educational linkage approach in cultural heritage prof. joann cassar – university of malta...

Educational Linkage Approach In Cultural Heritage

Prof. JoAnn Cassar – University of MaltaProf. JoAnn Cassar – University of Malta

Educational Educational ToolkitToolkit

The Conservation Process

ModulModulee

44Basic Basic CourCourssee

Exercises Exercises

TopicTopic 4.D4.D Following the conservator’s steps


Copyright ©ELAICH Beneficiaries 2009-2012This material is an integral part of the “ELAICH – educational toolkit” and developed as part of the project ELAICH – Educational Linkage Approach in Cultural Heritage within the framework of EuroMed Cultural Heritage 4 Programme under grant agreement ENPI 150583. All rights reserved to the ELAICH Beneficiaries. This material, in its entirety only, may be used in "fair use" only as part of the ELAICH – educational toolkit for the educational purposes by non-profit educational establishments or in self-education, by any means at all times and on any downloads, copies and or, adaptations, clearly indicating “©ELAICH Beneficiaries 2009-2011” and making reference to these terms. Use of the material amounting to a distortion or mutilation of the material or is otherwise prejudicial to the honor or reputation of ELAICH Beneficiaries 2009-2011 is forbidden. Use of parts of the material is strictly forbidden. No part of this material may be: (1) used other than intended (2) copied, reproduced or distributed in any physical or electronic form (3) reproduced in any publication of any kind (4) used as part of any other teaching material in any framework; unless prior written permission of the ELAICH Beneficiaries has been obtained.

DisclaimerThis document has been produced with the financial assistance of the European Union. The contents of this document are the sole responsibility of the ELAICH Consortium and can under no circumstances be regarded as reflecting the position of the European Union.

Prof. JoAnn Cassar and Roberta De Angelis – University of MaltaProf. JoAnn Cassar and Roberta De Angelis – University of Malta


Exercise 4-DFollowing the conservator’s steps

Hello! This is Joanna and she is a professional paintings’ conservator. In this exercise you will be asked to follow her while she draws up the proposal to conserve this wall painting. In the process, you will be asked to make choices and sometimes guess her decisions... So, pay attention and good luck!

Wall painting

Wall painting

=oil painting applied directly

=oil painting applied directly

to the stone wall behind

to the stone wall behind

Joanna


STEP 1STEP 1The first things that Joanna did was to investigate the problems of the painting, so she...

Let’s see what she found out...

observed the deterioration visible on the painting; took photographs; mapped the areas affected by deterioration; collected old photos, plans and elevations of the building; carried out some scientific tests to understand more

about the deterioration of the painting .


Ground

Exte

rnal w

all

RoofJoanna’s main finds include:

Some more...

STEP 1STEP 1

the wall painting is located in a room at ground level;

one of the walls of the room is external;

the room was partly under the roof of the building;

the area right below the painting is covered by a “modern” layer of bitumen and wooden panelling.


This is the map of deterioration that Joanna produced.

The areas shaded in blue are seriously deteriorated.

Deterioration is linked to salts Deterioration is linked to salts and moisture.and moisture.

wooden panelling and bitumen(modern)

Roof

Ground

Exte

rnal w

all

TOP

MIDDLE

BOTTOM

Question:Question:

Deterioration is located mostly...

(you can tick more than one)

TopMiddle right

Top leftBottom

Top right Bottom left

MiddleBottom right

Middle left



Roof

Ground

Exte

rnal w

all

TOP

MIDDLE

BOTTOM

Consider the location of the deteriorated areas at top right.

A. Air

B. Rising damp

C. Rainwater infiltration

Can you think of the possible source of moisture?

(you can choose more than one)

Yes, it is possible and to find out

one needs to monitor the air

humidity over a period of time.

No, rising damp is the movement

of moisture and salts from the

ground.

Yes, this is very possible!


STEP 2STEP 2

A. start repairing the damage mapped on the painting

B. inspect the exterior of the building

(choose one)

Yes, exactly!

No, before repairing the damage

caused by moisture and salts,

you first need to find and stop

the source of water!

So, next thing that Joanna did was to....


STEP 2STEP 2Joanna went to inspect the exterior of the

building and in fact she found out that:

A drainage pipe running down the external wall was broken; The roof was damaged and rainwater

was seeping through.

external wall of the room in which the painting is located.


wooden panelling and asphalt(modern)

Roof

GroundExte

rnal w

all

She can therefore say that some of the deterioration is caused by water infiltration due to lack of maintenance of the exterior of the building.


STEP 3STEP 3Joanna is therefore ready to suggest the first

item of “things to do”, which is...

A. Start repairing the damage mapped on the painting.

B. Fix the damage on the exterior.

(choose one)



you first need to stop or reduce

the source of water!

Yes, exactly!


Ground

Exte

rnal w

all


Joanna then tried to understand the source of Joanna then tried to understand the source of moisture causing the deterioration at the bottom of moisture causing the deterioration at the bottom of the painting.the painting.

A. Air

B. Rising damp

C. Rainwater infiltration

What do you think is the possible source?

(you can choose more than one)

No, considering the location, this

is unlikely.

Yes, this is very possible!

STEP 4STEP 4

Yes, it is possible. To find out

one needs to monitor the air

humidity over a period of time.


Yes, in fact Joanna carried out scientific tests, and concluded that it was really rising damp to introduce moisture and salts causing the

deterioration at the bottom of the painting.

STEP 4STEP 4

Ground



STEP 5STEP 5Joanna was ready to suggest the second item

of “things to do”, which was...

A. Start repairing the damage mapped on the painting.

B. Remove the wooden panelling and bitumen from the lower part.

(choose one)



one should see whether the

impact of rising damp can be

reduced!

Yes, exactly!


STEP 5STEP 5Why do you think Joanna suggested to remove

the wooden panelling and bitumen?(choose one)

A. So that water would evaporate from the lower part of the wall.

B. So that the painting would look better.

Yes, exactly!

Well, before considering the

aesthetical issue, one should

really try to stabilise the

condition of the painting...


STEP 5STEP 5

(choose one)

A. Yes, rising damp will move down and so will the deterioration.

B. Yes, rising damp will go up, and so will the deterioration.

Would this have an impact on the deterioration of the painting?

C. No, there will be no substantial change.

Yes, exactly!

No, this is wrong.

No, this is wrong.


By allowing the evaporation to take place from the By allowing the evaporation to take place from the lower part, rising damp (moisture and salts) will in lower part, rising damp (moisture and salts) will in fact go down.fact go down.

And so will the deterioration associated

with it.

Lower undecorated area after removing the bitumen and

wooden panelling.


Once the problems due to water infiltration and rising damp are addressed, Joanna could start planning the rest of the work on the painting.


The painting needs both cleaning and consolidation, so next step that Joanna did was...

STEP 6STEP 6

A. Start to clean the painting and then consolidate.

B. Carry out cleaning and consolidation tests.

C. Start to consolidate the painting and then clean.

(choose one)

No, this is wrong. Before any of

these treatments one needs to

establish the correct methodology

Yes, exactly!

No, this is wrong. Before any of

these treatments one needs to

establish the correct methodology


STEP 7STEP 7

Cleaning trials to establish the correct cleaning methodology. 10cm

Once the correct cleaning and consolidation treatments are established, Joanna needs now to think about the material to use to repair the stone support to which the painting is applied.

Large stone loss


As a repair material, Joanna thinks that the mortar should be...

STEP 7STEP 7

A. Stronger that the stone.

B. As strong as the stone.

C. Weaker than the stone.

(choose one)

No, this is wrong. A strong mortar

would cause the deterioraiton of

the original stone in the long-term.

No, it is always better to use a

mortar that would deteriorate

instead of the stone. A slightly

weaker mortar is needed.

Yes, exactly!


As a final stage, Joanna also thought of including some recommendations that would help the long-

term preservation of the painting, such as...(you can choose more than one)

STEP 8STEP 8

A. Limit the number of visitors.

B. Regularly check the condition of roof and exterior pf the building.

C. Maintain the building in good condition.

Not really... There is no evidence

that the visitors might cause

deterioration.

Yes, exactly!

Yes, exactly!


Well done!!!Now you

know how professional conservators

work!!

Well done!!!Now you

know how professional conservators

work!!

“Joanna’s “case study is based on research carried out by Joanna Hili Micallef (B.Cons.), conservator-restorer in Malta. Photos and data courtesy of Joanna Hili Micallef ©.

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