e_conservation

the online magazine No. 1, October 2007

This is the simplified version of e_conservation magazine, optimised for black/white printing. It does not include active
links, coloured backgrounds or text. Please visit www-e.conservationline.com to obtain the complete featured version.
 the online magazine

www.e-conservationline.com
 editoria
First Issue, First words

I have long waited for this editorial. Our project, which one year ago was
just a dream, finally became real and I believe it has a great potential.
First of all, I would like to remind you that e_conservation is a magazine
made by conservators for conservators. It is a magazine that wants to
spread information, to update you with what is happening around, with
new technologies and conservation projects. It is as well a privileged
place of communication and reflection.

e_conservation is not limited to the electronic pdf file. e_conservation is

about dynamism and therefore the magazine is an extension of the
website, just like the website is an extension of the magazine. I like to
believe that e_conservation is not just a standard publication to read and
dispose of, because it offers a bidirectional way of communication
between the magazine and its readers. We are expecting an active
feedback from you, reader and fellow conservator or heritage
professional. Also, from now on you are invited to participate in our
message board, launched on the occasion of this first issue.

This issue offers some very interesting articles. Our first "Interview" is
dedicated to Prof. Ioan Istudor, a Romanian conservation-scientist that
started his professional life in the early '60s and has been a key person
for conservation in his country. From the present articles I would like to
draw your attention to Christabel Blackman's "Choosing Varnishes", a
reflection on the problematic of varnishes, and to the conservation
project reports from India and Romania. The permanent section
dedicated to "Education" gives you information about the conservation
training in each country from around the globe, this first being dedicated
to Belgium. Last but not least, the Open Access section is giving an
explanation of this concept and of why we are distributing this magazine
for free.

I really appreciate the efforts of all those who participated to this first
issue with their articles and I take the opportunity to thank them for
having the courage of being the firsts. This gives us confidence and will
to encourage other authors to submit and share their articles. Your
support is precious as this is not our magazine but yours.

Rui Bordalo,
Executive Editor
www.prorestauro.com
 Index

NEWS 6 2007 Summer Worksites

The Conservation of the Mural Paintings from the Assumption
Church, Humor Monastery, Romania
by Teodora Poiată and Rui Bordalo

8 The Lamo Centre at the Munshi House, Leh, Ladakh

by Anca Nicolaescu

10 Conference Review
Directions in Preventive Conservation,
26-29 September 2007, Sibiu, Romania

OPEN ACCESS 14 The Open Access Concept

Introduction: Discussion of e-conservationline Poll Results

INTERVIEW 20 Interview with Ioan Istudor

A Lifetime Dedicated to Conservation Science
by Anca Nicolaescu and Teodora Poiată

PROJECT 28 Conservation Project

Leh Old Town Conservation Project, Ladakh, Indian Himalayas
by André Alexander and Andreas Catanese

ARTICLES 42 Conservation of Paintings

Choosing Varnishes. In between the concept and the reality falls
the practicing conservator…
by Christabel Blackman

52 Care of Collections
Creating Enclosures Using Microsoft Excel
by Shelagh Linklater

CASE STUDY 62 The Church of Suceviţa Monastery

The Conservation of Mural Paintings
by Anca Dină

EDUCATION 73 Conservation Education in Belgium

by Rui Bordalo

PORTRAIT 88 Information and Knowledge. Management of Cultural Heritage

Case Studies from the Work of the Foundation for
Information Society
by Lia Bassa

DOCUMENTATION 100 Documentation for Architecture Conservation:

La Villetta Cemetery in Parma, Italy

101 Cemeteries as Heritage Monument

by Michela Rossi

108 La Villetta, the Main Cemetery in Parma

by Michela Rossi

113 A Cemetery Information System

by Cecilia Tedeschi

HERITAGE IN DANGER 118 Introduction; Call for Papers

BOOK REVIEW 120 Introduction to the Preventive Conservation of Textiles

A book by Christos Karydis
new 2007 Summer Worksites
THE CONSERVATION OF THE MURAL PAINTINGS
In every number of the magazine
we will report temporary worksite activity.
If you want to see news
about your worksite here,
don’t hesitate to contact us.
from the Humor Monastery,
Romania (1535)
Worksite supervision:
Maria Dumbrăvician
Period:
1 July - 31 October
Among many onsite conservation projects
active in Romania, we stop in one which
we consider worthy to mention due to its
complexity and history. The Church of
Humor Monastery, located in Moldavia,
northern part of Romania, is a centre of
interest for art historian, scientists and
restorers. It is one of the places with still
alive traditions, included by UNESCO on
the list of the World Heritage because of
its unique exterior murals.
For three weeks, we were working on the
conservation of this monument together
with a remarkable team, sharing and
gathering valuable experience.
Built in 1530, the church was decorated in
the exterior with frescos 5 years later by
Toma Zugravul. Today these frescoes are
considered masterpieces of the Byzantine
art. By their complex and unique
iconography, they awake the interest of
the national and international conservation
community. Back in 1963, the church was
the object of the first “pilot” conservation
worksite from Romania, started by Paolo
e_conserv@tion
 News

and Laura Mora. This intervention was are cleaning of the colour layer and
followed by an emergency intervention chromatic integration. The applied
between 1993 and 2000. Today the methodology is not a regular one, as the
worksite continues in the same manner, painting is affected by biologic attack and
as a meeting place for conservator- by salt incrustations due to humidity
restorers from different parts of the action. The colour layer is powdering and
world, specialists exchanging experiences presents a high risk of detachment,
and students assimilating knowledge. therefore each operation is performed
The actual worksite has the objective of with the maximum care by the specialists.
conserving the interior mural paintings Another factor which restorers must take
and has started in 2004 under the under consideration is that the work can
supervision of the expert-restorer Maria only be developed in the summer season
Dumbrăvician. Because of its complexity, as rigorous autumns and cold winters are
the works are expected to end in 2009. specific for northern Moldavia.
At this point, the intervention focuses on
the frescoes from the narthex of the
Text by Teodora Poiată
church. The main operations performed and Rui Bordalo
News

THE LAMO CENTRE AT

THE MUNSHI HOUSE
Leh, Ladakh

Worksite supervision:
Arch. John Harrison - Wales, UK

The building is now being restored by the

Ladakh Art and Media Organisation and
converted into an Arts Resource Centre.

In Ladakh (a barren desert situated at a

height of between 3000-5000 meters
above sea level and located in the
Northern Indian State of Jammu and
Kashmir) you don’t expect to meet
many conservation projects. In fact, due
to the valuable Tibetan Buddhist
heritage still existing in this area, you
can encounter various ongoing projects
dealing with vernacular architecture,
traditional building techniques, murals,
wooden decorative paintings and urban
planning preservation.
Numerous conservators and architects
from all over the world are working here
as consultants or volunteers for
international NGOs.
The work site at the historic Munshi
House is just one of the dynamic
safeguarding activities in Leh, the capital
of Ladakh. The house was the residence
of the King’s secretary, and dates from
17th century, same period as the palace
foundation. Its interiors are still
preserving the most complex and
complete decorative details, among

e_conserv@tion
 News

those two large wooden balconies on the

south facade, known as the Rabsaals.
Munshi House restoration project started
back in 2003 with a rigorous
documentation regarding the history of
the house, architectural drawings and
the conservation survey. It also comprises,
beside the restoration of the traditional
architecture of the house and its interior
decoration, the planning of its conversion
into an Art Resource Center – The Lamo
Center.
This summer the team coordinated by
the architect John Harrison accomplished
the difficult task of restoring the main
reception room which collapsed last year.
Due to the elaborate decorations of the
ceiling components, this undertaking was
very complex and therefore required an
attentive research for the original collecting information and assuring
reposition of each ornamented piece. preventive conservation intervention
The final results brought back the during the assembling of the room
sumptuous interior of one of the most ceiling.
important historical house of the old Munshi House restoration will be finalized
Leh. Still, the conservation and restoration soon and thus another Ladakhi house will
of all the painted ornaments will make be saved this time in a new context as
the next year mission and subject of the Art Resource Center – The Lamo Center.
degree diploma of one German
conservation student, who this year was Text by Anca Nicolaescu
News

Conference Review
DIRECTIONS IN PREVENTIVE CONSERVATION

26-29 September 2007

Sibiu, Romania
Sibiu, one of the oldest cities in
Transylvania, is presently the European
Organiser:
Capital of Culture. The International
Training Center for Conservators
Conference “Directions in Preventive
and Restorers (CePCoR),
Conservation” took place between 26 and
ASTRA National Museum Complex
29 of September 2007 in Sibiu, being
organised by the Training Center for
Conservators and Restorers (CePCoR)
within ASTRA National Museum
Complex and coordinated by Marta
Guttmann. The conference was held
together with another important event,
The Romanian National Conservation-
Restoration Conference.

The events were held at the main

conference room of the Continental
Hotel. Simultaneous translation from
and into English was assured for the
participants as presentations were given
in both English and Romanian. With over
100 participants from several European
countries, we may say the event was a
success not only because of the high
quality of the presentations but also due
to the pleasant atmosphere and the
related conservators’ community.

The conference started with a series of

key lectures given by renowned
international specialists. Gaël de Guichen,

10 e_conserv@tion
 News

also known as the father of preventive Márton from the Teleki-Bolyai Library in
conservation, researcher of ICCROM for Târgu Mureş, a team coordinated by
30 years, spoke about the change of Marta Guttmann. The presentation
mentality in preventive conservation and summarised the activity of the ICCROM
about the necessity of increasing the (International Centre for the Study of
attention to storage in museums’ activity. the Preservation and Restoration of
Jonathan Ashley-Smith, the developer of Cultural Property) course which took
the application of risk methodology to place at Sibiu between 18 June and 6
strategic and tactical conservation July 2007, organised by ICCROM in
decision-making, discussed the role of partnership with CCI (Canadian
standards in preventive conservation. Conservation Institute), ICN (Netherlands
György Balázs, deputy director of the Institute for Cultural Heritage), the
Museum of Ethnography in Budapest Romanian Ministry of Culture and
(Hungary), presented the national Religious Affairs, and the Training Center
strategy for preventive conservation in for Conservators and Restorers (CePCoR)
Hungarian museums. Jean Tétreault, within ASTRA National Museum Complex.
adviser and researcher on environmental The presentation gave an insight into the
condition directives, pollutants, exhibit general organisation mode of the course.
and storage products and strategy on the Before the actual course, two
preservation assessment of collections at
the Canadian Institute of Conservation,
introduced the problematic of pollutants
in museums and of products used for
display and storage of collections.

Most of the presentations given by the

participants are worth being mentioned,
but we will confine ourselves to mention
just two of them.

Among the most interesting presentations

which we assisted was “Risk Management
in Preventive Conservation” given by three
young conservation professionals, Andrea
Bernath from the ASTRA Museum in Sibiu,
Zsuzsanna Mara from the Szeckler
Museum in Miercurea Ciuc and Krisztina

e_conserv@tion 11
News

preparatory meetings took place with

the purpose of establishing the objects
of study and the programme of the
course. A total of 22 participants were
selected from more then 100 applications
received. 11 lecturers worked hard to
achieve the course objective during the
three weeks available. The target region
of the course was Eastern Europe and
specific problems from this area, thus the
case studies were chosen from this
region. The course presented to the
participants a new approach to
preventive conservation through risk and necessary business. We managed it
management: establishing the context, by constantly reviewing our procedures,
identifying, analysing and evaluating the updating our equipment and training our
risks, developing the treatment options, stuff to the very possibly high standards
and communicating. that we can manage.”

We also wish to draw the attention over The good organisation and the ambient
“The Tales at the Palaces: Internal access of Sibiu are just some of the many
at Historic Royal Palaces” of Laurie Gibbs, things which are worth being mentioned
preventive conservator, which presented regarding this successful event. After
some very interesting issues and practical the conference has ended, we asked the
solutions for the problems raised by coordinator of the organisation team,
setting up scaffoldings. According to odd Marta Guttmann, her personal opinion
spaces or locations, scaffolding systems about this experience: “The outcome of
have to be adjusted and new solutions the event exceeded our expectations.
must be found and implemented by the The invited key speakers gave excellent
conservator. The team, made mainly from lectures. The other presentations were
women used to work at considerable diverse and of high quality, the
heights, has participated in several information conveyed was interesting
demanding projects for the protection and relevant, the atmosphere was nice,
and preventive conservation of the royal so every necessary element of a
palaces in London. Quoting Laurie successful conference was there. We
Gibbs, “introducing equipment such as truly hope the event will be a long term
scaffolds and mobile access platforms benefit for every participant, a starting
into our fragile interior is a very risky point of many useful professional

12 e_conserv@tion
 News

contacts. We are sure that interest for the Sibiu 2007 Program for their
preventive conservations grew substantially financial support and finally special
among Romanian participants due to the thanks to the whole enthusiastic
conference; professionals became more organising team.”
aware of the complexity of the issue and
of their responsibilities in the field. We, Now, it is our turn to thank Marta
the CePCoR, will continue to focus our Guttmann for the invitation at the
activity on preventive conservation, conference and to congratulate her for
aiming the development of a national this initiative. We hope to attend more
prevention policy and program for our of these successful events in the future,
cultural heritage, and the allocation of as CePCoR is known by its rich activity
the necessary funds. and dynamism among the institutions
I would like to express thanks to our that deal with conservation of cultural
key speakers, who considerably raised heritage in Romania.
the professional level of the event, to
the excellent participants, without whom
the work of the organisers is useless, to Text by Teodora Poiată

e_conserv@tion 13
open acces
THE OPEN ACCESS CONCEPT
INTRODUCTION
DISCUSSION OF E-CONSERVATIONLINE POLL RESULTS

We think it’s important to dedicate an entire

section to the Open Access concept, and
more particularly to the Open Access
publishing model, because it is an issue that
people should be informed about.
e-conservationline launched a poll about Open
Access in May 2007. Since then, 112 people
took the survey from which 9 answers were
excluded due to incoherency. The eligible
results were analysed and the statistics are
presented below (see figure 1).

If we take a look at what meant the advent

of the Internet for people, and especially for
domains as research and education in which
the conservator-restorer is directly involved,
we will see that three main areas have
changed: resources, communication and
visualization. These changes brought many
benefits but there are also certain
disadvantages involved, which must be taken
into consideration.
Internet offers direct and easy access to
data. There is a great amount of public
content which can be browsed today with the
help of search engines such as Google and
Yahoo. For this, all we need is a computer
and a connection to internet, thus the access
to this content is extremely easy. Much
easier, compared to the access we have to
the printed publications which have limited

e_conserv@tion
 Open Access

circulation and distribution, and involve Conventional publishing houses, which

costs on the reader’s side. So we benefit made history in printing, turned now to
of this data, media, and information-rich digital publications as the investment is
database which is available for the smaller but the profit is still high.
public at any time and almost at no cost. One of the most famous and reliable
Today anyone can contribute to this sources of digital content is for example
database by publishing content online. Elsevier, a publisher which is using
For instance, there are websites which ScienceDirect as distributor among
allow people to create their own webpage others. If on this website we perform a
and place content online free of charge search on a topic we are interested in,
(e.g. tripod.com). This can be seen as an indeed we will find many results but we
advantage, but taking a closer look we only can access the abstract so we can
realize that there is a knowledge-poor and get a better preview of what we are
information-overload syndrome present buying. The more common way to get
on this type of websites. However, we access to the full content is to pay for
will be surprised to find out that many the download of the electronic version
articles are uploaded to these websites which is obviously cheaper then the
with the good intention of file sharing. printed one. But due to the general
There is both good quality and low tendency of avoiding digital data many
quality data since the access is free for times the reader ends up more satisfied
everybody with no restriction. From buying a printed publication and pays
here, the other big disadvantage: there easier for something he can see. Thus,
is no librarians’ quality control and this is another factor that diminishes the
information is being used, spread dissemination of knowledge among
without being reliable and organised. professionals.
In conclusion, the readers must train However, a new approach is now
themselves to get access to the real growing, which appeared due to the
information, to learn how to perform a authors’ colleagueship. Open Access is a
good search and to avoid the “tricks” recent concept and there are many
which may appear all the time. people that never heard about it or don’t
Besides the free content which is know exactly what it means.
available online, we find websites that As an introduction for those who are
are selling content. By paying the access new to this concept, basically open-
to certain information, the readers have access (OA) literature, scientific or non-
the certitude that the content is trustful, scientific, is free of charge and free of
verified and can be learned or used up to most copyright restrictions. Depending
their needs. on the OA publisher, different restrictions

e_conserv@tion 15
Introduction

may be abolished: some may allow kind of interesting information for

commercial re-use or derivative works conservators.
while others do not. However, an OA publication is not free
Citing the Budapest Open Access to produce. It is definitely less expensive
Initiative: “There are many degrees and than the conventional literature but it is
kinds of wider and easier access to this not free of costs. There are many costs
literature. By ‘open access’ to this involved in a digital publication. Besides
literature, we mean its free availability the costs of the technical maintenance,
on the public internet, permitting any there are costs for providing good
users to read, download, copy, distribute, quality content, as the peer-reviewing,
print, search, or link to the full texts of proof correction, translation, manuscript
these articles, crawl them for indexing, preparation, editorial management,
pass them as data to software, or use appropriated software and hardware, etc…
them for any other lawful purpose, Then, there are also costs for editing and
without financial, legal, or technical web designing. For these reasons, there are
barriers other than those inseparable Open Access journals which charge authors
from gaining access to the internet itself. themselves for publishing their articles. In
The only constraint on reproduction and exchange, they grant fame, a label, fast
distribution, and the only role for publication and a large readership.
copyright in this domain, should be to The e-conservationline survey on the
give authors control over the integrity of topic of OA among conservators and
their work and the right to be properly other people involved in conservation of
acknowledged and cited.” cultural heritage gave only some partial
OA was only possible when the internet results until now. Because of the
appeared, as an online method of relatively low number of people taking
information dissemination. In fact, OA the survey, we can not say yet that the
was impossible in the age of print for results are representative. That’s why
the simple reason that printing costs we invite everyone involved in this field
were inevitable. Today, however, it has to take our SURVEY. By accumulating
already made the publishing industry to more results we will be able to generate a
reconsider their models. more realistic statistic, and in a year from
There are already many OA journals but now on we can make a comparative study
very few exclusively for conservation. to see if and how the situation has changed.
That’s why we created e_conservation From the conclusions that we drawn, the
magazine, which still, should not be most relevant are: (see table 1)
confused with a journal, as e_conservation, - Almost a third (28%) of those taking the
like any other magazine, delivers all survey never published an article. The

16 e_conserv@tion
 Open Access

other part (72%) published an article - OA archives (or repositories) simply

but mostly in paper (41% in paper, 11% make information available for free,
in electronic format and 20% in both without any peer review process, and are
paper and electronic format). freely accessible on the internet (see
- Only 9% of those which published in table 3). The author does not need
electronic format were using the open anyone’s permission for publishing and
access system. 25% were familiar with OA the process is very straightforward. These
concept as a reader, 30% heard about it but archives requirements - and costs - are
did not know what it means and most of almost negligible as they are based on
the people (36%) never heard about it. open-source software. There are evidently
- From the overall of those that were a few drawbacks on this model such as
familiar with OA, only 16% were able to the lack of peer reviewing and implicitly
name the respective journals, but in the un-referred or incomplete information,
reality only some of referred publications possible mistakes and besides the reader
were indeed periodic open access journals will not know which and where these
(see table 2). archives exist.
For those that are new to this - OA journals receive articles, perform
information delivery system, there are peer reviewing and all the other
two main ways in which OA is provided: processes mentioned previously and then
OA journals and OA archives.
Figure 1. Chart showing the answers given by the
respondents to the main questions of the survey.
Introduction

Referred Name Description

Amien stands for Art Materials Information and Education Network and is a
website providing resources for artists. Amien is “dedicated to providing the
Amien
most comprehensive, up-to-date, accurate, and unbiased factual information
about artists’ materials”. The website has a discussion forum where users can
post information and articles.

Archiport Archiport is an Italian website dedicated to Architectural, Urban and Landscape

Design. The website contains links to other websites and events.

CeROArt is a publication and online project of the Department of Conservation

CeROArt and Restoration within “École Supérieure des Arts Saint-Luc” (Belgium). The
first issue will be launched soon and has been announced to cover the thematic
of “art objects, art works: infinite changes”.

E-Preservation Science, or e-PS, is an OA peer-review journal focused on scientific

E-Preservation
research in “all aspects of preservation and conservation science”. They publish a
Science
paper version which is paid but articles are free to download on their website.

The Getty Conservation Institute (GCI) is a well known institute dedicated to the
The Getty
conservation through scientific research, projects and training on international
Conservation
level. They publish a large amount of documents and some are available on their
Institute
website in pdf format.

Internet Internet archaeology is “the premier international e-journal for archaeology and
Archaeology has been publishing on the web since 1996”. The content can be accessed by
paid subscription.

JAIC is the well known Journal of the American Institute for Conservation. The
JAIC journal is paper-based but the articles published from 1977 to 2005 can be found
archived online in html format.

Prorestauro is a Portuguese portal fully dedicated to conservation and

Prorestauro
restoration. Among other resources, it provides free access to articles that its
members make available.

The Systems The Systems Thinker was also pointed by a user. Unfortunately we found it is
Thinker an e-newsletter that does not have much to do with heritage conservation.

Table 2. List of publications and websites referred by the respondents as using Open Access system.

make the content available to the entire they wish to be better informed and only
world (see table 4). No matter the costs 2% would not publish in this system.
involved, for the reader the access is Asked about the reasons why they never
always free, hence the information and published until now in OA, the majority
knowledge dissemination is done towards (55%) replied they never had the
a bigger market with less money. opportunity, followed by 38% which
Going back to the results of our survey, were not familiar enough with this
we found out that 55% of the people concept. 3.5% considered the OA
that never published an article in OA journals have low prestige and 3.5%
were ready to publish in this system, that the readership is smaller of OA than
43% were willing to publish but first for the paper based publications.

18 e_conserv@tion
 Open Access

http://roar.eprints.org/ Registry of Open Access Repositories

http://arxiv.org/ Open Access Archive

http://www.openarchives.org/ Information on the Open Archives Initiative

http://www.oaister.org/ Open Archive search engine

http://eprints.org/ EPrints for Digital Repositories

Table 3. Examples of Open Access Archive or Repositories

e-Preservation Science History, Chemistry, Materials English

Museum and Society Multidisciplinary English

Italian, English,
Web Journal on Cultural Patrimony History of arts, Archaeology
Spanish, French

International Journal of Molecular Sciences Chemistry (General) English

kunsttexte.de Arts in general German, English

Sensors Technology, Analytical Chemistry English

Molecules Organic Chemistry English

International Journal of Digital Curation Library and Information Science English

Antípoda: Revista de Antropologia y Arqueologia Archaeology, Anthropology Spanish

Micronesian Journal of the Humanities and History, Anthropology,

English
Social Sciences Social Sciences

Stanford Journal of Archaeology Archaeology English

Table 4. Examples of Open Access Journals and Directories.

More publications can be found at DOAJ, Directory of Open Access Journals.

Why some people and in fact, everybody
may show precaution when it comes to
Open Access? Sometimes “being free” is
confused with “having low quality” because
of the tradition in paying for everything we
own and mistrusting the fact
something free can have a real value.
Concerning our survey, asked about their
reasons for publishing in OA,
majority of our respondents named the
free access for all readers as the most
important factor. Faster publication,
reaching a larger readership and being
more frequently cited were mentioned in
this order, in intermediate positions. The
concern for the costs of the publication
placed last on the list of reasons for
choosing OA as publishing system.
Overall we notice that people show a high
curiosity and interest towards publishing
in OA. Especially because of this high
interest which we remarked, we find
useful to draw the attention over other
that important issues which must be known.
Issues like intellectual property, copyright,
data protection are all part of the next
the issues of e_conservation magazine and
will be discussed one by one.
Each of us should evaluate the
advantages and possibilities which Open
Access gives and, in accordance, should
decide if it does or does not serve to our
needs. What is certain is that OA is one
way to improve knowledge dissemination
by sharing information with all the other
professionals in the conservation field.

e_conserv@tion 19
intervie IOAN ISTUDOR
A Lifetime Dedicated
to Conservation Science

Professor Ioan Istudor, 79, may well be considered the first conservation
scientist that worked in the field of conservation-restoration in Romania.
In June 2007 e_conservation magazine interviewed this scientist who
dedicated his professional life to the study of works of art.

On his professional evolution, he marked important milestones on the

history of conservation practice in his country and is still today highly
regarded for his knowledge and experience.

He is not only a personality in the conservation world but also an

extremely kind and warm person. He is updated with the latest
conservation developments and still practices his profession with the same
pleasure and devotion as in the early ‘60s when he started.

Next page image:

Part of Prof. Istudor’s impressive collection of art materials.
Ioan Istudor

How did you get involved in

conservation? SHORT BIOGRAPHY

My first approach to conservation was Born on November 14th, 1928 in Bucharest,

the result of a pure incident which came Ioan Istudor graduated from the Faculty of

in accordance with my interest for Industrial Chemistry at the Polytechnic

monuments and for cultural heritage. In Institute in Bucharest in 1951, as student

the end of 1961 I heard that the Historic of professor C. D. Neniţescu. He has been

Monuments Direction (DMI) within The continuously working in the conservation

Ministry of Culture was searching a field since 1962 as scientist.

chemist because they were planning to From 1975 to 2002 he taught applied

establish a “research and analyses chemistry in the Conservation-Restoration,

laboratory for historic monuments”. Museology and Monumental Art

In fact, at that time there was no departments of the National Art University

specialised laboratory to manage the in Bucharest.

problems related to conservation. Since 1996 he is working for the private

Whenever something was needed, they conservation company Cerecs Art S.R.L., for

were cooperating with different other which he provides consultancy and

institutes, but very few things were made performs scientific research.

even this way. So… the first laboratory of During almost half-century of continuous

research, he performed analyses for more

Prof. Istudor in the research laboratory
than 300 sites, including the most
from DMI, 1973.
representative Romanian monuments, and

established the main research laboratories

for conservation in Romania: in 1962 - the

first national conservation laboratory of the

Direction of Historic Monuments; in 1963

the laboratory of the National Art Museum

of Romania and in 1983 the laboratory of

the National Art University in Bucharest.

From 1978 to 1990 he was a member of the

National Committee for the Conservation of

Mural Paintings in Romania.

He was certified as Expert by the Romanian

Ministry of Culture in the research of the

following conservation domains:

22 e_conserv@tion
 Interview

conservation was set up in the basement

of a building in Maria Rosetti Street,
architecture, stone, sculpture, wood, me being the first chemist that managed
mural and panel painting. this problem systematically. In 1962 I
He was repetitively awarded (1987, 2000, quit my job from the alimentary industry
2002, 2003, 2004, 2007) with several and I started to work for DMI.
Excellency and Merit Diplomas for his

entire professional activity and he was Which was your first task on the
attributed the National Order, Knight Rank field?
for his merits.

Since 1990 he is a member in the Two months after I was employed, on

committees for the Conservation of Artistic April 1st, 1962, DMI decided to extract
Components and Historic Monuments, the mural paintings from Princely Church
Minister of Culture and an honorific in Târgovişte. Due to the necessity of
member of the Association of Religious consolidating the towers it was decided
Painters from the Romanian Patriarchy. to detach the frescoes around the
He is a prolific author, having published a windows. The construction engineer at
large number of papers in various national the time, Dinu Moraru, being abroad for
and international reference publications documentation regarding this issue,
since 1963. He was a consultant for the proposed to use the strappo method.
translation into Romanian of several So we needed glue for detaching. I
reference books, such as the Romanian started then to think about how to
edition of “The Conservation of Mural create this glue especially for this type
Paintings” by Paolo and Laura Mora in of intervention, about what properties it
1986. should have for detaching the painting by
In 2006 he published a treaty of his strappo. Later this adhesive that I made
academic experience over the years in a was even brevetted.
book entitled “Noţiuni de Chimia Picturii” We started to detach the strips of painting
(Notions on the Chemistry of Paintings) in such hard conditions that the glue was
(Romanian edition). hardening on the brushes because of the
He was also granted for the patent of his cold. After the strappo, some marks
discoveries: “The procedure of obtaining a remained on the walls, such as the
transparent calcium casein dispersion”, underdrawing and part of the pigments,
“Solutions for extracting and transferring and on his visit to the worksite, the
mural paintings by strappo” and “A candle Culture Minister of that time remarked
that doesn’t produce smoke for use in that even so it still had artistic qualities
churches”. and he ordered to detach another layer.

e_conserv@tion 23
Ioan Istudor
We ended up detaching everything by
stacco, together with the plaster.
What happened to these fragments
after they were detached?
A part of them were placed back on
their original location after the
consolidation of the building. Most of
them were first brought to Bucharest
where they were cleaned on the reverse
and then transferred to canvas so they
could be glued back on the walls of the
church. Two fragments of 6 meters each
were brought to Bucharest and kept in
Radu Vodă’s Church. The colour layer
was never retouched as far as I know.
Our experience and all the results were
published in “Sesiunea Ştiinţifică a Direcţiei
Monumentelor Istorice”, a periodic bulletin
of DMI from 1963.
Which is your opinion concerning the
detachment of mural paintings?
My personal opinion is that they should
only be performed in extreme cases
when there is simply no other solution
and never by strappo.
Stacco is a more complicated method
but it’s worth because by strappo a
major part of the colour is lost. Also,
after transferring, it will never regain the
original mural aspect.
You solved the “mystery” of the blue
pigment used in the Church of the
24
Voroneţ Monastery. Tell us the story.
It was my first real approach as scientist
to conservation… In 1963, during the
archaeological works at Voroneţ, a court
garment was discovered and they called
specialised people to take some
decisions. As part of the commission, we
were seeing the south facade, with the
outstanding colours about which so many
stories were told. Some were stating it
was painted with Lapis lazuli, others were
saying that the artist wanted to depict the
telluric essence of the tree from the “Tree
of Jesse”. Nobody could explain their
resistance compared to other exterior
mural paintings from Romania, as the
colour was so well preserved. Even with
the naked eye I found obvious that it had
to be a simple colour alteration. On the
advice of Sorin Ulea, the art historian, I
investigated this in detail. After the
chemical identification analyses I found
out that it was azurite transformed into
malachite due to the humidity action. I
explained all the “mystery” in 1965 when
I published the article “Un fenomen de
denaturare a culorilor în pictura murală
de la Voroneţ”.
But the legend about the mysterious blue
had already started, so it continued, and
still today some claim that it is Lapis lazuli
and others, even worse, that the “secret”
of the pigment was never discovered.
Next page image: The south facade of the Church
of Voroneţ Monastery, Romania.
e_conserv@tion
 Interview

Is it wrong to let the legend the entire institution under this pretext.
continue? Then, all the responsibilities passed to
the Ministry of Culture. The laboratory
The legend is very charming as long as it was assigned as independent but it was
does not contradict the truth, but to state working together with a decoration
after so many years that we still do not enterprise. After some years I spoke
have the answer to this “mystery” means with Vasile Draguţ, the director of the
all our scientific work was a waste. Art University in Bucharest, and he
decided to set up another laboratory in
How did communism influence your the University. We moved all the
profession? equipment and from 1980 until
1991, when the Conservation-Restoration
In 1962 I started the installation of the department was established, I worked
basic equipment in DMI’s laboratory. and made the analyses on demand. I
There, I carried out the analysis was also teaching chemistry at the Mural
required for most of the monuments in Painting and Museology departments. In
restoration. In 1977 the communists 1991, when the Conservation Department
demolished the Enei Church which they started, I continued to teach and manage
said was damaged irreversibly during the the laboratory research in the same time
earthquake of that year. DMI objected to until 2002 when I retired from the
this action so the communists suppressed academic activity.
Ioan Istudor
What is your opinion about the
Conservation Department that was
established in the ‘90s?
It was very necessary and it shows
continuous development since it started.
It needs better equipment, of course.
Nowadays in Romania, instead of
establishing so many little laboratories,
each with their own equipment, it would
be better if they would combine their
efforts and make a competitive one, up
to the international standards.
How do you find the conservation
practice of those times compared to
the one of today?
Back in 1973 there was a very good
team. Prof. Vasile Draguţ, as member of
ICOMOS, brought here Paolo and Laura
Mora together with Paul Philippot and
many others such as Garry Thomson,
which was working at the Scientific
Department of The National Gallery in
London. They came to establish contacts
and to cooperate with conservators from
our country, to promote new approaches
and methodologies, and to change
experience about materials. They set up
the pilot worksite for the conservation of
the paintings from the Church of Humor
Monastery. They started in the tomb’s
chamber and there is a funny story that
I remember about this experience.
While performing the cleaning tests, they
tried several methods, first by dry means,
then by wet means and none with
satisfactory results. They tried several
types of cleaning rubbers and Mora even
phoned to Rome and ordered more
special rubbers to be sent immediately. In
a week the rubbers were delivered, but
still the results were not good enough.
While struggling to find a solution, a
student which was in a corner of the
scaffold took out from his pocket a little
ordinary rubber and tried it on a side.
Prof. Istudor with Laura Mora (up) and Paolo Mora
(down) working in the conservation project from
Humor, Romania, 1973.
e_conserv@tion
 Interview

help much in dating an artwork.

Some of the rubbers experimented at Humor, from
the collection of art materials of Prof. Istudor.
And it worked! Mora asked “what kind of
rubber is that, from where did you took
it?” and the student said he bought it
from the local factory. He immediately
sent people and bought all the rubbers
that they had in the village. Romanian
strong deposits of dirt on the frescoes
could only be removed using a Romanian
hard, rigid rubber!
Also, they were extremely interested in
the white pigment from our
paintings, which they thought
Bianco di San Giovanni but it is not. Our
white is pure lime with no other additives
or preparation procedures.
Which is your favourite research
area in conservation?
Mostly I like to study the evolution of
pigments. It is hard to speak about
evolution of pigments when we refer to
pigments such as ochre or red as they
are used since Antiquity. They can not
However, the blue pigment for example,
can give extremely interesting evidences.
Its evolution is spectacular.
In Romanian mural paintings, its
evolution started with the use of Lapis
lazuli although I did have the chance to
find also Egyptian Blue. Then Lapis lazuli
stopped being used, being replaced by
azurite and smalt. In some monuments I
discovered that azurite contains particles
of smalt: inside the church in a bigger
percent and in the exterior in a smaller
percent because smalt has a weaker
adherence to the lime compared to the
azurite. But which was the role of smalt
pigment in azurite? The only explanation
I could find was the falsification of
pigment! It looks like falsification was a
common habit, since I found this in
monuments belonging to very different
time periods. Smalt was cheaper, easier
to obtain and has a higher specific
mural weight. Later I read the work of Paolo
it is Benzi, “La pellicolo pittoria nella pittura
murale in Italia: materiali e tecnice
esecutive dall’ Alto Medievo al XIX
seccole” which also mentions this issue.
Then, the artificial azurite, the natural
ultramarine, the artificial one and the
Prussian blue appeared. Still, it is very
hard to establish the provenience of
each blue, if for example the Lapis lazuli
is coming from Afghanistan or from Ural or
from another region. It requires statistical
analyses made on several samples
originating from different regions to which

e_conserv@tion 27
Ioan Istudor

we must identify the microelements You were the first in Romania to

which characterise the respective mineral, prepare the casein dispersion that
that are present in the sample besides was used in the consolidation
the pure pigment. of the colour layer. Can you tell us
how did you achieve it?
What can you say about the mural
painting technique used by the old As I was working in the alimentary
masters? industry before getting involved in
conservation, I already had an experience
The working technique is very important in this area. I started by preparing the
for conservation. For example, a problem casein in different proportions, by
that arose was why in the exterior mural different methods. Later I started to use
paintings from Romania the azurite was only casein in powder. I am still preparing
preserved so well while in occident it it today on request, but only from certain
didn’t. This is only a matter of the labels as it should be pure and with high
technique. It is not depending on the solubility. Today casein dispersion is still
pigment. Many times I found that a protein used as a fixative, but it is not
compound was added to the binder (lime) appreciated anymore because it is a
of the pigments. Sometimes casein was natural organic product and people are
added in the lime while they were afraid it can cause other problems, even
preparing the surface. In the superior though it never happened. Then… the
layers of mortar I identified the presence of casein, as a product derived from cheese,
animal proteins which could only come simply does not have a very good
from milk or casein added in the lime. reputation.
They didn’t add it in big percentages or it
could induce the detachment of the colour, His sense of humour and his modern
but sufficient enough for enhancing the vision over conservation practices, as
resistance of the mortar. well an acute critical sense over today’s
The results are available in the article controversies, are some of the
published together with Ion Balş: characteristics that still motivate him to
“Contribuţii la cunoasterea materialelor work for the conservation of the cultural
folosite în pictura murală a exterioară a heritage.
bisericilor din secolul al XVI-lea din
Bucovina şi la unele probleme de tehnică”, Interview made by Anca Nicolaescu and
în Revista Muzeelor, V, no. 6, 1968. Teodora Poiată in June 2007

28 e_conserv@tion
 projec
Leh Old Town
Conservation Project
Ladakh,
Indian Himalayas

by André Alexander and Andreas Catanese

Tibet Heritage Fund

www.tibetheritagefund.org
André Alexander and Andreas Catanese

1. Introduction advent of modernization in the region

since the 1950s. Political events, such as
Ladakh is a semi-autonomous region in the Chinese occupation of Tibet have
the Indian Himalayas. For centuries an further diminished Tibet’s urban heritage.
important crossroads of Central Asian Therefore Leh, the former royal and
caravan trade, Ladakh’s culture, presently administrative capital of
language and religion have mainly come Ladakh, is a very important example of
from Tibet. historic Tibetan urban architecture.
Ladakh’s capital, Leh, preserves Tibet Heritage Fund (THF) is an
monuments from the 15th and 16th international NGO that was founded in
centuries, but was extended to become Lhasa in 1996 with the aim to preserve
the permanent royal capital only in the Tibet’s heritage, particularly its
early 17th century. architectural and urban heritage. In 2003
The Tibetan cultural regions across the a THF team consisting of André Alexander
Himalayas are famous for their large and Ms. Lharitso came to Leh after
monastic settlements, but they have hearing about the decline of the old town.
produced comparatively few cities. The team carried out a rough survey of
Most of these have changed beyond the old town, creating an inventory of
recognition as a result of the very rapid 178 historic buildings, collecting their

View of the old town (A. Alexander, 2006)

30 e_conserv@tion
 Leh Old Town

names, owners and photographing each made famous by the slightly later Potala
building. THF then decided to begin an Palace in Lhasa. The old town, consisting
urban conservation program modelled on of two hundred stone, mud and timber
the Lhasa Old Town Conservation project houses sandwiched between thick
(1996-2000). rammed earth walls, is located on the
Lhasa and Leh share not only a common slope below the palace, still accessed by
architectural heritage, but the historic a number of ancient stupa gateways.
districts of both faced some of the same
problems. Both had infrastructure 2. THF’s Intervention Strategy
deficits, such as lack of piped water and
drainage facilities, and both had been In 2004 the THF team returned to Leh
deserted by many of the original owners to carry out more surveys. The findings
– in Lhasa for political reasons, while in revealed that, for example, over 55% of
Leh the wealthier families simply moved the historic building stock was in bad or
to the leafy green suburbs of the town. poor condition, and that average monthly
Modern Leh is a city of some 35,000 household income of the residents of old
inhabitants. The population almost Leh was little more than 100 US$. The
triples in size during the summer tourist social data obtained during the surveys
season, when people from all over India strongly suggested intervention to
come here looking for work. To protect improve people’s livelihood and living
the rural Ladakhis from economic conditions. This was matched by a
competition that they are not prepared generally expressed desire by many
for, the government has made impossible community members to reverse the
for outsiders to acquire land, and even to decline of the old town.
open a businesses or to work requires Drainage is a problem, there are only a
permits and often a Ladakhi partner. handful of open channels that are
Thus, Ladakhis are benefiting more from frequently blocked (or frozen). Heavy
tourism than their cousins in Lhasa. rainfalls or a neighbour’s washing day can
However, 15,000 tourists wanting regular trigger the flooding of one’s basement.
showers and flush toilets and producing Houses in the old town generally have no
mountains of garbage (water bottles, running water, residents rely on a handful
food wrappings, toilet paper etc.) are of public taps.
putting a severe strain on Ladakh’s The toilets are all of the standard
fragile economy. Himalayan composting type.
Old Leh is dominated by the former royal Technically, some aspects of improving
palace, a nine-story stone structure conditions in the old town do present a
erected around 1600 in the Tibetan style challenge; especially building a drainage

e_conserv@tion 31
André Alexander and Andreas Catanese

system into the sheer rock for a town Conservation Program. In Leh, this
which has nearly six months of sub-zero consisted of five components:
temperature winters. Mostly, however, - Working together with the local
the technical problems can be solved administration to create a planning
with locally-available technologies and framework (a new Masterplan for Leh)
materials. The houses are built in and to improve the infrastructure. THF
Tibetan fashion with sun-dried mud (and most local community members)
bricks around a timber frame on stone expect government action to take long
foundations. Local clays and soils are time and are slow to come. From early
traditionally used ingeniously to create on, all local government departments
waterproof roof layers and dust-free expressed their support for our activities,
plastered interior surfaces. The task and made available official maps and
would be to successfully identify and use surveys. In 2006, THF and the local
the best of the traditional skills, which government, the Ladakh Autonomous Hill
have slid into obscurity since the advent development Council (LAHDC) have
of subsidized cement and steel, and signed a Memorandum of Understanding
blend them with adequate modern to work together to preserve historic Leh.
technologies where necessary. - THF designed a model to offer 50% co-
THF opted for an integrated approach, financing for adequate rehabilitation of
developed for the Lhasa Old City homes, on the condition that indigenous
labour and indigenous skills are mainly
used. Based on comparable work in
Lhasa, we also offered improvements
such as bathrooms with drains, bringing
more light into the often dark houses
(built when glass was not known or
available), improving the composting pits
of the traditional latrines and increasing
the efficiency of traditional clay mixes
based on our experience and the skills of
the best traditional craftsmen. Several
house owners immediately took up the
offer, so that presently there is a waiting
list as THF’s finances only allow for a
limited number of buildings to be
upgraded each year.
Map of Leh (J&K government 1990, updated by THF
2003-2007 Alexander/MRTZ/Jäkle/Wozniak/Klein)

32 e_conserv@tion
 Leh Old Town

- Starting a crafts revival, training (and those inhabitants of the old town who do
employment) program. THF spent several not own land and have little education,
weeks identifying Ladakhi craftsmen. The and therefore giving them an economic
THF team travelled to surrounding villages perspective.
and interviewed many craftsmen, and - Choosing a model restoration object:
finally hired a small group consisting of THF next worked with this core group of
two masons, Jamyang Tarchin and Sonam artisans to restore a communally-owned
Dorje, and two carpenters, Tsering Dorje shrine, the 17th century Guru Lhakhang,
and Tsering Puntsok. This became the first to demonstrate the practicalities and
project in Leh and vicinity to work again desirability of restoring Leh’s historic
with Ladakhi craftsmen. Three years later building stock. After conducting
all except one are still working for the old several community-meetings, a model
town project. For training and labour, rehabilitation area was next chosen, the
preferential hiring is given to poor Stagopilok residential lane, where
residents of Leh. housing and infrastructure was to be
This is aimed to give employment to upgraded.

Hor Yarkandi House

A mid-20th century house located on Stagopilok alley, rehabilitated in 2006 with 50% co-
financing by the owner. Intervention included structural repairs, reconstruction of
collapsed top floor and improvement of bathroom and drainage facilities.

From left: ground floor plan showing composition vault and store rooms (THF), section before project
(THF), mason Hanupa Dorje at work (THF, 8.2006), north elevation. (André Alexander, 9.2006)

e_conserv@tion 33
André Alexander and Andreas Catanese

- Registering a local NGO, the Leh Old The changing weather conditions and the
Town Initiative. This consists of local changing needs of the people represent
experts and community representatives, serious challenges. The problems can be
to whom the project can be handed over solved through proper reutilization of the
in the future. materials and the way they are used. But
Three years later the project can look in most of the cases the house owners
back on the successful rehabilitation of take a questionable approach. Cheap
several clusters of buildings and materials are available on the market
monuments in old Leh. This work has and no skills are needed to fix them onto
received a 2006 UNESCO Asia-Pacific the leaking roofs.
Heritage Award, and a Dubai Best
Practice Award from UN Habitat.

3. Conservation of historic
architectural structures

Ladakhi temples and residential buildings

share the same basic architecture. An
internal timber frame supports flat, mud-
covered roofs. Walls are built from rubble
stone and sun-dried mud bricks.
Many Ladakhis say that rainfall in the
region has substantially increased in
recent years, perhaps a result of global
warming. In any case most house
owners complain of leaking roofs.
Corrugated iron sheets as roofing Detail. Roof materials

material has therefore become very

popular in both old and new Leh. Our
team sees this as a wrong approach to
both traditional and modern architecture.
In the high altitude deserts of Ladakh
where only few materials are available
for building houses, the skills of the
craftsmen and the knowledge which lasts
over centuries created a high sophisticated
way to utilize those materials.
In our project the traditional materials
are reused and if necessary their quality
is improved. Even after three years and
after several heavy rainfalls the roofs we
repaired are still waterproof. This is
because of the waterproof “markalak”
layer that we apply. “Markalak”, meaning
“oily mud”, is a clay which is available
almost cost-free in the areas around

34 e_conserv@tion

Leh. It is the traditional material used to
waterproof the Ladakhi roofs. In the past
a thin layer on a mud roof was enough to
ensure dry living rooms. Today
thickness must be improved, therefore
we have added a 5 centimeter-thick layer
of it in between the mud. In case of rain,
the clay will absorb the initial humidity
and then swell, creating a solid layer that
is impermeable.
During THF’s first year in Ladakh, we have
collected samples of different soil qualities
used in construction. These included the
famous soil of Shey, used to make the
best quality of mud bricks, yellow soil (ser-
sa) of Stakmo (near Tiktse), the tap-sa
soil used to build traditional stoves but
also for flooring and markalak. We had
these samples analysed thanks to the
kind help of Prof. Achim Bräuning of the
University of Stuttgart, and compared the
results with samples from Tibet.
In Tibet, a fine grained limestone (micrite)
is used to waterproof roofs, known in
Tibetan as arga. Arga is rare in Ladakh,
and we only found one sample at Mangyu.
Figure 1. Analysis of Ladakhi and Tibetan soil samples, courtesy A. Bräuning, Stuttgart
e_conserv@tion
Leh Old Town
its
Construction of a Ladakhi roof
(THF/Brandes+Catanese, 2006)
The analysis showed that markalak is
indeed 80% pure clay with some silt
but zero sand, while all the other soil
samples, including the arga from Tibet,
contain sand, silt and a little bit of clay
(see figure 1). It is interesting to note
that the quality of the Shey soil appears
to be related to the high silt content.
The order of layers in an improved
Ladakhi roof starts with a ceiling of
wooden beams, rafters and willow-stick
joists, on which we place woven straw
mats to prevent dust from falling
through the joists. Next comes a layer of
Ladakhi “yagtses” grass, a traditional
stop-gap layer: if water makes it thus
35
André Alexander and Andreas Catanese

far, the grass can absorb water several The traditional water spouts can be
times its volume. The grass also serves improved by fitting them with stainless
to insulate the roof. Next comes a layer tin pans in the crucial area between the
of rough soil, and then the layer of wooden spout and the mud of the roof.
“markalak” clay. The final layer of soil on It is helpful to use cement to paste the
the roof is applied wet, and its mix can wooden spout solidly onto the roof, in
include straw, and even the dung of the form of a cement pan in which the
cows, donkeys or horses to increase its spout lies.
solidness as people often walk on the flat
roofs. They are used for gathering and
for performing certain household chores.
The parapets are being improved by
capping them with finely-cut slate stone,
a method commonly used in Tibet and
introduced to Leh by THF.

Construction of a Ladakhi roof

(THF/Catanese, 2007)

Improvements in the interior consist of

adding more or larger windows, of water-
proofing surfaces which might come into
contact with water (kitchen, bathrooms),
and generally creating more durable and
dust-free surfaces.
Construction of a Ladakhi roof
(THF/Brandes+Catanese, 2006) One example is the Hor Yarkandi house,
When necessary modern material can be a residential building erected a hundred
used, even if their utilization is years ago by a trader from Yarkand in
concentrated only in the most China. Here we added apricot juice to
endangered spot of the roofs where due the floor mix in some of the rooms, and
to the changing climate the traditional cow dung in others.
materials lack in perfection. Modern The results were more durable and
materials are, when possible, hidden by dustfree surfaces of the floors. One
layers of plaster or mud so that the room was designed as bathroom and
original design is not altered. Locally- cemented, and left with holes for piping
available bitumen (tar paper) can be to fit a tank on the roof for showers, and
used to protect the inner edges of the fitted with piping connected to the street
parapets against possible leaks. drain. Composting vault of the toilet was

36 e_conserv@tion
 Leh Old Town

concreted in the inside, to prevent seepage decades ago when they asked the Goba
of urine into the foundations, a very family to service the temple instead.
common problem in Tibet and Ladakh. The monastery was planning to eventually
The old Sankar Labrang house in the demolish the house and to construct
Manekhang area is an example of modern shops there. THF successfully
adaptive re-use of a historic building. persuaded the monastery to keep the
Erected possibly several hundred years house, and offered to restore it in return
ago around a group of five stone-carved for a nominal and limited lease. After
Buddha-s slightly smaller than life-size, conversion, it became the Leh Heritage
the upper floor served as residence of House, a gallery showing alternately
the caretaker monk of the White modern art and photography and an
Maitreya Temple nearby. exhibition about historic Leh. Maps of the
The mother monastery, Sankar Gonpa old town and information about the
near Leh, abandoned the house two conservation project and about old Leh
(and Italian Espresso) are also available.
The conversion plans included the gutting
of the upper floor, which was split into
several small rooms, so that a single
large exhibition room was created.

Sankar Labrang, south facade elevation Sankar Labrang, now the Leh Heritage House
before restoration (up) and after restoration (down) (A. Alexander 2006)
(THF/Catanese)

e_conserv@tion 37
André Alexander and Andreas Catanese

The flooring and roofing was designed to the tradition of the now-lost Buddhist
accommodate many visitors with trampling civilization of Kashmir, while later murals
feet, so slate stone was laid on the were done in the traditional styles of
floors and roof. The paving has so far Western and Central Tibet.
withstood several dancing parties with Compared to Tibet, where many historic
Ladakhi, Bollywood and Western music, monasteries and their paintings were
some of it played live. damaged during the Cultural Revolution,
the small territory of Ladakh preserves
4. Conservation of Buddhist an astounding number of early paintings.
wall-paintings But no professional local mural restorers
have existed prior to the THF project.
Wall-paintings are an important component Soon after setting up its office in the old
of Tibetan Buddhist heritage. The interior Lakruk House just below the Leh Palace
walls of temple halls, monastic assembly in 2005, THF received requests for
halls and shrines would be painted in their assistance from numerous monastic
entirety. Traditionally, mineral pigments establishments, and we saw numerous
with animal glue as binder would be temples whose ancient murals were
applied on a preparation of chalk on dry damaged by leaking roofs, structural
mud plaster. In Ladakh, several temples faults or badly-executed restoration.
still preserve early murals executed in Sensing the need for local experts in
mural conservation, THF set up its
conservation training program in the
Spring of the same year. Initially two
young Ladakhis, Yangchen Dolma and
Skarma Lotos, were trained in situ by
international restorers. This program

“Local” restoration of wall-paintings seen in Alchi The THF team 2007 with local artisans,
Choskhor, Ladakh (A. Alexander, 2006) foreign experts and volunteers (A. Alexander)

38 e_conserv@tion
 Leh Old Town

has now become institutionalized thanks

to the cooperation between THF and the
Conservation Department of the Erfurt
University of Applied Sciences.
After two years of training in the field,
the two Ladakhi students travelled to
Erfurt in Germany to receive further
training in the laboratories of the
University. They also participated in a Red Maitreya Temple, south facade elevation
conservation project in a local museum. (THF/Lopes)

Back in Leh, the caretaker of the Red Presently, Romanian restorer Anca
Maitreya temple, the venerable Ngawang Nicolaescu and German conservation
Tsering, requested THF to carry out students from Erfurt are working on
routine roof repairs to prevent rain leaks these paintings, doing research,
from soiling the 15th century three-storey recovering and conservation. Initial
image of Maitreya, the Future Buddha. analysis of the iconography indicated
that the paintings are indeed from the
founding period but confirmation
depends on whether an inscription,
located next to a painted portrait of the
founder, can be deciphered. At present,
it is illegible but hope rests on special
equipment offered by Erfurt University.
It is planned in the near future to publish
further technical reports on some of these
projects in this magazine.
Red Maitreya Temple (A. Catanese, 2007)

During the work, André Alexander

discovered two walls with original wall-
paintings hidden between a coat of white-
wash applied in the late 1950s.
The Red Maitreya temple is said to have
been founded by the Ladakhi king
Dragspa Bumdey, who reigned sometime
during the first half of the 15th century. If
the wall-paintings were indeed from that
time, they would be the oldest in Leh. Murals in the Red Maitreya Temple

e_conserv@tion 39
André Alexander and Andreas Catanese

André Alexander Andreas Catanese

contact: info@tibetheritagefund.org contact: catanese@gmx.net

Lakrook House, Stalam, 194101
André Alexander was born in West- Leh-Ladakh, India
Berlin in the Year of the Wood Dragon.
He currently divides his time between Andreas Catanese graduated Architecture
Ladakh, China and Germany. in 2004 from Kassel University in Germany.
He was trained by traditional master Since then, he gained experience about
craftsmen in Lhasa in traditional Tibetan vernacular architecture in Asia, participating
architecture, and is currently affiliated in THF projects from Mongolia, China and
with Berlin University of Technology (MSc India – Ladakh. Presently he is the
in Urban Management and PhD candidate assistant project manager of L.O.T.I. (Leh
in Architecture), where he occasionally Old Town Initiative), in Ladakh, India.
lectures. He is co-founder and first Since 2005, L.O.T.I. is a registered NGO
chairman of Tibet Heritage Fund, an under the India Society Act and the most
international non-profit organisation important partner institution of THF.
working to preserve the heritage of
the Himalayan regions. His publications
include “Temples of Lhasa” (2005,
Serindia), and as co-author “A Manual of THF
Traditional Mongolian Architecture (2005,
THF)”, “Beijing Hutong Conservation Tibet Heritage Fund
Study” (2004, Beijing Communications
Press), and “The Old City of Lhasa”, Vol. 1 www.tibetheritagefund.org
(1998) and Vol. 2 (1999, both THF).

40 e_conserv@tion
 article
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 Art History, Iconography,

Theoretic principles Iconology, Chemistry,
Case studies Physics, Biology,
Photography, Cultural
Documentation in Conservation Management, Museology,
Standardisation Computer Science,
Documentation methods Legislation and Juridical
Data management Processes, Conservation
Policies and any other
Conservation Theory fields applied to
Ethics Conservation and
Conservation History Restoration

Check out more: www.e-conservationline.com

e_conserv@tion
In between
the concept and the reality
falls the practicing conservator…

CHOOSING VARNISHES
CHRISTABEL BLACKMAN
 Choosing Varnishes

This article explains the importance of

the step between new technological
advances and their incorporation in
the conservator’s studio. Sharing
information is vital between hands-on
conservators and investigators. It
particularly concentrates on varnishes
and how new available materials have
proved to be useful. After their
application in many different paintings,
certain reflections have been made and
conclusions have been drawn about
their usefulness for conservators.

It is important for practicing conservators benefits or shortcomings of their use for

to be able to digest and assimilate new hands-on conservators surges forth from
findings and technological advancements the many paintings treated and the
into the reality of the studio. For this observations about their different positive
reason, it is essential that helpful or negative aspects and results.
information is transmitted to conservators
in a simple and understandable way. Varnish-making Decisions

Very often the hands-on conservators As practicing conservators it is easy to

are so busy working that it is difficult to become self indulgent in carrying out
keep up to date with advances that may interventions that have been previously
or may not be useful for us or beneficial carefully chosen for a given work of art.
for the works of art that are being Sometimes it is difficult to take a step
treated. New techniques or materials back and look at the overall result of the
are frequently heard about by word of work, until the job has been completed,
mouth, or alternatively by working on often against the clock or in less than
projects with fellow colleagues and adequate conditions and with the couriers
interchanging knowledge, skills and know- poised with masking tape in hand.
how. Sometimes the realistic possibilities
of the uses of new materials and This is not only important in the moment of
techniques are not fully understood until making our conservation decisions but also in
they are applied over and over again in the choices that we make about the “finish”
real-life conservation practices. The that the conservation object will have.

e_conserv@tion 43
Christabel Blackman

Image 1. Before Restoration.

50 year old inpainting discoloured with time and oxidized varnishes.

44 e_conserv@tion
 Choosing Varnishes

In the field of easel painting conservation, Varnish is a protective layer which filters
the in-painting styles and materials are oxygen and light, it also serves to
considered to be vital choices. However, saturate colours and form an overall
often the way we re-varnish paintings sheen. Aging and yellowing of varnish
does not take on as much importance as (oxidization) occurs because of the
it should. breakage of the double bonds in the
molecular structure, resulting in free
The original varnish of a painting was radicals that form new cross-linking.
applied in a deliberate manner, it was These changes at a molecular level alter
intentional. The choice of varnish, its drying the state of the original varnish, forming
qualities, thickness, colour, mixture with a more complex structure and for the
other substances, its shininess or its sheen, practicing conservator that means that
spot varnishing, over glazing and so forth the polarity of the material changes and
were all deliberate choices. We should take the varnish is no longer soluble in its
into consideration these different qualities original solvent. The stability of a varnish
of the original varnish when we think about is an important quality because it
the alternatives that are available to us on ensures a greater reversibility for future
the product shelf of our studios. interventions.

Image 2. Observation under Ultraviolet light. Image 3. Cleaning process.

Differing fluorescence of materials confirms and Elimination of previous retouching and accumulative
localizes inpainting and varnishes. varnishes.

e_conserv@tion 45
Christabel Blackman

So which varnish should I use?

Traditional natural varnishes are akin to

the desirable “finish” that we wish to
achieve in an old painting, however they
age and yellow quite rapidly – their
inevitable oxidation will render them
more difficult to remove in the future
and the strong solvents required to
eliminate them may be detrimental to the
underlying painting. Low molecular weight
hydrogenated hydrocarbon varnishes have
similar qualities to natural varnishes, but
they are more stable and may be adapted
for better use. The most frequently used
varnishes of this type are Regalrez 1094 or
Laropal A81 (which should not be confused Image 4. Varnishing process.
Brush application of varnish saturates colours,
with the ketone varnish Laropal A80). isolates and protects.

We must remember that between polymer varnishes and natural

varnishes in a dissolved resin varnishes is that polymer varnishes
state have a greater work very well when applied on flat
capacity to degrade than surfaces, but tend to mix the reflected
when they are stored in a white light with the paint colour when
solid state. applied over more textured surfaces,
thus reducing the saturation of the
Acrylic polymer varnishes (e.g. Paraloid colours. On the other hand, natural resin
–also known as Acryloid) form a very varnishes form a glossier and smoother
uniform film and create a homogeneous film and produce less scattering of
brilliant layer. However, it is difficult to surface light and more colour saturation.
achieve a natural finish as they tend to
sit very much on the surface because of We must remember that varnishes in a
their complex molecular structure. Low dissolved state have a greater capacity to
molecular weight synthetic varnishes degrade than when they are stored in a
have a more fluid viscosity which allows solid state. For this reason, conservators
them to be better extended over the mix varnishes when they are needed and
paint surface. One important difference according to the individual requirements

46 e_conserv@tion
 Choosing Varnishes

dependent on the original materials used

in the painting, their state of degradation
and the nature of the varnish solvent).

For a greater understanding of how the

Image 5. Restoration process.
Filling of lacunae and isolating with varnish.
of each work of art. Custom-made
varnishes are preferable to industrially
prepared varnishes, because even though
their content (rarely their proportions) is
marked on the bottle, we can never fully
ensure to what extent degradation has
occurred during its previous shelf-life.
More about low molecular
weight synthetic resins
varnish solvent may affect the underlying
paint structure it is worth commenting on
a particular physical property of these
varnishes. The crystallization temperature
is the temperature at which a substance
changes from a liquid to a solid state (i.e.
for Regalrez 1094 is 33ºC, Paraloid B44 is
60ºC while Paraloid B72 is 40ºC) and
determines the rigidity of a varnish
coating. Reaching the crystallization
temperature results in the lessening of
viscosity at a specific moment of the
application of the varnish which is its “no
flow” point. This is easy to perceive as it
becomes no longer possible to
manipulate the varnish and difficult to
move the brush. From this moment on,
the drying process may seem to have
stopped, however it still continues; the
solvents seep out through the underlying
layers. For this very reason, the solvent
that is chosen for the fabrication of the
varnish may very well affect the picture.

Low molecular weight synthetic varnishes It may be difficult to

are physically and chemically stable. They achieve an evenly
are easily soluble in aliphatic hydrocarbon varnished surface
solvents like white spirit, and thus the especially with
application solvent does not affect the differing porosities and
painting in the evaporation process as application thicknesses
other solvents may (this effect is always of the paint layers.

e_conserv@tion 47
Christabel Blackman

Can I improve or adapt Sometimes there are particular colours

these varnishes? that do need a more specific treatment.
It may be difficult to achieve an evenly
To achieve maximum stability with varnished surface especially with
varnishes, it is recommended to differing porosities and application
incorporate a HALS additive (hindered thicknesses of the paint layers. Usually
amine light stabilizer) like Tinuvin 292. pigment and binder proportions differ
This substance acts as a free radical between colours, causing a patchy visual
scavenger: it inhibits the formation of effect of contrasting surface sheen which
free radicals and thus avoids the process was never intentional.
of oxidization while maintaining an
optimal level of reversibility. It
guarantees the stability of the varnish Painting conservators
and of the underlying layers (it should may work for months on
not be confused with a UV filter). tedious and very
complicated retouching on
Polymer additives (e.g. Kraton) are pictures that have
useful to help increase viscosity and suffered extensive
flexibility and to modify flow properties damage to the paint
if required. Also, in order to reduce surface, be they large
surface shine some conservators add a lacunae or numerous
small amount of wax (e.g. Cosmoloid). diminutive blister spots.

How can I use this in the

conservation studio? Conservators who have worked on old
panel paintings will know that certain
In pictures that have been over cleaned areas like the Virgin’s blue cloak almost
and have suffered the loss of some of always present difficulties, because the
their original binder, by excessively varnish tends to sink deeply into the
strong solvents and an inappropriately surface, due to the nature of the
over zealous restorer, what Raymond pigments employed (it may be a
White has referred to as “leached out”1, granular Lapis lazuli or a brownish
the smaller molecular size of these oxidized azurite). To solve this problem,
varnishes facilitates penetration into the it is necessary to spot varnish with
emptied inner areas of these poor paint Paraloid, thus creating an isolating
layers, enabling the colours to become layer which sits purposefully more on
better saturated. the surface.

48 e_conserv@tion
 Choosing Varnishes

The big advantage of these varnishes is harmony and eliminate optical confusion
that they can be eliminated in the future when applied over blooming paint or
without affecting the underlying layers varnishes.
due to the differentiation that is
achievable because of their distinctive Painting conservators may work for
polarity parameters of solubility. As a months on tedious and very complicated
consequence, it is possible to apply low retouching on pictures that have suffered
weight molecular varnishes on top of extensive damage to the paint surface,
other varnishes with a distinctive be they large lacunae or numerous
polarity, thus isolating different layers diminutive blister spots. In cases like
and facilitating future removal. They are these it can be beneficial to apply a final
particularly useful when applied over coat of sacrificial varnish, so that in some
historical varnishes (and coloured glazes) future moment, the upper varnish may
to saturate and protect. They are an be eliminated without the laborious
excellent choice to regenerate visual underlying restorations being touched.

Image 6. Finishing Off.

Final retouching in accordance
with altered state of painting,
a matt finishing varnish gives
a uniform and legible surface
that will not have unwanted
surface shine.

e_conserv@tion 49
Christabel Blackman

Accordingly, a sacrificial varnish may also
serve to separate out different layers that
may in the future need to be removed. It
may be applied and then later removed
during various stages of the conservation
process if necessary. In large
works like modern murals that are at the
continual mercy of problems like graffiti
or pollution, it may also be used so that
future conservators have an easier job.
In this way we are not only thinking of
future generations of observers, but also
of future colleagues.
intrinsic nature of the painting is all part of
that decision making process. Obviously
the greater the knowledge we can count
on the better. However, direct and useful
information is needed to avoid overdose
public extremes which can cause a retracting
effect on the conservator towards
the good-old, always-on-the-studio-shelf
products. It is important that hands on
conservator-restorers share their wealth of
experience with their fellow colleagues as
it can be as equally useful as scientific
findings, if not, more so.

Stability and distinctive solubility is the

great advantage of low molecular weight
varnishes. However, it may have a
downside, too. Their ability to remain
soluble in the same original solvent
means that only the first application
may be done with a brush, other
successive layers need to be applied by
spraying. For this same reason, sheen
problems can not be solved by brush
manipulation techniques; instead, they
must be controlled by spraying methods,
or wax additives.

Finishing Off

The choice of a painting’s final finish is

usually the choice of the conservator-
restorer technician unless otherwise
decided or specified (which is rare). Notes
Knowledge, experience, wisdom and
know-how along with a certain 1. Interview with Raymond White, National
“sympathy and understanding” of the Gallery of London, 2001.

50 e_conserv@tion
 Choosing Varnishes

Bibliographical references

Roy S. Berns and René de la Rie, “The effect of a

varnish’s refractive index on the appearance of
oil paintings,” Studies in Conservation 48 (2003)
251-262

Marl Leonard, Jill Whitten, Robert Gamblin and

René de la Rie, “Development of a new material for
retouching”, Tradition and Innovation: Advances in
Conservation, IIC 2000 Melbourne Congress,
International Institute for Conservation of Historic
& Artistic Works, London (2000) 29-33
Christabel Blackman
René de la Rie, Conservation Science Unvarnished,
Calle Maestro Chueca 3 Oration delivered on the assumption of the special
chair for the chemistry of conservation and
46901, Vedat de Torrente, restoration at the University of Amsterdam, 30
Valencia, Spain. October 1997, Stichting Bijondere Leerstoel voor
de Chemie van Conserfvaering en Restauratie,
email: christabel1@terra.es Amsterdam (1999)

René de la Rie, “Polymer additives for synthetic

The author is a freelance practicing low-molecular-weight varnishes,” Preprints of the
conservator-restorer in easel painting 10th Triennial Meeting of the ICOM Committee
for Conservation, Washington, DC., Paris (1993)
and specializes in Gothic and 566-573
Renaissance Mediterranean panels and
René de la Rie, New Varnishes for Old Masters,
17th, 18th and 19th century canvases. http://www.okhra.com/@fr/5/17/85031/articlepopup.asp
She has a Diploma in Restoration of Easel (accessed on 29th July 2007)

Paintings on Wood and Canvas, and is Jill Whitten, “Regalrez 1094,” “Measuring Tinuvin
currently completing the Official European 292,” “Varnish Solutions,” “Characteristics of Low
Molecular Weight Resins,” and “Characteristics of
Masters Degree in Conservation and Polymers,” in Painting Conservation Catalog,
Restoration in Valencia. Volume 1: Varnishes and Surface Coatings,
Paintings Speciality Group, The American Institute
She works as freelancer from her own for Conservation of Historic & Artistic Works,
private studio for public institutions, Washington, DC. (1998)

ecclesiastical and private collectors, etc. Jill Whitten, “Low-Molecular-Weight Resins for
She has written several monographic Picture Varnishes,” Paintings Specialty Group
Postprints, The American Institute for Conservation
publications for the Generalitat Valenciana, of Historic & Artistic Works, Washington, DC.
catalogue chapters, congress papers, (1995) 124

newspaper and magazine articles, etc. Salvador Muñoz Viñas, Contemporary Theory of
She was born in Melbourne, Australia in Conservation, Butterworth-Heinemann (2005)

1959, has lived and worked in Valencia, Rafael Romero, et al., “Una reseña sobre el análisis
Spain for the last twenty years and y caracterización de barnices originales en pintura
de caballete del siglo XVII”, Actas, I Congreso del
holds dual nationality. GEIIC, Valencia (2002)

e_conserv@tion 51
CREATING ENCLOSURES
USING
MICROSOFT ®

EXCEL

SHELAGH LINKLATER

A template was developed in Microsoft

Excel to help create custom-made
enclosures for artifacts and records.
The program streamlines and clarifies
the process of making boxes and
folders. Measurements input by the
user produce a diagram with specific
dimensions, cutting and fold lines.
Instructions, tools and materials are
included with hyperlinks to suppliers’
websites. Although originally developed
as a teaching tool for non-
conservators, it is very flexible and can
be augmented to suit particular needs.
This can be used to produce containers
for individual records or as a planning
tool for larger re-housing projects.
 Creating Enclosures Using Microsoft Excel

There are a large variety of archival How to Use the Template

enclosures available commercially.
Custom-made enclosures are sometimes Each sheet contains a list of materials,
necessary to cut costs and to house odd suppliers and a diagram with custom
size records or artifacts. Excel, a measurements (Fig. 1). Formulas for
calculation and graphing program, each dimensions of the enclosure are
ensures accuracy in the making of these contained in separate cells beneath the
containers by creating diagrams, diagram. Each formula takes into
calculating dimensions and estimating account the thickness of the enclosure
expenses. The program consists of material in addition to the dimensions of
several worksheets each representing a the record or artifact. The cell number
different type of enclosure such as for each calculation is added to textboxes
boxes, folders and wrappers. within the diagram (Fig. 2).

Figure 1. Template.
Printout of a template for clamshell box showing all features.

e_conserv@tion 53
Shelagh Linklater

As record measurements are input by the Accompanying this are materials and
user, the custom dimensions for cutting suppliers with hyperlinks to websites so
and folding appear within the diagram in current prices can be researched.
these textboxes. Expenditures are calculated at the end
of the worksheet. This table calculates
the number of enclosures that can be
made per sheet plus the cost of each
enclosure (Fig. 4).

Figure 2. Template Detail.

Detail of template showing formula calculations for
each dimension.

Additional information aids the user in

completing a project. Instructions and
selection criteria for particular artifacts or
Figure 4. Calculation Table.
records can be added to a textbox (Fig. 3). Image of a calculation table.

Figure 3. Instructions.
Detail of template showing instructions and supplier’s lists with hyperlinks.

54 e_conserv@tion
 Creating Enclosures Using Microsoft Excel

Diagram

Open a worksheet in Excel and create a

rectangle by double-clicking on the
Rectangle symbol on the Drawing
toolbar. This rectangle can be infilled
with a color to help delineate diagram
markings (Fig. 6). Sketch out the
diagram of the enclosure by inserting
rectangles within this shape multiple
Figure 5. Model. Picture of a dismantled box.
times. Use the line tool to denote
How to Create a Template creasing or cutting lines. A dotted line
indicates a crease. A solid line represents
To create an enclosure template, begin a cutting line (Fig. 7).
with a set of written instructions for
making an enclosure. Alternatively a
ready-made enclosure could be
Figure 6. Rectangular Insert.
dismantled and used as a model (Fig. 5). Image of Excel spreadsheet with rectangular insert.

e_conserv@tion 55
Shelagh Linklater

Figure 7. Sketch.
Image of Excel spreadsheet
with image of a slip case inserted.

Dimensions addition to the measurements of the

Calculations for each dimension of the
enclosure are created in cells beneath
the diagram. Enter the length, width and
depth of the record in centimeters in
three separate cells beneath
diagram and label each cell accordingly
(Fig. 8). Use the cell number of each
record dimension in the following
formula. Each formula takes into account
the thickness of the enclosure material in
record or artifact (Fig. 9).
The cell number for each calculation is
added to textboxes within the diagram.
To create a textbox, click the textbox
symbol on the toolbar. Place the cursor
the within the diagram to its correct size.
The textboxes are added to the diagram
for each dimension of the enclosure.
Add arrows on either side of the textbox
to indicate the extent of each
measurement (Fig. 10).

Figure 8. Record Measurements. Figure 9. Formulas.

Detail of spreadsheet showing where record Detail of spreadsheet showing formulas
measurements are entered. for enclosure calculations.

56 e_conserv@tion
 Creating Enclosures Using Microsoft Excel
Overall Board Measurement
Add calculation totals to create
overall board measurements. Underneath
the diagram, create two cells labelled
with overall length and overall width. To
create the width, for example, start from
the left side of the diagram and add each
line in sequence (Fig. 11). Add the cell
numbers of these summations to the
diagram, one on either side. Arrows can
also be added to show breadth. As record
dimensions are input by the user, the
measurements for cutting and folding
lines are calculated to appear within the
diagram in these textboxes.
Instructions
Written instructions can be added by
inserting text in a textbox. To create a
Figure 10. Diagram textboxes.
Detail of spreadsheet showing how textboxes are
inserted in a diagram.
e_conserv@tion
the
Figure 11. Overall Board Measurement.
Illustration showing calculation of overall
board measurement.
textbox, click the textbox symbol on the
toolbar, place it beneath the diagram
and pull on the sizing handles of the
textbox until it reaches the desired size.
Instructions can then be typed in this
textbox (Fig. 12).
Hyperlinks
Hyperlinks can be added to link users to
supplier’s websites. To create a
hyperlink, select Insert from the toolbar
Figure 12. Instructions.
Detail of spreadsheet showing how textbox is
inserted and instructions are added.
57
Shelagh Linklater

and from the drop down menu select board dimension in these cells. In the
Insert Hyperlink. Type the text to next two columns, label them with the
represent the hyperlink in the box labelled height and width of the purchased
Text to display. This could for example be board. Multiply the purchased board
the name of the supplier (Fig. 13). In the measurements and subtract them from
box labelled Address, type in the URL of the overall board measurements to
the supplier’s website and then click OK. estimate the number of enclosures
made from a single sheet (Fig. 14).
Cost Calculation Table Insert the price and dimensions of the
single, purchased sheet retrieved from
Price information can be retrieved from the supplier’s website. Divide the
these websites and inserted in a cost number of projects per sheet by the
calculation table. To create this table, price of a single sheet to calculate the
insert seven columns and label two cost per enclosure.
columns with the length and width of
the overall board measurement. Insert
the cell number of the calculated overall
Figure 13. Hyperlinks.
Illustration showing the Insert Hyperlink box.

58 e_conserv@tion
 Creating Enclosures Using Microsoft Excel

Protecting Data To Special dialog box. Ensure the four

check boxes below it are selected. Click
The worksheets can accidentally be OK and Excel will select the cells that
altered creating inaccurate results. To contain formulas (Fig. 16). Press
prevent calculations from becoming CTRL+1 again, click the Protection tab,
corrupted, cell formulas need to be select the Locked check box, and click
locked and protected. OK. From the Tools menu select

Figure 14. Spreadsheet table showing cost and material calculations.

To protect data, open the worksheet and Protection and Protect Sheet… and click
press CTRL+A to select the entire sheet OK to activate protection (Fig. 17). To
(Fig. 15). From the Format menu, choose deactivate protection later, from the
Cells (or press CTRL+1) and then click the Tools menu select Protection and
Protection tab. Deselect the Locked Unprotect Sheet.
check box and then click OK. Press F5, Figure 16. Go To Special menu. Illustration
and then click the Special button. Click showing a Go to Special menu with check boxes.

the Formulas option button in the Go

Figure 15. Format Cells menu.

Illustration showing a Format Cells menu.

e_conserv@tion 59
Shelagh Linklater

Conclusion can simultaneously estimate quantity

and costs of materials. Although not
The customized diagrams and instructions without its challenges, this tool helps to
compute dimensions thus saving time and clarify the selection and creation of
reducing error. These same calculations enclosures and make it more efficient.

Figure 17. Protecting a spreadsheet

Illustration showing how to protect a spreadsheet from the Tools Menu.

References

[1] P. Cullhead, “The 5-Minute Phase Box”, The Abbey Newsletter, Volume 24, Number 2, May 2000,
http://palimpsest.stanford.edu/byorg/abbey/an/an24/an24-2/an24-204.html
(accessed 10 February 2007)

[2] Durham University, “Four Flap Folders”

http://www.dur.ac.uk/resources/library/asc/conservation/FOUR%20FLAP%20FOLDERS.pdf
(accessed 9 February 2007)

[3] R. Frieda, “Designing a Book Wrapper”, The Abbey Newsletter, Volume 9, Number 3, May 1985,
http://palimpsest.stanford.edu/byorg/abbey/an/an09/an09-3/an09-308.html
(accessed 10 February 2007)

60 e_conserv@tion
 Creating Enclosures Using Microsoft Excel

Shelagh Linklater is a Conservator

specialised in the Conservation of
Paper. She obtained her Bachelor
Degree in Fine Arts at the
University of Manitoba in 1981.
She also holds a Certificate in Art
Conservation Techniques from Sir
Sandford Fleming College in 1984.
Shelagh Linklater

Winnipeg, Manitoba Canada

6.“The Care of Archival Photograph

Other Publications: Collections”, Dawson and Hind, Volume 14, no.
2/3, Fall 1988, pp. 26–29

1.“Creative Memories”, Communiqué, Volume 7.“The Preservation of Oral History Tapes”,

20, no. 12/13, Jan./Feb. 2001, pp. 1 Dawson and Hind, Volume 14, no. 1, Winter
1987, pp. 21
2.“Vinegar Syndrome”, Communique Vol. 12,
No. 3, Winter 1992, pp.5 8.“Conservation in Archives: Current
Dimensions and Future Developments”,
3.“Two Conservation Manuals: A Comparative Communique Vol. 9, No. 1, Summer 1989, pp.7
Review”, Communique Vol. 11, No. 2, Fall 1990,
pp.7-8 9.“The Care of Archival Photograph
Collections,” Dawson and Hind ,Volume 14,
4.“Little Visitors: A Book Review”, Communique No. 2/3 Fall, 1988 pp. 26 – 29.
Vol. 12, No. 1, Summer 1991, pp.7-8
10.“The Preservation of Oral History Tapes,”
5.“Conservator Interns in Quebec”, Dawson and Hind ,Volume 14, No. 1, Winter,
Communique Vol. 9, No. 3, Winter 1989, pp.3-4 1987 pp. 21.

[4] Guidelines for Selecting Protective Enclosures

http://www.brown.edu/Facilities/University_Library/Preservation/enclosures.html
(accessed 10 February 2007)

[5] Protective Enclosures for Books and Paper Artifacts, CCI Notes 11/1 (1988).

[6] A. Rupp, “The Library Company’s Corrugated Clamshell Box”, The Abbey Newsletter, Volume 15,
Number 6, October 1991, http://palimpsest.stanford.edu/byorg/abbey/an/an15/an15-6/an15-610.html
(accessed 9 February 2007)

[7] E. Schlefer, “Wrappers With Magnetic Closures”, The Abbey Newsletter, Volume 10, Number 5,
October 1986, http://palimpsest.stanford.edu/byorg/abbey/an/an10/an10-5/an10-509.html
(accessed 9 February 2007)

[8] Microsoft Office Online - Excel

http://office.microsoft.com/en-us/excel/FX100487621033.aspx
(accessed 16 July 2007)

e_conserv@tion 61
case stud THE CHURCH OF
SUCEVIŢA
MONASTERY

The conservation of
mural paintings

ANCA DINĂ
 The Church of Suceviţa Monastery

General Data cells and household annexes, the steeple,

high and massive walls for protection with
In the north-east side of Romania, on the crenels and abutments.
Suceava1 plateau, the Church of Suceviţa The church, placed in the centre of the
Monastery has been for more than four interior courtyard, has an elongated
centuries a testimony of Christian beliefs, triconch plan with an altar, a diaconicon
aesthetic sense and love for beauty. and a prothesis on each side of it, a nave
Founded by the powerful Movilă2 family, with large lateral apses, a narthex and an
the Suceviţa ensemble had been exonartex. Specific to the Moldavian
conceived as a place of prayer and a royal architecture, between the nave and the
court, gathering in the same location narthex, there is a grave room where the
buildings with different functions: the church’s founders, the princes Ieremia
church, the royal house, watching towers, Movilă and Simeon Movilă are buried.

1The area is also known by the name of Bucovina,
received during the domination of the Austro-
Hungarian Empire, from the end of the 17th
century to the beginning of the 19th century.
2The Movilă family was one of the most important
families of boyars in Moldova in the 16th century;
from its members rising numerous princes or
important personalities in the history of Romania
and not only. Without getting into details about the
genealogical ties of this family with the royal
courts of different countries, it may be mentioned
that Ieremia Movilă was the prince of Moldova
(1595–1606), his brother Simeon Movilă, was the
prince of Walachia (1600-1602) and Moldova,
Gheorghe Movilă (1588–1591; 1595-1605) was a
Metropolitan Bishop of Moldova and Petru Movilă
(1633-1646) was a Metropolitan Bishop of Kiev.

Image 1. Panoramic image. The ensemble of the Suceviţa Monastery.

Anca Dină
Image 2. The Church of Suceviţa Monastery. South-east view.
This room has a small door and a small
spiral stairway to the vault, where
valuable objects were kept. The church
has entrances on the north and the south
sides, through two small opened porches
communicating with the exonartex. All the
rooms are separated by thick walls, with
access through stone framed portals. As a
whole, the church appears lean and
imposing. The massive walls, thicker than
1.5 meters, are sustained by seven big
abutments. The roof is individualized by
architectural elements that can be roughly
identified from the exterior.
All the rooms are adorned with mural
paintings in the Byzantine style continued
on the exterior walls as an impressive
polychrome garment. Protected by the
64
constructions and the high walls3, with a
constant monastic life, the Church of the
Suceviţa Monastery retains almost all the
original painting.
The painting: dating and
iconographic information
In the absence of precise documents from
that time, art historians have dated the
painting based on the representation of
3For the other monument churches of North Moldova
(the Church of Voroneţ Monastery, the Church of
Moldoviţa Monastery, the Church of the Humor
Monastery and the Arbore Church), also with mural
exterior painting, the absence of the surrounding
walls led to the loss of the mural painting
especially on the north facade, in the predominant
way of the winds.
e_conserv@tion
 The Church of Suceviţa Monastery

the Ieremia Movilă’s family in the votive

picture in the nave, the west and north
walls. According to this, the painting4 was
done between the years 1595-15965 or
16016. In a short presentation of the
exterior iconographic program, on the
south facade, we see the ample
representations of The Akathist Hymn and
of The Tree of Jesse, continued to the
altar’s apse with The Prayer of All Saints
Image 3. Narthex, west wall. Image after the
and on the north facade with The Ladder intervention of conservation-restoration.

of Divine Ascent and scenes inspired by

The Genesis. On the west facade and on a
small portion of the north one, the walls
remained uncovered with paintings. A
possible explanation for this could be the
political instability of the country during
that period. The two porches with a painting
anterior to the one on the church7 are
decorated differently - at the level of the
north porch, on the superior area, there are
friezes with alternating zoomorphic
elements and imitations of brick laying8;
Image 4. Narthex, north apse, splay of the west
window. Scene from the Passion of the Christ.

4The principal evidence of the art historians is the Suceviţa), Publisher: Axa Botoşani, 2006, pg. 3-
representation in the votive picture of the ruler’s 31, republished article.
children. Due to the painter’s practice at that time,
the church was painted starting with the altar 7Oliviu Boldura, Evoluţia în timp a ansamblului

towards the exterior, fact which allows the
approximation of the moment when the votive
painting was made and thus, the period of creation.
5Victor Brătulescu, Pictura Suceviţei şi datarea ei
(The painting of Suceviţa and its dating), in
“Movileştii, Istorie şi spiritualitate românească”,
Publisher: Muşatinii, 2006, pg. 219-242,
republished article.
6Sorin Ulea, Datarea ansamblului de pictura de la
Suceviţa (The dating of the Painting ensemble of
mural de la Suceviţa. Aspecte tehnologice şi
modificări estetice (The Evolution in Time of the
Mural Ensemble of Suceviţa. Technological Aspects
and Aesthetic Modifications), article to be
published in the text review “Movileştii. Istorie şi
spiritualitate româneasca” („The Movilă Family.
Romanian History and Spirituality”), Muşatinii ed.
Suceviţa, 2007, 3rd volume.
8This kind of decoration of the exteriors is seen
very often at the churches in Oltenia, a region in
the south of Romania.

e_conserv@tion 65
Anca Dină

the south porch is painted with Synaxarium is represented. The east wall
apocalyptical scenes9. of the exonarthex is reserved to The
In the interior, in the altar, there are Doomsday, while the other walls display
scenes dedicated to Virgin Mary or related illustrations from the life of the saints.
to the religious rituals such as The Holy Inside the scenes are small, with miniature
Eucharist, representations of Hierarchs, representations, rich in theological
and scenes from The Genesis that significations and iconographical symbols.
continue in the navel on both apses, at Currently undergoing a wide restoration
the level of the inferior register. In the process, this painting offers new data to
nave’s spire, starting at the calotte, is the restorers and scientists, very important
represented The Pantocrator; the picture to the knowledge of the work techniques,
continues on the inferior plane with the the used materials10, the iconography, and
seraphic hierarchy represented by the the different degradation types, imposing
cherubs and seraphs, angels, prophets also the search for optimal solutions, in
and The Seraphic Mass positioned at the order to preserve all the information and
base of the spire. On the walls of the to hand it over to the next generations.
nave, from south to north, are displayed
the cycles of The Miracles done by The
Savior and the one of His Passion. On the
inferior area of the west wall there are
two votive paintings illustrating the
founders of the monastery, the prince
Ieremia Movilă and his family and the
Metropolitan Bishop Gheorghe Movilă. In
the grave room we can see scenes from
the Old Testament, and in the narthex,
beside the life of Saint Nicholas and Saint
George on the inferior registrar, the

9Representations with stylistic and iconographic

influence from the western countries.

10All the information presented in this material

about the nature of the pigments or the

composition of the support layer are taken over
from the analysis bulletins of CERECS ART
company – the executioner of the conservation-
restoration work, analyses performed by the
Image 5. Narthex, north apse, splay of the east
chemist engineer Ioan Istudor.
window. Scene from the Passion of the Christ.

66 e_conserv@tion
 The Church of Suceviţa Monastery

Technical Data The exterior mural painting

The execution technique is a fresco11 with The conservation state and

interventions
intonaco12 based on lime and addition of
tow, applied carefully on the massive wall
The restoration of the painting had
structure13. From the pigments used for
started in 1989, with emergency
the mural painting of this church we
interventions done on the exterior mural
recount the earthen green and the
painting. Permanently exposed to an
malachite green, yellow ochre, red ochre,
intense degradation process, favoured
charcoal black, lime white, red lead and
by the differences in temperatures,
cinnabar red14. The blue used is smalt, a
contraction due to the freezing-
pigment used al fresco on the garments
melting process, humidity and the air
and the decorative elements, and secco
circulation, the painting suffered
on the sky background. The application on
accentuated degradations. The advanced
dry of the smalt blue pigment is visible,
process of losing the cohesion and the
because during the application the
adherence of the colour layer on the
painters avoided the characters, the text
support, process that is visible in the
and the stars already existing at that
grazing light, was stopped through the
moment. In the mural painting of
restoration intervention performed by a
Suceviţa the gold was used abundantly on
team coordinated by Tatiana Pogonat and
the aureoles, garments, decorative
Oliviu Boldura, restorers experienced in
elements, the stars on the sky, which
interventions upon exterior mural
gives a precious appearance to the
paintings in this region15. At the same
ensemble.
time there were performed interventions
for consolidating the support layer

11The execution technique is identified based on
the technological elements: incisions, compass
traces, polishing on the form with local returns, the
presence of the clocking and the giornatas.
12Depending on the differences of level of the wall
structure, locally, before the application of the
intonaco layer, it was also identified another
intermediate arriccio layer, with an equalization
14To remark the painters’ knowledge of the
sensibility of the pigments in different environmental
conditions, which forced them to replace the
cinnabar red used abundantly on the interior, with
ochre red on the exterior. This way its
transformation into the black metacinnabar due to
the exposure to the solar light was avoided.
15From the churches with exterior painting, upon

function. which were performed conservation-restoration

interventions to that date, we recall The Church of
13For building of the masonry structure stones were the Voroneţ Monastery, the “St. George” Church in
used on the vertical walls and bricks on the arches. Suceava, the Pătrăuţi Church.

e_conserv@tion 67
Anca Dină

needed especially in the area of the The interior mural painting

inferior registers and on the spire - filling The conservation state
of the gaps in the support layer,
treatments to stop and prevent the If we take into consideration the age of
development of the biological agents, and the picture, we can say that it was very
other operations determined by the local well preserved. The surfaces, from the
characteristics. ensemble to the detail, suffered small
transformations or losses. On a critic
analyze, it can be noticed that there are
multiple degradations at the level of the
colour and support layer. So, starting from
deep to the surface, we remark that at
the level of the masonry structure there
are cracks especially in the church’s axe,
cracks that affected the mural painting
from the adjacent area16 through
dislocation and detachment. Beside these
areas, we come across losses of the
adherence of the support layer to the
wall, on smaller areas though, in other
zones of the church, localized especially
on the arches and in the inferior parts of
the openings and also at the level of the
inferior register. Locally, on the spots
with persistent capillary humidity,
losses of the cohesion of the support
Image 6. Exterior, altar apse. layer can be observed. Other noticeable
Image revealing the state of conservation of the
degradations at the level of the mural
painting before the intervention.
painting in the area of the inferior
registers are produced by the furniture,
16The evolution of these cracks was stopped frequently represented by the lecterns,
during the interventions done in the second half of
that through regular friction have
last century, when at the superior part of the
church was cast a ferro-concrete perimeter belt for produced deep erosions or gaps at the
resistance. As a result of this intervention, there
level of the colour and the support. On
haven’t been noticed variations of the cracks on
either of the witness applied transversally on them. the same register numerous graffiti

17Many graffiti can be noticed on the northern mentioning different years and names
porch and the exonarthex. of the travelers17 can be identified.

68 e_conserv@tion
 The Church of Suceviţa Monastery

There are other specific degradations of alternating with mechanical ways, dry and
the colour layer. On the surface of the wet, operation performed with a lot of
painting we can see variable quantities of prudence. After the rehabilitation of the
adherent and non adherent deposits, adhesion of the colour layer at the
accumulations of saline efflorescence and support, treatments are applied for the
wax from the candles18, different stabilization of the cohesion, using barium
developing forms of biological agents. All hydroxide. This intervention is done after
of these are super positioned on a layer of a methodology experimented and taken
colour marked multiple times on large from Opificio delle Pietre Dure in Florence
surfaces of accentuated losses of the and applied at the restoration site at the
cohesion and adherence to the support. Church of the Probota Monastery, during
We can also see alterations of the an UNESCO restoration program. Using
pigments, the most evident being the
transformation of the smalt blue from an
intense blue nuance into different faded
nuances to almost brown white with
chalk appearance19 and the surface
modification of the cinnabar red pigment
into brown and black20.

Methodological aspects

On the interior, the problems caused by

the stabilization of the colour layer are
more difficult to deal with due to the
loading of the surface with accumulations
and deposits. For this reason, it is
necessary first to perform cleaning
through physical - chemical methods, Image 7. Narthex, semicupola of the south apse.
Intervention; the cleaning of the surface.

18The most quantities of adherent and non
adherent deposits, especially smoke from the
candles burned and also wax were identified in the
altar, where the religious ritual takes place.
19The alteration is visible in different forms on
almost all the mural surfaces in the altar, nave and
the chamber of graves and partially (especially on
the superior areas) in the narthex and exonarthex.
In the altered form, the smalt blue pigment is very
decohesive, its preservation rising big problems.
20Chromatic modification of the cinnabar red
pigment can be noticed on the areas close to the
windows, where it is exposed to the solar light.

e_conserv@tion 69
Anca Dină

this treatment the connections between

pigments are rebuilt and the stabilization
of the sulphate ion at the level of the
support layer is also obtained, avoiding
this way the risk of its reappearance on
the surface of the colour layer. For this
reason, this mineral treatment is
recommended for the conservation of the
mural pictures at Suceviţa where,
according to the lab tests, the lime used
for the intonaco layer is rich in sulphates.
For the areas where the presence of the
nitrates was identified, ammonium
oxalate was used.
The interventions at the level of the support
Image 9. Narthex, semicupola of the south apse.
layer are done in a specific and particularized Cleaning of the surface, comparative image.
manner, depending on the existent problems
on each surface. The treatment performed enounced by Cesare Brandi. Therefore,
against the development of the biological the gaps and the erosions of the colour
agents is performed by applying in steps layer are considerably attenuated with a
solutions based on quaternary ammonium neutral grey reported to the original,
salts, prescribed by the biologist on the basis which gives continuity to the iconographic
of the lab tests. discourse. The small integrable gaps and
Regarding the aesthetic presentation of the cracks of the support layer are
the gaps, the aesthetic option is that of an patched at the level and chromatically
intervention which is minim and integrated in the tratteggio technique. The
recognizable, according to the principles extensive gaps of the support layer or the
ones with a historical significance21, are
patched under the level of the colour
layer, being given an adequate texture
and tonality. This way all the elements
inherited from the predecessors are
preserved unaltered, the original painting
being well emphasized.

21The tracks left by the old iconostasis in the

Image 8. Detail. Chromatic integration by neutral mural painting, which are visible in the altar after
grey reported to the original. the addition of a new iconostasis.

70 e_conserv@tion
 The Church of Suceviţa Monastery

Organisation of the site conservation of the mural surface, the

efficiency of the interventions and the
Started immediately after the end of the capacity of the restorers to perform
exterior intervention, the works of their activities.
conservation–restoration are continuing22. The coordinator of the activities is Professor
The working period, meaning the warm Oliviu Boldura PhD, an expert in restoration,
season23, is restrained because of the low who assures the valuing and the unaltered
temperatures during the rest of the transmission of the painting to the next
year24, which make the interventions generations, together with other restorers,
impossible from more reasons: a good specialists or future specialists25.

22The work in the nave and the altar are almost 24The church is not provided with any kind of heating.

finalized.
23The months in which the work is possible are
June-October, with some variations imposed by the
climacteric conditions.
25Besides the specialists, on this worksite many
generations of conservators were trained among the
years. Together with the Romanian students were
also practicing students from Poland, Italy of Japan.

e_conserv@tion 71
Anca Dină

Anca Dină

contact: anca@zappmobile.ro

Anca Dină is a conservator restorer, specialist

in mural paintings. She graduated in

Conservation from The Art University in

Bucharest where she also completed a Master

in Visual Arts, Conservation specialisation.

She works for the CERECS ART S.R.L.

Enterprise, having coordinated several

interventions areas from onsite conservation

projects as St. George Church from the “Sf.

Ioan cel Nou” Monastery in Suceava (2003),

“Tăierea Capului Sfântului Ioan Botezatorul”

Church from Arbore (2004–2006) and the

Church of Suceviţa Monastery (2007).

She 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), the results being under

publication at the moment.

72 e_conserv@tion
 educatio
This permanent section is dedicated to Education
and Training in Conservation and Restoration,
which we consider an essential and actual issue
in our profession. Thus, in each number of the
magazine we randomly pick a country from
around the world, review and describe its training
in conservation to the best of our knowledge.
We are aware that education in this field is still
recent in many countries, that it has a fast
development and evolution in others and that
there are multiple models of training. Many
countries have already a solid tradition in
education and training while others are just
starting to have their first university courses in
Conservation. In this section we present the
readers a review of the existing multiple choices
on a given country.
The section is divided in two main parts: the
THE NEVER ENDING STORY OF CONSERVATION

recognised and the non-recognised training.

Although these criteria can be subject of intense
discussion, we find support on the international
accepted criteria such as those of E.C.C.O.
(European Confederation of Conservator-
Restorers’ Organisations) among others. Thus,
for example, a course may be classified as
recognised when their trainees are recognised by
their national associations, have a university
level or equivalent, a specialisation, etc. When a
school is classified as non-recognised we are not
making a judgement of value, but we only
indicate that its degree is not enough to achieve,
by international standards, the professional level
of conservator-restorer.
In case you are part of the staff of a school or
University that offers training in Conservation
and Restoration and you would like to include
your school in our magazine, please contacts us
by sending an email to:
general@e-conservationline.com.
CONSERVATION EDUCATION
in BELGIUM

The Kingdom of Belgium is one of the

smallest and most densely populated
European countries. It is divided into
three regions: Flanders, Wallonia and
Brussels. In Flanders, roughly the north
part of the country, people speak Dutch
(Flemish). In Wallonia, the south part of
the country, most people speak French.
Each region, including Brussels, has its
own government and autonomy but
friction between Flemings and Wallons is
widely known.

74 e_conserv@tion
 RECOGNISED TRAINING INSTITUTIONS

painting, design and ceramics among

ÉCOLE NATIONALE SUPÉRIEURE many others.
DES ARTS VISUELS DE LA CAMBRE
Since the beginning there is no limit for

21 Abbaye de La Cambre - B-1000 the number of admitted students. The

Bruxelles BELGIQUE prospective students have to pass an
www.lacambre.be admission test that usually takes place in
(French only)
early September. This test comprises
three parts: a drawing test, a
questionnaire of “cultural motivation”
which is mandatory for all candidates and
a third test specific for the selected
Text written based on the information which
Mr. Georges Dewispelaere, the Head of the course. In the academic year of 2005-
Conservation Department of la Cambre,
2006 La Cambre had 672 students. The
kindly provided.
Conservation Department normally admits
around 10 to 15 students, from which,
Short History depending from year to year, about 10
graduate.
The École Nationale Supérieure des Arts
Visuels de La Cambre celebrates this year Specialisations
its 80th anniversary. Located in Brussels,
the school took its name from the 18th The programme is a full-time training
century Cistercian abbey of La Cambre. that lasts 5 years and is organised in 2
La Cambre is an Art School that has a cycles. The first cycle - 3 years, and
Department of Conservation since 1981. 180 ECTS* credits - corresponds to the
The department was started by the Bachelor and the second cycle - 2 years
professor Mr. Michel Lefèbvre and the and 120 ECTS* credits – corresponds to
assistant Guillemette Terfve, who later the Master. Each year involves 900
became the head of the department. hours of study and classes. During the
The school began by giving a 3-years 5 years the students are compelled to
degree of candidature and a 2-years make internal and external internships
degree of licence. on their specialisation.

Admission
La Cambre offers 18 courses in every
artistic specialisation, from conservation
and restoration to photography, sculpture,
*The ECTS system is widely used in all Europe. It
stands for “European Credit Transfer and Accumulation
System”, was introduced in 1989 and is based on the
student workload that is required to complete the
course. For more information please visit:
http://ec.europa.eu/education/programmes/socrates/ects/index_en.html

e_conserv@tion 75
Education

The course of Conservation and Restoration The internships are not compulsory, but
offers 4 possible specialisations: Painting students are encouraged to attend them,
(vessel and canvas), Sculpture, Ceramics- especially during the summer holidays.
glass and Paper. From next year La Cambre is planning to
The first year the students are introduced give ECTS credits for the internships
to the work of art. They study the students undertake.
technological process and its ageing.
The second year of study is focused Laboratory Equipment
towards theoretical and practical
apprenticeship by the application of La Cambre does not have its own
different techniques to the works of art. research laboratory for conservation, the
In the final year, the students must analyses being performed somewhere
prepare a thesis, supervised by a else if necessary.
teacher and an external specialist,
where they will develop their personal Publications
research work.
The school does not have an official
Internships, publication but every year an intern jury
International Programs selects some of the works belonging
to each department, including the
The Department is involved in Erasmus Conservation-Restoration one, for what
and Socrates programs. Foreign students they call “coup de cœur”. The selected
are accepted in a large number and they students make an exhibition and a small
have the same regime as the Belgian edition is printed in the school’s printing
ones. studios.

76 e_conserv@tion
 Education

workshop. I think it is important to be

Georges Dewispelaere
active in the work field. In my case, I
still do work for Museums and privates
but it is hard because of the lack of time.
Interview with

What are the requirements to

become a teacher at La Cambre?

You need of course to have the official

diploma or sufficient experience in the
work field; for what concerns the
hierarchy, my superior is the director. I
am the superior of the specialised
e_conservation magazine interviewed in June 2007
Mr. Georges Dewispelaere, the Head of the professors (C/R Painting etc). We have
Conservation Department of la Cambre. The also assistants and lecturers. I have a
interview was carried out by email,
by Rui Bordalo. full time employment (12h), the other
professors have 7h a week and the
You are currently the Head of the assistants have 10h a week. For their
Conservation Department of La requirements, they need the same
Cambre, after completing your diploma and/or experience.
training in the same school. How did
you accomplish it? Tell us about how the Department of
Conservation started.
After my studies in La Cambre, I started
giving lessons (4 years) in education of The Department started because there
Conservation-Restoration in an evening was no education centre in Belgium. At
academy. After this I worked for 10 years that time, conservators had their
as professor of Conservation-Restoration education in the Royal Institute
of Polychromy. When the head of the of Cultural Heritage (KIK-IRPA). Our
Department of La Cambre left, I did the Department was started after discussions
official State examinations. between our formal director, people of
different universities and the KIK-IRPA.
Apart teaching, you have your own
workshop. How do these activities Which is the policy of acceptance of the
work together? artworks the Laboratories work with?

All of the professors involved in The works of art which we work on are
Conservation-Restoration have their own mostly from Museums or Churches.

e_conserv@tion 77
Education
Sometimes we accept from private
owners, if the case is interesting on
educational level.
Does the Department charge for the
conservation interventions performed?
We charge for the costs of the materials.
Has the school participated in any
international projects related with
conservation?
Yes. Since some years we work in Syria,
in Croatia, France etc. We are working
on a project in Cairo-Egypt.
In Syria, since two years ago, some of
our students and professors have gone
to work on icons in a monastery. In
Croatia, we have participated
three years ago on conservation projects
with the schools of Split (Croatia),
Antwerp (Belgium) and Köln (Germany)
on a 16th century altarpiece in the Marja
Sjun Church on the island of Lopud.
Last year, some of our students went to
work on the Versailles conservation-
restoration project.
Recently the Bologna Process was
introduced throughout Europe. Is La
Cambre going to introduce it as well?
We are of course involved in Bologna
process. It does not change that much
for us, except for the diploma delivered
after the Bachelor years and the use of
ECTS credits, our studies were always
spread over 5 years.
78
La Cambre is member of ENCoRE since
2005. What did this membership
represent for the Department?
Till now, nothing. All the proposals of
ENCoRE demand time and money, which
we do not have.
Could you give us an insight of the
admission process? Which are the
most important conditions students
need to fulfill in order to get admitted?
The admission process has a general
part (equal for all the 18 workshops of
La Cambre) which is a drawing test and
a theoretical test. The rest is specific for
our Department: practical tests (copies
etc...) related to each speciality we
since have, theoretical tests (art history,
scientific tests…), an interview during
which we test the motivation, the
preparation, the general knowledge, etc.
Does the Department usually follow
the students on their professional
life after they leave the school?
We keep contact by the way of festivities,
happenings, thematic evenings, colla-
borations on the workfield, and internships.
We take the chance to thank
Mr. Georges Dewispelaere
for his prompt cooperation
and for taking the time to answer
all our questions by email.
e_conserv@tion
 Education

Specialisations
ECOLE SUPÉRIEURE
DES ARTS Right from the beginning, the department
SAINT-LUC comprised the two specialisations which

41, bd de la Constitution, B-4020 are currently available: painting and

LIEGE ceramics. In the first year, the students
BELGIQUE are introduced to both specialisations and

www.saintluc-liege.be to the principles of Conservation and

Restoration. The choice for one
specialisation is only to be made in the
Text based on the information which
second year, when the students are also
Ms. Muriel Verbeeck, teacher of philosophy,
iconography and research methodology at ESA, compelled to make internships in private
kindly provided.
conservation companies or in Museums.
The fifth year offers the possibility to
Short History obtain a complementary specialisation in
modern and contemporary techniques and
The “École Supérieure des Arts Saint-Luc” materials. This Specialised Master
(ESA) was established in 1863 and offers combines two approaches: pedagogic and
Conservation and Restoration training in depth, this last being a preparation for
since 1992. Initially the department of the PhD.
Conservation and Restoration of Works of ESA is giving 3 x 60 credits for the first
Art, or COA (“Conservation d’Objects cycle and 120 credits for the Master in
d’Art”) as it is usually called, offered a 3 Depth degree.
years bachelor degree but later evolved
into a “licence” degree in accordance Internal Structure
with the European recommendations.
According to Ms. Verbeeck “We had quite Practical courses and restoration
a struggle before we could change from Ceramics Paintings
graduate to licentiate courses and before Full professor: Full professors:
Ms. Viviane Bechoux Mr. Olivier Verheyden,
being able to implement the Bologna
(ceramics restorer) Ms. Sophie Moreaux
process, which finally gives us the
Professor (and assistant): (paintings restorers)
appropriate framework which is needed Ms. Valérie Rousseau Assistants and lecturers:

for teaching this demanding profession: 3 (ceramics restorer) Mr. Nico Broers,
Assistant and lecturer: Ms. Inge Noppe
years for a Bachelor’s degree, a Master’s
Ms. Anne-Sophie Dagneau (paintings restorers)
degree and a Master in depth degree (2 (ceramics restorer)
years), focusing on modern techniques Lecturer:
Mr. Johan Janssens
and material.”
(ceramics restorer)

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Education

Common art techniques courses

Admission
Professors:
Mr. Benoît Higny
The number of admitted students each
Mr. Charly Vetro
Jean-Marie Bertrand year at ESA is between 10 and 20.

Art history courses According to Ms. Muriel Verbeeck, “The

Professors: admission exam is not intended for a
Mr. Xavier Folville
selection, but rather shows future
Ms. Alexia Creusen
students what the profession is about. We
Science courses
have about 40 exam participants; about
Professors: Lecturer:
Ms. Nadine Govers Ms. Anne Darimont
thirty stick to their choice after having
Mr. Claude Totelin taken the mainly practical tests. At the
end of the Bachelor’s training, the number
Museology, internship:
Professor: of students obtaining a degree lies
Ms. Noémie Drouguet between a dozen and twenty. At the
General courses:
licentiate level (now called Master’s level)
Professors:
about a dozen students obtain a degree,
Semeiology: Aesthetics, Iconography,
Mr. Theo Hachez Research methodology: all specialisations together.”
Literature: Ms. Muriel Verbeeck
Mr. Pierre Collin Internships,
Law: Ms. Chantal Herin International Programs

The school accepts foreign students and

Recently an interface between both there is no difference concerning the regime
departments and the outside world has they have, except for possible exemptions
been created: the CeROA-X unit for the already acquired ECTS credits.
coordinates projects and controls the ESA has Erasmus exchanges with Spain,
good circulation of information. Portugal, Italy, Romania and Poland.

80 e_conserv@tion
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Muriel Verbeeck
Interview with
Laboratory Equipment

ESA has 4 laboratories: chemistry, Ms. Muriel Verbeeck is a trained historian, Doctor of
photography, testing laboratory, ceramic Philosophy and Master of Information Sciences
and Documentation, curently professor at “École
technologies laboratory (processing, Supérieure des Arts” (ESA), St. Luc and editor
baking, enamelling, ceramography). of the CeROArt magazine.
We thank her for the kindness in answering all our
These are equipped with binocular questions. The interview was carried out by email
microscopes, microscopes on swinging- by Rui Bordalo, in on July 2007.

arm stands, polarizing and epifluorescent

ESA was established back in 1863 but
microscopes, infrared cameras, accelerated
its Conservation Department was only
weathering system (UV) and FTIR
introduced recently, in 1992. What are
spectrometer. For performing other tests,
the circumstances of its creation?
they collaborate with different institutes
and companies.
Our institute offered at that time several
three year graduate courses in Fine Arts.
Publications
Right from the start we also decided to
ESA’s is planning to publish a biannual develop courses to sensitize artists to the
bulletin, CeROArt, on subjects related to issues of conservation. Very soon
conservation, exposition, restoration of however, this framework became too
artworks. The release of the first edition is narrow, due to educational and
planned for October 2007. In certain professional requirements, like they were
projects, ESA cooperates with external defined by the E.C.C.O. The reform of
partners: http://web.mac.com/ceroart. higher education gave us the opportunity
Also, the school plans to podcast every to adapt our courses and their contents in
autumn prestige conferences which will be order to offer licentiate courses over a
posted on the school’s website in the period of four years; anyway, we were
course of next year. able to implement the Bologna process,

81
e_conserv@tion
Education

which allows us to inaugurate a master’s also obtained a licentiate or additional

degree with contemporary materials master’s degree, either in Belgium or
specialisation. Thus, the history of the abroad.
ESA conservation departments is one of a
long progression, which lies at the origin Apart from teaching, do you have
of our vitality. your own workshop? Is this
a common practice among ESA’s
Before this, where were the Belgium professors?
conservators going to be trained?
Yes, the workshop professors are field
Usually two important organisations come practitioners, who are or have been
to mind: the Higher Institute of Antwerp, performing until recently their activity
in Flanders, and the La Cambre Institute, independently. Thus they keep in touch
in the “Brussels-Capital Region” In the with the practical evolution of their
Walloon Region there was nothing profession. This continuous update of
comparable, nor anything like what we their experience is very important to us,
wanted to offer. Our niche is very specific given our educational concept.
– just like our educational approach, i.e.
centered around the student. Which is the policy of acceptance of
works of art for the laboratories?
What are the requirements to
become a teacher at ESA? We do not accept privately owned works
of art. However, we take care of works of
Because of the slow evolution of our art from museums or institutions.
department we were able to bring
together very specialised staff members, Does the Department charge for the
specifically employed according to the conservation interventions performed?
needs of the new courses. This is mainly
the case for museology and preventive The charged intervention is limited to the
conservation, but also for scientific costs of the material used.
courses and material technology, in which
field we receive advice from a plastic Has the school participated in any
material specialist. Several professors international projects related with
combine their practical expertise with a conservation?
Master’s and/or Doctor’s degree in History
of Art or Human Sciences. The assistants Not yet… but we’re currently in the last
coming from our own institute have phase of two cooperation projects.

82 e_conserv@tion
 Education

Why did your school decide to from our evolution. Few students choose
implement the Bologna process for to stop there; indeed, we offer a
the Conservation Department? specialisation in contemporary material in
the 5 year, as well as many workshops,
th

Since the beginning and throughout the internships, but above all we offer
evolution of the division we focused on assistance in writing a thesis, which is the
the E.C.C.O. recommendations. Bologna final element of our theoretical and
is for us one of the means to achieve practical educational aims.
that goal. We find there by the way
values that are pedagogically important We believe ESA is considering offering
to us, like education centered around a PhD program in conservation in the
the student, and an implementation nearest future. Could you tell us more
flexibility facilitating initiatives and about this program?
innovations. There is one downer however…
the limited financial means often dampen The “French Community” of Belgium has
enthusiasm. recently created the “PhD Institute No.
20”, which deals with “art and art
What changes did the Bologna sciences”. We would like to cooperate with
process bring to the Department? different academic institutions, in Belgium
and abroad, and develop a specific
The reform is being introduced one year module of courses, which would consist of
after another. We’ve now finished workshops, colloquiums, conferences.
awarding a diploma to our last licentiates Our focus point of research, already
(4 years), at the same time as we developed during workshops, is axiology,
awarded the first Bachelor’s degrees. In i.e. raising questions about the values
the coming academic year we will start which determine the choice of
with our very first Master’s degree year. conservation, restoration, but also the
choice of working with objects of art.
At the present time, your Department Indeed, the extension of the working field
offers 3 degrees of 3, 4 and 5 years. of conservation from works of art to
Which are the differences between objects of art, raises questions, not only
them and why such an organisation? related to contemporary art, but to the
whole of cultural assets, which are by
Our degrees after 3 and 5 years nature heterogeneous. Any person or
correspond to what is awarded in other institution concerned by this topic may
institutions. The Master’s degree after 4 contact us right away: the magazine
years is a particularity, which we inherited CeROArt (www.ceroart.org) will discuss

e_conserv@tion 83
Education

this topic in its first edition of October and Could you give an insight into the
there will be an international colloquium admission process?
on this subject in autumn 2009.
ESA’s admission exam is not really an
Is ESA a member of ENCore? instrument of selection. Contrary to other
institutes, we do not expect specific
We are not an ENCore member, but we experience or knowledge in the fields of
have asked for a partnership. conservation-restoration, art or history of
art: we want to stimulate an existing
How did CeROArt project start and passion which should entice students to
what are your expectations? choose any course. However, we do
evaluate students’ capacities using several
The project grew out of a need: there practical tests, which help them
is no platform in French to enable a understand color and material and we ask
dialog between conservators, restorers, for his or her motivation during an
museologists, who are all confronted with interview. In fact the aim of the tests is
difficult professional problems regarding to assess those qualities of the
works of art (from the piece of ceramics students which we find indispensable:
to the contemporary painting, and in dexterity, rigor, analytical spirit… but
fields like mobile industrial patrimony, also sensitivity, open-mindedness and
object design, books, ethnologic objects, personal engagement.
scientific collections…). Fortunately, there
is the Internet which makes it possible to Does the Department usually follow
create a “melting pot of art and culture” the students on their professional life
that can give information about what is after graduation?
thought (research), what is planned
(projects), what is achieved (interventions). Yes, with pleasure… some work
Out of the confrontation of diverse currently on their own, others within an
experiences ideas can grow, exchanges institution; many also decided to
and collaboration can take place. Our bet specialise, especially in archeometry.
is that communication stimulates creativity We follow their career with much
- and the conservation profession is more interest... and satisfaction: for ESA, like
than ever in need of creativity and for Montaigne, teaching is not filling a
inventiveness when it comes to proposing well, but lighting a fire. Those going
solutions for the (many) problems it gets into research show us that we have
confronted with. accomplished this task, which is so
important for us.

84 e_conserv@tion

STUDENT OPINION
Isabelle Pirotte
Interview with
Isabelle Pirotte is a graduate student of ESA Saint-
Luc. She finished her studies this year, specialising
in conservation and restoration of ceramic and
glass. Her thesis focused of the study of Léopold
and Rudolf’s glass models of sea invertebrates
from the zoological Museum of Liège University.
Why did you choose to study
conservation?
I like association between craft side and
reflection. Beautiful objects fascinated
me, I like their story and to have the
privilege of taking care of them. This is
why I chose this profession.
Why did you choose ESA Saint Luc
over the other universities?
ESA Saint-Luc is the nearest school from
my home and courses are given in French,
my native language. This school is also
open to 18 years students who come from
secondary school and without other training.
e_conserv@tion
Education
Please describe your experience
during the admission process.
It was entirely accessible and I didn’t feel
any particular difficult. It gave me much
more desire to undertake these courses.
How tough was the competition on
the admission?
I didn’t feel any competition.
Which are the costs involved to study
at ESA?
Fees per year are about 750 euros. There
are also fees about 200 euros to buy
equipment and books. Other fees concern
the training period.
Which are your plans after
graduation?
I would like to open my own workshop.
I’ve already restored a Chinese stoneware
dragon and now I’m working on a glass
boat. In one month I’ll work on Gallo-
Roman ceramics, which belong to French
Community, preserved in Gallo-Roman
Museum in Ath.
I’ve also received an offer to work at
zoological Museum of Liège University to
continue my work on Blaschka’s glass
models that I’ve studied in my thesis.
We thank Isabelle Pirotte for filling out our
questionnaire. The interview was carried out by
email in August 2007, by Rui Bordalo.
85
Education

ROYAL ACADEMY
OF FINE ARTS
(ANTWERP)
Blindestraat 9-13, 2000 Antwerpen

BELGIQUE
YOU CAN HELP US
www.academieantwerpen.ha.be
IMPROVE THIS SECTION!

The Royal Academy of Fine Arts

(Koninklijke Academie voor Schone
Kunsten), which became a department
within Hogeschool Antwerpen, offers
Are you part of the staff
Visual Art and Conservation-Restoration
of a school or university
studies. The programme has its roots in
that offers training
the Higher Institute of Fine Arts in
in Conservation-Restoration?
Antwerp where Conservation was
introduced as optional in 1988.
The admission test which students must
WE WOULD LIKE
undertake is divided in three parts: an
TO INCLUDE YOUR INSTITUTION
observation test, a colour or modelling
IN OUR MAGAZINE!
test and a motivation interview.
As stated in their website “the education
is tertiary, higher but non-university”. The
Are you available to help us
programme is divided in four years in 2
with the elaboration of this section?
cycles of 3+1 years (180+60 ECTS
Please contacts us at
credits). The students obtain a Bachelor in
general@e-conservationline.com.
Conservation and Restoration after they
complete the first cycle and a Master in
Conservation and Restoration after
completing the second cycle.
The Royal Academy offers 10
specialisations organised in 10 studios: Some information presented in this article
may be incomplete or not actual as we were
Glass, Wood/Polychromy, Ceramics,
enable to establish contact with some
Metals, Mural paintings, Paper, Paintings/ universities or institutions. We hope to fix this
problem with your help in our next issues.
Polychromy, Stone/Polychromy, Textile
and Visual media.

86 e_conserv@tion

OTHER SCHOOLS - QUICK VIEW
In Belgium there are some other training
courses in conservation that do not offer a
university level degree or they only give
short courses, with the duration of less
than 5 years, thus they are classified as
non-recognised courses. In this section we
are not making a judgement of value, we
IFAPME
www.formatpme.be
(French only)
IFAPME stands for “Institut wallon de
Formation en Alternance et
indépendants et Petites et Moyennes
Entreprises”. IFAPME is a network of 9
training centres all over the Walloon
region which offers different types of
training such as apprenticeship and life
long training in over 200 areas, mostly
focused on training for small and medium
enterprises. FORMATPME, located in Limal
(Wavre), is one of this network centres
that offers conservation courses in the
following areas: paper, furniture and easel
paintings. The course is organised in 3
years. The students must undertake an
internship and prepare a final work in the
end of their last year.
FORMATPME also organises short courses
and conferences.
e_conserv@tion
Education
simply list all the available institutions,
according with the international accepted
criteria (such as those of E.C.C.O. among
others). Thus, a course is classified as non-
recognised when its degree is not enough
to achieve, by international standards, the
professional level of conservator-restorers.
SYNTRA LIMBURG
Overhaemlaan 11
B-3700 TONGEREN
www.opleidingen.syntra-limburg.be
(Dutch only)
des
SYNTRA Limburg is a school that
promotes entrepreneurship assuring
professional courses in all sectors. The
school is organised in 7 campuses in the
region of Limburg.
In the campus of Tongeren, the school
organises long training courses in conser-
vation of paper and furniture (no longer
9292available at this point). A candidate
must be 18 years-old in order to attend
them. The course paper conservation is
developed in 3 modules: paper study, paper
chemistry and paper restoration. The school
also offers short-term courses on restoration
of paper, paintings and scientific research.
87
portrai Information and Knowledge
Management of
Cultural Heritage

Case studies
from the work of the
Foundation for Information Society

Hungary
 Foundation for Information Society

The Foundation for Information Society started its current activity in the frame work
ensured by the Information and Knowledge Management Department of the Budapest
University of Technology and Economics. Our colleagues have started to perform
research, development, innovation and application development activities in the field
of finance and financial information technology deserving the most sincere
acknowledgments from professionals of the field of banking, economic institutions in
the field of financial and money IT. Representatives of this professional group
undertook a decisive role in the Foundation; meanwhile ensure continuity of a high
quality and high standard research work. These results have
been applied by technological transfer in heritage management.

by LIA BASSA

Information management related to the Heritage is a common treasure, in the

UNESCO World Heritage and other cultural absence of modern information manage-
heritage issues is an additional research ment it is unable to catch attention,
area for our scientific staff, which deals unable to become public domain. We are
with the elaboration of the IT support for able to organise this, to elaborate and
tangible (natural and man-made) and implement the necessary technical
intangible heritage, with the help of data background because we possess the
collection technologies applying remote appropriate knowledge, tools and
sensor and/or information technology. experience. Professional and technical
Thereby, it contributes to decision making assistance can be offered to the sites
in the areas of heritage protection, with included in the World Heritage List or the
the use of leading-edge IT and knowledge Tentative List, in the areas of obligations
management tools. Although World prescribed by the UNESCO World Heritage

e_conserv@tion 89
Portrait

Convention (monitoring, Periodic Reporting, achieved in other research areas we are

state of conservation), in the tasks of the able to produce a kind of technology
local administration prescribed by the transfer to areas that from this aspect are
Hungarian laws (e.g. document archiving) under-financed and therefore not
and also in world heritage, scientific and sufficiently supplied with state-of the-art
general touristic issues. Using the results technology solutions.

Image 1: Millenary Benedictine Abbey of Pannonhalma world heritage site.

ICHEPIS – Inventorisation for knowledge management solutions of

a Cultural Heritage Periodic major importance for individual site
Information System managers, all State Parties, as well as for
the World Heritage Centre of UNESCO,
The direct objective of this two years long including their Advisory Bodies.
project (2001-2003) was to define the During research, effective methods
scope and structure of relevant were to be found in order to integrate
information and data that could provide all text documents containing valuable
flexible and user friendly information and scientific data into one data system

90 e_conserv@tion
 Foundation for Information Society

base and to make them easily available coordinated research since there has not
and searchable. In connection with the been any methodologies or procedures for
above, a review of the basic thesaurus of such activities approved yet.
relevant areas and organisations, as far as
possible, had to be integrated into a State Parties have to be capable of
flexible Internet based structure, to creating comprehensive site, regional or
provide conversion keys, including search even thematic collections, learn and
engines, for more effective use of the create data processing and knowledge
present knowledge base. management standards, as well as rules
to update information and provide

The most important metadata services on their own sites. At

the same time these models are to
goal of the research
become a suitable basis for an approved
and development
system by the individual State Parties’
project was to produce
World Heritage Information and
a technologically sound, Knowledge Management System that has
professionally accurate to be developed on a step-by-step and
and internationally incremental basis. Such system enables
acceptable model basis the State Parties to recognize any relevant
and data sample. changes, including improvement or
deterioration or even disaster of world
It was also of great importance to analyze heritage sites in due time. It also enables
the utilization of remote sensing images, them to attract partners for mutually
including a wide range of already beneficial co-operation in protection and
accessible public data on world heritage development of the sites so that the
sites. Thanks to the growing interest of research can lead them to integrated data
space agencies, an increasing number models, a structure for training and
of State Parties to the Convention, education, collection, distribution and use
Hungarian and international research of such data, as well as recommendations
institutes had been collecting relevant on data migration.
public data on world heritage sites for
more than a decade to follow regularly the Nowadays, more and more research
state of conservation of their own and centers, authorities, civil organisations,
other cultural and natural world heritage councils and private persons are
sites. Concerning the authenticity and requiring having an integrated, centrally
the legal use of the collected data, maintained but decentralized database,
these technical problems also require which contains updated information

e_conserv@tion 91
Portrait

regarding the state of conservation of to be recorded regarding the stored

national cultural and natural heritage elements had to be determined in this
sites. phase, along with the points of connection
to the adjunct databases as well as the
The most important goal of the research theoretical solution to ensure data
and development project was to produce authenticity and safety. It has also been
a technologically sound, professionally a research task to explore the circle of
accurate and internationally acceptable the potential users of the heritage
model basis and data sample. database and to determine and register
the changing and evolving demands for
In the course of research we have such databases.
explored which basic elements of cultural
and natural heritage have to be included
into the site, national, regional and
international systems. The scope of data

Figure 1. Starting points and the series of goals: the research project generator.

92 e_conserv@tion
 Foundation for Information Society

2. The Heritage Reporter

The Heritage Reporter, based on the We also have to face

results of the ICHEPIS project, a pilot a well-known
software was also developed providing
problem
unified, searchable information about a
that the same term
Hungarian World Heritage Site
“Millenary Benedictine Monastery of
has different meaning
Pannonhalma and its Natural Environment” in different countries,
demonstrating the full scale of aspects cultural societies.
of manageable information on it.

The system is made up of the following of states and sites, site numbers) and an
components: advanced, multiple topic search mode
(by combining two functions: search for
• Web-based user environment data in world heritage web sites and
including preference driven multi simultaneously for words or expressions
language support; in the world heritage documentations);

• Menu system available in English, • Interface to the Hungarian National

French and Hungarian. German, Heritage Protection System;
Italian, Spanish and Chinese versions
can be attached; • Interface and integration pilot to a
facility management software;
• Map-based navigation system using
about 100 maps; • Demonstrating in-depth site repre
sentations;
• A database specially developed to
contain the documents, multimedia • Information structure for description,
files, maps, pictures, drawings, photos, values, exhibits, environment, related
aerial and space photos, internet links, bibliography, links, access and other
all the information about the World touristic data;
Heritage site, intangible heritage
(folkloric and historic texts, dance and • Authentication and access right
music); management;

• Search engines for separate search • Representation of network sites.

functions: on-map searching (by regions,
sub regions, continents, states, initials

e_conserv@tion 93
Portrait

We also have to face the well-known without predetermining the conditions

problem that the same term has and legal background for access rights
different meaning in different countries and regulations. The establishment of a
and cultural societies. The different joint archive supposes the existence of a
languages, folklore customs, music and joint basic system, as only data arranged
dance are the common areas of accordingly are applicable. If the basis
intangible heritage and the development can be well and unanimously identified
of their science is interrelated. The and the participants are able to fill it in
researches of these fields are of with all available data, a generally
universal value and must be included in exploitable, professional digital heritage
an archiving system that can be used archive will be created. Thus, different
world wide and made accessible for types of heritage like buildings, artifacts,
experts involved. The establishment of historical texts but even musical and
such a multifunctional archive raises a dance productions could be recorded and
lot of technical problems. It is evident accessed by all participants for further
that results of professional researches work, research, co-operation and other
and discoveries cannot be made public functional purposes.

Image 3. Rural Heritage House in Fertőhomok, world heritage site. (Photo: Gábor Madarász)

94 e_conserv@tion
 Foundation for Information Society

Another basic requirement of this system awareness and last but not least, their
is that it should be suitable for later visit is a financial resource for the site.
extensions. Some parts of the contents Tourism is the main way of contribution to
should be accessible for the general public the preservation of the past and our
in the future but its main objective is that heritage by the presentation that
it should be able to satisfy professional meets all requirements of information
users that is also a complex task. Namely, management.
the work of university students, research
workers, authorities and experts has to Heritage is entrusted for us by our
be considered and a legally clarified, ancestors and our responsibility is to
scientifically appropriate access has to be preserve it for future generations. The
assured for each layer of them. Subject means of conservation and transmission
maps and thesauri are necessary for the have been changing a lot in the recent
adequate handling of metadata and in the times. Our cultural heritage protection
same time, for the establishment of a projects have the duty to connect the
conception structure, the systems of values to be protected with the up-to-date
environment, contents and classification technical potentials. Through their
have to be carried out. (Image 3) application, new ways of value protection,
presentation and popularization come into
The management of use to promote the human track of
heritage sites requires globalization by connecting people with

new methodologies in different background. Besides producing

theoretical, aesthetic and cultural profit,
the subject of supervision,
business value is also being generated.
administration,
Adjacent to increasing touristic income, it
organisation, planning,
contributes to enrich the image formed of
control and marketing. the given country.

3. The “Rural Heritage” program The digital presentation of a site includes

data collection and retrieval as well as
The “Rural Heritage” program has aimed information provision to authorities,
to draw the attention of any visitor researchers, public and tourists. All
arriving from any country, from any social information gained is put together for the
background, to make acquaintance with establishment of an appropriate site
rural life in its original surroundings. It management that aims at the
provides them with information, preservation of the state of conservation.
knowledge, develops their cultural The buildings, objects, natural formations,

e_conserv@tion 95
Portrait

the language, national customs, music, are set up in conclusion of data collected.
dance are all changing in the course of Data mining can contribute to the
time. While carrying out the processing, application of the collected and
various sorts of data collection, registration, systematically arranged data to tourism, it
archiving and retrieval methods have been assists caretakers to be prepared for the
applied. requirements of the visitor, and thirdly
decision makers, professional bodies and
Our basic aim is to record the current authorities possess a full set of data, to
status so that the managers could keep select the relevant ones for their own
maintenance of the creations of the above purposes. The management of heritage
areas. Their protection could be sites requires new methodologies in the
professional and in order to make people subject of supervision, administration,
acquainted to the values surrounding organisation, planning, control and
them so that they could appreciate it and marketing.
transfer it to the next generations.
Monitoring can be completed when the The first step is the search for values,
priorities of the activities to be carried out their systematic arrangement and the

Image 4. Rural Heritage House in Fertőszéplak, world heritage site. (Photo: Gábor Madarász)

96 e_conserv@tion
 Foundation for Information Society

establishment of the database. It can be including their availability. It would also be

done by the contribution of both heritage necessary from their point of view as
conservators including folklore experts generally assistance is expected on their
and IT persons. It is not a one-time job behalf as well. Central participation could
but continuous research, system building be appreciated in many cases as these
and updating. houses are scattered all around the
country far from central monument
Next, the state of conservation is preservation. (Image 4)
recorded and decision is to be made about
the restoration or just the “preservation” These examples have also to be
of the objects. The monitoring activity considered as conservation activities
also requires organisation and decision although not in the traditional sense. They
making. Regularity and frequency of the are using the results achieved in other
available data updating must also be research areas like financial and banking
identified. A change managing form is to systems from where we are able to
be filled in and dispatched, collected, transfer them to the cultural sphere of the
processed and classified. The areas economy. The additional value of these
involved in this procedure include systems is that they involve an
entrance fees, reporting of executed economical and financial feature in the
repairs, and modification in the number of areas of culture where it is badly needed.
visitors and about the existing All over the world funding culture is a
publications. For the sites, it should be delicate problem: it is indispensable,
made mandatory (or preferably automatic nevertheless is under-financed and therefore
or evident) to report changes especially of not sufficiently supplied with state-of-
addresses, owners, care takers, the-art technology solutions.

e_conserv@tion 97
Portrait

Dr. Lia Bassa

contact: bassa.lia@infota.org

Dr. Lia Bassa is a researcher at the Contact

Budapest University of Technology and Address:

Economics. She is an Expert in Irinyi József str. 31/A

Heritage Preservation and Touristic 1111 Budapest,

Relations and the Managing Director Mail:

of the Foundation for Information 1507 Budapest, PO Box 213

Society.
Phone:
(36-1-) 279 1510

She holds a MA in English and French

Fax:
literature and linguistics as well as a (36-1-) 279-1511

Ph.D in English literature.

E-mail:
She is the author and co-author of info@infota.org

numerous articles and lectures on

www.infota.org
World Heritage management, heritage

preservation, heritage conservation,

among which SHAMAN - Shared

Heritage Archives Management Across

Networks, Hiradástechnika, 2005/5

Foundation For Information Society

98 e_conserv@tion
Do you own a company?
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So is everyone else…

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documentatio

Documentation and Architecture Conservation:

La Villetta Cemetery
in Parma, Italy (part 1)

Cemeteries as
Heritage Monument
MICHELA ROSSI
La Villetta,
the Main Cemetery in Parma

A Cemetery CECILIA TEDESCHI

Information System
 Cemeteries as Heritage Monument

CEMETERIES Except for the mausoleums, dedicated to

distinguished people, other memorials are
AS usually gathered in specific locations:
necropolises, the city of the dead, or
HERITAGE MONUMENT: cemeteries, meaning resting places.
Aiming to represent the city of the living
on a transcendent level, together with the
Experiences for Conservation respect for the dead, cemeteries have
and Rehabilitation of also been related to hygienic matters,
La Villetta in Parma with a neat division between the living city
and the dead one.
Christianity used to bury inside or nearby

By Michela Rossi churches, until the Illuminists imposed

again burial sites outside the city walls,
issuing new specific norms and standards,
which are reflected in the urban drawing
of modern settlements.
Cemeteries are, first of all, heritage In time, the symbolic richness of
monuments. In fact, death constitutes an architecture and its ornaments turned
important matter for each individual’s modern cemeteries into open-air museums.
social life; it is expressed by figuration This is why each cemetery constitutes a
and symbols, and according to religious significant heritage, as the main gathering
beliefs, each culture develops forms and point for the community values.
rituals closely related to each other. The
anthropologists identify cultures by the
treatment given to corpses, in which
many funeral artefacts and funerary
outfits are involved. The high level of
architectural formality of these
monuments comes from the attention
given to the material quality of the final
residence, where the memory is kept
alive. Thus, each monument is very
distinctive and the gravity given to the
passage from life to death is a common
feature, which explains the accuracy of
the funeral gifts and symbols. Image 1: The Villeta Cemetery. The today image.

e_conserv@tion 101
Michela Rossi

All cemeteries represent the mutual The mapping is difficult because of the
identifying element of a society, and thus, complexity of the settlements, where
all of them should be preserved just like elements such as the urban scale fencing
any other historical building. Their of the cemetery and the micro
rehabilitation will also give great architecture of each individual tomb differ
improvement to the urban environment. greatly in dimensions. This complexity is
Cemeteries are a miniature of the city, reflected in the management, which
reproducing its developing process and inevitably affects the general maintenance
presenting the same managing issues and of the monuments. The ambiguous scale
thus their conservation and valorisation of the cemetery and the big number of
strategies should be similar. The main monuments in it are some of the main
focus is on the structure’s functionality, problems concerning their conservation.
including changes required to respect the
new work safety standards, which could The research work carried out in Parma and
contrast with the preservation of the in the Villetta cemetery itself constitutes a
buildings. significant example on this matter.

2 2
Image 2, 3. The Villetta Cemetery in Parma. The original plan.
Image 4. General view of the cemetery, historic image.

102 e_conserv@tion
 Cemeteries as Heritage Monument

La Villetta is the largest burial site of

the town, with several memorials,
documenting the activity of the main local
artists from the last two centuries. The
general planning and the site settlement
date back to a debate from the previous
century; the original drawings and the
essay are still available. 5
The historic cemetery, requiring structural
repairs and general rehabilitation, is like a
condominium where private properties or
rights, rented and perpetual allotments
coexist: the Octagon contains more than
600 tombs and 400 family aedicule (see 6
Carmen Nuzzo, in no. 2/2007 of
e_conservation magazine). Together with
the chapels inside the two galleries and
the monuments in the porch walls, there
is an overall of about 1.500 units, many of
which are extremely valuable.

Images from La Villetta Cemetery

5. The entrance
6. The northern gallery
7. Detail of the arcade 7
8. The main alley

e_conserv@tion 103
 11

12

13 14
Monuments from La Villetta Cemetery. Details of chapel architecture,
sculptures and decorative motifs.

9. Marchesi’s Chapel
10. Leoni’s Chapel
11, 12, 13, 14. Sculptures decorating the chapels

e_conserv@tion

10
 Cemeteries as Heritage Monument

The research work revealed a multiplicity The architectonic filing, supported by a

of elements, scales and issues, requiring quite exhaustive archive research, has
specific tools and planning of the work been executed in 2005. Nowadays, after
that lead to the drawing of a Geographic some years of study about different
Information System (GIS) (see Cecilia projects directly derived from the first
Tedeschi, A Cemetery Information System). one, it is possible to appreciate this
The architectonic filing of the monumental experience in relation with the
part of the Villetta Cemetery has been conservation policy, as a first step to the
executed within conventions promoted historical cemetery rehabilitation.
between the City of Parma and the The final goal of the filing job was to
Department of Civil Engineering, circumscribe the historic-monumental
Environment, Territory and Architecture part of the biggest city cemetery and of
of the local University. all the other cemeteries of the City
This project constitutes a specific type of Council, before proceeding to write a
survey plotting in urban scale architecture “Cemetery Planning” (called PCm), now
knowledge, becoming a useful example required by law.
for any work of this kind. The enrichment The cataloguing has been therefore
of the existing work is possible, since GIS the starting point for a long term
allows projections, editing and future research that has already produced
updates. some deliverables, like the PCm (see

Image 15. The southern gallery.

e_conserv@tion 105
Michela Rossi

Silvia Ombellini, in no. 2/2007 of The next step was to build a digital
e_conservation magazine), and by now it cadastre of the cemetery, which is
is possible to foresee the next steps. considered important for the conservation
The cemeteries are complex systems management and for the future planning.
that, from an architectonic point of view, Most of the properties are temporary and
introduce one ambiguous scale between the placements are reused every 10 years
the city’s main structures and the micro- (simple earth burials), 40 years (single
architecture of the particular burials, with coffin place) or 99 years (family chapels),
constructions inserted one inside the depending on the building type. Only the
other like China boxes. Besides that, the porch arcades and the chapels into the
architecture often merges with the artistic twin galleries seem to be perpetual
objects, making difficult the distinction particular estate.
between them. These projects have also evidenced the
The first result of the cataloguing has possible economic significance, with
been the location of the monumental important profits for the conservation of
zone, characterised by the historical the monument.
memorials built before or short after the Although the historic cemetery constitutes
Second World War. Italian law imposes an open-air museum by itself, it would be
special attention to public buildings more wrong to underestimate the funerary
than 50 years old. The cataloguing value. To be preserved, it should not be
introduced the study of analogous transformed in a mere tourist attraction,
behaviours between the city organism and but it would be advisable to guide the
the cemetery and therefore has visitors along the path of its significance.
delineated the rules for writing the The historical importance of burial
Cemetery Planning. architecture needs to be popularized, and
Meanwhile, the physic importance of the the community should be more aware of
burial settlement historic core required a such valuable artistic monuments.
new specific plan for the right Because of its characteristics, the entire GIS
monumental zone (see Elisa Adorni, in no. cannot be destined to the general public. It
2/2007 of e_conservation magazine), in is available for professionals and experts
order to guarantee the protection and the such as the cemetery managing offices,
rehabilitation of the cemetery as a restorers and academics, but for the public
monument. different strategies should be developed.

106 e_conserv@tion
 Cemeteries as Heritage Monument

The historical significance of the cemetery documents and commentaries. The

could be better explained by including a project should allow future enrichments
“digital museum” into the structure. A and additions on sculptures, people and
“virtual visit” will help the visitor to fully other issues.
understand the architecture and will This new database of selected objects
encourage a personal visit. We have will only contain the most relevant
begun to work on a virtual guide (see material of the previous project, allowing
Simone Riccardi, in no. 2/2007 of the Informative System to be more
e_conservation magazine) that was accessible, accomplishing its promotional
conceived like a selective and selected aim. Therefore, it seems useful to publish
database with classified access to the GIS. a critical reading of gathered material
The collected documentation, already because the knowledge must be shared.
converted into digital format, is suitable to If cemeteries are the memorials of our civic
be added in a HTML structure, building an heritage, the evidence of this experience is
interactive database with objects that knowledge is the first steps towards
descriptions, pictures, drawings, written their conservation and rehabilitation.

The South-East Gallery

west front north front

east front south front

e_conserv@tion 107
Michela Rossi

LA VILLETTA,

The Main Cemetery in Parma

By Michela Rossi

La Villetta Cemetery (image 1) is the Besides its artistic value, this monument
main funerary ground in Parma and it is interesting because it is related to the
represents one of the most valuable development of a new urban type, short
monuments of the city. The cemetery is after Napoleon forbade burials within
characterized by many historically rich cities. It was built between 1819 and
artefacts, owning a great amount of 1823 on behalf of last Napoleon’s wife
valuable local documentation collected Maria Luigia of Habsburg (image 2), who
from the 19th century throughout the 20th became Duchess of Parma when he was
century. exiled in St. Helen Island.

Image 1. La Villetta Cemetery in Parma, general view.

108 e_conserv@tion
 La Villetta

Image 2. Portrait of Maria Luigia of Habsburg,

duchess of Parma (Napoleon’s last wife)

The cemetery takes its name from a farm

with a villa, built on the site by the Jesuits
in the 17th century (image 3). The
construction works were planned by the
council engineer G. Cocconcelli. This
project involved directly all citizens,
depending on the social hierarchy,
following the example of what was done
with the Teatro Regio (Royal Theatre).
Any maintenance or repair expense was
shared between the Council and the
citizens.
The original structure recalls the
neoclassical tradition; Maria Luigia chose
this path for many of the representative
buildings that she ordered during her time. Image 3. The previous estate with Jesuits’s Villa.

The constructing rules were founded

on symmetry giving a geometrically

e_conserv@tion 109
Michela Rossi

neat final look, where everything is

determined. Both areas and
objects reveal themselves as
definite in this complex. The
system follows the human and
urban hierarchies and respects
their values: a city in the city
where the physical and typological
divisions of the architecture follow
those of the “living” society, and
Image 4. The plan of the cemetery.
where the burials are located
according to the class, the religion
and the death circumstances of the
deceased.
The fencing is square shaped on
the outside with an eight side
porch inside of 156 spans,
originally destined to the burial
needs of religious and laic
confraternities, noble families and
private lettings (image 4). Meaning
the passage to a new life, octagon
is a usual layout in the symbolic
language of architecture, especially
in baptisteries. The coffins were
laid into burial crypts, under the
porch arcades; each crypt was
able to host about 50 bodies.
The archways, completed in 1862,
were built directly on behalf of the
owners following a common
architectural plan, while the
internal decorations – subject to
the approval of a chosen
committee – were free, minding
Image 5. The porch arcades.

110 e_conserv@tion
 La Villetta

that the passage along the porch would their porches (image 6). The South
not be compromised. The services are Gallery, built between 1876 and 1884, is
located along the perimeter: the neoclassical, with lowered barrel shaped
mortuary and the oratory in line with arches (image 7), while the North Gallery
the entrance. – influenced by innovative projects in
The internal area, divided in four fields, 1880, and later in 1893 – was built by
was destined to public burials and to the Sante Bergamaschi between 1898 and
individual monuments located on the 1905, with square shaped arches and
sides of the main avenue (image 5).
Different functions were assigned to the
four triangular areas: the charnel house,
the non-catholic cemeteries, people
sentenced to death and the suicides close
to the executioner and his family, and
lastly the children who were born dead or
who died before being baptized. These
four angular sectors were finished by
1856, but in 1864 the Hebrew sector
required enlargement.
The expansion of the cemetery started in
the last quarter of the 19th century with
the addition of two twin galleries for the
placement of more coffins and family
chapels. The base is Latin cross shaped
and the galleries are accessible from two
breakthroughs in the central arches of

Image 6. Bergamaschi’s project for two twin Image 7. The southern gallery.
galleries. (1872)

e_conserv@tion 111
Michela Rossi

eclectic stylistic elements (image 8). The

initial purpose was to reserve this area as
the famedio (Fame Temple) for
distinguished citizens.
The use of the two fields adjacent to the
two main galleries dates back to the
beginning of 1900, and in 1921 the
cemetery was enlarged by including the
Cinghio area and raising the South–East
Gallery (image 9). The new porch in the
Perimetrical Gallery (image 10) was built
between 1931 and 1935; in this enclosure
there are First and Second World War
memorials.
The oldest tombs, still visible in the
central field, date back to 1830;
nevertheless in the 20th century it became
popular to start building family aedicule.
Between 1925 and 1940 the concentration
of construction works increased, funding
the building of the Northern Porch thanks
to the ground licensing fees paid by the
privates.
Padre Lino’s Cloister was built in 1947 in
the corner that had already been destined
to prisoners and suicides. Padre Lino was
a loved Franciscan chaplain who worked in
the prison for many years.
This was the last important transformation
of the historical part of the urban
cemetery, now enclosed in its own growth.

Image 8. The northern gallery.

(up)
Image 9. The south-east gallery.
(midlle)
Image 10. The northern arcade.
(down)

112 e_conserv@tion
 The Cemetery Information System

THE CEMETERY projections and editing to be open for

future projects; it also allows new data to
INFORMATION SYSTEM be inserted and to fill in the system with
any new remarks and juridical updates.
The aim is to create a digital cemetery
By Cecilia Tedeschi cadastre, which will allow the
management and the future planning to
run smoothly.

Cemeteries are complex structures, with

an ambiguous definition between urban
and architectural scale. This makes their
architectural survey and information
plotting difficult.
GIS (Geographic Information Systems)
are the best available software to visually
simplify the complex relationship between
these miniature cities and the Image 1. The Information System.
architecture. They allow the collection of Historic, technical, artistic information and
photographic documentation.
records with the most important
homogeneous data; each record can be
connected with files of different digital Some of the criteria involved in the
formats, such as photographs and creation of the database and of the
images, vectorial drawings, texts, etc. - informative tables can be listed as follows:
no matter how many they are - and each - Physical and juridical identification;
record is connected to a general map, to - Documentation;
make easier the data reading. - Style;
ArcView software, used to develop this - Typology;
project, belongs to the GIS family and is - Materials and the construction techniques
commonly used in agriculture and city of the units;
management, also by the Parma’s City - Preservation state; etc.
Council Offices and it has been chosen to Some of these parameters change
collect all the information gathered about according to the typology of the unit and
the cemetery of La Villetta. therefore have been sorted by quantity.
The possibility of adopting a Digital The Information System includes and
System able to scan the structures organises all the gathered information and
presents a great advantage as it allows all the available architectonical remarks.

e_conserv@tion 113
 The Cemetery Information System

The tables count more than 1500 records, compilation of synthetic cards in which the
3462 attached files – images and data has been inserted in specific fields
bibliographies – and a collection of regarding information about the legal
architectonical remarks divided by units, property, the architecture and, when
dimension, relevance, with different scales possible, the construction licence.
according to their size. This project The archive material has turned out to be
involved a thorough scanning work, which richer than initially supposed and thus GIS
constitutes a great knowledge for became the frame where to insert non-
architecture, allowing new generations to homogeneous information (data, drawings,
enrich the work that already exists. photographs and documents) which
The first phase of the project was to subsequently allows the specific consultation
define how to perform the restitution of all of this material.
the collected information. In this phase Altogether the research can be divided in
the cemetery has been the arena that two branches:
allowed verifying the effectiveness of the - The data collection and the comparison
various instruments of architectural of the archive documents with the actual
survey and the respective modalities of units;
restitution. The relative scale and absolute - The database organisation.
dimension of the objects were the The whole historic cemetery has been
determining elements related to the divided into homogeneous sectors,
understanding of the architectural described by specific and independent
settlement real consistency. The use of a records.
GIS, as ArcView software, offers many The main criteria involved in the creation
advantages, especially concerning the of the database and of its informative
new data update which is one of the most tables can be listed as follows:
important requirements for the survey. - Physical and juridical identification;
Therefore, the job has been carried out - Architectural description
proceeding to the correction and (style, typology, ornaments and decoration,
integration of the available architectural materials and construction techniques,
surveys, to the writing of a bibliography photos);
and a list of documents conserved in the - Maintenance state;
city main archives (State Archive for - Archive references.
documents before 1861, and City Archive All information is geographically linked to
for later). The data has been located single sectors and units by which the
according to hierarchical levels of system allow quick thematic researches,
homogenous portions, respectively based on keywords, and offers the
sectors and units. This has involved the possibility to search information about

e_conserv@tion 115
Cecilia Tedeschi

each small architecture (unit) inside it, with new data, such as the artistic filling
simply from its map. of decorative objects.
So “La Villetta Information System” In this way, GIS helps to investigate the
includes all the gathered information on complexity of cemeteries and offers itself
the architecture and it organises the as the best software available to simplify
available data. The records count more the survey plotting of different scales that
than 3500 attached files, including the have to be studied together, demonstrating
vectorial files of available architectural its powerful significance in architectural
surveys, which have different scales knowledge and monument conservation,
according to the building size. The system besides cemetery management.
is also available for later implementation

THE NICCOLO’ PAGANINI’S MEMORIAL

116 e_conserv@tion
 La Villetta Cemetery in Parma

MICHELA ROSSI graduated in Architecture degree at University of

Florence in 1985 and in 1993 became PhD in Architectural Survey and
Representation at University of Palermo. Since 2002 she is associate
professor of Architectural Drawing at University of Parma. In the past,
she has been working at University of Florence and Palermo. Her
research is focused on the relation between urban settlements and
landscape with the study of historic water management and geometric
patterns around Parma, proto-industrial and territorial development.
Since 2001 she has directed architectural surveys of La Villetta cemetery in Parma, working on
several conservation projects.

Contact:
Dipartimento di Ingegneria Civile, dell’Ambiente, del Territorio e
Architettura, Università degli Studi di Parma
web: www.unipr.it
email: michela.rossi@unipr.it

CECILIA TEDESCHI
PhD in Civil Engineering at University of Parma, graduated in
Architecture in Milan. She is interested in CAD and GIS applications to
historic architectural representation and collaborates in several
important architectural surveys.
Main Publications

M. Rossi, “L’ornamento costruito - L’uso del Essential References

laterizio e l’adattamento delle forme dell’ordine
dalla tradizione romana al classicismo padano” M. Ragon, “L’espace de la mort – Essai sur
(about build ornaments. The use of brickwork in Po l’architecture, la decoration et l’urbanisme
Valley classicism), Disegnare, n° 13, Gangemi funéraires”, Albin Michel, Paris (1981)
Editore, Roma (1996) (English and French
H. Colvin, “Architecture and the after-life”, Yale
abstract).
University Press, New haven and London, 1991
E. Mandelli, M. Rossi, “Itinerari religiosi nel Mugello
- Pievi e Pivieri”, Materia e Geometria 7/98, A.A. V.V., “Monuments de mémoire”, M.P.C.I.H.,
Firenze, Alinea (1998) Paris, (1991)

M. Rossi, “Waterways in surveys and drawings:
water management and the geometric patterns of
the landscape around Parma”, in Disegnare n° 26,
Gangemi Editore, Roma (2003)
(full English translation)
M. Rossi, “Strade d’acqua - navigli canali e
manufatti idraulici nel parmense”, Mattioli, Fidenza
(2004)
M. Rossi, “Nature’s architectures and built forms:
Structures and surfaces between Idea and Design”,
Nexus Network Journal, vol. 8, n°1/06, Birkhauser,
Basel (2006)
E. Bacino, “I Golfi del silenzio. Iconografie
funerarie e cimiteri d’Italia”, Firenze (1991)
P. Albisinni, “l disegno della memoria. Storia rilievo
e analisi grafica dell’architettura funeraria del XIX
secolo”, Edizioni Kappa, Roma (1995)
L. Bertolaccini, “Città e cimiteri: dall’eredità
medioevale alla codificazione ottocentesca”,
Edizioni Kappa, Roma (2004)
M. Felicori, a cura di, “Gli spazi della memoria,
Architettura dei cimiteri monumentali europei”,
Luca Sossella Editore (2005)

M. Rossi, a cura di, “Città perduta – architetture
ritrovate, L’Ottagono del Cimitero della Villetta e
altre architetture funerarie a Parma”, Quaderni di
architetture, Ets, Pisa (2007)
G. Gonizzi, “I luoghi della storia I/II/III, in Atlante
topografico parmigiano”, PPS Editrice, p.30 e sgg.,
Parma (2001)
117
heritage in dange CALL FOR PAPERS
“All cultures and In a world of globalisation and homo

societies are genisation, the cultural heritage diversity

rooted in the emphasises the cultural identity through

particular forms and its authenticity.

means of tangible
and intangible We usually blame the lack of money when

expression, which a monument or an object of patrimony is

constitute their left out of protection, but more often the

heritage. lack of the sensitive perception or interest

The diversity of are the main factors. Nevertheless,

cultures and heritage financial issues are important and can

in our world is an influence the moment of intervention, due

irreplaceable source to the various national and international

of spiritual and classifications of the heritage and

intellectual richness respectively, the place owned by a

for all humankind.” particular monument on the list of

priorities. But sometimes even so,

From Nara Document on Authenticity monuments that are restored regardless

(1994) their unique contextual values are going

to fail soon the historical future selection.

We have examples in the magazine when,

due to the devotion and management
vision, vernacular heritage was not only
saved but also regained its existence in its
original particular context. Local traditions
were resuscitated and locals involved in
projects gained awareness about their rich
valuable heritage which reveal their
identity.

Image from the church

“The Beheading of Saint John the Baptist”, Narthex,
detail from the triumphal arch and the iconostasis.
Romania, Suceava County.
Photo taken by Anca Dină in 2006.

e_conserv@tion
 Heritage in Danger

The present state of the monuments from Stăneşti

(left) and Popeşti (right), Romania.
Photos taken by Serban Bonciocat in 2007.

“Approaches should
also build on and
Therefore, trough this section dedicated
facilitate international
to heritage in danger, we are trying to
cooperation among
reduce the indifference and to bring back
all those with an
the sensitive, insightful view of cultural
interest in conservation
heritage appreciation. By presenting
of cultural heritage,
images and short descriptions of the
in order to improve
endangered monuments from all over the
global respect and
world, we can assess the risks or draw
understanding for the
attention to urgent situations and,
diverse expressions
hopefully, find possible solutions. Anybody
and values of each
who wishes to draw the attention over
culture”.
monuments in this situation is warmly
encouraged to participate. From Nara Document on Authenticity

e_conserv@tion 119
 CHRISTOS KARYDIS

book revie
INTRODUCTION
TO THE
PREVENTIVE
CONSERVATION OF
TEXTILES
 Book Review

The development of preventative strategies ISBN: 960-6654-08-7

Publisher: Futura Publications, Athens 2006
for large textile collections in the long
Language: Greek
term use is essential. The idea of this
book came to the author after his PhD Prefaces by Prof. Helen Ioakeimoglou - Technological
Educational Institute, Conservation of Antiquities &
research of the textile collections of the
Works of Art Department and Prof. Katerina
most important Orthodox monastic centre Korre-Zografou - University of Athens- History and
in the Eastern Church called Holy Folklore Department

Mountain of Athos. Results from the

The book is divided into the following
surveys of fourteen inhabitant
chapters:
monasteries suggest the need to prioritise
preventive conservation, rather than 1. Preventive Conservation
interventive conservation. 2. Documentation
2.1 Sampling: Method & Greek Law
2.2 Fibre Identification (Analytical
The recently published book advises
Equipment Techniques)
ecclesiastical custodians, such as the 2.3 Primary Weaving Techniques
monks of Mount Athos, as well as 3. Main Chemical, Mechanical &
Biological Types of Damages
students in the fields of conservation and
4. Environmental Conditions:
archaeology, curators and others who have
4.1 Relative Humidity-Temperature
limited experience in the preservation of 4.2 Lighting
textiles. 4.2.1 Types of Museum Lighting
5. Insect Attack and the protection of
textiles
This book develops awareness among
6. Pollution & Dust
non-specialists, underlines the current 7. Transportation
preventive conservation policy, proposes 8. Water Disaster: First Aids
documentation methods, deals with 9. Storage:
9.1. Storage Materials
indoor environmental conditions, pest
9.2. Storage Materials: Finishing
control and freezing methods for treating Removals
infected objects, archival materials, 10. Conservation:
methods of storage and the display of two 10.1 Ethical Considerations for the
Conservation of the Orthodox
- and three - dimensional textiles based
Ecclesiastical Textiles
on modern museological ethics. 10.2 Detergents
11. List of International
More information or inquiries Organisations in Conservation,
should be directed to: Museum Studies and Culture Heritage
Christos Karydis, 12. Further Reading List
c.karydis@gmail.com, 13. References
or to the publisher, 14. Appendixes: Documentation
futura@ath.forthnet.gr. Report for Textile artefacts.

e_conserv@tion 121
 Talk To Us!

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