and repainting that obstruct and distort the modeled completely altering the perception of the image that had been taken, especially in the face look grotesque. From the earliest short essays
removal performed on the surface, it became clear the seriousness conservative, in fact, beneath the layers mentioned anything not emerged. On the other hand, the status of the image as it came, was so compromised, so defaced, runs roughly, that it is unbearable and keeping it unlikely, because, remained detectable on closer inspection, some sweetness of expression and style of modeling, with a twist of the torso and a movement to remember the fifteenth-century sculptures.
In the first instance, it was nearly impossible to examine the real state of conservation work, much was covered by remakes. Only later, after the removal of layers sovrammessi, we were able to realize the Conservative position, which looked very dramatic.
The old paint film remaining was less than 20%, mainly concentrated on the face and hands, all the rest of the surface of the exposed wood, also fortemente degradato. ; ; ;
The previous attacks by insects xylophagous had so weakened the structure will affect the static function. Gaps were evident in parts of the model, cracks in the wood, cracks and disconnections, the right arm was just glued to the shaft, his hands were poorly assembled, the base also was not partially detached from the original sculpture for this reason that swayed dangerously.
observing the issues raised during the restoration was possible to identify a number of previous interventions, including, most recently going back a few years ago. It has witnessed the discovery of copies of children's drawings dated 1998, used compensate for the gaps and cracks in the wood.
The carvings, usually were frequently subjected to resettlement assistance, aimed at the recovery aesthetic misunderstanding is often resolved in gross alterations to the structure and exterior renovations through practices that today are considered inconceivable. Often the original color was clear and repeated damage from scratch, or even assemble parts from different operas, also coming to change the subject, according to the liturgical requirements. This practice therefore tends to effortlessly handle the work regardless of its value of cultural heritage and often causing irreversible damage.
In the case of our sculptures, we have no documents certain by which to trace the conditions that led to the current conservative outcome, therefore we can not know whether the almost total lack of color loss is due to natural or brought to zero by restorers in the past. Looking closely you could see the surface of the wood fibers, residue of an ancient ammanitura certainly this artificially removed at a time not documented.
The restoration
Recovery aesthetic was definitely the starting point of this restoration in the second round saw us struggling with a complex consolidation operations structural.
The aesthetics of a sculpture as impaired as that of our Holy Elizabeth, is perceived as a pressing need in proportion to its devotional significance, but the restorer knows that it is also a cultural heritage, and as such protected by state laws aimed at the protection and preservation of heritage. Here is a case in which reconcile the different needs, and that is religious, aesthetic, and the strictly conservative and testimony, it becomes very difficult, especially since the client is religious and private.
aware of these various duties, and having as an end to retrieve a work aesthetically and structurally, We started our career path.
After dusting a preliminary, first you performed a complete visual reconnaissance of the area, a thorough photographic documentation and graphic relief of the status quo.
cleaning tests were performed in various areas such as cognitive approach is the original surface and its state of preservation methodology to identify a suitable system of cleaning that assures us the best possible result.
From these tests revealed serious deterioration now besetting the work is the lack of color almost anywhere on the habit and a great part of the flesh, and for the condition of the wooden support that occurred completely deteriorated because of the massive attacks of insects xylophagous.
The first step of cleaning we have confirmed the presence of several layers of different materials. Under a recently performed the first riammanitura gypsum and animal glue, painted in tempera paint without, and then easily removed, were identified several other layers made of water-soluble substances such as wax, paint, colored coatings, repainting oil and enamel, and riammaniture various funds, as well as canvases glued at points of maximum degradation of wood and paper-wrapped stuffed in the cracks.
Based on the findings of the tests, it was decided to differentiate the method of cleaning of the flesh than the rest of the surface.
The clothes, shoes and platform were cleaned by alternating wraps solvents left to act for the opportune time to swell the layers, and subsequent removal of both the scalpel and repainting of the various substances that layered the canvas and paper.
The whole operation took two months for employees and several interns because of the multitude of substances sovrammesse, some of which are particularly thick and concretions. In particular, it shows a strong re-roofing ammanitura placed in contact with the wood degraded, that substance was to fill as well as the inner parts of the drapes, the cracks in the wood and the many holes caused by the action of insects.
cleaning of the flesh, however, was divided into four distinct phases.
First, the outer layer is removed the newly installed, run with gypsum and animal glue, tempera painting, using an internal solution consisting of a thickened water-soluble nonionic surfactant in low concentration such as 1% Tween 20 in water, to follow a slight shift to wipe water and acetone and another of acetone and petroleum spirit. Then, using the magnifying glass, it was possible to recover the pieces of flesh and the original model, using a solvent consisting of DMSO 25% - 75% Acetone in buffer to soften or swell as layers of paint and stucco compound and remove them completely with a scalpel or the dental explorer. Finally, it is operated with a washing buffer ligroina.
After cleaning, the entire sculpture now free of sovrammissioni, regained weight model and harmony in the movement. In fact, despite the tragic absence of most of the paint film, the work seemed more readable and expressive.
We proceeded, therefore, the intervention order before the disinfestation of wood through infiltration and tinting of liquid-based permethrin (active ingredient that ensures prolonged action of toxicity for both insects at the adult stage for the larvae). The sculpture was then sealed in polyethylene heavy for 20 days in order to create a sort of gas chamber. After having seen to the removal of structural reconstructions of previous restorations, no longer eligible for conformation and constitution, the matter was consolidated with an acrylic polymer in solution applied to infiltration by rescente percentualizzazione.
Recovery aesthetic was definitely the starting point of this restoration in the second round saw us struggling with a complex consolidation operations structural.
The aesthetics of a sculpture as impaired as that of our Holy Elizabeth, is perceived as a pressing need in proportion to its devotional significance, but the restorer knows that it is also a cultural heritage, and as such protected by state laws aimed at the protection and preservation of heritage. Here is a case in which reconcile the different needs, and that is religious, aesthetic, and the strictly conservative and testimony, it becomes very difficult, especially since the client is religious and private.
aware of these various duties, and having as an end to retrieve a work aesthetically and structurally, We started our career path.
After dusting a preliminary, first you performed a complete visual reconnaissance of the area, a thorough photographic documentation and graphic relief of the status quo.
cleaning tests were performed in various areas such as cognitive approach is the original surface and its state of preservation methodology to identify a suitable system of cleaning that assures us the best possible result.
From these tests revealed serious deterioration now besetting the work is the lack of color almost anywhere on the habit and a great part of the flesh, and for the condition of the wooden support that occurred completely deteriorated because of the massive attacks of insects xylophagous.
The first step of cleaning we have confirmed the presence of several layers of different materials. Under a recently performed the first riammanitura gypsum and animal glue, painted in tempera paint without, and then easily removed, were identified several other layers made of water-soluble substances such as wax, paint, colored coatings, repainting oil and enamel, and riammaniture various funds, as well as canvases glued at points of maximum degradation of wood and paper-wrapped stuffed in the cracks.
Based on the findings of the tests, it was decided to differentiate the method of cleaning of the flesh than the rest of the surface.
The clothes, shoes and platform were cleaned by alternating wraps solvents left to act for the opportune time to swell the layers, and subsequent removal of both the scalpel and repainting of the various substances that layered the canvas and paper.
The whole operation took two months for employees and several interns because of the multitude of substances sovrammesse, some of which are particularly thick and concretions. In particular, it shows a strong re-roofing ammanitura placed in contact with the wood degraded, that substance was to fill as well as the inner parts of the drapes, the cracks in the wood and the many holes caused by the action of insects.
cleaning of the flesh, however, was divided into four distinct phases.
First, the outer layer is removed the newly installed, run with gypsum and animal glue, tempera painting, using an internal solution consisting of a thickened water-soluble nonionic surfactant in low concentration such as 1% Tween 20 in water, to follow a slight shift to wipe water and acetone and another of acetone and petroleum spirit. Then, using the magnifying glass, it was possible to recover the pieces of flesh and the original model, using a solvent consisting of DMSO 25% - 75% Acetone in buffer to soften or swell as layers of paint and stucco compound and remove them completely with a scalpel or the dental explorer. Finally, it is operated with a washing buffer ligroina.
After cleaning, the entire sculpture now free of sovrammissioni, regained weight model and harmony in the movement. In fact, despite the tragic absence of most of the paint film, the work seemed more readable and expressive.
We proceeded, therefore, the intervention order before the disinfestation of wood through infiltration and tinting of liquid-based permethrin (active ingredient that ensures prolonged action of toxicity for both insects at the adult stage for the larvae). The sculpture was then sealed in polyethylene heavy for 20 days in order to create a sort of gas chamber. After having seen to the removal of structural reconstructions of previous restorations, no longer eligible for conformation and constitution, the matter was consolidated with an acrylic polymer in solution applied to infiltration by rescente percentualizzazione.
The consolidation of the structure was built with incuneature into the fissures, with tilings in the areas most damaged, chipping in more, or for reconstruction gaps, while two-part epoxy resin have been compensated fractures, reinforced the joints between the bumps and reconstructed missing small areas. The fixing of the right arm to the shaft has been achieved working with fiberglass rods attached with two-part epoxy resin, inside holes.
After these operations, the sculpture had regained stability and structural compactness. Now the problem was posed
refund aesthetics. The search for a new synthesis, had, as I said initially, to take into account several aspects: on the one hand it was necessary that the final image would reflect the expectations of the faithful and of the commissioners, was another important that compliance with these expectations did not go in conflict with the laws of conservation and restoration of cultural property.
Given the state of extreme deterioration, it was decided to intervene as little as possible with the reintegration of color. All his clothes were then treated to wood, while the embodied and the base have been rehabilitated.
Areas with exposed wood were first grouted, etched, covered with a thin coat of shellac and finally protected by a layer of natural wax. On
areas polychrome painting was done a term in order to interpose a thin layer of intervention between the original and the substances applied in the following stages of filling and chromatic reintegration.
To rebuild the necessary formal unity of the flesh have been carried out, filling with gypsum and animal glue. After another slight
painting was done with the reintegration of color using color to paint for restoration, only colors compatible and resistant to UV radiation, mending the remaining original fabric color and dotted with glazes, and big gaps with the hatching .
For the base, however, it is an element of the renovation, has operated more freely, without prejudice to the use of completely reversible proposing the microscopic traces discovered in red at the base of clothes during the cleaning, and proposing un'argentatura Mecca for the frames.
intervention for reinstatement based on color on both embodied and was completed with the application, spray paint a semi-opaque. All materials used are considered suitable for use in the restoration of cultural heritage for their quality characteristics, duration and reversibility. 10/01/2008
Rest. Maria Paola Bellifiori
(you can look at the pictures in the photo)
http://cid-ed2ca20165a7dbb1.skydrive.live.com/play.aspx/.res/ED2CA20165A7DBB1!1240?ref=1&sa=836364624
After these operations, the sculpture had regained stability and structural compactness. Now the problem was posed
refund aesthetics. The search for a new synthesis, had, as I said initially, to take into account several aspects: on the one hand it was necessary that the final image would reflect the expectations of the faithful and of the commissioners, was another important that compliance with these expectations did not go in conflict with the laws of conservation and restoration of cultural property.
Given the state of extreme deterioration, it was decided to intervene as little as possible with the reintegration of color. All his clothes were then treated to wood, while the embodied and the base have been rehabilitated.
Areas with exposed wood were first grouted, etched, covered with a thin coat of shellac and finally protected by a layer of natural wax. On
areas polychrome painting was done a term in order to interpose a thin layer of intervention between the original and the substances applied in the following stages of filling and chromatic reintegration.
To rebuild the necessary formal unity of the flesh have been carried out, filling with gypsum and animal glue. After another slight
painting was done with the reintegration of color using color to paint for restoration, only colors compatible and resistant to UV radiation, mending the remaining original fabric color and dotted with glazes, and big gaps with the hatching .
For the base, however, it is an element of the renovation, has operated more freely, without prejudice to the use of completely reversible proposing the microscopic traces discovered in red at the base of clothes during the cleaning, and proposing un'argentatura Mecca for the frames.
intervention for reinstatement based on color on both embodied and was completed with the application, spray paint a semi-opaque. All materials used are considered suitable for use in the restoration of cultural heritage for their quality characteristics, duration and reversibility. 10/01/2008
Rest. Maria Paola Bellifiori
(you can look at the pictures in the photo)
http://cid-ed2ca20165a7dbb1.skydrive.live.com/play.aspx/.res/ED2CA20165A7DBB1!1240?ref=1&sa=836364624
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