JOURNAL INFORMATION Eur. J. Anat. 21 (3): 241-260 (2017) ABSTRACTS of the International Congress on Wax Modelling Madrid, June 29th-30th, 2017 School of Medicine. Complutense University Madrid, Spain

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Abstracts

HONORIFIC COMMITTEE Carlos Andradas, Chancellor of the Complutense University of Madrid María Nagore, Vice chancellor of Culture and Sports of the Complutense University of Madrid José Luis Álvarez-Sala, Dean of the Faculty of Medicine of the Complutense University of Madrid Elena Blanch, Dean of the Faculty of Fine of the Complutense University of Madrid José Luis Gonzalo, Dean of the Faculty of Library and Information Science of the Complutense University of Madrid Pedro Luis Lorenzo, Dean of the Faculty of Veterinary of the Complutense University of Madrid

SCIENTIFIC COMMITTEE

Elena Blanch (Complutense University of Madrid) Raffaele de Caro (University of Padova) Isabel García (Complutense University of Madrid) Xabier Mas-Barberà (Polytechnic University of Valencia) Luis Montiel (Complutense University of Madrid) María Isabel Morente (Complutense University of Madrid) Javier Moscoso (Spanish National Research Council) Juan Francisco Pastor (University of Valladolid) Margarita San Andrés (Complutense University of Madrid) Alicia Sánchez (Complutense University of Madrid) Pedro Terrón (Complutense University of Madrid) Tomas Bañuelos (Complutense University of Madrid) Carmen Marcos (Polytechnic University of Valencia)

ORGANISING COMMITTEE

Presidents Elena Blanch (Complutense University of Madrid) Jose Ramón Sañudo (Complutense University of Madrid)

Vice-Presidents Margarita San Andrés (Complutense University of Madrid) Francisco J. Valderrama (Complutense University of Madrid)

Secretary María Isabel Morente (Complutense University of Madrid)

Treasurer Fermín Viejo (Complutense University of Madrid)

Vocals David Aranda (Olavide Museum) Isabel García (Complutense University of Madrid) Eva Maranillo (Complutense University of Madrid) Xabier Mas-Barberà (Polytechnic University of Valencia) Amaya Maruri (Olavide Museum) María Isabel Morente (Complutense University of Madrid) Javier Moscoso (Spanish National Research Council) Juan Francisco Pastor (University of Valladolid) Teresa Vázquez (Complutense University of Madrid)

Documentation María Olivera (Complutense University of Madrid)

Artistic design Victoria Diehl (Artist) and Sandra Mico (Artist)

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INVITED CONFERENCES the complexity of the wax sculptor's workshop, who was capable of performing works for various 1. HISTORY purposes: religious, political, medical. The emer- gence of different spaces for the exhibition of pub- BODIES, WAXES, EXHIBITIONS lic spectacles with a clear intention to discipline audiences also raised and consolidated in this pe- AND THE FATE OF THE SPANISH riod. Actually, this process took place in the con- text of the construction of some ways of knowing MEDICAL HERITAGE based on particular ways of seeing that allowed the development of an observer and an observed Alfons Zarzoso object. In this process, the medical gaze was to be Curator of the Museum of the History of Medicine of identified with a masculinity that embodies science Catalonia. Barcelona, Spain. and rationality, while nature will be represented trough the naked female body. So, metaphorically, Nowadays, the body is in fashion. The undressing the female body informed a scientific body and also the animal body are the object of culture in search of truth. Wax played a attention of a large number of scholars from a wide fundamental role in the making of the masculine range of disciplinary fields through a great variety gaze and in the reification of the female body. In of publications, exhibitions and other media prod- this way, the success of public shows based on ucts. Perhaps one of the reasons of this growing the exhibition of the eroticized female body went interest lies in the driving force of the human im- beyond the mere promotion of visual pleasure. age in the present-public-hyperbolic-and-iconic There was also committed to the formation of a Western society. This preliminary reflection wants new medico-moral regime. to put the idea of a human body in a perpetual The exhibition of wax models representing the public display against the background of our need or pathological female body and mainly the anatomical Venus had to compete throughout to build and situate our own body in contemporary th society and to understand it or not in a framework the 19 century both with the propensity of the vis- of rules, names and discipline, in order to under- ual arts to represent the naked female body and stand how do we look at and how do we appropri- the blossoming of urban public spectacles ad- ate, adapt and rebuild ourselves in that very act of dressed to a massive audience where the exhibi- seeing. tion of the female body was central. All of them In order to go further in this understanding I pro- could be understood as the different parts of the pose a Spanish journey from the end of the 18th exhibitionary complex where objects circulated century to the beginning of the 21st century between closed and open and public spaces be- through some wax anatomical models. By looking coming new ways of communicating messages of at some actors, spaces, objects and audiences I power in society. Certainly, it was the time of the will try to focus my interest in the visual politics of incipient development of a culture of the exhibition. modern Spanish human anatomy. I mainly use the The concept of spectacle was to become a central category in the cultural experience of the urban case of Barcelona, and to a lesser extent that of th other Spanish cities, as a place where the public population in the 19 century. In fact, since the and private display of the human body can shed 1860s Barcelona has witnessed the appearance of light on how specific regimes of production, exhibi- commercial spectacles, in which the predominance tion and reception of anatomical knowledge were of women as objects of exhibition was central. built. Actually, an important aim here is to show That was a process that grew in the last decades of the 19th century and ended up exploding in the that Spanish cities did completely participate in th what was not a weird or peripheral case, but a Eu- first decades of the 20 century. Thus, travelling ropean issue that was entirely incardinated in the anatomical exhibitions went hand in hand and transatlantic market of travelling exhibitions based competed with various forms of staging, ranging on anatomical models. From this perspective, the from the commercial theatre to the concert-cafés, modern city became a space where there was a cabarets and music halls. growing and diverse demand of anatomical mod- Despite the good public reception and favourable els due to several reasons ranging from the train- artistic critics in the general press, it is surprising to ing of the medical gaze to the formation of a public note the critical fate of those sculptors, wax sculp- medico-moral regime, or from the standardisation tures, show-businessmen, exhibition spaces, and of a historical genealogy of liberalism to the com- the public who welcomed them. There are no re- mercial profitability of interclass’s and low-cost mains of those wax-works in museums in shows. Spain. Actually, its fall of the artistic canons due to The rise of wax coincided with a grow- his work in wax was a fact that we can verify in the ing demand in the public sphere for this kind of writings of the history of the Spanish contemporary models for different reasons. This was to reveal sculpture since the 1930s. However, the process of wax abandonment in the hands of art sculptors

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was a fact since mid-19th century and anatomical The “Josephinum” in Vienna has been founded sculptors took the cast as work material, leaving 1784 by Emperor Joseph II as Academy of Medi- and confining wax to the representation of dis- cine and Surgery to train military surgeons and eased skin. The fate of medical collections, wheth- thus revolutionized medicine in the 18th century. er they belonged to museums of medical schools The building reflects its significance and serves or were central objects in the popular anatomical now as gate to the historic collections of the Medi- museums, has been complicated. This is clearly a cal University of Vienna. It houses the world- fact for the case of Barcelona. That world sudden- famous anatomical wax models from Florence, as ly ended with the Spanish Civil War and the new well as surgical instruments, valuable books, im- moral framework imposed by Franco’s regime portant estates and other documents in the field of (1939-1975). On one hand, changes in medical the history of medicine. The Medical University of education schemes, a persistent problem of space Vienna is one of the few medical institutions world- and the lack of interest in the heritage and material wide with such an eminent cultural heritage. The culture of medicine led to a progressive abandon- Josephinum with the permanent collection of ana- ment of medical museums and its contents. In con- tomic and obstetric wax models as well as with trast to other European countries and universities, temporary exhibitions is open to the public and can even with some Spanish ones, most medical herit- be visited. age from the Barcelona medical school disap- The Josephinum was an innovative institution, peared and just a small part of those collections especially in regard to the various teaching aids remains now in the premises of the Museu used in the training of the students. The most im- d’Història de la Medicina de Catalunya in Barcelo- portant part of these teaching aids and still today na. On the other hand, the Museo Roca, the epi- of unique bearing are the anatomical and obstetric gone of a great number of popular anatomical mu- wax models which were ordered by Joseph while seum in early 20th century Barcelona, remained visiting his brother the Grand Duke of Tuscany concealed and away from the public since 1939. It Peter Leopold in Florence. All models – 1.192 sin- reappeared in the 1980s, in the hands of a locale gle pieces - were carried across the Alps by a con- antiquarian who split the collection into two parts, voy of men and mules to Linz and then travelled the “theatrical” part was sold to the city of Barcelo- upstream via the Danube to Vienna. na and the “medical” part was acquired by Leo Art and science of wax modeling was not possi- Coolen, a Belgian collector. ble without dissection of cadavers. The idea be- By revising those works and sculptors, those hind the wax models was that once the whole body businessmen and travelling exhibitions, those sites could be looked at and studied on a model, it of exhibition and its audiences this research tries would not be necessary anymore to perform dis- to shed new light on an activity neglected by the sections in order to learn the anatomy and further canons of the history of art, by the lack of interest medical sciences. An idea which also prompted in the slits opened by popular culture and by a his- the Grand Duke to finance the wax modeling work- tory of medicine with little interest in opening the shop in the observatory “La Specola”. To know focus to different forms of creation of scientific the human body was necessary for physicians, but knowledge. also a prerequisite to artistic creation. Great artists This presentation is part of the Spanish Adminis- like , or Raphael tration funded Project “Del gabinete de maravillas are known to have studied anatomy. Wax was an al museo anatómico popular: regímenes de exhibi- easy matter to work on and used since the ancient ción y cultura material de la medicina” (HAR2015- times. 64313-P). I would like to thank Chloe Sharpe, Maribel Morente and José Pardo-Tomás for their HOW DO WAXES WORK? NEW helpful comments. MEANINGS FOR OLD EXHIBITS 2. Collections and Museology Ken Arnold

PRECIOUS OBJECTS. THE ANA- Creative Director of Medical Museion, University of Co- penhagen & Wellcome Collection. London, UK. TOMICAL WAX MODELS OF THE JOSEPHINUM IN VIENNA The histories of museums and of waxes have largely gone hand in hand. Many models were pro- Christiane Druml duced, or at least have spent much of their ‘lives’ – both on and off show – in galleries and museum UNESCO Chair on Bioethics at the Medical University of storerooms; and most that survive today are now Vienna. Josephinum - Ethics, Collections and History of kept in museum collections. Medicine of the Medical University of Vienna. Vienna, In the world of museums, curators have become Austria. increasingly conscious of the importance of con-

244 Eur. J. Anat. text – believing that where an object is can be just Juan Francisco Pastor Vázquez as significant as what it is. An exhibit is part made by its matter, and part by its place. My presenta- Director of the Anatomical Museum of Valladolid. tion will be principally concerned with the relation- Department of Human Anatomy and Radiology. Univer- sity of Valladolid. Valladolid, Spain. ship between these fascinating exhibits and the contexts in which they have been used and gained Nothing is a more realistic imitation of any part of meaning. I am especially interested in how muse- the human body than the wax anatomical models ums can get the most from them today. How can created by a good craftsman we rework these waxes? The first report of the existence of wax anatomi- From their early development, medical wax mod- cal models in Valladolid is in 1861, when the dean els have simultaneously existed in a number of of the Faculty of Medicine, don Andrés de Laor- overlapping realms: used as research instruments den, acquires for the College of Medicine, situated (visual evidence of the laws of nature); as tools for in the Hospital de la Resurrección, a collection of the instruction of medical students and practition- paintings in wax representing eye diseases. How- ers; as a means to stimulate public appreciation of ever, the expansion of the department of anatomy, science and the composition of the human body; in terms of its provision with models and installa- and finally, as focus points for delight (but also tions, is the work of the professor of anatomical shock) within the broader realms of public culture technique and dean of the Faculty, don Salvino and entertainment. Sierra y Val. Drawing on examples from the collections of the Don Salvino Sierra (1847-1939), after travelling Medical Museion in Copenhagen, the Gordon Mu- to the most prestigious anatomy departments in seum of Pathology in London, the Grant Museum , wanted our University to be just as good; of Zoology in London, and other material shown at so he began to obtain teaching material and pre- Wellcome Collection’s “Exquisite Bodies” exhibi- pare natural pieces using different methods of con- tion, I will start by delving into the types of collabo- servation. This work benefited greatly with the cre- rative knowledge (scientists working in partnership ation in 1916 of the Sierra Anatomical Institute, at with modellers and sometimes patients) that they the request of the Vth Congress of the Spanish represented within the disciplines of anatomy and Association for Scientific Progress. dermatology. I will then shift focus to the vital role The technique of wax anatomical modelling they played in medical education, where (for a reached its heyday in Italy during the XVIIIth cen- while at least) they provided a vigorous form of tury, as a result of successful collaboration be- ‘ publishing’ alongside printed alternatives, tween sculptors and anatomists. This soon spread and where they channelled an enthusiasm for in- to other countries and prestigious schools ap- formation and ideas that could be comprehended peared in England, France, Spain and Austria. through being handled and manipulated. Finally, I During the XIXth century, Paris replaced Italy as will follow other wax models into the realms of the main producer of wax anatomical models. The popular engagement and entertainment (in show- workshop of Vasseur-Tramond was founded in the rooms like Dr Joseph Kahn's Museum in London mid XIXth century by Pierre Vasseur, at 9, Rue de and Roca’s museum in Barcelona), becoming im- l’École de Médecine, located in the building adja- portant ingredients in efforts both to inform, but cent to the old anatomy amphitheatre. In 1878, he also to titillate and excite the public. joined his son-in-law, Gustave Tramond (1846- Turning to contemporary museums, I will end by 1905), whose work received recognition with the speculating about the potential for innovative and Chevalier de la Légion d’Honneur award. effective exhibition making that is inherent in these This workshop began to sell waxes to the Euro- charged objects. How can today’s museums work pean Faculties of Medicine and Schools of Surgery with the layers of contextual knowledge wax mod- around 1880. els embody; and at the same time make the most The wax models in the Anatomy Museum of the of their inherent aesthetic delight and ability to Valladolid Faculty of Medicine are a magnificent touch visitors on personal and emotional levels? reproduction of dissections carried out by French And how can we make the most of their powerful anatomists. Almost all come from the house of aura of materiality in an age that’s trying to cope Tramond, founded in Paris in the mid XIXth centu- with digital overload? ry, and whose workshops were responsible for

outstanding models thanks to the collaboration of THE WAX ANATOMICAL MODELS wax modellers and anatomists. The realism of these pieces is still impressive IN THE ANATOMY MUSEUM OF nowadays, although, according to Tramond, these THE UNIVERSITY OF VALLADO- models “are not useful for studying anatomy, but rather for remembering it once it has been learnt; LID sometimes they are worse and other times better than real ones; they are exact when representing

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well-established hard elements which do not THE RECUPERATION OF THE change their intrinsic relations, since these can be copied well; for example, bones, large injected ar- OLAVIDE MUSEUM: CHALLENG- teries, nerves or muscles. They are inexact when these conditions do not apply; generally speaking, ES AND COMMITMENTS WITHIN then, copies of splanchnology preparations are THE MEDICAL AND ARTISTIC erroneous, due to the fact that to produce a good original in the human body there should be re- HERITAGE sistance when the cuts are made, and in order to create such resistance injections are required; David Aranda D, Luis Conde-Salazar, Ama- these destroy the normal relations between the ya Maruri parts and give wrong dimensions, making it impos- sible to regulate the number of injections for all the Olavide Museum. Madrid, Spain. specific tortuous channels. As a consequence, some splanchnology preparations are to a certain The cultural heritage is constituted by all of extent representative”. things we want to recognize, estimate and wish to In all there are 122 pieces and most of them are keep. At the same time, it means the critical select not dated, although we do know that they belong of cultural things. During last decades the concept to the last third of the XIXth century. The oldest, of “civil cultural heritage” was spread and its the date of which we know, 1868, appearing on the knowledge was gone beyond that Art or Historic shoulder, represents the torso of a lying man and field. Scientist Heritage is been a example. The shows the right half of his organism. moulages, or scientific wax models were used for The state of conservation of the sculptures differs teaching in Schools and Medicin Department last a great deal, as the models were used until 1986 century. They have used value but also historic for teaching anatomy in the Medicine Faculty. De- and artistic values too. Olavide Museum was dis- terioration is more visible among those pieces dis- covered 10 years ago in a basement that would be playing vascular and nervous system elements demolished. It is constituted by more of 600 der- independently. matologic moulages, that they are dated at the end We do not know the exact process of making the of 19th century. In addition, Olavide Museum has models as this was considered a professional se- lithographs, drawings, plasters, medical records cret. We might surmise that each artist had their and many documents. The main value is that own technique, which was not revealed in case Olavide Museum was found like “time capsule” others learnt about it. Yet we do know that they and it keeps its authenticity over the ages. It is a were devised by two specialists: firstly, the doctor unique example of Medical- Historic and Artistic or surgeon with their knowledge of anatomy and Heritage. However, the “rescue” of this museum responsibility for dissection; and secondly, the was been difficult and has been had many prob- modeller or sculptor, who would reproduce the dis- lems. This report will be presented the challenges sected body parts in the new material. First, from that Olavide Museum is faced, and the same time an exact copy in low-quality wax a plaster mould the need of institutional commitment to preserver was made. The cast would be the matrix of the this cultural heritage and many others for the pur- final substance, which required plenty of experi- pose to avoid the lost of historic memory and cul- ence in handling and preparing waxes, which were tural identity. melted in a water bath and to which were added colourings and natural solvents to ensure a certain THE ANATOMICAL WAX COLLEC- degree of elasticity. This preparation was applied on plaster moulds that represented the figure of TION OF THE COMPLUTENSE the bodies, until gradually this layering of coloured waxes started to thicken and fill the mould, creat- VETERINARY MUSEUM, THE ing the particular range of colours and textures COMPARATIVE AND VERSATILE required depending on the type of tissues repre- sented. PURPOSE OF ITS MODELS In the large majority of Tramond’s models the technique involved the use of wax glazings; that is, Joaquín Sánchez de Lollano Prieto on the plaster mould of the required figure several Director of Veterinary Museum. History of Veterinary fine translucent layers of a wax known as “Izmir Medicine. Department of Toxicology and Pharmacology. wax” were applied; this was coloured with natural School of Veterinary. Complutense University. Madrid, pigments dissolved in animal oils. Spain. Filiform structures, such as vessels and nerves, are formed by bundles of thread impregnated with In this presentation the Veterinary Museum's Ce- coloured wax. roplastic Collection of the Madrid Complutensis

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University is described showing the pieces that The fertilization is characterized by the determi- have arrived to our days and data on its origin and nation of sex and the creation of an egg or zygote evolution from the initial collection in the early 19th that represents the "block of marble" to build a new century. Some pieces, due to their complexity, form. The process is characterized by a crazy ac- technical or artistic values, are analyze providing tivity or cleavage of the zygote (cell division and data about the authors and some of the later inter- multiplication) until the third week of development ventions. The pieces were built for the teaching of (no human form is possible to recognize). veterinarians in many fields and at the same time Along the third week, a process named gastrula- they were exposed for decades in the former tion takes place. During the gastrulation the body School's Anatomical Cabinet. For this reason, they plan establishes (axis, symmetry and cardinal ref- were also visited by the general public as expo- erences) and the origin of the three germinal lay- nents of the science's advances and as a reason ers (ectoderm, mesoderm, and endoderm) and still for pride of the Veterinary School, hence its versa- no human form is recognizable. A notorious em- tile intention. At present, they are under restoration bryologist, Lewis Wolpert, considers that gastrula- process and the current set consists of 42 pieces tion is the real born of because, during of various formats. The archival documentation this period, the germinal layers appear and, from notes that originally there was a much wider col- them, the whole organs and systems of the human lection with a clear comparative aim because since body will origin. its inception included animals from zoological col- The next step is the morphogenesis that hap- lections as well as domestic species and those of pens from the third week to the eighth week of de- veterinary interest. The great majority of remaining velopment, period named as, embryonic period. At pieces focus on the equine species and allow to the end of the morphogenesis is when the embryo illustrate the anatomy of the animals, their repro- gets the human form. The endoderm will give duction, diseases, the resolution of surgical prob- origin to the digestive and respiratory systems, the lems or to know the evolution of the teeth to deter- mesoderm to the locomotor (muscles, joints and mine the age of the animals. It is an heritage that bones) and the urogenital systems and the ecto- adds to the historical values on the evolution of the derm to the nervous system and a part of the epi- Veterinary, as a science and profession, those dermis of the skin. The nervous and the locomotor aesthetic and cultural ones. system will not finish their morphogenetic period Publication made within the National I+D Plan until the end of the fifth month. Project, reference HAR2013-42460-P, Spanish After the embryonic or morphogenetic period the State Program for the Promotion of Scientific and fetal period begins. It is characterized by the cells Technical Research of Excellence, Ministry of tissues and organs growth and maturation. It ends Economy and Competitiveness. with the delivery of the fetus and his transformation in a newborn. 3. Sculpture After birth, the cells loose most of their potentiali- ty but preserve their capacity to continuing the ad- ANATOMY AND FORM aptation to new functional requirements that the form suffers along life until death. This process is José Ramón Sañudo known like remodelation, as a sculptor that would like to adapt the form of its sculpture to new re- Department of Human Anatomy and Embryology. Medi- quirements. cal School. Complutense University. Madrid, Spain. Therefore, the human form (external and inter- nal) is developing like a sculpture made from in- Since the classical period, sculptors have very side to outside by the existence of a previous idea, well represented the form of the human body. a plan and the cellular activity. Many Schools and books teach how is the anato- my of the external and internal form of the human body. They also teach the technical procedures for APPLICATIONS OF LIFECASTING transforming a simple block of marble or, any other TECHNIQUES IN WAXWORKS material, in a recognizable human form. Three are the basic principles to get a sculpture: 1) a previ- Javier Martínez Pérez ous idea, 2) a plan and 3) a technical procedure. In the human development to get a form, the biol- Faculty of Fine Arts, Complutense University. Madrid, ogy, like a sculptor, needs to follow these three Spain. main principles: 1) the idea, represented by the genetics, 2) the plan, represented by three main Lifecasting is the art term by which we denomi- phases (fertilization, gastrulation and morphogene- nate the process of creating a three-dimensional sis) and 3) the technical procedure or performance copy of an object through the use of cast and represented by the cell activity: cell multiplication, moulding techniques. The copy thus obtained is a cell mobility and cell differentiation. three-dimensional accurate reproduction, both vol-

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ume- and texture-wise, of any element in nature, moulding material used to create the positive will be it living or lifeless, organic or inorganic. not stick. In this step, a fluid material is used to fill This technique has been used throughout history up the negative mould with the purpose of obtain- with a variety of objectives, not only of ritual nature ing a positive copy of its volumes and textures (as it is the case of funerary masks), but also of once the fluid sets. The materials the most widely procedural nature, for instance the production of used in the process of creating anatomical lifec- sculptures and other three-dimensional works. Its asts are gypsum (negative moulds) and wax use can be traced back to , Greek, or (reproductions). Wax characteristics in terms of Rome. From there onwards, the technique contin- softness and malleability together with the fact that ued to evolve and perfect, becoming the base of a it is translucent make it the preferred choice to re- thriving business over the Italian . produce skin and its features. Wax melts by heat While in ancient Rome wax was already a cast- and sets at room temperature. By simply saturat- ing material, it is not until the Renaissance —when ing with water gypsum moulds, wax adherence is it was used to create anthropomorphic elements prevented and wax positives can be easily re- central to religious rites in Florentine churches— moved from the negative moulds. that the techniques involved in the manipulation of Moreover, wax allows for the use of pigments, wax were gradually perfected, leading to the first different layers and glaze, all of which contributes anatomical waxworks in the 17th century. Consid- to an extremely faithful reproduction of the original erations of practical nature made sculptors model model. More innovative materials such as resins many of the elements pertaining to these anatomi- and silicones appeared too late: the period in cal waxworks, whereas those characteristics inher- which this type of casting was mostly used ranges ent to lifecasting, namely its suitability for repro- from the 17th century until the birth of colour pho- ducing accurately and faithfully the volumes and tography, this latter replacing casting due to eco- textures of the real element, have contributed to nomic and practical (speed) reasons. lifecasting playing so essential a role in the crea- The simplicity by which the process can be de- tion of waxworks. scribed may lead to the wrong idea that lifecasting Considerations of practical nature intimately is a simple process. It is not. This is an extremely linked to wax lifecasting determined the suitability complex technique, in which many variables can of this technique to reproduce rigid elements such be present depending on the model, and that re- as bones, thus being modelling the technique of quires the completion of a very demanding training choice when it came to creating soft moist ele- process and a great amount of experience so an ments (for instance, intestines). Delicate elements individual can accomplish a lifecast correctly. Con- such as nerves or the lymphatic system required sequently, execution time and cost are high, char- that artisans resorted to direct creation. These pro- acteristics that lead, eventually, to these models fessionals’ zeal difficults to the utmost assessing to being replaced by photography definitely. what extent lifecasting was used in the creation of waxworks, introducing an element of doubt in the 4. Restoration and Conservation analysis of certain models. There are circumstanc- es, however, in which the use of lifecasting pro- THE RESTORATION OF THE vides an objectiveness that science seizes. In par- ticular, prior to the dawn of photography, waxworks ITALIAN ANATOMICAL WAX IN became an indispensable tool for Medical schools when the subject of study was the morphology of THE EXPERIENCE OF THE OPIFI- disease, or all types of disorders of the anatomical CIO DELLE PIETRE DURE DI FI- structure. Skin conditions, tumours, or congenital deformities were registered by means of moulds RENZE. and then reproduced in pigmented waxes. The 1 2 realism achieved allowed students to grasp the Laura Speranza and Francesca Rossi circumstances under study while avoiding incon- 1Director of Laboratory of Restauration of Opificio delle veniences such as the decomposition of cadavers Pietre Dure de Florence. Florence, Italy, 2Restoration or the lack of the appropriate patients. and Conservation of Cultural Heritage SAM Area. Vec- Lifecasting techniques have evolved, in particular chio Conventino. Florence, Italy. from the Industrial Revolution onwards, condi- tioned by the advances that the discovery of new The Opificio delle Pietre Dure in Florence, was materials has granted. Basically, the process con- founded in 1588 by Grand Duke Ferdinando I de' sists of applying a fluid substance on the original Medici, but only in the second half of the 19th Cen- model so the fluid adapts to the shape of the mod- tury it started the conservation and restoration of el. Once the fluid sets, it hardens and registers a the monuments alongside the manufacture. The negative copy of the volumes and textures of the greatest experience in restoration was acquired original model. A mould release agent is the used after the great flood of the river Arno in 1966. The to wipe the interior of the negative mould so the

248 Eur. J. Anat. flood was a great drama for the town of Florence Uniting art, science, and exquisite handcraft, the and the emergency led to the formation of 12 res- anatomical wax-model collection at Vienna’s Jose- toration areas relating to all types of materials. In phinum is an ensemble of nearly a thousand piec- 1975, with the creation of the Ministero della Cultu- es, created in and around 1785 at the request of ra, the Opificio has been officially recognized. The Emperor Joseph II for the then-groundbreaking modern Opificio get together restoration and re- medico-surgical military academy to be named search alongside with the regular high school edu- after him. cation (as the italian university) in the term of five The wax models – crafted by sculptors, modelers years. Together with Istituto Superiore per la Con- and anatomists at the Florentine atelier of “La servazione ed il Restauro in Rome, the Opificio Specola” before being transported to Vienna – re- delle Pietre Dure is internationally recognized as main housed in their original neo-classical environ- one of the most important institutions in the field of ment and displayed in their original cases of ve- conservation. neered rosewood and mouth-blown glass. While The sector that deals with the restoration of ce- this milieu doubtlessly enhances the impression of ramic materials, and glass - inside Opificio this unique collection, it also creates specific chal- delle Pietre Dure - has been always engaged in lenges for its preservation. the recovery of artifacts made of wax. Such as The main priority in the collection's preservation devotional objects, preparatory sketches made by is preventive conservation. Regular climate and Renaissance artists, botanical and anatomical insect monitoring, as well as the upkeep of a clean teaching models still preserved in many famous environment, goes some way to ensuring the col- university collections in Europe. Among these res- lection remains in a stable condition. Furthermore, toration projects, we point out the constant moni- the objects are regularly checked to minimize the toring that Opificio take place at the Museum of risk of additional deterioration. Conservation treat- Natural History in Florence - "La Specola" - that ments are regularly applied to the objects following led to the restoration of many works made in wax. their categorization to one of three groups, ranked "La Specola", as well as a museum, in fact, it’s an according to priority. New approaches have also historic Florentine manufacture, which was active been developed to minimize mechanical stresses from 1771 until the second half of the 19th century, on the models, enhance their visibility and accessi- and can boast the construction of c.a. 1,400 wax bility, and improve the environmental conditions models, themed anatomical, pathological and bot- within the exhibition rooms. anist. The experience gained by our Institute in the EFFLORESCENCE ON THE SUR- conservation of the works in wax modeling has allowed us to refine the research and operation in FACE OF BEESWAX OBJECTS this area by developing intervention techniques using increasingly sophisticated equipement and Bartl B1, Zapletal M2, Trejbal J2 having the less invasive impact as possible. Over 1 the years the Opificio has dealt with many issues Department of Care of Physical Condition of the Rec- ords, National Archives, Prague, 2Department of Organic related to the storage, handling and intervention Technology, University of Chemistry and Technology techniques, always accompanied by scientific in- Prague. vestigations to face in the best way the challenges encountered and comply the basic criteria of mod- Introduction: On the surface of objects made of ern restoration. beeswax-based mixtures, a whitish crystallic efflo- We’ll expose some case studies about artistic rescence tends to develop under specific condi- models in wax (Giambologna, Cellini, Medardo tions. Rosso) and about anatomical and pathological Objectives: A: Characterization of the chemical wax models. We’ll especially present how we have composition and basic physicochemical properties solved serious structural problems on large wax- of the efflorescence on pure beeswax. B: Elucida- works. tion of the causes of the phenomenon and the de- termination of the most important factors, which WAX BODIES – CONSERVATION affect the rate of the process. C: Verification of the effectiveness of several methods suggested for the AND RESTORATION AT THE "wax bloom" prevention. VIENNESE JOSEPHINUM Material and methods: For the designated pur- pose, following analytical methods were employed: Martina Peters GC-MS, GC-FTIR, DSC, ssNMR, FTIR. For the preparation of samples, pure and modified bees- Josephinum Collections of the Medical University of wax, dammar resin, propolis, microcrystalline wax Vienna. Vienna, Austria. and paraffin were used. Results: A: In cases of objects made of pure

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beeswax, the efflorescence is typically formed by tion of the model’s structure and some empirical the mixture of unsaturated and saturated hydrocar- adhesive-testing, the aqueous poly (alkyl acrylate) bons, naturally contained in beeswax. B: A primary dispersion Lascaux® 498 HV was chosen for reat- cause of the phenomenon is a limited miscibility of tachment. In case of some deformed loose wax these compounds with the remaining components fragments a backfilling was necessary in order to of beeswax. The process is generally faster at low- provide a solid joint on the wooden interior of the er temperatures and in the presence of surface head. Therefore, the acrylic dispersion was mixed defects. C: In order to reduce the efflorescence with the hydrophobic fumed silica Aerosil® R 972. development, several kinds of measures can be Filling of missing areas was also needed for a sta- adopted, including temperature control, surface ble bond. This was undertaken by introducing ac- treatment using appropriate finish and the addition curately-fitting intarsia made of a mixture of bees- of specific admixtures to beeswax used for conser- wax and dammar resin. vation purposes. Acknowledgements: Deutsches Historisches Mu- Conclusions: The causes of the phenomenon seum Berlin, namely Martina Homolka (Head of were outlined and several possibilities of preven- Conservation) and Elke Kiffe (Conservator for tive conservation discussed. Glass and Ceramics) as well as Dr. Marc Feh- Acknowledgement: This work was supported by lmann FRSA (Director of Collection, since May the Ministry of Culture, Czech Republic under 2017 director of the Historical Museum Basel/ grant NAKI II DG16P02R040. Switzerland) and Prof. Dr. Rosmarie Beier-de Haan (Head of Collection for Everyday Culture). A FASCINATING CHALLENGE: CONSERVATION-RESTORATION ABOUT THE CONSERVATION OF OF A SINGULAR HERITAGE. THE THE OVERSIZE WAX-MODEL ANATOMICAL CEROPLASTICS "PHRENOLOGICAL HEAD" OF COLLECTIONS OF THE UNIVER- THE COLLECTION AT THE SIDAD COMPLUTENSE DE MA- DEUTSCHES HISTORISCHES MU- DRID SEUM IN BERLIN Alicia Sánchez Ortiz Johanna Lang Department of Painting and Restoration, Faculty of Fine Freelancing Conservator and Part-Time Employee in the Arts, Universidad Complutense, Madrid, España. Conservation Lab for Folk Art Objects at the Bavarian National Museum Munich. Munich, Germany. Introduction: Universidad Complutense de Ma- drid treasures two large collections of ceroplastics, Introduction: The German Historical Museum in both human and animal anatomy, elaborated dur- Berlin houses a larger-than-life-size wax model of ing the XVIII-XIX centuries, the first one in the cab- a so-called Phrenological Head being the only one inet of the Real Colegio de Medicina de San Car- of its kind known so-far. Dating back to the begin- los (and which is exposed in the Museo de ning of the 20th century it was made by a modeler Anatomía "Javier Puerta" of the Faculty of Medi- with unknown name residing in Zurich/Switzerland. cine) and the second one, in the Real Escuela de For most of its past, the model was in the property Veterinaria (Museo Veterinario Complutense), in- of travelling showmen, who presented it on fair- stitutions founded in 1787 and 1793 respectively. grounds all over Europe. In 2008, the Phrenologi- Surprisingly, despite the high artistic quality and cal Head was acquired by the museum where it is documentary value of both collections, they had since then part of the Everyday Culture Collection. not arouse enought interest among the scientific Objectives: Due to its agitated past and in conse- community, who did not specific studies and the quence of a disadvantageous technological and collection were in a seriously threatened state of material composition, the model has suffered se- conservation to their transmission to future genera- vere damage. Unfavorable former repairs promot- tions. ed its decline and altered its original appearance to Objetive: In order to put into value this extraordi- a great extent. Further survival of this unique testi- nary and unknown heritage, from 2009 until the monial for the future was hence seriously endan- moment of writing these lines, an interdisciplinary gered and its need for an in-depth conservation team led by Dr. Alicia Sánchez Ortiz has managed treatment was immense. through different competitive projects, carry out Methods, materials and results: The biggest chal- various protocols of action in conservation- lenge hereby was the reconnection of the manifold restoration matter. fractures in the wax. Following an X-ray examina-

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Methodology: The information obtained through RATION different diagnostic techniques (macro and micro- photography, UV fluorescence, X-ray, computed Jose Ygnacio Pastor tomography) and the physical-chemical analysis of a representative sculptures selection of each col- Deparment of Materials Science-CIME. Polytechnic Uni- lection and chosen according to their typologies, of versity. Madrid, Spain. the manufacture technical peculiarities, or due to a special conservation problem, has been contrast- Wax, as a material, has traditionally been des- ed with the collected data through the documen- tined to, through multiple applications, an immedi- tary search in archives and in the scientific litera- ate use and disappearance. Its lack of transcend- ture, which has allowed to reach a deep ence, its impermanence, has been the essence of knowledge on the ceroplastic techniques in Madrid its existence in most of the functions it has had schools: the two collections historical evolution, throughout history. However, when wax becomes authorship attribution with the different identifica- art, the great virtue of its variable and mutable ma- tion of artificers (anatomists, sculptors, model- terial becomes its main limitation. ers ...), and the specific modus operandi devel- We want, we wish, we long for art to last, to oped in the anatomical cabinets of these institu- transcend with it, so that it can be admired as a tions. future contribution of an entire era in which it was Also, the artistic diagnosis has been focused on generated. However, the Art of Wax Modelling has understanding the evolutionary processes that a delicate, mutable and difficult to preserve physi- have generated different pathologies in the three- cal support, and on which Science must act to re- dimensional models, and on knowing which have veal all its secrets, in order to make it perdurable. been the causes that have triggered the deteriora- The interaction between Art and Materials Sci- tion. ence is not new, and there are many collabora- Based on a strict methodology of actuation, a tions that can be found in the specialized literature. specific decision-making model has been devel- The collaboration between these two branches of oped for each case study. knowledge is allowing to discover many of the se- Results: This work will show the most relevant crets that keep the art works of the past. This results obtained, explain the criteria that have knowledge allows restorers to act upon them with- ruled the conservation actions and will detail the out altering them, while improving their present methodologies of restoration carried out to give and future state of preservation. solutions according to the sculpture specificity and This interaction is still very scarce in the field of its deterioration stage. Wax Modelling. Surely not because of the lack of Conclusions: The objetive has been, and still is, quality of the pieces that are available, which is to recover as far as possible the physical integrity huge, but because of the lack of knowledge of the of the sculptures, always starting from the most great public of this art and the small number of respect to their historical-artistic and scientific val- works available, compared to other fields. Howev- ues, with the purpose of contributing to the recov- er, collaboration between materials scientists and ery of a unique patrimony that confirms the restorers is urgent and necessary. It would not be knowledge advances in the period of Spanish En- rigorous to ignore the modern techniques of char- lightenment. acterization of materials and their application to Source of funding in Competitive Projects this field. Nevertheless, how to begin? Ref.: HAR 2009-10679: The art of anatomical It is not easy to open a path in which we do not ceroplastics: Characterization of materials and know our destiny. Perhaps, the best is to ask to methodology of actuation in conservation of collec- the pieces what they restoration needs are. Mostly, tions of anatomical models in wax (Museo de we find pieces that present flaws, cracks and de- Anatomía “Javier Puerta”. Facultad de Medicina. fects, so the most urgent thing is to try to prevent Universidad Complutense de Madrid – Museo them from spreading and, if possible, to repair Anatómico. Facultad de Medicina. Universidad de them. Close critical fissures, joint separate parts of Valladolid). the same sculpture, are the basic goals of all re- Ref.: HAR 2013-42460: Ceroplastic in Veterinary: storer. documentation, materials characterization and On the other hand, we find that the materials that conservation-restoration methods in the Com- we have to joint, the cracks that we have to identi- plutense collection. fy, are not well characterized, and what is worse, have evolved over time. We all have had the expe- rience of how waxes, over time, lose their initial PERDURABLE IMPERMANENCE: ductility and end up becoming hard, fragile and SCIENCE OF MATERIALS IN THE brittle materials. Therefore, the challenge is twofold. On the one ART OF CEROPLASTIC RESTO- hand, we have to join pieces, glue them together with some type of adhesive that is strong enough

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to hold them, but at the same time, it should be CHEMICAL ANALYSIS APPLIED possible to be removed, if required, in the future. The intervention of the restorer must be reversible. TO THE STUDY OF WAX SCULP- All this without forgetting that the adhesive must not modify the structure of the material on which it TURES is applied. Given this situation, a protocol of study and sci- Margarita San Andrés Moya and Ruth Ché- entific action is presented, proposing the following rcoles Asensio steps: Responsable and Director of Quality of the Laboratory of Generate a material similar to the original, or as Materials. Faculty of Fine Arts. Department of Painting close as possible. From the information available and Restoration. Complutense University. Madrid, in the literature used by ancient masters, and col- Spain. lected in their books, it is feasible to emulate the methods of production of the material by using As it is known, the artistic value, the perfection their master formulas. In this way, waxes similar to and the realism of the anatomical models are the those used centuries ago, that we still have in our result of the skills and the knowledge of anatomy museums, can be recreated. This let us have a of the people in charge of their execution. But they material on which to investigate without destroying are also the consequence of the right selection of the vestiges that have reached us today. In addi- the materials used in its manufacturing and of the tion, this material could be used as filling in areas technologies used in their application. The name of with significant material losses. "wax modeling" makes a clear reference to one of Establish a criterion to evaluate the aging pro- them, the wax. Under this name different types of cess of the materials. In our case, we chose to materials are included, but in this case, it refers to consider ultraviolet radiation as the main agent of the beeswax, substance characterized by its low degradation of materials. Nonetheless, how much melting point and plasticity. However to be used in does ultraviolet radiation have accumulated over this type of works it is usually mixed with other the history of the pieces? Obviously, it is impossi- substances and the result obtained is named as ble to know because each collection, each piece, paste-wax. These additives are greases (animals has a different story. However, a criterion can be or vegetables) and natural resins. In addition, in established from the measure of the hardness of order to represent certain vital organs associated the material (intimately related to its fragility, in this to the anatomical model, it was necessary to em- case) that has reached us throughout the centu- ploy colored substances (pigments). On the other ries. This simple and non-destructive test that hand, there was common the use of human hair needs very small amount of material, so it can be for the representation of the hair of the figure or applied to small pieces detached from the original even of silk threads for the lymphatic vessels. works. Therefore, if we radiate with ultraviolet radi- To know the nature of these materials and the ation a material produced in similar conditions to form in which they were used is necessary to carry those collected in the writings that relate its pro- out a work of documentation based on the re- duction and we measure sequentially the evolution search of different sources of information, such as, of its hardness, there will come a time when the texts regarding to art technology, invoices, con- historical material and the new one have a similar tracts, previous studies of other anatomical models hardness value. At that moment, we can consider and so on. Obviously, the laboratory studies are an that the process of accelerated aging by ultraviolet interesting possibility to improve the knowledge radiation has reached its goal. about these heritage objects. Evaluate by means of specific mechanical tests The laboratories specialized in the study of art the structural characteristics of the original materi- works have very precise analytical techniques and al, the material accelerated aging, and the adhe- have developed protocols adapted for the study of sives that are used to perform the restorative inter- artistic materials. For this reason, in the case of ventions. the anatomical modeling wax, they can provide Electron microscopy analysis of the bonded are- value information regarding to the materials used as, in order to identify the micromechanisms of to make them and how they were applied. Like- deformation, rupture and takeoff of the pieces test- wise, they can give support in the processes of ed in the previous point. conservation that they are going to be applied. These last two points let us select, based on In this oral presentation the work carried out in quantitative criteria, the most suitable materials the Laboratory of Materials of Departamento de depending on the action that is wanted to perform Pintura (Pintura y Restauración) of Facultad de on the piece to be restored. Bellas Artes is presented. This work has been fo- cused on studying of some was anatomical models METHODOLOGY OF PHYSICAL- of the Universidad Complutense de Madrid, specif- ically, the Museo de Anatomía Javier Puerta and

252 Eur. J. Anat. the Museo Veterinario Complutense. In the first resulting in complex waxy pastes for identification case, this work was requested by the Vicerrectora- and subsequent preservation. Once the piece was do Extensión Universitaria, Cultura y Deporte as finished, a coating film was added, increasing the part of the conservation project applied to the ana- conservation problems of the artworks. tomical model "The Parturient". Regarding Museo The physical‐chemical analyses carried out on Veterinario Complutense this research is part of some of the pieces of the Museum of Anatomy the research project headed by professors Alicia “Javier Puerta” determined that the major compo- Sanchez and Joaquin Sanchez de Lollano. nent of the waxy paste is beeswax, including in a The analytical techniques used have been: stere- lesser extent a pinacea diterpenic resin, and in oscopic microscopy (EM), optical microscopy very small extent lard. The diterpenic resin also (OM), scanning electron microscopy-energy dis- constitutes the coating film of the specimens. This persive X ray (SEM-EDS), Fourier transform infra- varnish required a cleaning treatment because not red spectroscopy (FTIR) and gases chromatog- only creates a visual alteration but also affects the raphy-mass spectrometry (GC-MS). The process- original materials, being necessary to find the most es of sampling are explained. The methodology of appropriate materials and methods to suggest a analysis, the experimental data and the interpreta- suitable cleaning system for the waxworks. tion of the results obtained are shown. In all cases Objectives this research has been developed according to the This PhD Thesis born with the aim of developing need of the conservation project. a methodological proposal on cleaning and remov- This research has allowed to identify the compo- al of film‐forming material for the wax sculptures of nents of paste-wax, the pigments used in the col- the Museum of Anatomy “Javier Puerta”, and spe- oration of sculptures and how they were applied. cific objectives are drawn up: The presence of varnishes has also been estab- 1. The knowledge of the materials used in the lished and the nature of resins used has been sculptures subject to study, besides the verification identified. In addition, the efficiency of the cleaning of the relationship between the results of chemical systems tested has been studied. analysis with the formulas and recipes document- ed. CLEANING OF WAX ANATOMI- 2. A review and updating of the existing literature on traditional methods used throughout history for CAL MODELS: A METHODOLOGI- cleaning and removal of film‐forming material of the artworks produced in waxy material. CAL PROPOSAL FOR THE ROY- 3. The assessment of the validity of the method- AL COLLEGE OF SURGEONS OF ology proposed by its practical application of wax models under study. SAN CARLOS 4. The contribution of evaluation criteria on the usefulness of the techniques and methods pro- Sandra Micó Boró posed for conducting chemical analyzes that con- firm the effectiveness or inefficacy of protocols per- Freelance restorer. Málaga, Spain. formed on lightening the varnish of the pieces in

wax of the Collection of Madrid. Introduction: Ceroplastia arises from the insatia- Materials and Methods: Two pieces, representing ble curiosity of physicians and artists by the different areas of the brain, were used to carry out knowledge of the human body. The anatomical the essays. Prior to lightening the varnish, a pre- models would become in valuable didactic tools, liminary cleaning step was performed to remove as well as objects of contemplation. dust and dirt deposits from the surface. An acid Nowadays they are preserved in university mu- buffer -pH 5-, applied with swab rolled, was select- seums, as in the case of the Museum of Anatomy ed with a conductivity of 4 mS/cm, and the addition “Javier Puerta”, located at the Faculty of Medicine of 0.2% of triammonium citrate. at the Complutense University of Madrid. This mu- Up to 4 essays, derived from each other, were seum is the depositary of the pieces that have sur- made. Visual analysis under an optical microscope vived from the anatomical and obstetric museum (SZN-2 Optika at 4.0x magnification) were per- existing at the Royal College of Surgeons of San formed, as well as FTIR spectroscopy, with a Ni- Carlos in Madrid, created in 1787. TM th colet 6700 Thermo Scientific equipment Since the end of the 20 century numerous initia- -1 (covering the 400-4000 cm wave number range, tives have arose to adopt policies and manage- -1 a resolution of 4cm and an accumulation of 64 ment methods among which are the overall action sweeps). plans on the collections and the conservation strat- The first test was made with Carbopol, and rinse egies. In this sense, the most important for this with deionized water. For the second one a rigid research is the change in the composition of the Phytagel gel was employed from a buffer at pH waxy paste. Different types of wax were used to- 4.5; there was no need for either swab or rinse. In gether with additives, pigments and natural dyes both cases, ethyl and isopropyl alcohols were add-

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ed in a small proportion, in some cases. Areas of Due to the maritime connexion with the neigh- ½ cm2 were marked in controlled times of 5 and 10 bour Italic peninsula, especially from the 15th cen- minutes, both front and back. tury, the elaboration of waxy pieces bounced into The third test used a resin soap gelled with developing and industry related, especially with the Klucel G at 4%; rinse was made with deionized offerings and religious exhorts. In 19th century, water to which 1% of Tween 20 was added. Areas thanks to artists such as Antonio Cortina, the great of ½ cm2 were marked in different controlled peri- artlessness that contributed the waxy backing to ods of ½, 1 and 5 minutes, both front and back. the satiric-dressed figures. He made this material The last essay sought to verify if it was feasible turned into the most used till the irruption of the to lighten the varnish in successive layers without whole modelling ninot in paperboard. altering the surface, for which the two best-tested The historic and technologic study of the valen- materials were chosen, Carbopol with 5% isopro- cian satiric representation, festive and ephemeral, panol and resin soap. A 3 x 2 cm work area was shows an enriching vision about the uses of wax delimited divided into two longitudinal zones of 1 as an artistic support, far away from the anatomic cm. Each treatment was applied in three times of 1 models from teaching practice and other creations minute: the first application covered the entire strip devised for lasting in time. of the selected system, the second left one of the three quadrants free, and the third applied only to MADAME TUSSAUD: A LEGEND the last section. IN WAX

ORAL COMMUNICATIONS Fernández Blanco, S. Facultad de Bellas Artes, Universidad Complutense. Madrid, Spain.

WAX MODELLING PROCESSES The remarkable true story of the woman behind IN EPHEMERAL SCULPTURE OF the worldwide waxworks empire‐ Madame Tus- saud. FALLAS FESTIVAL. HISTORIC In an astonishing life that spanned both the French and Industrial revolutions, this single moth- CONTEXT AND TECHNOLOGIC er and entrepreneur travelled across the Channel DESCRIPTION to England, where she overcame the odds to es- tablish her remarkable and enduring brand. Deter- Fácila, R.; Colomina, A.; Guerola, V. mined to leave an account of who she was and the times she lived through, her memoirs, letters and Conservation and Restauration of Cultural Heritage De- papers offer a unique insight into the creation of partment of Universitat Politècnica de València. Valen- the extraordinary empire which bears her name. cia, Spain. Millions of people have flocked through the doors of Madame Tussaud's since they Fallas festival, developed in the city of València first opened over 200 years ago and it remains just and in its closest surroundings, it is known by the as popular as it ever was. creation of ephemeral satiric sculptures that There are many reasons for this enduring suc- achieve their mission every 19th March (Saint Jo- cess, but at the heart of it all is good, oldfashioned seph’s Day in Spain), when they burn up. Howev- curiosity. er, since 1934 and thank to a proposal from the artist Regino Mas, one of these figures (ninots in valencian) gets redeemed officially every year as THE PROFESSIONAL FIGURE OF prove of popular absolution through the fire par- THE ANATOMICAL SCULPTOR IN don. The technic execution has suffered an important SPAIN’S UNIVERSITIES, C.1860- historic development, evolving from the simple sculpture of wood coated of old dresses, to the use 1945 of synthetic materials such as the expanded poly- styrene. A fraction from this evolved fringe belongs Sharpe, C. to the use of wax as a basic material for the ana- History of Art Department, University of York, York, Unit- tomic conformation of heads and hands. These ed Kingdom. pieces joint with other elements of paperboard and wood to conform the satiric models of the valen- Introduction: A recent research project identified cian Fallas since the middle of the 19th century around 1000 Spanish sculptors who exhibited at from the second half of the 20th century. national and international exhibitions between

254 Eur. J. Anat. c.1862 and 1920. Only very few became ac- others. claimed artistic sculptors, so what became of the others? This paper presents the country’s Facul- LIGHT AND WAX IN MEDARDO ROSSO ties of Medicine as hitherto little-known profession- SCULPTURES al destinations for sculptors of this period. De Cambra Antón, M. Objectives: The paper examines the professional Department of Sculpture, Faculty of Fine Arts, and institutional role of the Anatomical Sculptor UCM. Madrid, Spain. and Assistant Anatomical Sculptor by considering the selection processes, requirements and respon- Medardo Rosso was an Italian sculptor who de- sibilities, and some examples of their production in veloped his work between the 19th and early 20th both wax and plaster. It seeks to consider their centuries. He gave a new vision to the classical anatomical works in relation to their artistic output concept of sculpture: the dematerialization of form and career trajectories. and its boundaries blurred through the modelling in Materials and methods: Textual and documen- wax and its relation with the light. tary sources are drawn from the historical archives Objective. One of purposes of this research is of several universities, and the nineteenth- and the analysis of his work: drawings, photographs early twentieth-century Spanish press. I also ana- and sculptures, in order to understand the devel- lyse objects which have survived in university and opment and evolution of the conceptual principles, museum collections. defining his creative work - Seeking the exchange Results and conclusions: The position of Ana- of three-dimensional sculpture with the two- tomical Sculptor (and Assistant) was, for some dimensionality of painting; understanding how the artistically-trained sculptors, a stepping stone to photographic study of his sculptures allowed him academic teaching and valuable training in ana- to approach to visual and sensorial aspects that tomical observation; for others, it proved a perma- later transmitted by means of the modelling in wax. nent career transition which provided economic Also It deals with an investigation the characteris- stability, sometimes at the price of artistic obscuri- tics and properties of wax as a sculptural material. ty. Methodology. Initially a compilation of the works of Medardo Rosso is realized through drawing, HIDING THE SACRED. WAX photography and sculpture. The photographic pro- cess used by the sculptor is then compared to de- MASKS FOR SAINT UNCOR- termine the lighting, the point of view and materials chosen for its realization. Identification of objective RUPTED BODIES and subjective aspects shown in his wax sculp- tures trough wax proprieties and the selection of Ortiz García, J. themes. Investigate new contemporary art fields. PhD in Art History. Barcelona, Spain. Conclusions. Medardo Rosso transgressed a classic concept of sculpture by fusing an ambigu- The aim of this research is an approach to the ous sculptural and pictorial vision through works in use of wax masks in a religious context. Preserva- wax. His wax sculptures do not seek formal repre- tion of the flesh, mummification or saponification sentation. They symbolize the emotions, spirit of are the scientific background for a controversial the soul, and light which enhances those aspects topic. From a cultural point of view, some saint away from the ephemeral moment that the Impres- uncorrupted bodies are exposed with a wax mask sionists sought. in order to hide the sacred flesh. The coverage is a print or an auratic image that recalls the face of a WAX MODELS COLLECTION person still present by his body. The main objec- tive is to understand the reasons why some uncor- FROM “MUSEO DE HISTORIA DE rupted bodies are venerated with a mask or with- LA MEDICINA ANDRÉS SORIANO out. The methodology is an archive research for each specific case to analyze the reasons behind LLERAS”, BOGOTÁ- COLOMBIA: the use of a cover for the Sacred: degradation due to war, humidity, vandalism or ideology are some CHALLENGES FOR COLOMBIAN of the most common causes. From this main ob- MEDICAL HERITAGE jective we can move forward the mask itself as a human production: who, when and how each wax Matiz, P. piece was made according to the preserved infor- mation. Some of the study cases are Saint Ole- Museodata Foundation, Bogotá- Colombia garius in Barcelona, Saint Padre Pio in San Gio- vanni Rotondo, Saint Bernardette Soubirous in The wax models collection, belonging to the Nevers or Saint Joaquina Vedruna in Vic, among “Museo de Historia de la Medicina Andrés Soriano

255 Abstracts

Lleras”, was creating by a local artist, Lisandro Department of Anatomy, University Barcelona; Moreno Parra in Bogota during the 1930´s. The Department of Nusrsing, University Complutense manufacture of 1000 pieces was based in exam- of Madrid ples from European collections published in medi- cal journals. Even though the wax models were Introduction: During the eighteenth century ana- made as didactic materials for dermatology clas- tomical ceroplastics was introduced as a new di- ses, changes in the medical education and the dactic method that included touch as one of the introduction of new resources for teaching, put indispensable senses, which together with sight, them into forgetfulness. Nowadays, the museums complemented the knowledge of the discipline. conserves only 325 pieces. This paper presents Among the paradigmatic examples we have the the process of recovery of the wax collection, high- pieces of the late eighteenth century that are pre- lighting its importance for history of Colombian served in the Museum of Anatomy Javier Puerta of medicine and the history of medical education. As UCM, coming from the College of Surgery of Ma- well, the presentation addressed the initiatives to drid. However, in the current Faculty of Medicine of recover and conserve this material. However, this the University of Barcelona, two anatomical pieces case shows the challenges that medical collections in wax of the mid-nineteenth century are pre- confront as being recognize as cultural heritage served, which were created under similar didactic into the Colombian context. From this point of needs, but through expressive forms that fit other view, the wax collection typifies the situation of aesthetic models. scientific heritage in general. Objectives: To know the similarities and differ- ences in the was elaborated in the College of Sur- ABOUT THE IMPORTANCE OF gery of Madrid at the end of the XVIII century and the Faculty of Medicine of Barcelona of mid- THE CONSERVATION AND EXHI- nineteenth century. Material and Method: Comparative study of the BITION OF THE ANATOMIC WAX anatomical wax pieces of both institutions and of MODELS COLLECTIONS the documents preserved in relation to these piec- es. The work is based on the analysis of the cero- Galland, N.; González, V. plastic objects and their contribution to the didac- tics of the anatomical discipline. Palacio de la Escuela de Medicina, National Auto- Results and Conclusions: The differences ob- nomous University of Mexico, Mexico. served in the anatomical pieces in wax of each training center, allowed us to establish the material When speaking of wax sculpture, it is important results that each institution adjusted to its different not to forget the concept of ephemeral. The fragili- needs within each contextual framework. ty of their condition has given them a marginal place in the disciplines of Art History and Medical BEEHIVE AS SCULPTURE IN ITS Education. In turn, over time they have become unique and exotic objects. The disuse of their pri- ORIGINAL STATE AND BEESWAX mordial function (anatomical instruction) has al- lowed them to become relics in the history of medi- AS MATERIAL FOR EPHEMERAL cine. The intention of this presentation is to con- INTERVENTIONS. THREE ART- ceive the anatomical wax models as historical doc- uments and aesthetic objects, emphasizing the ISTS: TOMÁS GABZDIL LIBER- importance of its conservation within universities and medical institutions. The object of study is the TINY, REN RI AND ROSARIO PLA- collection of 16 anatomical wax models, preserved TÉ in the Palacio de la Escuela de Medicina, arrived to Mexico in 1874 from Vasseur´s workshop. We Gómez Jarillo, F. intend to analyze the measures that have been implemented for its conservation and specific exhi- Professor of the Department of Sculpture at the Com- bition. Finally, we will present a brief synthesis of plutense University of Madrid, Professor of Drawing and the curatorial script of the Anatomy Hall, which Architecture Analysis at the Alfonso X University. was the culmination of the restoration project of the mentioned objects in 2013, where they were Introduction: I intend to show the sheer beauty of the main figures of the script. beeswax forms in the beehives themselves, in their original, pure and unaltered state as well as in ANATOMICAL WAS IN MADRID AND BARCE- a manipulated or semi-intended condition in the LONA. SURVIVAL OF DIDACTIC MATERIALITY interventions developed by two artists. (Ren Ri and BETWEEN THE 18TH AND 19TH CENTURIES Liberty) Morente Parra, M.; Torres Gallardo, B. The Chinese artist Ren Ri creates sculptures

256 Eur. J. Anat. using beehives by introducing a queen bee in a ize the object for studying the material employed, methacrylate polyhedron with rods placed in differ- the execution technic, the conservation state and ent directions. In his latest exhibition organized in small imperceptible features by the human eye. Hong Kong and called “Yuansu Projects”, he makes maps using beeswax cells in reticular RESTAURATION AND CONSER- planes thus showing the intimate collaboration that exists between them. VATION OF WAX OBJECTS: THE Slovakian artist Tomás Gabzdil Libertiny uses beehives where bees make their cells on planned EXPERIENCE OF A MEXICAN volumes and introduces figures in the beehives CRAFTSMAN over which bees create a second skin. On the other hand, using beeswax as the materi- Miranda Razo, MA. al for an ephemeral sculpture, artist Rosario Platé creates a full-scale image of herself shaped as a lit Independent Craftsman and Educator, Mexico City, Me- candle that lasts throughout the exhibition. The xico. figure is placed in a metal tub used as the contain- er for the molten substance. Introduction: Museums and universities in Mexico The beeswax with flux accelerating additives al- often have wax sculpture collections that include, lows the artist to control the melting speed resem- among other objects, anatomical sculptures, por- bling the interventions carried out by sculptor Nele traits, Agnus Dei reliquaries, small devotional Azevedo with his ice men since 2012. sculptures (Baby Jesus, the Virgin, reliquaries, etc.), and dioramas; these pieces may be religious, civil-heroic, or historical – there are many that de- 3D VIRTUAL REGISTRATION AND pict 19th century Mexican historical figures from VISUALIZATION ON WAX ANA- the era of Independence. Despite this long tradi- tion of waxwork in Mexico, there are very few if TOMICAL SCULPTURES OF THE any specialists working in wax sculpture. The objectives of this presentation are: to offer a JAVIER PUERTA ANATOMY MU- case study of the restoration and creation of civil, SEUM, MADRID (SPAIN) religious, and educational objects, a field I have been working in for the past 34 years as a wax Niquet, N.D1; Mas-Barberà, X1; Viejo Tira- craftsman. do, F²; Vazquez, T3 Materials and methods: In my work, I seek to conserve the traditional use of raw beeswax, which ¹Instituto de Restauración del Patrimonio. Universitat I obtain directly from beekeepers and process Politècnica de València. Valencia, Spain, 2Museo de manually, allowing me to guarantee the purity of Anatomía “Javier Puerta”. Fac. de Medicina. Universi- the wax and its suitability for work. Likewise, I re- 3 dad Complutense de Madrid. Madrid, Spain, Dpto. de spect traditional artisanal techniques, such as the Anatomía y Embriología Humana. Fac. de Medicina. production of molds and models or use of special- Universidad Complutense de Madrid. Madrid, Spain. ized tools that have been used for centuries by anatomists and craftspeople. Certain challenges This paper proposes a procedure for the registra- require the implementation and adaptation of tech- tion and technic analysis of different anatomical niques from other disciplines, including sculpture, pieces make on wax. The wax anatomical sculp- textile production, wood carving, gilding, painting, tures studied are in the Javier Puerta Anatomy and anatomy, among others. Museum, in the Faculty of Medicine, Complutense Results and conclusions: In the case of restora- University of Madrid, Spain. The five pieces of pol- tion, an initial diagnostic test is required to deter- ychrome wax selected, end of XVIII century, are mine the type of intervention needed to conserve part of the big collection of the museum and show the piece. Later, I proceed to clean and restitute the gestation and childbirth. missing parts. The objective of this conference is Particularly, they are attributed to Juan Chaez to share my experience and facilitate a conversa- and Luigi Franceschi sculptors with the collabora- tion between experts, as well as to call attention to tion of Ignacio Lacaba anatomist. The 3D models these historical objects in order to promote further of the sculptures have obtained by means of high research and preservation, particularly in Mexico. resolution Laser Scanner with light-white (Led) Additional topics of interest for the conference through software (VXelements) of the Creaform include: Company. As a result, the outcomes of this re- • The relationship between my work and its po- search reveal the splendid details of the technic tential education value, particularly in spreading and the different layers coloured what represent cultural heritage and producing educational diora- the blood vessels, veins and arteries with extreme- mas. ly perfection. The 3d registration permits to visual- • The lack of wax-specialized restorers.

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la Universidad de Granada, España 4Medico Valorador del Daño Corporal, Máster en Antro- MAGNETS FOR FRAGMENT’S pología Forense por la Universidad de Granada, España UNIONS IN WAX SCULPTURE: The collection of Clinical and Anatomical Models APPLICATION TO THE SCULP- of the University of Granada (Spain) includes 35 wax clinical models supplied by the Olavide Muse- TURE OF THE DIADÚMENO AND um (Madrid) in the 19th century. From an historical MAGNETIC WAXES. viewpoint this collection reborn as artworks, long lost its educational use. However, we should be in Rodrígue,z M.A¹.; Pérez, L. 2,3; Mas- charge of the conservation of these pieces as sci- entific-technological heritage, not only as sculp- Barberà, X¹. tures. ¹Instituto de Restauración del Patrimonio. Universitat A multidisciplinary work team started this task Politècnica de València. Valencia, Spain. with the cataloging and restoration of this collec- ²Depto. Física de Materiales. Universidad Complutense tion. To understand the technology and the materi- de Madrid. Madrid, Spain. als is essential for the comprehension of the alter- ³Instituto de Magnetismo Aplicado, UCM-CSIC-ADIF, ation processes and their needs about the treat- Las Rozas, Madrid, Spain. ments and preservation. That’s why we accom- plished the analysis of the body and polychrome Structural interventions in sculptural restoration by GC-MS, SEM-EDX and POM. give priority to the stability of the original piece Afterwards, the conservation processes must over the principles of reversibility, tending to be take a unified approach that respects the inner quite invasive to the original work. The use of mag- meaning of these pieces: documental, historic and netic devices as a joining method for fragments artistic value of the art is protected by the Cultural and prosthesis as been proofed as a powerful tool Heritage Law in Spain. Alas, it’s silent about the to return the aesthetic and integrity to the artwork, value of the scientific-technical heritage. Due to maintaining a large reversibility. this, the respect for the historical additions, the The restoration methods should be revisited prohibition of nonessential reintegration, etc., are when working in wax sculptures due to their fragili- mandatory but not appropriate. ty. We have studied the possibility of providing sta- This communication wish to convey that the bility to a fracture of a Diadúmeno sculpture’s arm knowledge of the material is crucial, just as apply- made of beeswax with 25% of rosin resin and rein- ing the right treatment is important. The elimination forced with natural tow, inserting permanent mag- of the additions and reparations -used only to ex- nets of Nd-Fe-B. The position of the magnets have tend the use of these pedagogical tools- is needed been determined using a theoretical model based because they hide clinical information. Likewise, on Physics. Mechanical and magnetic studies recovering the color and shape of the pathologies have been carried out on a series of beeswax and is needed to preserve the scientific data that give wax-resins samples, mixed with different ferrous the real value to this collection of clinic models. proportions to determine the optimal composition Acknowledgements: Department of Human Anat- for the prostheses. With the work we show the fea- omy and Embryology (University of sibility of using the combination of magnets and Granada), Investigation Group HUM450. wax-based protheses as reversible tool for the res- toration of wax sculptures. THE ROLE OF VIRTUAL RECON- THE WAX CLINICAL MODELS OF STRUCTION IN THE RESTORA- THE UNIVERSITY OF GRANADA TION OF WAX ANATOMICAL (SPAIN). CRITERIA AND CON- MODELS. SERVATION Hernández-Muñoz, O.; Sánchez-Ortiz, A.; Bermúdez Sánchez, C1.; Rueda Quero, L2.; Matia, P. Fernández Barbero, JE.3.; Collado Mala- Department of Drawing II (Design and Image), Com- 4 plutense University of Madrid, Madrid, Spain. gón, IM . 1Departamento de Escultura de la Universidad de Gra- Introduction: Virtual reconstruction can play an nada, España, important role in planning the reconstruction of 2Restauradora, doctora en Bellas Artes por la Universi- wax anatomical models that have suffered some dad de Granada, España type of amputation helping to avoid any harm dur- 3 Departamento de Anatomía y Embriología Humana de ing the mould making process.

258 Eur. J. Anat.

Objectives: To determine the usefulness of virtu- Plastination process (Process that involves the al reconstruction techniques in the restoration of replacement of the fat and the water for a polymer anatomical wax models that has lost some of its such as silicone, polyester resin or epoxy resin at elements. the cellular level, in tissues or organs) takes place Material and methods: In order to test this tech- with all the necessary security measures. nique, an anatomical wax model from the Museum Although two disciplines work together, the art of of Anatomy “Javier Puerta” of the Complutense sculpting and the medicine, providing as a result University of Madrid was chosen to carry out the extremely interesting objects for teaching, Plasti- present study. This model, representing a face nation technique has the main advantage of using presentation birth, was seriously damaged and real anatomic organs that have an invaluable di- both the right foot and the left arm were missing. dactic, scientific, artistic and museological value, First of all, a total of 261 pictures of the figure was including reliability and a long-term strength. taken from all angles to build a 3D mesh using photogrammetry technique. All of the photographs 3D DIGITAL TECHNOLOGY AP- were processed in Agisoft Photoscan 1.3.1. in or- der to obtain a 3D model, and afterwards the re- PLICATION IN AN ANATOMICAL sulting mesh was exported to Pixologic ZBrush, a powerful digital sculpting program. In ZBrush, MODEL OF WAX: MEDICI VENUS some errors of the mesh were fixed and later on, OF "JAVIER PUERTA" ANATOMY the missing arm and foot were modelled. Results and conclusions: An accurate 3D model MUSEUM (FACULTY OF MEDI- has been obtained without any manipulation of the wax model and the virtual reconstruction of the CINE. COMPLUTENSE UNIVERSI- missing parts was fully satisfactory. Virtual recon- TY OF MADRID) struction make it possible to avoid direct interven- tion on the wax anatomical models in order to ob- Sterp, E.; Sánchez, A. tain moulds during the reconstruction process of their missing parts. Department of Painting and Restoration. Faculty of Fine Funding source: Banco Santander – Com- Arts. Complutense University of Madrid. plutense University of Madrid (PR26/16-20322). Introduction: The collection of artificial wax mod- POSTER SESSIONS els in "Javier Puerta" Museum of Anatomy in the cabinet of the Royal College of Surgery of San Carlos in Madrid were created for educational pur- poses. In this collection stand out a model of a fe- PLASTINATION TECHNIQUES AS male figure with a natural size body similar to the AN EDUCATIONAL AND SCIEN- typical grecolatina Venus. Known as the Venus de Medici, it was created by Ignacio Lacaba between TIFIC TOOL 1786-1787, just after his return from the Court of Paris. The Venus wax model is considered the Alaminos, E. only model which can be dismantled. Parque de las Ciencias . Granada, Spain. Objective: From the point of view of the delicate state of the Venus preservation, now that im- Biological materials preserved under plastination portant deteriorations affect the model stability and techniques are mainly used to obtain real models the model has damages derived from previous and for educational purposes. Plastinated elements not respectful interventions, it has been considered alongside plaster, clay, paper mache, and wax appropriate to include advanced digitization with models conform a valuable tool for the teaching of 3D techniques that made possible an exhaustive anatomy and its pathologies in the biomedical sci- study of the sculpture. The main objective has ences. been to obtain a virtual replica of the model to be One of the most important activities of Parque de able to propose different restoration options, avoid- las Ciencias is focus on health sciences communi- ing the direct manipulation and the risks derived cation. Therefore our institution is not only using from it. old techniques for science dissemination as exhib- Materials and methods: First it has been made a iting patrimonial objects (plaster or wax models), photographic record. Then the photogrammetry but we are investing in a new and supplementary technique has been used to obtain the final result, technique that provides an extraordinary educa- the three-dimensional model. To design prototypes tional, didactical and scientific support: the Plasti- and guarantee the correct stability of the sculpture nation. In order to develop such elements we have have been used software’s depending on the state invested in our own specialized laboratory where of the process. Likewise, virtual reconstructions of the damaged areas have been made to show how

259 Abstracts

the final result would be if the real intervention was carried out on the model: cleaning of pollutants, removal of non-original materials (varnishes, adhe- sives, wax pastes...), and volumetric reconstruc- tion of the gaps and treatment of chromatic re- touching with pigments. Conclusions: With these tools, the restorer has a virtual replica of the model to study different solu- tions, choosing and taking into account the charac- teristics of the original model.

POLYCHROMY OF WAX Groba, I.

Department of Sculpture, Facultad de Bellas Artes, UCM University, Spain.

Introduction: Wax is widely known for its uses in sculpture; its flexibility, specially when heated, makes it a great material for modelling and cast- ing. It can be easily found already prepared to use, such as red wax. However, it can also be manu- factured from raw beeswax mixed with fats and a wide range of earthy matters, which provides dif- ferent colors, textures and consistencies. Objectives: To practice the same procedure on three types of wax (refined beeswax, raw beeswax and red wax) to provide reliable visual results, and compare how color changes with the different components. Materials and methods: The materials used are beeswax, refined beeswax, red wax, vaseline, kao- lin, ceramic powder, terracotta powder and pig- ments. The method consists of heating separately each one of the three different waxes on an stove and adding vaseline to them, in the proportion of between 100:25 and 100:50, to increase their mal- leability. The larger the percentage of fat, the more flexible the wax; however, when excessive the sculptures could easily suffer damage when the temperature rises. Then, earthy matter is added to the molten mixture. This procedure is repeated for each wax with each matter. The colours obtained by adding pigments to each wax are also com- pared by adding titanium white, yellow ochre, crim- son red and ultramarine blue to the waxes pre- pared with kaolin. Results and conclusions: Two color palettes were made with the resulting waxes. Although it can be easily polychromed with oil paint, we can also manipulate the color of wax and make it play an important role in our sculptures.

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