XX NKF Congress 21–23 October 2015 Helsinki, Finland

Preservation and Conservation XX NKF Congress 21–23 October 2015 Helsinki, Finland

Picture on page 3: Skillful carving underlining facial details. Frederik Leils epitaph. After conservation. Photo: Roberto Fortuna. Picture on page 12: Hall of State. Photo: Tiina Tuukkanen / Eduskunta. Picture on page 44: Hoard object before conservation. Photo: ©Birmingham Museums Trust’. Picture on page 248: Tower after restoration. Photo: Juris Pavlovs. Picture on page 274: Ornate art nouveau gate at advanced stage of rusting, showing handicraft and mixture of materials.

©2015 The Nordic Association of Conservators All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic, or mechanical, including photocopy, recording, or any information storage and retrieval system, without the prior permission in writing of the publisher and author.

ISBN 978-952-93-6194-6 (paperback) ISBN 978-952-93-6195-3 (PDF)

1st edition

Published by: The Nordic Association of Conservators Finnish section

Edited by: Anna Rajainmaa, Marleena Vihakara, Satu Haapakoski, Stina Björklund, Erika Tiainen, Kaarina Holmqvist

Design by: Roy Haapakoski/Supergroup Studios

Printed by: Libris Oy, Helsinki 2015 forewords

Funding has become a challenge and Museum and Museum of Kymenlaakso Nordic Association of Conservators, Finn- monumental theme was handled in the therefore we are sincerely grateful for all the permissible attitude they have shown ish section, IIC Nordic Group (Nordiska papers: grave monuments, embroidered the grants, sponsors and funding sources towards our contribution to make this konservatorförbundet rf - Pohjoismainen wall textiles, archeological treasures, small and large. Thank you for believ- congress happen. We also give our thanks konservaattoriliitto ry) has hosted three wall murals, circus horses and epitaphs to ing in the importance of these Nordic to the senior lecturer of paper conserva- NKF Congresses in Finland since 1972. name a few. The presentations do not only encounters and in the success of the tor Päivi Ukkonen, and the conservation Now, forty years later it is a great honor to deal with technical conservation aspects; congress. A special thank you goes to the students from the Metropolia University host the NKF’s XX Congress “Monumental ethics, attitudes and involvement are also Finnish National Antiquities and Director of applied sciences for their help during Treasures - Preservation and Conserva- discussed: treasure or trash, who funds, General Elina Anttila and Chief Intend- the congress. tion” in Helsinki on 21-23 October 2015. who cares, who decides, for whom and ant Kaija Steiner-Kiljunen in particular, why do we preserve. The publication also for their immediate support in giving us Our sincerest thanks of all goes out to the The Monumental Treasures theme is the notes how these various projects succeed- venue in which to hold the congress, it congress committee for its simply great most suitable topic for the celebration ed, their strengths and the deficiencies took a heavy burden off our shoulders.We spirit; youthful, joyful, hard-working and year due to the several ongoing massive that still need to be dealt with. appreciate our employer, the Helsinki City fearless touch to everything. renovations projects in Helsinki includ- ing the Parliament Building, built in 1931 The NKF’s main duty is to share our and the National Library of Finland, built knowledge and expertise via these con- in 1840. gresses. We possess an amazing cultural A renovation of the Presidential Palace heritage and we strive to preserve it for Helsinki, on 11 August 2015 (built in 1837) was finished in late 2014. future generations. The congress working These huge projects have challenged and language English has made the congress offered great working and cooperative accessible internationally. We are de- Maarit Jones, Head of Congress Committee, Textile Conservator, Helsinki City Museum opportunities to the different cultural lighted that in addition to Nordic present- Jaana Kataja, Chairman NKF Finland, Textile Conservator, Museum of Kymenlaakso heritage authorities and conservators. In ers there will be presentations from Baltic addition to learning about these Finnish countries and Europe and from the USA. projects we also visit some of the more We look forward to strengthening our Members of the congress committee important ongoing projects and hear collaboration with international and Eu- from the authorities responsible for their ropean conservation organizations (IIC, Stina Björklund, Objects Conservator, National Board of Antiquities renovation. ICON, ICOM-CC, ICCROM and E.C.C.O.). Satu Haapakoski, Objects Conservator, Koboltti Kaarina Holmqvist, Paper Conservator The congress theme appreciates the base The NKF Finnish Section and Congress Nina Jolkkonen-Porander, Art Conservator idea of the Nordic meetings; that all Committee would like to thank all the Henna Koskinen, Textile Conservator, Arvotekstiilipalvelu Tupulatäkki Oy conservation fields should be represented presenters, poster owners, invited speak- Katja Luoma, Historic Interiors Conservator, OSK Rotunda and all conservators have a possibility to ers and authorities, and the chairpeople Mari Lenck, Senior Art Conservator, Helsinki Art Museum get their work presented at the congress. for their contribution in making this Anna Rajainmaa, Paper Conservator, Helsinki City Archives The call-for-papers resulted in plenty congress and dialogue happen. This con- Mari Saari, Textile Conservator, Rauma Museum of high-quality articles for the congress gress and the publication are the result Erika Tiainen, Paper Conservator, Elka Central Archives for Finnish Business Records committee to choose from. It was our of the valuable cooperation between all Marleena Vihakara, Paper Conservator, The National Library of Finland pleasure to see how comprehensively the contributors. Kaisu Voutilainen, Paper Conservator, Finnish National Gallery greetings from congress the editind group committee

So,

How many conservators does it take to with the contributors, who had the time make a congress publication? In this case, and energy to polish their articles along six, which is not very many. There has with us, send us pictures again and again been a huge amount of work between the and answer our every question ever so call for papers and getting the freshly- patiently. printed publication to us for the first time. Although four of us are paper conserva- When we started working on this project From left to right: Stina Björklund, Mari Saari, Marleena Vihakara, tors, and thus, worked with different a year ago, in Autumn 2014, we only had Jaana Kataja, Maarit Jones, Kaisu Voutilainen, Satu Haapakoski, kinds of publications, we usually come abstracts of the selected articles and post- Erika Tiainen, Kaarina Holmqvist and Anna Rajainmaa. Photo: Elisa Carl. along at the end, not in the beginning. ers and conservators who were not exactly sure if they would have the necessary However, the quality made up for the skills to do- well, whatever it was that quantity. As, among conservators in needed to be done. But the further we got, general, our team consists of pedantic the clearer the destination loomed in the pettifoggers, diligent executors and horizon. When the publication was finally neurotics with the need to master the big ready to be shipped to the printing house, picture. We had different means, but the the feeling was a wonderful mixture of same goal, and that is what made us so relief, pride and pure joy you get for being close-knit, efficient and motivated as a able to wrap up such a big project. group. Did all this take up a lot of our time? Yes, it Like the whole congress, this publication did. (What do you mean, “a life outside the was also done by volunteer work (with the congress”?) Were there moments when exception of our professional graphic de- we weren’t sure if the whole project was signer, Roy Haapakoski, who created the ever going to end? …maybe a few. But we layout of this publication). Nevertheless, would do the same thing all over again – our motivation has been high through the only this time, with much more experi- whole process; we have learned much, not ence! And be kind about any (hopefully only about making a publication, but also only a few) errors you may find: we are about each other and ourselves. When it still just conservators learning as we go. comes to the congress and its content, we got the sneak-preview in the front row Stina Björklund seats. We have proof-read, edited and Satu Haapakoski laid out over 20 articles, 10 posters and Kaarina Holmqvist everything else that you are now holding Anna Rajainmaa in your hands. And most importantly: we Erika Tiainen had the opportunity to be in touch Marleena Vihakara venue sponsor silver sponsor other sponsors supported by

HISTORY IS HERE! bronze sponsors A museum filled with the riches of Finnish history. The National Museum of Finland is the historic central museum of Finland with the core mission of archiving and sharing the nationally key capital of cultural history.

The museum family of the National Mu- seum of Finland includes nine museums and two castles - the National Museum of Finland, the Museum of Cultures (whose operations continue at the National Mu- seum), the Maritime Museum of Finland, Seurasaari Open-Air Museum, Tamminie- mi, Hvitträsk, Louhisaari Manor, Urajärvi Manor and Alikartano Manor as well as Olavinlinna Castle and Häme Castle.

rotunda content

INVITED SPEAKERS’ ARTICLES 86 Pieta Greaves and Chris Fern 182 Jani Puhakka 256 Torben Holst and Anders Ekstroem Loekkegaard The Staffordshire Hoard: A Seurasaari Open-Air Museum and Zinc Sculptures in Denmark 14 Elisa Heikkilä Monumental Anglo-Saxon Hoard conservation of the museum building - Restoration Techniques and Materials. Decision Making in Monumental collection Conservations 94 Conny Hansen, Kim Hou Alberdi 258 Susanne Kaun and Birgitte Larsen 192 Nanna Kymäläinen The Atom in the Universe. Restoration of 16 Jukka Jokilehto Out of Darkness - Investigations of A study on pigments and paint binders the Monumental Artwork by Per Krohg Significance and Values of Cultural Three Large Scale Renaissance Epitaphs in the folk buildings in Seurasaari. in the Entrance Hall of the Physicians Heritage; Appreciation of Conservation Case: Ida’s storehouse. Building at the University of Oslo. 102 Anna Henningsson 24 Liisa Lindgren Discovering the Meaning and the 202 Erkka Pajula 262 Hanne Mannerheimo, Ulla Knuutinen, From Art Deco to tubular steel Making of a Baroque Altarpiece during Case: Conserving the roof of the Arja Sorri and Heli Ketomäki – conservation of the original furniture Tunnelling Work Niemelä tenant farm Conservation Material Research Project of the Parliament Building as part of of 19th Century Decorative Interior the renovation project 112 Karin Hermerén 210 Nina Robbins and Päivi Ukkonen Paintings in the House of the Estates From “Monumental Trash” to Museological Value Assessment Protecting and Arppeanum, Helsinki, Finland. 32 Miia Perkkiö “Monumental Treasures”? Artworks from Disposal – A Large-scale Complexity and Contradictions When Case from Hyvinkää 260 Daiga Levalde and Liesma Markova Preserving Wooden Architecture 118 Hilkka Hiiop and Helen Volber Restored and Reconstructed Historical Demounting Murals from Their 218 Will Shank Wallpaper – Result of Common Work. 36 Sarah Staniforth Architectural Environment Keith Haring’s Monumental Outdoor Previous villa “Bangert”, Kuldiga and Spirit of Place: the Golden Thread – Salvage or Destruction? Murals: Collaborative Efforts in Pisa Stock exchange building, Riga. that Runs through the Management and in Paris of Historic Places 126 Emma Hocker and Malin Sahlstedt 266 Juris Pavlovs and Ieva Rozentale A Conservator’s Role in Large-Scale 228 Douwtje van der Meulen Restoration of the Hunting Tower Preservation Research Monumental Theatre Sceneries: within the Remte Estate Park. ARTICLES Big Groups Big Problems? 134 Laura Kauppinen and Heikki Häyhä 268 Ane Marte Ringstad 46 Judith Bannerman, Margareta Bergstrand, The Circus Horses Are Under 236 Marleena Vihakara Collection Management for Artworks Kathrin Hinrichs Degerblad the Weather Barcoding Everything – Managing in State Institutions in Norway Located and Gunilla Lagnesjö Inventory, Condition Survey and Move throughout the Country; Controlled Textile Art and Flame Retardants 142 Suvi Leukumaavaara of Two Historical Collections in the Centrally and Executed Locally. – The United Nations Case Raising Awareness of Remembrance – National Library of Finland Works of Artists as Part of Invisible 270 Kaori Taguchi 56 Fernando Caceres Jara Cultural Heritage Using the Existing to Create “The Reform Club” London: the Grand POSTERS the Yet-To-Be: Preservation and British-Italian Palazzo in Pall Mall 154 Katja Luoma, Teemu Kajaste, Elina Järvelä Reactivation of Inujima. and Hanne Mannerheimo 250 Lotti Benjaminson 68 Giulia Chiostrini Conservation of Scagliola Columns at Restauration of a Monumental Tapestry 272 Heli Tuksam The Abduction of Helen: Uncovering the Finnish National Library in Gothenburg Concert Hall. Exposing Hidden Treasures Technical Features of a Monumental – Mural Conservation Training Embroidery Hanging from the Collection 162 Lisa Nilsen and Catharina Nordenstedt 252 Elisabetta Bosetti, Ilaria Saccani at Tartu Art College. of The Metropolitan Museum of Art Cleaning and Housekeeping Guidelines at and Matteo Montanari the National Property Board of Sweden Proposal for the Restoration of the Exterior 78 Christina Danielli and Susanna Eklund Architectural Decoration Architectonic Com- 276 CV’s Conservation Challenges in the 172 Tone Marie Olstad mentaries (1979-1981) by the Danish Artist Finnish Jabal Haroun Project Excavations Conservation of Church Interiors Guided Bjørn Nørgaard at the Gladsaxe Main 282 INDEX in Petra, Jordan by the Budget – Are Principles at Stake? Library, Gladsaxe Municipality. invited s p e a k e r s’ articles 14 15

Elisa Heikkilä

As a heritage authority, I often get the more common that the architect Keywords: question, “who decides the conservation also has a conservator-restorer in decision details in monumental conservations/ the planning team. conservation renovations?”. The questions come both from the property owners as well as the Planner/ Structural (& others) engineers conservation-restoration making in private conservators working in the The decision on the structural and sites. This presentation tries to explain technical solutions, e.g. lightning decision making where the decision making is situated and HVAC, can affect the preserva- monumental from my point of view. tion of historical details. My background is in stone conserva- Building Authorities conservations tion, and over a decade ago, when I was Supervision of following the latter layers, and when to leave some- at building site working as practical regulations and recommendations. thing for the next conservator-restorer conservator-restorer for the last time, I Application of regulations due to generations? remember having the same questions. I the heritage issues, moderations in always thought there would be someone listed buildings. I also listed chance, accident and time Abstract What to keep, what to conserve? who would have all the answers. as participants in the decision making The National library, the House of Heritage Authorities process. I claim that they play a big role. Parliament or other significant Currently, a European standard about The decision on minimum conser- monuments, who decides and what? the conservation process is being devel- vation demands, both quantitative Accidents in renovation projects, This essay is about the makers and the oped, but even there I think they do not and qualitative. although very carefully planned for, making of decisions in monumental tell us who makes the decisions. are inevitable; especially in demolition conservations. Conservator-restorers phases, things are either overdone, the Below, I have listed some of the par- Condition reports and pre-investi- structures are weaker or something else ticipants and the decisions they make gations give a good concept of the goes wrong, so unplanned things can concerning conservation-restoration planning phase. During the build- (and will) happen. measures in an average monumental ing phase, the decision on the scale process. of conservation works is usually too And what about chance? The Aboa Vetus late. & Ars Nova Museum in Turku in 1995, for Owner of the building example, had plans for a museum of con- The decision on how much money is Contractor temporary art within an existing build- invested. In Finnish building legis- The decision of timing and order of ing. Due to monumental archaeological lation, the owner has the responsi- building works. excavations and findings plus a lot of bility of fulfilment of the protection good will, there are now two museums; (in listed buildings). Chance / Accident/ Time the other one focusing on medieval his- The decision of the unknown? tory of Turku and situated in real ruins. User of the building The decision on what functions It is often heard that conservation Time could be one more factor as well, as and needs they want to have in the work slows down renovations, and the loss of object-related data is more likely building does not normally include demands from conservator-restorers are to happen as time goes by. Dissociation conservation as such, but most of huge (or maybe even monumental), e.g. is often counted as the 10th agent of the time, people are very aware no dust is allowed, climate conditions deterioration. Decisions should be docu- or at least very interested in the should be ideal, and time should not be mented well and the documents should cultural-historical values in their an issue, etc. On the other hand, the goal follow the process to avoid that. work environment. of conservation – “not to mend anything that is not broken” – saves a lot of money. So, who decides conservation-restora- Planner/ Architect As conservator-restorers, do we know tion matters in monumental conserva- The decision on the design of the when to stop, what is “curious enough”, tions? We all do. Even in monumental whole renovation. Today in Finland, e.g. in architectural paint layers? When conservations, the answers come as a in listed buildings, it is more and to reveal the former outfit by losing chain of small, hopefully good decisions. 16 17

Jukka Jokilehto significance Keywords: value and values of heritage conservation cultural heritage; significance appreciation of conservation

Abstract The basic concepts associated with the value of something as heritage have a long history. These concepts have been re-elaborated in the 20th century by philosophers and art historians, such as Alois Riegl, Henri Bergson, Martin Heidegger and Cesare Brandi, to become the basis for the development of an inter- national doctrine in the conservation of heritage resources. Such international doctrine is expressed in the conven- tions and recommendations adopted by UNESCO, as well as in the international charters adopted by ICOMOS. The appli- cation of the related new international norms and regulations however remains a major challenge in the reality of the specificity of the individual heritage properties representing the different traditional cultures and times. 18 Significance and Values of Cultural Heritage; Appreciation of Conservation Significance and Values of Cultural Heritage; Appreciation of Conservation 19

Introduction that had earlier been associated with hu- as a special achievement of humanity, Brandi’s theory, which was published generations of people”, which has not the urbanised territories, which are man society. It is these same values that based on a particular creative process, in 1963, became an important reference same meaning. The modern world has inherited from also were a reference for the “imitation” anticipated especially by the German for the 1964 international conference “--illustrative of the evolution of the ancient Greek and Roman philoso- of God’s creation.[3] This development philosopher Martin Heidegger (1889- in Venice, which produced the Venice The word “monument” was also taken human society and settlement over phers various concepts, which have been led to the gradual recognition of the 1976).[7] Brandi also makes reference to Charter. The preface to this Charter into the name of ICOMOS (International time, under the influence of the further elaborated from the Italian creative diversity of human cultures and the American philosopher John Dewey was originally written in French by Paul Council on Monuments and Sites), and physical constraints and/or oppor- Renaissance onwards. Ancient philoso- the specificity of the cultural expres- (1859-1952), who wrote: Philippot, at the time Deputy Director of people have continued to struggle with tunities presented by their natural phers, such as Plotinus, were convinced sions in each context. From the late the recently founded Rome Centre, today its translation. In the past, official Chi- environment and of successive that all creation in nature had its origin 19th century, the conservation move- “A work of art, no matter how old or known as ICCROM. [12] The English nese texts spoke about “cultural relics”, social, economic and cultural forces, in “prototypes” within the Creator. ment broadened, and several countries classic, is actually and not just po- version of the preface starts with the which had a very archaeological feeling. both external and internal.” [16] Raphael and Giovanni Bellori noted that established their first modern heritage tentially a work of art when it lives following words: The 2015 “Principles for the Conserva- an artist would need to study nature legislation. The second half of the 20th in some individualized experience. tion of Heritage Sites in China” have now So far as the definition of cultural herit- in order to learn about the original century can be seen as the period of an As a piece of parchment, of marble, “Imbued with a message from the introduced new Chinese characters. For age was mainly referred to “monuments divine Ideas in Creator and to possibly international movement in safeguarding of canvas, it remains (subject, past, the historic monuments of example: “heritage site” is interpreted and sites”, as in the name of ICOMOS, the even come closer to the original in a heritage resources. however, to the ravages of time) generations of people remain to the as a combination: [“culture + property + operations of safeguarding tended to be new work of art: “originata dalla natura self-identical throughout the ages. present day as living witnesses of ancient + remains”]. The notion of “his- more stable, aiming at maintenance of supera l’origine e fassi originale dell’arte”. But as a work of art, it is recreated their age-old traditions. People are torically and culturally famous sites” is the historic material and stopping the [1] In the 18th century, Johann Joachim Basic concepts every time it is aesthetically experi- becoming more and more conscious interpreted: [history + culture +famous + aging processes. One of the problems Winckelmann claimed that: “the high- enced.” [8] of the unity of human values and city + famous +town + famous + village]. has been the definition of reconstruc- est beauty is in God, and the concept of The developments of the 18th and 19th regard ancient monuments as a [14] In Arabic languages as well there are tion, which in the Venice Charter was human beauty is the more complete the centuries were the basis for the further Referring to the creative process and to common heritage. The common some problems. In United Arab Emir- strictly limited to specific cases defined nearer and the more in agreement it specification of concepts in the 20th the distinction of the double character responsibility to safeguard them for ates, for example, the notion “turath”, as “anastylosis”. With the introduction of can be thought to be to the highest Be- century. In this process, the contribution of a work of in the human mind and in future generations is recognized. It corresponding to the international the new category of cultural landscape, ing.”[2] Ideal beauty found its expression of Alois Riegl (1857-1905) to the analy- material, Brandi notes: is our duty to hand them on in the notion of “heritage”, is referred exclu- it automatically brought into discussion in nature, and the Greeks themselves sis of heritage values and consequent full richness of their authenticity.” sively to intangible cultural heritage vernacular built heritage and traditional were considered an especially beautiful approach to conservation was certainly “This means that, until such a re- [13] and living traditions. Instead, another continuity in their care. Already in 1987, race. It became an ideal model for artists important. He established a balance be- creation or recognition occurs, the word, “athar”, which also refers to herit- the ICOMOS Committee of Brazil stated in the antiquity and consequently the tween historical values (referred to age, work of art is only potentially a work The Venice Charter was later taken as age, is understood to mean “ruins”. [15] (articles 2 - 4): antique sculptures could become a new history, memory) and present-day values of art, or, as we have said, it does the founding ethical statement of ICO- Consequently, there is uncertainty about model for modern art. Consequently, (newness, art, use).[4] Depending on the not exist except on the most basic MOS, and it was also recognised by the policies related to restoration of historic - “Urban historical sites are part antique sculptures and architecture priorities, one could lay more weight on level - that is, as in Dewey’s passage, World Heritage Committee as a funda- buildings, which can be interpreted as of a wider totality, comprising the became the first object for conservation the one, and consequently less on the it is simply a piece of parchment, or mental principle for judging restoration. part of the intangible heritage and con- natural and the built environment particularly for their aesthetic worth. other. In his identification of Kunstwol“ - marble, or canvas.” [9] The Charter has since been translated sequently allowing for replacement or and the everyday living experience The closer a work seemed to be to ideal len”, he claimed that each period and into a large number of languages, and reconstruction. This confusion is also re- of their dwellers as well. Within this beauty, the more valuable it was. each culture has its particular condi- As a result of this reflection, Brandi de- it has become the basic reference for flected in the interpretation of concepts wider space, enriched with values tions, within which artistic production fines the “restoration of works of art”: the body of the international doctrine such as “authenticity” and “integrity”, of remote or recent origin and While the Age of Reason of the eight- achieves its character through a mutual of UNESCO and ICOMOS. It is therefore fundamental references for conservation permanently undergoing a dynamic eenth century was characterised by interaction between artist and society. “Restoration consists of the meth- important that the original message policies associated with World Heritage process of successive transforma- idealism, the Romanticism of the early This can be brought back to the funda- odological moment in which the of the Charter be properly understood. properties. tions, new urban spaces may be con- 19th century emphasised the individual mental creative capacity of humanity, work of art is recognized in its phys- Unfortunately, not all translations sidered as environmental evidences human creation; consequently, also the discussed by the French philosopher ical being and in its dual aesthetic necessarily correspond to the original in their formative stages. appreciation of the concept of authentic- Henri Bergson (1859-1941),[5] who also and historical nature, in view of its French. It is of course normal that even Development of - As a socially produced cultural ity associated both with the aesthetic was the Chairman of the International transmission to the future.” [10] the same terms can be interpreted dif- international doctrine expression the city adds rather than and historic aspects of the work became Committee for Intellectual Cooperation ferently in different languages based on subtracts. Built space, thus, is the increasingly important. Indeed, the (the precursor of UNESCO), founded by Consequently, Brandi insists that resto- specific cultures. For example, the Latin In the 1990s, there were several interna- physical result of a social produc- appreciation of the significance of and the League of Nations in 1922. ration must start with the conscious rec- word “monument” has been differently tional developments regarding con- tive process. Its replacement is not values associated with works of art ognition “in relation to the way it enters interpreted. The first sentence in the servation concepts. In 1992, the World justified unless its socio-cultural changed drastically. This change was Even though Cesare Brandi (1906-88) into the world, and into each individual’s French edition, speaks of “les œuvres Heritage Committee decided to adopt potentialities are proven exhausted. well perceived by Friedrich Nietzsche does not seem to have completely agreed particular way of being in the world.” [11] monumentales des peuples” (i.e. the great the notion of “cultural landscape” as a Evaluation standards for replace- (1844-1900), who spoke about the “death with Riegl’s ideas, his Theory of Restora- Accepting “art” as a product of human works or important achievements of the heritage category for nominations to ment convenience should take into of God”, intending the abolition of the tion[6] certainly reflects some of the spirituality gives it its special position in peoples). The English version instead the World Heritage List. This defini- account the socio-cultural costs of universal and Christian moral values concepts. Brandi considered a work of art human creative production. talks about: “the historic monuments of tion could be referred to rural as well as the new environment. 20 Significance and Values of Cultural Heritage; Appreciation of Conservation Significance and Values of Cultural Heritage; Appreciation of Conservation 21

- The main purpose of preservation jectives of each. This is felt particularly a more general definition to what is administrative requirement for inscrip- Instead, in our contemporary society, is the maintenance and enhance- in the case of World Heritage Conven- recognized as inheritance, and secondly tion. In fact, the Statement of OUV is values have become a product. ment of reference patterns needed tion, which initially was intended for also identifies the people who should be based on the criteria for inclusion, the for the expression and consolida- those parts of the cultural or natural responsible for its care. The Convention, verification of the criteria in reference Taking note of the above discussion tion of citizenship. It is through heritage that are of “outstanding inter- as it states in the preamble recognizes: to integrity and authenticity, as well as regarding the development of the the outlook of the citizen’s political est and therefore need to be preserved as “the need to put people and human the protection and management. Indeed, international doctrinal framework, it is appropriation of urban space that part of the world heritage of mankind as values at the centre of an enlarged and an increasing number of World Heritage this framework that per se can be seen preservation may contribute to a whole”. The references for the identifi- cross-disciplinary concept of cultural nominations refers to properties that as a new form of globalised community improve life quality.” [17] cation of such properties have gradually heritage.” [18] are not generally known. Therefore, the that establishes its norms and rules been defined in more reduced contexts, notion of OUV is increasingly a con- to be respected by those who wish to The next step has been to work for the and consequently there is an increasing In 2012, at the occasion of the 40th struct based on the manipulation of the make part of it, i.e. the “global heritage broadening of the concept of cultural number of vernacular heritage being anniversary of the World Heritage Con- nomination requirements. This question community”. Such heritage community heritage. In 2003, the General Confer- inscribed. Another question is that, in vention, the participants of the closing is not only related to World Heritage, establishes its own processes that gener- ence of UNESCO adopted the “Conven- the early phase of listing properties, the conference in Kyoto, Japan, adopted the but also more generally in the field of ate new definitions for something to be tion for the Safeguarding of the Intangi- main attention was given to important Kyoto Vision. It is here that the impor- heritage protection. The involvement recognised as inheritance. This some- ble Cultural Heritage”. It referred to: public buildings or monumental urban tance of the role of community is finally of the local communities and a variety thing can actually be almost anything ensembles. With the introduction of the recognised in the World Heritage con- of different stakeholders has further that is justifiable within the present-day “--the practices, representations, notion of cultural landscape, the ordi- text. Even though the Convention itself complicated the situation. As a result, international doctrine. All depends on expressions, knowledge, skills – as nary habitat with particular problems of already placed the responsibility for the question of identifying the integrity what a particular group is capable of well as the instruments, objects, maintenance and shared management ensuring identification, protection and has become crucial. This means iden- justifying as such within the established artefacts and cultural spaces associ- has become a major issue for discussion. presentation of heritage to the States tification of elements or features that framework. ated therewith – that communities, Parties, the people themselves tended to together contribute to the justification groups and, in some cases, indi- At the same time, in 2005, the Council of be left on the side. It is now for the first of heritage quality, and subsequently the In this process, the concepts of integrity viduals recognize as part of their Europe adopted the Framework Conven- time that the role of the community in verification of the truthfulness and cred- and authenticity become crucial. Here, cultural heritage.” tion on the Value of Cultural Heritage for safeguarding heritage is recognised: ibility of the sources of information, as integrity is defined in reference to a par- Society, so-called Faro Convention. Here is proposed in the 1994 Nara Document ticular theme or thematic framework, In 2005, there followed the “Convention cultural heritage is referred - “Only through strengthened on Authenticity.[20] If properly man- on the basis of which are identified all on the Protection and Promotion of the relationships between people aged, such processes of identification the elements or features that together Diversity of Cultural Expressions”, which “--resources inherited from the past and heritage, based on respect for and recognition of heritage resources are justify the worth of the chosen theme. In referred to cultural diversity, cultural which people identify, indepen- cultural and biological diversity as an important challenge and a major step this phase, therefore, the choice would content, cultural expressions, cultural dently of ownership, as a reflection a whole, integrating both tangible towards a balanced, culturally and envi- be made by a group of people, and then activities, as well as cultural industries. and expression of their constantly and intangible aspects and geared ronmentally sustainable development. justified for its worth. Consequently, “Cultural expressions” were those ex- evolving values, beliefs, knowl- toward sustainable development, especially in the World Heritage context, pressions that result from the creativity edge and traditions. It includes all will the ‘future we want’ become from an initial value hypothesis, there of individuals, groups and societies, and aspects of the environment result- attainable. From value to significance will be a research process that intro- that have cultural content. “Cultural ing from the interaction between - Such strengthened relationships duces a more precise justification of the content”, instead, refers to the sym- people and places through time.” should be grounded in a multi-disci- What is a value? Values are a mental potential heritage area and its compo- bolic meaning, artistic dimension and plinary and participatory approach association of worth to something. It can nents. This can be either in one particu- cultural values that originate from or ex- This definition of heritage is interesting, to heritage conservation, which be the recognition of a particular quality lar site, and it can also be diffused as a press cultural identities. Together with because it is not speaking either of tangi- would integrate the consideration of normally based on comparison with serial nomination in different places, the World Heritage Convention of 1972, ble or intangible, movable or immovable, social, economic and environmen- other issues of similar characteristics. different countries, and even different these two conventions complement the not even cultural or natural, but gener- tal dimensions, paying particular In a cultural context, values can relate continents. In this process, the initial general umbrella of UNESCO regarding ally of resources that are identified with attention to vulnerable groups re- to the norms or rules established by the value hypothesis is transformed into a the identification and safeguarding of particular meaning or significance. This specting all relevant international society or community, which should be set of signs that together define the sig- cultural heritage. definition is further complemented with standards and obligations…” [19] shared and respected. In a traditional nificance of the area or areas concerned. the introduction of the notion of “Herit- society, values used to be inculcated The next step is to generate a learning Each of these conventions has its own age Community”, consisting of “people At the time of writing the Convention, over the generations. In modern glo- process to produce the value judgement rules, which should be respected. How- who value specific aspects of cultural in the early 1970s, the requirement of balised society, however, the traditional in society. ever, the introduction of the different heritage which they wish, within the the Outstanding Universal Value, OUV, values are threatened by abolition, and rules has also caused some competition framework of public action, to sustain will have been perceived as a value Nietzsche for example feared that the and rivalry as well as misunderstanding and transmit to future generations”. judgement. With further development, result could be nihilism. regarding the implementation of the ob- Indeed, the Faro Convention both offers however, it has become rather more an 22 Significance and Values of Cultural Heritage; Appreciation of Conservation Significance and Values of Cultural Heritage; Appreciation of Conservation 23

Notes Web Pages [1] G.P. Bellori (1976), Le vite de’ pittori, scultori e [17] ICOMOS Brazil (1987), First Brazilian Seminar UNESCO Standard-Setting Instruments: architetti moderni, Turin (original lecture in 1664). about the Preservation and Revitalization of His- http://portal.unesco.org/en/ev.php-URL_ toric Centres, Carta de Petropolis, Itaipava, July 1987. ID=12024&URL_DO=DO_TOPIC&URL_SEC- [2] J.J. Winckelmann (1764), Geschichte der Kunst des TION=201.html. Altertums, reprint, 1993, Darmstadt. [18] Council of Europe Framework Convention on the Value of Cultural Heritage for Society, Faro ICOMOS Charters and other doctrinal texts: http:// [3] F. Nietzsche, Die fröhliche Wissenschaft, 1882 (The 2005. www.icomos.org/en/charters-and-texts Gay Science). Council of Europe Treaties: http://conventions.coe. [19] ‘The Kyoto Vision’, November 2012, UNESCO. int/?pg=/Treaty/MenuTraites_en.asp [4] A. Riegl (1903), Moderne Denkmalkultus : Sein Wesen and seine Entstehung, Zentral-Kommision für [20] K-E. Larsen (ed.) (1995), Nara Conference on Kunst- und historische Denkmale, W. Braumüller, Authenticity; Conference de Nara sur l’Authenticité, Germany. Japan 1994, Proceedings/Compte rendu, UNESCO, Agency for Cultural Affairs / Japan, ICCROM, [5] Henri Bergson (1907), L’Évolution créatrice, ICOMOS, Tapir Publishers, Norway. Presses Universitaires de France, Paris.

[6] C. Brandi (1963), Teoria del restauro, Roma; References English edition: C. Brandi (2005), Theory of Restoration, Istituto Centrale per il Restauro, Nar- BELLORI, G.P. (1976) Le vite de’ pittori, scultori e dini Editore, Firenze. architetti moderni. Turin (original lecture in 1664).

[7] M. Heidegger (1935/36), Der Ursprung des Kun- BERGSON, H. (1907) L’Évolution créatrice. Paris: swerkes, in: M. Heidegger (1980), Holzwege, Vittorio Presses Universitaires de France. Klostermann, Frankfurt am Main. BRANDI, C. (1963) Teoria del restauro. Roma; [8] Dewey, J. (1934), Art as Experience, New York; English edition. quote from Brandi, C. (2005), Theory of Restoration, ICCROM, Rome, p. 48 (first published in Italian: BRANDI, C. (2005) Theory of Restoration. Firenze: Teoria del Restauro, in 1963). Istituto Centrale per il Restauro, Nardini Editore.

[9] Brandi, 2005, p. 48. DEWEY, J. (1934) Art as Experience. New York: Capricorn. [10] Brandi, 2005, p. 48. HEIDEGGER, M. (1935/36) ‘Der Ursprung des [11] Brandi, 2005, p. 47. Kunstwerkes’, in HEIDEGGER, M. (1980), Holzwe- ge. Frankfurt am Main: Vittorio Klostermann. [12] ICCROM, The International Centre for the Study of the Preservation and Restoration of JOKILEHTO, J. (1999) A History of Architectural Cultural Property, established by UNESCO at its Conservation. Oxford: Butterworth-Heinemann. General Conference in New Delhi in 1956. LARSEN, K-E. (ed.) (1995) Nara Conference on Au- [13] ‘La Charte de Venice’, 1964. thenticity; Conference de Nara sur l’Authenticité, Japan 1994, Proceedings/Compte rendu. UNESCO, Agency [14] 2015 Principles for the Conservation of Heritage for Cultural Affairs / Japan, ICCROM, ICOMOS. Sites in China, issued by ICOMOS China; approved Norway: Tapir Publishers. by the State Administration of Cultural Heritage. NIETZSCHE, F. (1882) Die fröhliche Wissenschaft [15] ICCROM with the support of the Sheikh Al (The Gay Science). Chemnitz: E. Schmeitzner. Qasimi of the Emirate of Sharjah has established ICCROM-Athar Regional Conservation Centre in RIEGL, A. (1903) Moderne Denkmalkultus : Sein Sharjah, in 2012, following several years of activi- Wesen und seine Entstehung. Wien: Zentral-Kom- ties in capacity building and technical collabora- mision für Kunst- und historische Denkmale, W. tion in the Arab Region. Braumüller.

[16] The notion of cultural landscape was adopted UNESCO Operational Guidelines for the Imple- by the World Heritage Committee in 1992, and mentation of the World Heritage Convention. Paris: published in the Operational Guidelines for the UNESCO (first edition 1978, latest edition 2015). Implementation of the World Heritage Convention, UNESCO, in 1994 (par. 36). WINCKELMANN, J. J. (1764) Geschichte der Kunst des Altertums. Reprint 1993. Darmstadt: Wissen- schaftliche Buchgesellschaft. 24 25

Liisa Lindgren Keywords: from art deco building protection to tubular steel Parliament Building renovation – conservation of Johan Sigfrid Sirén the original furniture (1889-1961), architect of the parliament building as part of the renovation project

Abstract The Parliament Building designed by J. S. Sirén and inaugurated in 1931 was viewed as the pinnacle of Finnish archi- tecture at the time. The renovation pro- ject of the building that began in spring 2015 is scheduled for completion in 2017. Preserving this unique monument and its valuable original furniture and other furnishings are the great challenges of the renovation project. 26 From Art Deco to Tubular Steel - Conservation of the Original Furniture of the Parliament Building as Part of the Renovation Project From Art Deco to Tubular Steel - Conservation of the Original Furniture of the Parliament Building as Part of the Renovation Project 27

The Parliament Building, the cubic dom and independence, fortifying the to the main floor of the building, the The all-embracing principle of the maintained in accordance with their all the maintenance and repairs. From granite fortress with its magnificent national self-esteem of a young state. festive Hall of State. On the second floor interior architecture and decoration architectural, historical and cultural 1952 onwards this was delegated to the staircase and colonnade, towers over the we have the Plenary Hall with its domed is hierarchically based on the status of value. The reparations and changes must county office of the National Board of surrounding buildings just as it symboli- The austere outer architecture of the ceiling, almost in its original state, and each space. This is manifested in style take into consideration the representa- Building. A full-time carpenter was cally towers over Finnish architectural building hides various spaces and deco- the elegant, urban café with its func- and material choices, lighting and deco- tive historical and architectural features hired for the Parliament Building and history. Already at its completion it was rational entities where light, colour and tionalist furniture. The main meeting rative motifs. Modernist functionalist and preserve the essential building his- later a further carpenter. The workshop considered the pinnacle of Finnish archi- even playful details have their place. A rooms and offices for senior staff line the elements have been fitted into a frame tory in its different phases. Where any in the Parliament was responsible for the tecture, civil engineering and build- simplified form is creatively combined Speakers’ Corridor and the Government’s of stripped-down Nordic Classicism. The renovations and changes are concerned basic maintenance of the furniture, re- ing services technology. The elaborate with the elegant opulence of colours and Corridor. Committee rooms are placed influence of Art Deco, inspired by Cub- the National Board of Antiquities, which pair of the wooden parts, surface treat- stone masonry showed the skilfulness materials in the modern classicism of ar- on the third and fourth floor. The most ism and eastern exoticism, can be seen has the power to allow minor excep- ment, indeed everything but upholstery. of Finnish stone work. The building was chitect J. S. Sirén (1889-1961). The rectan- impressive room is the former Grand in ornamental details, furniture and tions to the protection decrees, must be also a flagship for Finnish arts and crafts gular building with its symmetrical plan Committee room. The spaces originally textiles. Visual art, closely connected consulted. From the 1970s onwards the principles and interior design, shaping the image is constructed around the circular Ple- reserved for MP’s offices on the fifth and to the architecture, has a pivotal role in of preventive conservation have been of a young nation. The new Parliament nary Hall. The marble staircases at the sixth floor nowadays house parliamen- the building. As a result of the coopera- As a result of the dealings between the applied in repair work. Protection needs Building was seen as a symbol of free- south and north ends lead from the foyer tary groups and the media. tion of leading designers the Parliament representatives of the Parliament Build- have been observed with every pro- Building became a complete work of art, ing and the National Board of Antiqui- ject causing change, such as changes where every detail evokes the totality. ties specific protection decrees for each in the usage of the spaces or technical parliamentary building were mapped improvements, in consultation with out and in the plans of the buildings each the National Board of Antiquities. Building protection protected area is marked with an appro- Architects Pitkänen-Laiho-Raunio has priate level of protection. designed the changes in the interior The Parliament Building was ratified in since the 1970s, including the renovation the city plan of December 28, 1977 as a at the beginning of the 1980s. With the protected building, where no additional Maintenance of the renovations now ongoing the responsi- building, reconstruction or change could interior, the furniture and bility has been transferred to Helin & Co be made to alter the façade, the roof or other furnishings Architects. This renovation, scheduled the interior, in order to maintain the to be completed in 2017, has adopted the building’s cultural and architectural When the protection of the Parliament principle of restoring original solutions value and style. The Parliament Building Building was updated it was noted that where possible and showcasing the vari- is protected according to the statute of no specific legislation offers the means ous stages of building. September 18, 1980 on the protection of to protect the valuable furniture and state-owned, culturally and historically other furnishings in the buildings. A important buildings. No specific protec- separate agreement was considered, The original furniture in tion decrees were made at this time. but the National Board of Antiquities the Parliament Building did not eventually consider it viable for When the Parliament launched a resto- legislative reasons. This does not mean, There are over 3,000 pieces of furniture ration programme for its older buildings however, that the care for the original left that were designed for the Parlia- in 2006, the National Board of Antiq- contents is treated with indifference. ment Building. The majority of them are uities considered that the protection The preservation of its exceptional still in use and in their original sites. should be extended and specified. There totality is due to the respect and care the Architect J. S. Sirén was personally followed a joint process between repre- Parliament Building has enjoyed from responsible for the design of all the light- sentatives of the Parliament Building the beginning. It remains one of the ing fixtures and furniture for the main and the National Board of Antiquities. In most important artistic entities in Finn- spaces, the Hall of State, the Plenary 2008 the protection of all parliamentary ish architectural history. Room and the original Grand Committee buildings was specified to include the Room. He chose talented contemporary buildings completed in the 1950s and It is known that architect J. S. Sirén was professionals to design other spaces. 1970s. himself responsible for the first instruc- tions concerning the maintenance of The style of the design and the materi- The general protection decrees state the furniture and the whole interior. He als, upholstery and surfaces chosen that the Parliament buildings and their wrote five pages on cleaning the pieces were dictated by the value hierarchy of courtyards should remain in the use of furniture and the surfaces. During the the rooms. The most dignified spaces for which they were intended and be first decades he also strictly controlled like the State Hall with its empire style

1. Plenary Hall. Photo: Simo Rista / Eduskunta. 28 From Art Deco to Tubular Steel - Conservation of the Original Furniture of the Parliament Building as Part of the Renovation Project From Art Deco to Tubular Steel - Conservation of the Original Furniture of the Parliament Building as Part of the Renovation Project 29

furniture in curly birch represent the cal standard furniture. The woman MPs’ nal furniture and placing it differently Over the years, pieces of furniture that refined upholstery fabrics that are remi- inventory and photograph all furniture highest style hierarchy. The Govern- sitting rooms were the result of the col- if required. The need for more pieces of have been taken out of use have been do- niscent of the original textiles. In the designed for the Parliament Building in ment’s Meeting Room is graced by flame laboration of Elsa Arokallio and textile furniture was met by making replicas of nated to museums. The current renova- current renovation it has been decided to its building stage as well as the furni- birch furniture in empire style, designed artist Maija Kansanen. In the Diplomats’ the old furniture, such as the ministe- tion aims to keep the original furniture honour Kukkasjärvi’s valuable work and ture designed in the 1970s and 1980s. by Arttu Brummer. In the Committee Room the flame birch furniture designed rial chairs in the Government’s Meeting in use as much as possible. Pieces that have a large selection of her upholstery This took place in 2009 to 2013. During Rooms Arvo Muroma’s flame birch furni- by Birger Hahl has original upholstery in Room. A new space, like the Speaker’s have been transferred to other spaces fabrics woven from the original patterns, the renovation in the 1980s a register of ture emphasizes the responsibility of de- luxurious fabric, the designer of which salon was furnished with pieces from the are again collected together. Pieces of but with fewer colour alternatives. The the furniture was created including all cision-making. The hardwood furniture is unfortunately unknown. Otherwise, Ombudsman’s office and their replicas. furniture that due to their poor condi- restorers will then have these fabrics at available information from the commis- in the Speaker’s Room in 1920s Classicist based on the fabric samples in the Parlia- The large book cabinets in the Com- tion have been in storage will be restored their disposal. The small amounts to be sion and purchase documents, such as style by Rafael Blomstedt reflects dig- ment’s historical building archive, it mittee Rooms were adjusted to better in order to be used again. The cabinets woven caused problems, and some of the the name of the designer, the manufac- nity, whereas the curly birch furniture is known what types of fabrics famous meet modern needs and new coffee from the 1980s will also be restored and textiles are made in small companies turer, the original placement and also in the Secretary General’s Room has a contemporary textile designers designed tables were added in a style and material remain in use. Work on a placement plan which still possess old-style industrial information on the replicas. Based on more bourgeois Biedermeier style. In the for the Parliament Building. imitating the existing furniture in the for the furniture was begun in 2013 in machinery. this register and as a result of a thorough Central Administration Offices Werner rooms. To fulfil the ever-increasing need cooperation with Helin & Co Architects. furniture inventory a furniture database West’s discreetly elegant flame birch for more bookshelves and filing cabi- was created and it is now updated regu- furniture signifies the status of higher Restoration of the nets Architects Pitkänen-Laiho-Raunio The original, hand-woven upholstery Renovation larly. The database has information on civil servants. The urban elegance of furniture as part of designed new cabinets in a modern style fabrics were changed in the 1950s or background work and furniture types, materials, amounts and the café is reflected in Werner West’s the renovation that took into account the dimensions, 1960s being substituted with new, rather conservation plan placements. Unfortunately, the infor- functionalist tubular steel furniture. materials and surface treatments of the nondescript industrial fabrics. As part of mation on repairs for earlier decades is Birger Hahl designed the Members of One of the guiding principles in the old furniture. the 1980s renovation, textile artist Irma The first step in the restoration of incomplete. the Parliament workrooms using practi- 1980s renovation was keeping the origi- Kukkasjärvi designed a large selection of the original furniture was to take an

2. Hall of State. Photo: Tiina Tuukkanen / Eduskunta. 3. The cafeteria. Photo: Tiina Tuukkanen / Eduskunta. 30 From Art Deco to Tubular Steel - Conservation of the Original Furniture of the Parliament Building as Part of the Renovation Project From Art Deco to Tubular Steel - Conservation of the Original Furniture of the Parliament Building as Part of the Renovation Project 31

The conservation and repair plan for factors of the conservation. The standard out of the building is either impossible furniture was made in 2014. First, the furniture in a Committee Counsel’s of- or involves too many risk factors. Also, goals and principles of the conservation fice on the third floor of the Parliament they have to be conserved in a dust-free were defined. The primary goal is to Building was chosen for the pilot project. environment with even temperature and ensure the furniture is preserved. As re- This type of office furniture, designed by humidity levels. The latter requirements maining in use helps to secure this goal, Birger Hahl, is comprised of about 250 apply to the whole renovation site. the pieces should be durable and look pieces in all, including desks, occasional presentable. This means repairing any tables, chairs, sofas and book cabinets. The pilot project showed that value damage. However, the original look of The material is oak and wood with oak choices cannot be avoided in the repair the furniture should be maintained and veneer with polished nitrocellulose process. The particularly valuable excessive repair avoided. Natural wear lacquer. The pieces of furniture in ques- or technically demanding pieces of can show unless it differentiates the tion also had different types of damage. furniture require expert handling by a piece from the group. Both replicas and The meticulous conservation executed conservator. It is appropriate to keep to original pieces are repaired in the same by Lassi Koivunen raised various ques- conservation methods and materials and way. One important goal of the conser- tions that needed to be dealt with. One surface treatments similar to the origi- vation was that repair work should be problem is dealing with the variation nals in the conservation work. Where done in Finland, as it was decided that in surface treatments made in differ- pieces of furniture are in great numbers pieces of furniture, which are part of ent carpenter institutes and whether to or are in need of extensive repair work, the national heritage, should not be sent standardize the surfaces or not. a wider margin in conservation work abroad. standards has to be accepted. Besides conservators, a larger group of profes- Conservation need was defined by The challenges of sionals are included in the work, such inventing and classifying the damage renovation as students in the field and upholstery piece by piece. Every piece of furniture specialists. The great amount of furni- was marked with new, individual type Because of the vast number of pieces ture and the decision to commission all and numeral markings as the 1980s reg- of furniture it was necessary to create the repair work in Finland led to these istration system had become redundant. rational repair packages, grouped and decisions. put together on the basis of, for example, The instructions for repair are listed particularly valuable pieces or technical- The results of even the best conservation according to conservation goals. The ly demanding pieces. The starting points are not sustainable unless, with the help old repairs are corrected only if they for contract packages were also uphol- of conservators, we school the personnel are obtrusive. The materials chosen for stery groups or pieces in need of similar responsible for the maintenance of the repair and the repair methods should repair work, such as veneer repair or building and its contents. A mainte- be determined so that they will not surface treatment. About thirty contract nance guide manual for the interior, obstruct repair work later. This applies packages have been agreed upon in all. which has detailed instructions for the especially to glues and surface treatment The Parliament working in temporary care of different pieces of furniture and materials. Different surface treat- spaces during the renovation adds an ex- their delicate surfaces, has to be drawn ments applied over the decades present tra challenge to the work, as part of the up before the Parliament returns to the a particular challenge. However, they furniture is needed there. These pieces building. will not be corrected unnecessarily as of furniture have to be repaired either in every new treatment wears the surface small numbers at any one time or during of the furniture. All the worn upholstery the summer and winter breaks of the fabrics and leather will be renewed with Parliament. The next stage will be for the exception of the Diplomats’ Room. each contractor to present a test sample The bases and methods of upholstery of their work. for sofas and chairs are to be done using traditional working methods and high A great challenge for the supervision quality materials. of the repair work is the need for work instructions to be completely unambigu- In summer 2014 a test repair project was ous. Another challenge is presented by carried out to test the repair instructions the fixed pieces of furniture that have and to map the possibilities and danger to be repaired in situ, as taking them 32 33

Miia Perkkiö Keywords: complexity and conservation of historical buildings contradictions when restoration preservation preserving wooden ethics architecture

Abstract The systematic and adequate mainte- nance of historical buildings is essential for their preservation. The same goes for monumental buildings – churches, palaces, archeological sites – and utili- tarian buildings like schools, hospitals, factories selected for preservation and those for “architettura minore”[1] – the traditional edifices representing local craftsmanship and the use of local materials and techniques, architecture without architects, such as the wooden constructions found in Finland’s coun- tryside and towns. What happens when the maintenance is not sufficient, when it is necessary to apply conservation methods or even restoration to prevent further losses and deterioration, to en- sure the preservation of the monument? Are restoration principles valid when treating wooden architecture? 34 Complexity and Contradictions When Preserving Wooden Architecture Complexity and Contradictions When Preserving Wooden Architecture 35

The principles determine is easy to substitute and fulfill miss- focused on conserving the original ma- particularly applies to monuments sible task of fixing existing – or mostly the ethics of preservation ing parts compared with conserving terial that enables maintaining the au- that are to be seen in a museum- vanished – paintwork. At the same time, It is inevitable that with the passing existing material” (Carbonara, 1999). thenticity. Nevertheless, in most build- like context. (…) The “use-value” of the significance of the paint itself disap- of time, original constructions and The restoration principles – the revers- The challenge in the case of wooden ing restoration projects the conservation many types of monuments demands pears. Furthermore, the aesthetic and materials will disappear and will be ibility, physical and chemical compat- buildings is that the restoration princi- work tends to remain invisible, while repair or careful rehabilitation that structural integrity of the building is in substituted by new ones. The historic ibility and the durability of changes ples have their origins in environments restoration including renovation work, goes beyond conservation work and danger. Restoration principles appear wooden structures are destined to be and additions, the differentiation of where constructions are mainly of stone reconstructions and new parts draw the thus aIso involves additional pres- to be at least partly inappropriate: the merely restored, rather than conserved. additions and finally the minimum ac- or brick – materials that have a notably main attention. Furthermore, restoring ervation methods which certainly reversibility and the differentiation of Ultimately for us, the question remains: tion – all aim to guarantee the preserva- longer lifespan than wood. buildings in a museum context differs include restoration and perhaps also changes are hardly verifiable – unless can a historic wooden building be called tion of the material authenticity of the in many aspects from restoring edifices renovation work. However, conser- one uses a microscope! authentic if the original materials have building. The ideology of the restoration For Cesare Brandi (1906–88) it was es- still in use, the existence of which is vation always is and will remain the been replaced with new ones, even if the principles, confirmed by professionals sential that the value of the opera, the partly dependent on their functionality. starting point for all deliberations Ultimately the most crucial issue is form and the details as well as the meth- and by international conventions and result of a unique and creative process, The former president of ICOMOS Michael in the field of preservation. (Petzet, the research and documentation of the ods and techniques are identical to the agreements, is focused on conservation was dependent on the originality of Petzet (1933–) summarized it as follows: 2004, s. 8) history of the painting and colors before original? Obviously the authenticity of work more than on restoring by adding material. Therefore, the restoration was deciding on the paints and techniques wooden heritage requires maintaining new elements or substituting missing or to be focused exclusively on the material, ln other words, for certain catego- In Seurasaari open air museum in used for painting. It is just as important the traditional craftsmanship, materials damaged parts. According to Profes- “si restaura solo la materia” (Brandi, 1977, ries of monuments, conservation Helsinki, where wooden constructions to take into account the significance and original detailing. It requires also, sor Giovanni Carbonara (1942–), one of p.7). Today it is unquestionable that the is the first and only measure! It is represent the vernacular building tradi- of the site, and its architectural and that the focus should be on thorough Italy’s leading restoration experts: “It restoration process should always be obvious for several reasons that this tion in different regions of Finland, most historic values. Strictly speaking, from research and documenting. of the buildings have no other function the point of view of methods used, the than being museum objects to be ob- appropriate term would be ‘restoration’ served from in and outside. Still, without rather than ‘conservation’. Operations a doubt the visitors have to be taken into demand historical and aesthetical evalu- account when programming the build- ation – the core of restoration ideology – ings’ restoration. highlighted for example by Brandi.

Another example of repetitive restora- To restore or to conserve – tion work in Seurasaari is the renewal of a terminological or meth- roofs, the essential part of the building odological dilemma? for guaranteeing the preservation of the entire construction. The lifespan Even if removing a monument from its of wooden roofing is limited: it simply Notes original site is generally out of ques- cannot resist in harsh Finnish weather [1] Architettura minore (It.) is a definition that is tion, buildings of Seurasaari wouldn’t conditions for more than a few decades. commonly used today in the Mediterranean and especially in Italy, indicating often traditional probably have survived in their original Conserving a damaged or structurally housing in small villages and towns, and the urban contexts. At this point we must analyze insecure roof may be hazardous, putting structure formed by those buildings. more in detail the restoration principles the whole building at risk. Reconstruct- [2] The methods used during the 1970s and 80s, and their validity in the case of tradi- ing a roof as it was, paying full respect such as impregnation, enabling the original tional wooden constructions trans- to the original materials and craftsman- material to be maintained, are no longer used for formed into museum objects. ship, is in this case the only possibility. ethical as well as ecological reasons. The focus is on restorative work rather For Seurasaari as well as for wooden than the conservation of original mate- References constructions in general, one of the most rial. BRANDI, C. (1977) Teoria del restauro. Turin: Piccola common restoration operation is the re- Biblioteca Einaudi.

painting of facades which, in many cas- Surprisingly, when observing the vertical CARBONARA, G. (1999) [Lecture notes] Scuola es, has a dual task: on the one hand, the constructions, the potential for conserving di Specializzazione in Restauro dei Monumenti, paint is a decorative element reminding timber exists on a larger scale. It is often Rome, January.

us of the ideals of certain periods, while enough just to remove rotten or damaged PETZET, M. Principles of Preservation. An on the other hand it protects the wooden wood and to replace it with similar mate- Introduction to the International Charters for Con- paneling or timber construction itself. rial, using the original techniques. In fact servation and Restoration 40 Years after the Venice Charter, 2004. [Online] Available from: Mere conservation of the rest of the replacing the decayed wood is a traditional http://www.icomos.org/venicecharter2004/petzet. paint would signify the often impos- procedure to repair timber constructions.[2] pdf [Accessed: 17 June 2015].

1. Niemelä Manor in Seurasaari. Photo: Miia Perkkiö. 36 37

Sarah Staniforth Keywords: spirit of place: Significance the golden thread spirit of place that runs through conservation the management of historic places

Abstract Each National Trust property has devel- oped a spirit of place statement based on what is unique, distinctive and cher- ished about the place. This understand- ing of spirit of place, which draws on the statement of significance and insight into what visitors cherish about the place, guides all activities to improve the quality of everything from conservation to presentation and interpretation, and from marketing to commercial activi- ties in the shops and tea rooms. It is the golden thread that runs through good property management ensuring that all actions respect and are appropriate for the character of a place. Spirit of place brings together expert understanding of places with the views of broad range of people who use the place. This paper will show how spirit of place is used to inform conservation practice. 38 Spirit of Place: the Golden Thread that Runs through the Management of Historic Places Spirit of Place: the Golden Thread that Runs through the Management of Historic Places 39

Introduction In classical Roman religion a genius loci In a historic place the conservation of was the protective spirit of place. In artefacts is dependent on the context in Significance and spirit of place have long contemporary usage, genius loci usually which they are displayed. For example, been vital concepts in understanding refer to a place’s distinctive atmosphere, in a room, the shininess and condition and looking after places of historic inter- or “spirit of place”, rather than a guard- of gilding on the frames of paintings est and natural beauty. The 1931 Athens ian spirit. should not only be similar to each other charter (League of Nations 1931), 1964 but also to other gilding in a room. And Venice charter (ICOMOS 1964) and 1979 Alexander Pope (1688-1744) made the the level of conservation of one type of Burra charter (Australia ICOMOS 1979) genius loci an important principle in artefact should take into account the have informed and codified our conser- garden and landscape design with the level of conservation of all other types of vation practice. following lines from Epistle IV, to Rich- artefact in the space. The result should ard Boyle, Earl of Burlington: be a harmonious whole in which the As conservation professionals, whether- appearance of no object looks out of place art or architectural historians, curators Consult the genius of the place in all; with other objects in the space. or conservators, we feel comfortable That tells the waters or to rise, or fall; with identifying the key significances of Or helps th’ ambitious hill the heav’ns There is no place where the need for historic places. These may include cul- to scale, Or scoops in circling theatres adaptation to context is more important tural, historical, architectural, artistic, the vale; Calls in the country, catches than the Long Gallery at Hardwick. Here archaeological, scientific, technologi- opening glades, Joins willing woods, the paintings hang in front of a set of cal, and gardens, parks and landscapes and varies shades from shades, Now 16th century tapestries telling the story significance. They occupy the realms breaks, or now directs, th’ intending of Gideon and the Midianites (Fig. 1). of the real, they are authentic and can lines; Paints as you plant, and, as you Hardwick is sometimes referred to as be defined using an evidence-based ap- work, designs. the house with “more glass than walls” proach to research, and they are tangible and the effect of daylight is apparent on and invariably relate to material Pope’s verse laid the foundation for one the tapestries that are faded and discol- culture. of the most widely agreed principles oured with coal dust from the numerous of landscape architecture. This is the open cast coalmines in the area. The Values-based approaches are also principle that landscape designs should tapestries have recently been conserved important and capture why places always be adapted to the context in by washing to remove the coal dust and matter to people and how people react which they are located. the numerous tears in the structure have to places. The Burra charter (Australia been repaired. But nothing can be done ICOMOS 1979) responds to a values- to recover the faded colours. The paint- based approach to places with intangible Artefact conservation ings that hang in front of the tapestries 1. Hardwick, Long Gallery. Paintings are hung in front of the set of 16th century Gideon tapestries. Photo: National Trust significance. Conservation work with and context have received minimal treatment: landscape sites in Australia and the surface cleaning and consolidation. value and meaning of sacred Aboriginal Context is also vital when planning the Removing discoloured varnish could places lead to an approach that went conservation of artefacts in historic reveal unfaded pigment colours that beyond the “expert” view of significance places. The decision-making process would stand out and detract from the and recognised intangible signifi- for the conservation of a collection in most significant objects in the space, the cances of historic and natural places. the historic place for which it has been Gideon tapestries. It acknowledged that management of acquired or created is fundamentally these places was most successful when different from that of the conservation the local community worked alongside of an artefact in a museum or art gallery. Creation of spirit of conservation professionals. In the latter, the object is considered in place statements its own right. The level of conservation In October 2008, at the ICOMOS interna- including: extent of cleaning of an object The National Trust has recognised the tional conference in Quebec, the follow- or removal of discoloured varnish and importance of genius loci or spirit of ing words on spirit of place were agreed: overpaint from a painting; the degree place in underpinning not just landscape “Spirit of place refers to the unique, of restoration; the surface finish; will design, but all activities at properties in distinctive and cherished aspects of a be agreed between the conservator and order to improve the quality of every- place”. curator depending on the history of the thing from conservation to presentation object and its exhibition conditions. and interpretation, and from marketing 40 Spirit of Place: the Golden Thread that Runs through the Management of Historic Places Spirit of Place: the Golden Thread that Runs through the Management of Historic Places 41

to commercial activities in the shops and for nearly 400 years; remarkable for their with peeling paint and looming tea rooms. characteristic of reclusiveness; a passion taxidermy; from the dark, crum- for horses and an absorbing fascination bling atmosphere of the house, one Spirit of place brings together expert un- with natural history. The park is ancient steps into the fresh air and space of derstanding of places with the views of a and fragile, in part designated a National the pleasure grounds. broad range of people who use the place, it Nature Reserve and Site of Special Scien- is a shared understanding of the enduring tific Interest. In terms of archaeological It is “quirky, fusty, distressed; a qualities that make a place special. It is an significance – there is evidence of lime place poised somewhere between encapsulation of why a place is special to extraction and burning, brick making, gentle neglect and downright der- people based on what is unique, distinc- pottery manufacture and transport, ridge eliction”. In all its faded splendour tive and cherished about a place. and furrow agriculture, monastic settle- it stands as a bleak reminder of and ment and attempts to landscape the park. memorial to, the English country It really matters in an organisation as The place is an oasis of peace and beauty house estates that disappeared in large as the National Trust, where we but with the pressures of the world be- their hundreds during the 20th have over 300 houses and gardens with yond its boundary constantly evident. century. a central as well as local management. There is a danger of a house style develop- What people cherish about Calke Abbey The phrase “a place poised somewhere ing, characterised in the writings of our can be captured in a number of simple between gentle neglect and downright previous Chairman, Simon Jenkins, as ways, including the comment cards that dereliction” was first written when “the dead hand of the National Trust”. visitors fill in, TripAdvisor, Facebook, management of the estate was taken The manager of each property is given visitor surveys and asking them what over in 1985 and has been very useful in the responsibility of being the guardian they like on chalk boards. Word clouds directing the conservation work. It was of spirit of place, and ensuring that all can help identify common themes. the first place where the National Trust actions are respectful of and appropriate conserved as found rather than restoring for the character of the place. The spirit of place statement for Calke to 18th century glories. This was a major Abbey is: undertaking as the whole house was rid- Calke Abbey is, and always has been dled with dry rot, deathwatch beetle and Spirit of place a hidden house, now preserved as a other damp related problems. The roof at Calke Abbey rare and remarkable survivor from a had not been repaired since the 1920s vanished era. and all of the structural timber, includ- The process of writing a spirit of place of ing roof timbers and window lintels had statement starts with the statement of Today, visitors wonder what lies to be removed and replaced. The whole 2. Calke Abbey, Sir Vauncey Harpur Crewe’s Room. During the building conservation project the room was photographed, everything was significance and audience insight. I will ahead as the park reveals itself from house was emptied of its large collec- removed and following the completion of the project replaced in the same position. Photo: National Trust. use Calke Abbey, a property that was the tunnel-like Lime Avenue into tion – the family has a reputation for not taken on by the National Trust in 1985, as open parkland. Layers upon layers throwing anything away – the building an example. await discovery with something conservation work was carried out and new to explore and uncover on each everything was put back where it had The statement of significance is written visit. been recorded by photograph (Fig. 2). by professional conservation and curato- rial staff, it is informed by extensive Whispers and echoes of the Harpur The guiding principle for all conserva- research and is updated on a regular Crewe family and estate life rever- tion work was preserve as found. For basis when new research is carried out or berate in the house and stable yards the majority of the collection this meant circumstances change. giving the place its uniqueness. stabilizing the object but changing its appearance as little as possible. Discol- At Calke Abbey, the early 18th century Calke Abbey is an estate of con- oured varnish was left on paintings. house is presented as an example of a trasts: decaying boughs lie beneath The only case in which it was removed country house in 20th century decline. ancient trees; the industrial re- was if consolidation of flaking paint was The contents and room arrangements are mains of innovative garden technol- impossible through the varnish layer. little changed since the 1880s and display ogy and lime yards are surrounded layers of collecting by many generations by rare wildlife and colourful flower of the Harpur-Crewe family. The family garden; the grandeur of the state were directly connected with the place bed sits amidst abandoned rooms 42 Spirit of Place: the Golden Thread that Runs through the Management of Historic Places Spirit of Place: the Golden Thread that Runs through the Management of Historic Places 43

Spirit of place at Knole by the Sackville family We rode over Knowle Park which be carried out on the collection, whilst and Dutch Old Master paintings (Fig. Conclusion • the historic significance of the is only a mile from Bradburne. The conservation heating is introduced into 4), while outside is one of the finest Spirit of place has been vital in guiding property in the development of ground is beautiful and the trees the showrooms, but the emphasis will be Victorian gardens in Britain, famous for In conclusion, spirit of place state- the major project that is taking place at early country-house tourism extremely fine. We after went into the on stabilisation rather than restoration its parterre and ornate working aviary. ments are being written for all National Knole, the Sackville house in Sevenoaks, House which is extremely melan- so that we do not lose the melancholy Waddesdon’s internationally famous Trust properties and will be crucial in Kent. Siobhan Barratt talked about In terms of statutory designations the choly… the apartments are the most quality of Knole that is so characteristic collection has been formed principally by ensuring that all actions are respectful this conservation project at the ICOM house is identified as a Grade I listed dismal I ever saw, though very costly. of the place. four members of the family: Baron Fer- of and appropriate for the character of DEMHIST/ICOM-CC conference in Los building of special architectural or dinand (1839-1898) who built Waddesdon each place. They could be described as Angeles three years ago (Barratt 2012). historic interest within a registered In summary, the spirit of place of Knole Knole, therefore, offers a unique oppor- and created the interiors, his sister Alice the “brand” of each place, and although Knole is a medieval bishop’s palace and park and garden, the park also being can be described by the sentence: “Knole tunity to glimpse into the past by seeing (1847-1922), their cousin Edmond (1845- we have avoided using this word, as a a great Jacobean house in a historic designated as a Site of Special Scientific – a place of beauty – a place of melan- objects in the settings for which they 1934) and the present Lord Rothschild shorthand, it has helped some of our setting, with remarkable collections Interest. choly”. were intended, but also how conserva- (b. 1936). colleagues with marketing and commer- and important historical associations. tion and repair has always strived to cial backgrounds understand what their Particular aspects of significance which The spirit of place statement is drawn It is this spirit that we use to guide the balance the effects of access. Most regard Today the building, grounds and col- conservation and curatorial colleagues contribute to its outstanding overall from the writings of numerous authors project that will more than double the this as an essential part of the evoca- lection are maintained to the same mean when they talk about the impor- heritage value are: from the 18th century to the present day. spaces open to visitors by 2019. In ad- tive atmosphere of Knole, imparting the standards that have been practised since tance of spirit of place. Spirit of place • the interest and significance of its These include Virginia Woolf in Orlando dition to the thirteen furnished rooms spirit of place, which is as important to the 19th century. This applies to house- brings together expert understanding architectural development and the historian Robert Sackville-West, that are currently open on the principal preserve as the physical collection. Vita keeping and day-to-day care as well as of places with the views of the broad • the splendid quality and character the current Lord Sackville who lives at floor, a conservation studio will be built Sackville West wrote of the Venetian to more major conservation treatments range of people who are involved and we of its interior decoration Knole, in his history of Knole, Inherit- in the old barn, Eddy Sackville-West’s Ambassadors bedroom, “It had a bloom carried out in a conservator’s studio. believe applies in all places of signifi- • the range and quality of its collec- ance published in 2010. But perhaps the 1930s apartment in the Gate House like the bloom off a bowl of grapes cance and is the golden thread that runs tions, especially the 17th century most helpful word that we have used in will be opened, and some of the attic and figs…Green and pinks, originally In 1891, 24 indoor staff were recorded at through the management of historic royal Stuart furniture and the the summary of Knole’s spirit of place is spaces, including the Retainers Gallery bright, now dusted and tarnished over” Waddesdon, a modest figure for a house places. royal and family portraits “melancholy”, which the diarist, Anne above the Cartoon Gallery, one of the [Sackville-West, 1934] (Fig. 3). this size, but explained by the fact that it • the outstanding literary and Rushout, wrote when she visited Knole most atmospheric spaces at Knole, will was the home of two unmarried people, artistic connections of the house on 10th July 1795. be one of the four new visitor routes. Ferdinand and Alice. They included a • the long continuity of ownership Urgently needed conservation work will Spirit of place at steward, housekeeper, cook, kitchen, Waddesdon Manors still room and scullery maids, eight housemaids, footmen, a porter, an at- As a complete contrast to Calke Abbey tendant for the electric light, an odd job and Knole, the level of conservation at man, a hall boy and a needlewoman. Waddesdon Manor, the 19th century References home of the Rothschild family in Buck- The excellent condition of the collection AUSTRALIA ICOMOS (1999) The Burra Charter. inghamshire, England, is appropriate owes much to “Miss Alice’s Rules” - the The Australia ICOMOS Charter for Places of Cultural Significance, www.icomos.org/australia to that for the home of a wealthy family. housekeeping standards introduced by The Rothschilds were the greatest col- Alice de Rothschild. She installed blinds BARRATT, S. (2012) ‘Inspired by Knole’, ICOM- lectors of the 19th century, seeking the and covers to limit light exposure and DEMHIST/ICOM-CC conference, “The artifact, its context and their narrative: multidisciplinary con- highest quality of workmanship and forbade unnecessary handling of objects. servation in historic house museums”, Los Angeles with a keen sense of historical impor- Even King Edward VII was told not to September 2012, http://www.icom-cc.org/ul/cms/ tance. The houses that they built, the in- touch the furniture during one of his fck-uploaded/documents/DEMHIST%20_%20 ICOM-CC%20Joint%20Interim%20Meeting%20 teriors they created and the magnificent visits. 2012/07-Barratt-DEMHIST_ICOMCC-LA_2012.pdf collections within them became known internationally as the “goût Rothschild”. Today, a team of dedicated stewards ICOMOS (1964) The Venice Charter. International Charter for the Conservation and Restoration of Waddesdon is one of the rare survivors of and conservation cleaners care for the Monuments and Sites, http://www.icomos.org/ that splendour. collection. Daily cleaning for presenta- venice_charter.html tion to visitors is supplemented with LEAGUE OF NATIONS (1931) Athens Conference Baron Ferdinand de Rothschild started on-going environmental monitoring and (called Athens Charter), Intellectual Co-operation building Waddesdon Manor in 1874 to maintenance. The team is responsible Organisation of the League of Nations - 1st Inter- display his outstanding collection of art for winding the many clocks that are national Congress of Architects and Technicians of historic monuments, Athens, 21-30 October 1931. treasures. The highest quality 18th cen- kept working in recognition that this is a tury French decorative arts are displayed house that is still lived in by the present SACKVILLE-WEST, VITA (1934) Knole and the 3. Knole, Venetian Ambassador’s Bedroom. Any conservation treatment will 4. Waddesdon, Morning Room. The Morning Room with its alongside magnificent English portraits Lord Rothschild and his family. Sackvilles. London: William Heinemann. seek to preserve “…a bloom like the bloom off a bowl of grapes and figs… display of Dutch Old Master paintings. Photo: John Bigelow Green and pinks, originally bright, now dusted and tarnished over”. Taylor © The National Trust, Waddesdon Manor Photo: National Trust. articles 46 47

Judith Bannerman & Margareta Bergstrand & Kathrin Hinrichs Degerblad & Gunilla Lagnesjö Keywords: artificial ageing textile art and flame flame retardants retardants – the spectrophotometry tensile tests united nations case textiles wool

Abstract Since 2008, the United Nations building complex has been undergoing a restora- tion. The Economic and Social Council Chamber, ECOSOC, was furnished with a monumental woven curtain. The Swedish Government decided on a dona- tion of a contemporary textile artwork for the U.N., to replace the earlier textiles damaged by flame retardants. Since earlier studies at the Swedish National Heritage Board had proved that flame retardants are harmful to cellulose material in the long run, their effects on wool were studied. Untreated woollen fabrics, as well as fabrics impregnated with flame retardants, were subjected to artificial ageing, tensile testing, pH and colour measurements. The evaluation of this investigation led to a well-informed choice of material and a maintenance plan for the ECOSOC. Furthermore, the Swedish National Heritage Board will not recommend flame retardants for works of art or interiors of cultural value in the future. 48 Textile Art and Flame Retardants – the United nations Case Textile Art and Flame Retardants – the United nations Case 49

Introduction Flame retardants can damage textile flame retardants were analysed. The material, as well as the environment study points to the complexity of the Since 2008, the U.N. building complex and human health, but have been flame retardant issue. Flame retardants in New York, built in 1952, has been deemed necessary in order to save lives vary widely and are applied to materials undergoing a massive and much needed and property from the outbreak of fire. with very different properties. (Hall- renovation. The three council chambers Textiles are considered a risk in public gren, 2009). Many flame retardants are in the U.N. Conference building are a buildings and laws and regulations for based on organic and inorganic salts significant part of the Scandinavian fire safety are becoming more demand- that, in the long term, will make the heritage, with interiors designed by ing. However, it is well known that the material acidic. Cellulose fibres are very architects from Denmark, Norway original woven curtain of the ECOSOC sensitive to acidity and environmental and Sweden. The Economic and Social was destroyed by a combination of flame factors, such as light, humidity and Council Chamber – ECOSOC – designed retardants, sunlight and humid climate temperature, accelerate the degrada- by Sven Markelius forms a landmark in conditions (Finch, 1969). tion process. Wool, a protein fibre, is Swedish design history. The highlight not as sensitive to acidity as cotton. was the monumental curtain designed The Security department of the U.N. Although wool has inherent flame by Marianne Richter. In 1988, it was re- Capital Master Plan called for the new retardant properties, flame retardants placed by a velvet curtain with a printed artwork to be fire-safe. Modern tex- are sometimes used for wool as an extra pattern designed by Markelius – ”Py- tiles for interiors, such as curtains or security measure. Since the new curtain thagoras”. In 2010, the Swedish National upholstery material, treated with fire re- was going to be made entirely of wool, it 2. pH measurements. Mean of five. Public Art Council and the Ministry for tardants are not expected to last longer was decided to evaluate two commercial Foreign Affairs decided on a donation of than ten years, but the Swedish National flame retardants for this material. The a contemporary work of art for the Unit- Public Art Council asked for the new conclusions helped in establishing a ed Nations, to replace these curtains. ECOSOC curtain to last for sixty years. maintenance plan for the U.N. curtain, Conservators from the Swedish National but the main objective was to ensure Heritage Board (SNHB) took part in the Flame retardants are harmful to cel- that the intentions of the artist and way. As mentioned above, flame retard- Test samples were taken from fabrics of the fabric. All samples treated with planning, acting as advisors on the his- lulose textiles, according to a study the aesthetic values of the textile work ants vary widely and explaining all the intended for the new ECOSOC curtain. flame retardants had an oily, unpleasant torical and artistic values of the ECOSOC performed at the SNHB (Bergstrand, are not obscured by the effects of flame effects of all their components calls for a The orange felted wool “Divina 3” 4-end feel. as well as on the material quality and 2013), where the two curtains from the retardants. However, the investigation broader study. broken twill came from a range of long-term stability of the new artwork ECOSOC and two other textile artworks did not aim at explaining why flame colours offered by Kvadrat A/S, but the The samples were weighed and dimen- by Swedish artist Ann Edholm. were examined and some effects of four retardants influence wool in a harmful sand-coloured crêpe wool “Topas 2” was sional measurements were taken in Selection of Fabrics and dyed to order at Kvadrat. As a reference warp and weft directions before and Flame Retardant Treatments, test weave, an undyed tabby weave Wool after application of the flame retardants Preparation, Application, Adjacent Fabric as per ISO 105-F01 from and after the samples had dried. Methods and Tests Testfabrics Inc. was chosen. Samples of the three fabrics were placed lying flat pH was measured using a Horiba B212 Based on the aforementioned study, two and sprayed with deionised water and Twin pH meter before and after applying products representing different types of 0.1% tenside (pH 6.5 to 7). After being flame retardants, accelerated ageing and flame retardants were chosen for experi- thoroughly wetted, the fabrics were wet-cleaning. mental work. Apyrum R Bio-FF is fairly dried lying flat on the washing table. new on the Swedish market. According This set of fabrics was used as a control To make sure that the flame retardants to the marketing of the brand, it is not group. were applied correctly, according to the harmful to the environment. The main supplier’s instructions, a flammability components are “citrate and acetate” The two flame retardants were applied to test was made, using small samples ap- with a pH of 7–8, according to the prod- a second set of fabrics. The fabrics were proximately the size of 140 mm x 26 mm. uct data sheet. Secura Anti-Flame FRT, placed lying flat and sprayed with flame The samples were tested hanging verti- available on the Swedish market in 2012, retardants according to the recom- cally and subjected to a gas burner using contains mainly “modified ammonium mendations made by the suppliers. The propane (C3H8) gas for 60 seconds. After phosphate”, according to available infor- samples treated with Apyrum took a the gas burner flame was extinguished, mation on the product. According to the long time to dry and smelled strongly observations were made to see if the data sheet, the product is not harmful to of vinegar. The Secura-treated samples sample kept burning or forming coal. health or the environment and has a pH dried in less time and what seemed to be The test was modelled after the Swedish of 6.2. salt crystals was observed on the surface standard SIS 65 00 82.

1. Inauguration of the renovated ECOSOC in April 2013. Photo: Margareta Bergstrand. 50 Textile Art and Flame Retardants – the United nations Case Textile Art and Flame Retardants – the United nations Case 51

3. The untreated orange fabric (specimens in the middle) showed a better flammability 4. Colour changes of the orange fabric directly after flameproofing (A), before and after resistance than samples of the same fabric treated with flame retardants Apyrum (to the accelerated ageing 10 (B), wet-cleaning (C) and 60 years (D). E = natural ageing 1 year. right) and Secura to the left. Note the moisture spots from Apyrum. Photo: Margareta NTW=untreated, FR 1 = Apyrum, FR2 = Secura. dE*ab(D65) mean of 5 measurements. Bergstrand. dE* values over or below 1 indicate a colour change visible to the human eye.

Natural and Accelerated trophotometer with an 8mm aperture mask in the weft. The control test weave did Ageing, Tensile Tests and before and after treatments with flame not change in the warp direction, but Colour changes of the fabrics directly tion, in some cases. Doreen Rockliff and hand, provides better resistance to igni- Colour Measurements retardants and before and after acceler- increased by 1% in the weft direction. after flameproofing, before and after Nancy Kerr (Rockliff & Kerr, 1984) made tion. Although Lagerkvist’s study was ated ageing. Secura made the orange fabric increase accelerated ageing, were measured and the same observation when investigat- on upholstery fabrics, his findings cor- One series of samples was subjected by 2% in the warp direction and shrink recorded. The 10-year aged samples were ing three flame retardants. They suggest respond to our experiments performed to accelerated ageing for 10 years and Samples from the 10-years accelerated by 0.3% in the weft direction. The sand- measured before and after wet-cleaning that changes in dimension of the fabric in Visby. However, in our experiments, another for 60 years. The accelerated ageing session were wet-cleaned using coloured crepe shrunk in both the warp as well. See Fig. 2. are caused by the wetting action of the neither Apyrum nor Secura applied to ageing was performed using light ageing deionised water and 0.1% tenside, pH 6.5 and weft directions by 2%. The control water. The presence of the fire retardant wool performed better than untreated with a 430 watt Sol500 lamp from Hönle to 7. Any colour change during the wet- test weave did not change in the warp Other observations made, when wet- agents in the solution appears to reduce wool fabrics. UV technology. In addition, samples of cleaning was observed and recorded by a direction, but shrunk by 0.7% in the cleaning the orange fabric samples the shrinkage caused by water. Moreo- the treated and not treated fabrics were spectrophotometer. weft direction. Shrinkage after 10-years subjected to artificial ageing and treated ver, the flameproofed fabrics became In 2012, a full-scale model of a section exposed to natural daylight for one year. accelerated ageing after wet-cleaning with Apyrum and Secura, were that a very stiff, even after washing and after of the curtain made out of the two- These samples were mounted with metal was measured. After wet-cleaning, the dye component visibly leaked into the exposure to daylight. The oily feel of the wool fabrics intended for the ECOSOC staples on a Coroplast® sheet and placed Results shrinkage in the warp direction of the water. The sample treated with Secura treated fabrics also remained. curtain, and not treated with any flame in a window facing north at the SNHB fabrics was most significant in the fab- emitted a strong smell of sulphur. retardant, was tested at the Southwest in Visby. Weight increase between 9% and 74% rics treated with flame retardants. The flammability test performed at the Research Institute, SwRI, San Anto- was observed in the samples treated For further information on methods, SNHB showed no significant difference nio, Texas, USA, according to ASTM E Breaking strength and elongation at with Apyrum and between 9% and 23% The pH values of the treated fabrics materials, standards etc. see Bannerman in the flammability between the treated 84 – 12, Standard test method for surface break of fabrics were determined in prin- with Secura. before and after treatment, as well as et al. (2014). fabrics and the untreated wool fab- burning characteristics of building mate- ciple according to SS-EN ISO 13934-2 us- before and after accelerated ageing, are rics. Samples of the orange fabric even rial. According to an evaluation of the ing a Shimadzu AutoGraph AGS-X tensile As expected, shrinkage was observed shown in figure 2. The pH of the control showed a better resistance to fire than test report from SwRI made by SP Fire tester. The sample specimens were pre- after the application of water in both test weave after wetting in water was Discussion samples of the same fabric treated with Technology at SP Technical Research In- pared according to the Swedish standard warp and weft directions in all sam- 6.30. Apyrum and Secura. In a thesis from stitute of Sweden, the wool fabrics fulfil SS-EN ISO 13934-1. The specimens were ples. However, the flameproofed fabrics Water made all the investigated fabrics Luleå University of Technology, Marcus the requirements of class B, according to pre-conditioned according to the SS-EN behaved differently. Apyrum made the The flammability test showed no signifi- shrink by varying degrees. Contrary to Lagerkvist investigated the properties of the 1968 Building Code of the city of New ISO 139:2005. The samples were tested orange fabric increase by 2% in the warp cant difference in the flammability of the this, flame retardants, although they four flame retardant treatments, among York. This strengthens the assumption only in the warp direction. direction with no increase or shrinkage treated and the untreated fabrics. The contain a rather high amount of water, them Apyrum and Secura (Lagerkvist, that wool in general does not need flame in the weft direction. The sand-coloured untreated orange fabric showed a better did not make the fabrics shrink, but 2010). Apyrum does not provide the retardants to add to its flame retardant Colour measurements were carried out fabric increased by 3% in the warp resistance to flammability than samples made them stretch in the warp direction resistance to fire expected from a flame properties. using a Konica-Minolta CM-2600d spec- direction and did not increase or shrink of the flameproofed fabric. with a small increase in the weft direc- retardant, while Secura, on the other 52 Textile Art and Flame Retardants – the United nations Case Textile Art and Flame Retardants – the United nations Case 53

6. Change in tensile strength of the test weave after application of Apyrum FR1, after artificial ageing 10 and 60 years and after wet-cleaning.

Chemical analysis proved that Apyrum other hand, the colour of the untreated Protein fibres differ from cellulose fibres contains potassium and not only “citrate, fabric became lighter after exposure to and evaluating tensile tests with wool is acetate and water”, as stated in the light, but did not visibly change the col- more complicated. By looking at only the product data sheet (Bergstrand, 2013). our tone as much as the fabrics treated breaking strength, it may, in some cases, Potassium content may explain the with flame retardants. Both flame re- seem that flame retardants make the 5. Dye leaking from the naturally-aged Pythagoras printed velvet. Photo: Judith Bannerman relatively high pH values of the solution. tardants turned the bright orange colour material stronger. However, elongation However, the pH does not sink to a more to a more dull orange hue. These colour at break results may point in another acidic level after accelerated ageing. A changes could be visibly observed in the direction. There are indications that for pH level as high as 9 may damage wool fabrics that were aged for 10 and 60 years wool, per cent elongation is a more sensi- fibres. The fabrics treated with Secura as well as in those subjected to daylight tive indicator of change (Peacock, 1999). and subjected to accelerated light ageing for one year. The tensile tests in this study all show for 10 and 60 years became more acidic significant changes in elongation at over time. Acidity may, in the long run, The leaking of the dye when wet-clean- break, especially in the samples treated damage the fabric, even if wool is more ing the samples may be a reaction to with flame retardants, aged 10 years and resistant to acidity than cotton and the lowered pH of the fabric, but is more wet-cleaned. linen. All the untreated fabrics show a likely due to the influence of the flame slight change in pH to a more acidic level retardant on the reactive dye. Similar It was observed that in some cases, dark after accelerated ageing, 60 years more leaking was observed when wet-clean- spots formed around the staples on than 10 years. ing a piece of the velvet curtain that had samples that were mounted with metal been hanging in the ECOSOC in the U.N. staples. In one case, the sample treated Colour changes, even very small headquarters in New York. with Secura, the staple corroded after changes, on a textile artwork may affect a very short time. Ammonium salts, the aesthetical appearance and alter the A previous study on the tensile strength especially ammonium chloride, corrodes intended impact of the artwork. The ap- of naturally-aged textiles (Bergstrand, metals. This discolours textiles, but may plication of Apyrum visibly changed the 2013) showed, by looking at the breaking also be a threat to curtains that are often sand-coloured fabric from a very light strength results, that flame retardant mounted with metal devices. brown colour to a greenish hue. On the treatments weaken cellulose fibres. 54 Textile Art and Flame Retardants – the United nations Case Textile Art and Flame Retardants – the United nations Case 55

7. Samples exposed to natural light. Effects of Secura on test weave (to the left), orange and sand-coloured fabrics. Salt migration in the lower parts of the test weave and sand- coloured fabric. To the far left, brown discolouration on test weave treated with Apyrum. Photo: Margareta Bergstrand.

In addition, the sand-coloured fabric and fire retardants do emit from the surface. treated with any of these flame retard- References the control weave treated with Secura In fact, many manufacturers recom- ants, if installed in an indoor climate BANNERMAN, J. et al. (2014) Flame retardants HALLGREN, C. (2009) ‘Flameproofed textiles in showed signs of salt migration (see fig. 7). mend that the treatment is repeated that may, at times, be as warm and for wool – long term effects. Evaluating fabrics for museums and conservation’ in Incredible Industry. the ECOSOC curtain. Report. Stockholm: Swedish Preserving the evidence of industrial society. Nordic Salt migration has been observed in after a couple of years. humid as in the U.N. building. Shrink- National Heritage Board. Association of Conservators 18’ Conference: Con- textiles treated with flame retardants, age and colour-running, as well as loss of ference proceedings, 25–27 May 2009. Copenha- but has often been deemed the result fibre strength when wet-cleaning, make BERGSTRAND, M. (2010) ‘United Nations – unit- gen: NKF-Dk. Available from: http://nkf-dk.dk/ ing professions? Restoring the U.N. Building’ in uploads/nkf_dk/files/nkfincredibleindustry09.pdf of flooding or water damage. The salt Conclusions cleaning and remedial conservation a JANSSEN, E. (ed.) Multidisciplinary Conservation: A [Accessed: 24th February 2015]. migration appears in the lower parts of challenge. Holistic View for Historic Interiors, ICOM-CC Interim hanging textiles. It is possible that it is The two investigated flame retardants Meeting, Rome 2010. Rome: ICOM-CC. Available LAGERKVIST, M. (2010) Textila flamskyddsme- from: http://www.icom-cc.org/54/document/ del – effekter vid antändning och brandbelastning. caused by the humidity in air, which, show shortcomings from a conservation The Swedish National Art Council united-nations-uniting-professions-restoring- Exam paper (CIV 2010:083), Master Programme in even under relatively normal indoor cli- perspective as well as from an aestheti- had asked for the curtain to be in good the-u-n-building/?id=809 [Accessed: 24th Febru- Fire Engineering, Luleå University of Technol- mate conditions, may release the salts in cal view. They did not add to the flame condition for at least 60 years, but as a ary 2015]. ogy. Available from: http://epubl.ltu.se/1402- 1617/2010/083/index.html [Accessed: 24th the flame retardants, thus forming spots resistant properties of the wool fabrics. result of this study, it appeared that nei- BERGSTRAND, M. et al. (2011) ‘Fire! A twofold February 2015]. and colour changes. Looking generally at tensile strength, ther Apyrum, nor Secura or any other risk for textile art. An investigation into the Apyrum showed the least damage. flame retardants containing the same consequences of flame retardant treatments’ in PEACOCK, E. (1999) ‘A note on the effect of multi- BRIDGLAND, J. (ed.) ICOM Committee for Conserva- ple freeze-thaw treatment of natural fibre fabrics’. The salt crystals on the surface of fabrics However, it caused a significant and chemicals (that is phosphate, acetate tion: 16th triennial conference, Lisbon 19–23 September Studies in Conservation. Vol. 44 (no. 1) p. 12–18. treated with Secura remained after ac- unacceptable change in colour. It also or other organic and inorganic salts) 2011: Preprints. Lisbon: ICOM-CC. celerated ageing and were not entirely added weight and made the fabrics quite could be considered for the new curtain ROCKLIFF, D. & KERR N. (1984) ‘Fiber retardant BERGSTRAND, M. (2013) Hållbar textilkonst? Flam- finishes for fiber art: a conservation perspective. removed in the wet-cleaning process. It stiff, altering the drape. Secura altered for the ECOSOC, as they will reduce skyddsmedlens konsekvenser för textilier i offentlig Preliminary findings’ in de Froment, D. (ed.) ICOM is possible that the salt crystals would the drape of the two fabrics, as well as hanging life significantly. Furthermore, miljö. Report, reg.no. 415-4533-2009. Stockholm: Committee for Conservation: 7thTriennial Meeting, wear off from the surface under normal changing the colour, and caused corro- the evaluation of the flammability Swedish National Heritage Board. Copenhagen 10–14 September 1984: Preprints. Paris: ICOM. indoor use, influence of air currents from sion on metal. There were also signs of test performed at SwRI added to the FINCH, K. (1969) Note on the damaging effect of ventilation and from handling the tex- salt migration. Both flame retardants recommendations that no flame retard- flameproofing on a tapestry hanging. Studies in tile, but these samples have been kept in caused changes in pH values. These ant was required for the new artwork Conservation. Vol. 14 (no. 3) p. 132. protective plastic cases. However, many shortcomings may accelerate in a textile installed in ECOSOC. 56 57

Fernando Caceres Jara Keywords: “the reform club” Gentleman’s Club london: the grand conservation Reform Club british-italian Italianate palazzo palazzo in pall mall

Abstract The Reform Club London is a remark- able specimen of British - Italian palazzo architecture with some unique architec- tural details found nowhere else. It was built by Charles Barry and is a represent- ative building of one of the most iconic British institutions, the Gentleman’s Club.

This article presents the architectural history of the Reform Club, a grade I listed building, since 1838 to the present. The coupling of technical and historic research has offered new insight into the design and development of the building. This has allowed for a close assessment of its structure, fabric and the development of a good conservation programme.

After a long and complex conservation programme, today’s Reform Club stands as splendid as it was when it opened in 1841. Presented here are the results of the conservation of this unique historic interior to Barry’s original scheme. 58 The Reform Club: A Grand Italian Palazzo in Pall Mall London The Reform Club: A Grand Italian Palazzo in Pall Mall London 59

1. Exterior view of the Reform Club

Introduction II: contextualisation of the building from rated surfaces. The conservation brief a technical architectural perspective; given by the Reform Club, Westminster “The remoteness and privacy created III: addressing the conservation of its City Council and English Heritage was by the Pall Mall elevation with its sober interiors and the explanation of the re-discovering, preserving and re-pre- and unpretentious façade is mirrored by significance of the four-and-half-year senting the original decorative surfaces the delicate privacy of the Club rooms conservation programme. to their authentic state. 2. Interior view of the Reform Club: showing the glass dome ceiling and the tessellated floor. within” (Caceres 2012, p. 67). From the conservation perspective, The Reform Club The Reform Club and its architect it was important to understand the Charles Barry have caught the interest changes that the building has under- The Reform Club opened its doors on of contemporaries and later observers gone over time. The interpretation of May 24th 1836 at Dysart House, 104 Pall alike. Whilst specific elements of the the different decorative schemes was Mall, London. Charles Barry was com- building and a variety of Barry’s archi- based on the examination of acces- missioned to build “a club house which tectural concepts have received much sible sources from 1838 to 2014 such should surpass all the others in size and public and scholarly attention, prior as Barry’s personal diary, illustrative magnificence” The( Civil Engineer and to this study, neither a comprehensive materials, written descriptions in Architect’s Journal 1838, p. 67), possibly conservation study nor a modern build- contemporary newspapers, magazines referring to its rival, the Carlton Club, a ing history of the Reform Club have been and the Reform Club’s own archived fine classic building standing next door. written, to my knowledge. material. As the Club remained open as Barry was allocated a budget of £37,500, usual during the Conservation, valuable equivalent to £1,653,750 today; the final This account is divided into three information was gained by conversa- bill came to £84,082 (£3,708,016). Barry sections: tions with club members and mainte- delivered one of the most outstanding I: analyses of the wider historical set- nance staff. examples of British-Italianate architec- ting and this building’s history from its ture. The Reform Club can be seen as a design and commissioning in 1838 to In 2010, International Fine Art Con- continuation of the designs of both the its completion in 1841 and subsequent servation Studios (IFACS) Ltd Bristol Travellers’ Club and the first drafts for significant alterations; carried out the conservation of the deco- the Manchester Athenaeum. 60 The Reform Club: A Grand Italian Palazzo in Pall Mall London The Reform Club: A Grand Italian Palazzo in Pall Mall London 61

4. Barry’s different approaches of the front door of the Reform Club. Photo: RIBA Library Photographs Collection.

A letter from June 1837 reads: “…in the Mall. The overall impression is that of wonderful transmutation of stylistic design of the Club the height should understatement, sober grandeur and languages has succeeded in creating also be such as to harmonise with the well-balanced proportion. a true British-Italian palazzo for the others…” (Rhodes, M.1837). The “others”, British weather. Barry constantly looked refers to the Travellers’, the Athenaeum Various publications have perpetuated back to his journal notes of the Great and the Carlton Clubs. The letter also the idea that Barry’s inspiration for the Tour (1817-20), as a way to legitimise suggests that a space should be left Club came from Rome’s Palazzo Farnese. architectural detailing and inspiration. between the buildings. Barry’s response Indeed, it is a popular idea that Barry was to harmonize the façades of the was repeating Italian renaissance for- For the Club, Barry takes inspiration not 3. The Reform Club’s floor plan. Photo: RIBA Library Photographs Collection. buildings through the creation of a small mulas in England. Yet, scholars point to only from the Farnese Palace, but also building inspired by a roman village the idea of English-Italianate, implying from other palaces that he saw during (Caceres 2012), so there are in fact four that Barry was looking to the English his Grand Tour. His observations con- buildings at the south side of Pall Mall. Classicism tradition, as much as to the tributed to the creation of his own palaz- This building separates the Reform Club original Florence and Roman examples. zo-formula, in which there is a balance from the Travellers’, while articulating it Professor David Watkin has noted that between practical requirements and with the rest. As such, Barry created an “the broad swirling curves of carved artistic expressions (Stanley 1913). This entirely Italianate block (Vonberg 2003). acanthus leaves in the great staircase formula is reflected in every detail of the With this stroke of genius, he managed of the Travellers’ recalls the woodwork building, such as the architectural de- to get what he wanted – the visual sen- in Wren’s city churches.” (Watkin 1999, tailing of the entrance doorway, which is sation that the Club is a palazzo standing p. 56). considered to be inspired by the doorway by itself. Barry’s building magnificently at Palazzo Massimo allé Colonne, but it blends into and becomes an innova- Although keeping strictly to the princi- is not as simple as that (Crook 1973). Al- tive part of its surroundings on the Pall ple of “honesty” in architecture, Barry’s though he may have been familiar with 62 The Reform Club: A Grand Italian Palazzo in Pall Mall London The Reform Club: A Grand Italian Palazzo in Pall Mall London 63

that palazzo, he did not visit it during his a clever choice that Barry used to elevate of materials and finish of the Reform tour (Barry Jan/Feb 1820). Instead, Barry the status of the building from the large Club, as it would require constant re- tried different door treatments, such as Carlton Club, while keeping within the decoration (“The Building News” 1869). porch, columnar and pilasters, but none height of the building restrictions. of them was satisfactory to maintain its By 2009, this critique proved to be par- sober and unpretentious façade. There The Carlton had the same spatial ar- tially true; the interiors of the Club had is one sketch drawing of an unidenti- rangement around the building as the suffered significant visual deterioration fied doorway, which perfectly suits his Reform Club – to light the basement, due to war damage, ingress of water, design, from which Barry might have de- but the entrance was at street level. To intermittent repairs of damaged areas, veloped the classic door case of the Club. enter the Reform Club, visitors and club and repainting of some rooms. In respect to the strict symmetry of the members must climb two sets of steps façade, the doorway replaces the middle before arriving at the Grand Saloon; this In 1869, the Club commissioned the window, and instead of projecting, it is is a difference from the conventional prominent interior decorator John G. inset, less pronounced and simple in its palazzo, where one can peak through the Crace to survey the decorations in the design (Caceres 2012). open door to the cortile. At the Reform building that seemed to be in a poor state Club, one has to raise one’s eyes to see it. (Crace 1869). The work was, however, Barry went through a similar process delayed until 1878, when Edward Mid- in the design of the cornicione, which The Grand Saloon occupies the centre dleton Barry was appointed to undertake seems to have been inspired by the of the building. A colonnade of twenty a general refurbishment, cleaning, deco- cornicione in the Palazzo Pandolfini. Corinthian scagliola columns elegantly rative alterations and embellishments Like in the Pandolfini, the tiled roof frames the atrium, and the floor is paved to the Library, the Saloon, the main recedes from the cornicione, but there with a tessellated pavement of Brit- staircase, the Coffee, Reading, Billiard, the similarity ends. Barry was critical ish Victorian, Roman, Hellenistic and Smoking and Card Rooms. of the Palazzo Pandolfini, yet admiring Pompeian hybrid design (Caceres 2012). of the cornice and the frieze, remark- It has been said that Barry rarely used As the historical documentation of ing the importance of proportions: “… something that had not been proven previous repairs was scattered or non- the cornice and its frieze are immensely elsewhere (Olly 1985), yet, the glass existent, the aims of this research were high and of bold projection, it appears dome of the Saloon proved the contrary, to: document historical changes in the to be proportioned to the height of the and the tessellated floor was a novelty, decoration and surfaces of the Reform; building” (Barry 1820). In the Club, Barry invented and patented in 1839 by Alfred investigate the techniques and materi- used these observations to build the Singer and Henry Peter. The floor of the als used in the original decorations; and frieze and the cornice immediately above Club is a unique historic piece, as it is the to distinguish between the two main the heads of the window architraves at only surviving of its kind (Caceres 2012). historic schemes, Charles and Edward the attic level. In an early proposal for Barry. The latter Barry reused some of the Club, Barry used a similar approach The atrium saloon is roofed by a two- his father’s painting schemes and over- of lettering, proportions and detailing as story glass-domed Ferro-vitreous lapped them with his own, for example, the Pandolfine frieze. Later on, however, construction by Apsley Pellatt. The Club the coffers in the ceiling of the colonnade Barry changed the detailing of the frieze committee suggested covering the Ital- and the main dome in the Grand Saloon 5. Drawing of the entrance Lodge of the Reform Club. Photo: RIBA Library Photographs Collection. for a more emblematic approach, while ian cortile, and thus creating the Saloon; (Caceres 2012). keeping the right proportions of the this suggestion was taken from C. R. ornamentations. Carved on the frieze- Cockerell submission. Barry was famil- The rooms in the Club have barely band are roses, thistles, shamrocks and iar with the ceiling, Halle au Blé in Paris, changed use through time, hence, leaves – elements of the British national which he saw during the first part of his the basic layout and structure of the flora. tour, but he was critical of it (Barry 1820). Clubhouse remains faithful to Barry’s In the corrected architectural drawing, original concept. But unfortunately Barry enhanced the grandeur of the Barry instead proposed a hipped glass some rooms were transformed when building from the top with the cornicione roof, which he later adapted to the exist- upgrading the Club to modern times, and from the bottom by raising the entire ing flattened dome. for example the famous Soyer kitchen, clubhouse above the pavement. The deci- probably designed in consultancy with sion to raise the floor may have been in- In his time, Barry was not free of the chef, the first of its kind, and the fluenced by Reform Club member Joseph critiques. In an article in the Buildings Conference Room, transformed into the Gwilt (Gwilt 1826) or it might have been News, Barry was criticised for his choice Male Dressing Room, for which Barry 64 The Reform Club: A Grand Italian Palazzo in Pall Mall London The Reform Club: A Grand Italian Palazzo in Pall Mall London 65

6. View of the Dome and details of the Cross revealing of the painted scheme of the Reform Club. 7. View of the Reform Club’s Library before conservation

took inspiration from the Apodyterium day sojourn in Rome. The enclosed Grand cited in Woodbridge 1978). That meant The large cracks and distortions were a walls and sent to the studio for treat- vert the Drawing Room into a Library. in Pompeii (Caceres 2012). staircase rises in three flights, each that the existing portraits are from historic problem; all the paintings were ment. On site, the cracks of the plaster He looked back to a formula that had turning left at the landing place. Origi- different dates. The majority came a largely over-painted with dark colours behind the canvases were stabilized proven successful at the library in the The Grand Staircase was Barry’s re- nally, each landing had windows with year after the death of the sitter. This ex- that were probably a response to a with injections of a consolidant. In the Travellers’. sponse to the suggestion from the build- painted screens, but in 1854, Barry re- plains the disparity of the attachments change of taste or a quick solution to the studio, however, the canvases were ing committee to roof the Saloon; in ear- placed them with stained glass, designed on the walls. deterioration of these. In addition, the treated and prepared for marouflage to a The long plan is divided into three bays lier drawings the staircase was shown by him, with the names and emblems of darkening of the degraded varnish and thin aluminium honeycomb panel. made by wooden tetrastyle of paired fluted in the north-west corner. Scholars have the different parts of the United King- An uncontrolled environment contrib- the thick layers of dirt and surface grime columns and pilasters. The Library is a suggested that Barry shaped the Grand dom (Crook 1973). These were replaced uted to the deterioration of the paint- resulted in a visual impression that was The Library is considered to be one of the gallery of Corinthian columns, where win- Staircase upon the model of the Papal after the Second World War with the ings. This was more accentuated in the far from satisfactory. finest historical interiors in London. It dows or bookcases are placed in between. Chancellery Palace (Crook 1973). mirrors that are still in situ. paintings that were strongly glued to the started its life as a drawing room, deco- The decorative detailing of the Library is in However, the colours, the scagliola wall. The extensive craquelure across To prevent further damage to the fragile rated in a completely different manner, Thessalian green and a Pompeian palette panels and the barrel vault ceiling are A committee resolution of 1842 stated the painting layers was produced by the canvases, it was decided that some with Belgium white scagliola columns with rich ornaments. The capitals exhibit a reminder of the staircase at Villa that no portraits of living members movement of the plaster. paintings had to be treated on site, and gold and silver satin damask. In golden acanthus foliage, the cornice is Farnesina that Barry visited on his eight should be placed in the Club (Resolution, whilst others could be removed from the 1853, Barry was commissioned to con- decorated with fruit festoons. The ceiling is 66 The Reform Club: A Grand Italian Palazzo in Pall Mall London The Reform Club: A Grand Italian Palazzo in Pall Mall London 67

adorned with small gold roses. The embel- The most visual disfiguring element in work in the coving in the Library. This References lishment in the moulded ceiling is from the Library was the green over-paint on preferred architectural detail used by BARRY, C. (1820). Personal Diaries. RIBA Drawing 1841 and attributed to Charles Frederick plinths. This colour was introduced in Barry was felt to be the right one for the Collection. [Jan/Feb].

Bielefeld (Caceres 2012). the 1960s and had been applied through- design of the new carpet. The “scales” of BARRY, C. (1820). Sketches. RIBA Drawing col- out, on several occasions, and in various the centre rose of the ceiling were mir- lection. ‘Barry and the Reform Club decorations’. The decorative techniques employed shades and types. According to the rored in the centre part of the carpet, as (1869). The Building News, p. 99. [January 29]

in the Library are comprised of brush- Club’s house decorator, the last layers well as the Reform Club’s shields at the CACERES, F. (2012). Building politics, The Reform painted woodwork, moulded plaster- were added approximately twelve years entrances (A Bianco 2014, pers.comm., Club London a conservation study. PhD Thesis. Archi- work, papier maché, gilding and glazing. ago (Caceres 2012). 11 August). tectural Association London.

The work was carried out by the interior CROOK, J. MORDAUNT. (1973). The Reform Club. decorator C. Schmidt (Caceres 2012). Cross-sectional paint analysis and Throughout its history, the Reform Club Morrison & Gibb Ltd, London. cleaning tests exposed a complex glazed has magnificently managed to revi- ‘Designs for the Reform Club’. (1838). The Civil Engineer and Architect’s Journal, vol. 1, p. 67. On the 17th October 1940, a bomb layering, giving the bronze effect finish talise itself by using new technology. completely destroyed the Carlton Club. (IFACS Ltd 2010). The stratigraphic At its opening in 1841, the Club was lit FAGAN, L. (1887). The Reform Club: its founders and In the Reform Club, the Library was structure of the paint shows Barry’s by glittering cut glass chandeliers and architect. Bernard Quaritch, London.

the most damaged room. Losses of 1853 colour scheme combines base Colza oil lamps. Other areas of the Club FLEETWOOD-HESKETH, P. (1860). ‘Sir Charles decorative moulded embellishments colours with a series of layering toning were lighted by gas, such as the entrance Barry’. The Builder, vol. 18, pp. 305-7. and the numerous impact damages to glazes. The findings were supported candelabra and the burner in Morning GWILT, J. (1826). Rudiments of architecture, practical ornamentation and gilding are from this by period descriptions presented in Room. By 1852, the whole Club was oper- and theoretical, M. Taylor London. event. The ceiling in the west section of The Builder, which was also confirmed ating on gas. In 1890, the Club installed the Library was painted over in a thick by Louis Fagan’s early documentation electric lighting. During the conser- GRACE, GREGORY J. (1869). ‘Report upon painting and decorative works proposed to be executed brown colour, covering substantial (Fleetwood & Hesketh 1860; Fagan vation work of 2010, a new computer at the reform club’. Available from: Reform Club paint loss, probably caused by the water 1887). lighting control system was installed Archives. [July]. used to control the fire, and subsequent without upsetting any historic surfaces MEAD, J. (1841). ‘The Reform Club and its interiors’. leakage from the bathrooms above the On the passageway windows in front (LightingServices 2014). London Interiors, p. 149. Library, all contributed to the failure of of the door entrances, “raising mirrors” the paint layer. The water filtering from were discovered during the conserva- OLLY, J. (1985). ‘The Reform Club’. Architect’s Jour- nal, vol. 181, no. 9, pp. 34-60. the Library may have damaged the Cof- tion. This theatrical effect was to create Conclusion fee Room ceiling down below, which is an axial passage effect. The mirrors are Reform Club: A Lighting Service Case Study. (2014). a modern fitting. On the coving and the placed between the floors, still waiting Given the nature of this project, with Available from: < http://www.lightingservices. com> [8 June 2014]. ceiling, serious flaked paint layers were to be conserved. several trades working in the same present, as large leaves of paint were space, it was necessary to create a pre- Reform Club. (2013). ‘Briefing notes’. Distributed held in situ by the interlocking of other Under the carpet, the floor is of oak cise conservation plan with an overall for tour escort at the Reform Club.

paint flakes. boards, inlaid in various ways. Barry methodology to deal with the variety of RHODES, H. (1837) Personal letter to the Building provided a custom-made carpet of architectural and historical elements. It Committee, Available from: Reform Club archive. Barry provided an innovative air ventila- Scotch manufacture, made in a single was important to monitor the speed and STANLEY, C. RAMSEY. (1913). ‘London clubs: The tion system for the Club, which is actu- length, narrowed at the doors. The progress of a collaborative workflow. A Reform Club’. The Architectural Review. ally still working. The circuit of hidden carpet had three different patterns and continuous consultation with Heritage pipes behind the plaster, still heating neutral colours, which was celebrated in bodies and the facilities manager was VONBERG, P. (2003). ‘A palazzo in Pall Mall? The origins of the Reform Club in the Palazzo Farnese, and cooling the paint layer, and, as a re- 8. Detail of the Reform Club’s Library ceiling embellishment after conservation. publications of that period (Mead 1841). needed to ensure the standards and Rome’. Paper presented at the Reform Club, London, sult, constantly expanding and contract- The carpet wore out at an early date and levels of conservation. The success of UK. ing, leading the paint to fail. replaced with a different style. However, the project can be summarized by the WATKIN, D. (1999). ‘The Travellers’ Club and the it was the view of the Club’s Committee following comment: “English Heritage is Grand Tour’. British Art Journal, vol. 1, p. 56. When mapping the areas of delami- that to complete the conservation pro- delighted with the scholarly programme WOODBRIDGE, G. (1978). The Reform Club 1836- nation, the relationship between the gram, it was necessary to commission a of restoration and conservation work at 1978. Watmoughs Limited, Bradford. heating system and the paint damage new carpet in keeping with the spirit of the Reform and considers that its out- was clear, which may have been accentu- the room. standing interiors are greatly enhanced ated by the harmful deposition of acidic by the lighting scheme adopted” (Reform sulphur dioxide, produced by the smoke During the conservation work, a diaper Club 2013, p. 3). from the open fires and from cigars. work with a central rose was discovered in the Smoking Room, similar to the 68 69

Giulia Chiostrini Keywords: the abduction of helen: monumental hanging uncovering the technical Chinese embroidery for export gilt-paper wrapped threads features of a monumental satin strips painted areas embroidery hanging European pigments from the collection of coccholiths the metropolitan museum of art

Abstract This paper presents the results of the by the staff of the Museum’s Scientific technical examination of a large-dimen- Research Department. A Scanning Elec- sion seventeenth century embroidered tron Microscope and Energy Dispersive Chinese hanging made for export (MMA Spectrometry (SEM-EDS), Transform 1979.282) and now in The Metropolitan Infrared Microspectrometry and Raman Museum of Art’s permanent collec- Microscopy (RM) were utilized by the tion. It discusses the different stages of Museum’s scientists to further inves- the embroidery’s production through tigate the white ground pigment and a presentation of the technical details other features. The overall goal of this determined via visual examination and paper is to demonstrate that this em- various scientific analyses. Fiber identi- broidery is an example of a monumental fication of the embroidery ground fabric cultural-artistic exchange between the was achieved with the use of a Polarized Western and Eastern worlds, not only Light Microscope, which also identified from the iconographic, but also from the the nature of the pigments analyzed technical and material perspectives. 70 The Abduction of Helen: Uncovering the Technical Features of a Monumental Embroidery Hanging from the Collection of The Metropolitan Museum of Art The Abduction of Helen: Uncovering the Technical Features of a Monumental Embroidery Hanging from the Collection of The Metropolitan Museum of Art 71

1. Obverse (left) and Reverse (right) The Abduction of Helen, from a set of the Story of Troy. Chinese embroidery for Portuguese market, irst half of the seventeenth century. Cotton, silk, gilt-paper wrapped threads, pigments. Photo: The Metropolitan Museum of Art, New York, Gift of Louis E. Seley, 1979 (1979.282).

Introduction the early seventeenth century.[1] (Fig. 1) Production History of weft threads per centimeter. The back- tion in 1979, was removed. dered individually and then the piece Prior to this, in 2012, the Museum’s the Embroidery Panel ground as a whole is an assemblage of 12 The main scene is embroidered on an was assembled as a whole. This techni- During the exhibition Interwoven Globe: Department of Textile Conservation panels with the same weave structure assemblage of 10 panels cut to fit with- cal observation is supported by the The Worldwide Textile Trade, 1500–1800, conducted a complete examination of Cotton Ground Fabric and a number of further small pieces cut in the inner frame. It can be assumed presence of silk stitches, which match held at The Metropolitan Museum of Art this work of art, followed by its conser- A 2/1 cotton twill fabric was used as the from the same cotton twill fabric. Each that prior to the embroidery’s execu- the color of each particular area on the from September 2013 to January 2014, a vation treatment and preparation for ground fabric for the whole embroidery. panel measures approximately 36 to 38 tion, a same-scale drawing, similar to obverse of the piece. The stitches were large hanging, measuring 360 cm x 480 display. This overall visual examination Analysis of the fiber via polarized light centimeters in width. They are joined a tapestry cartoon, was given to the applied to cover the joins between the cm and depicting the abduction of Helen revealed technical details of the Chinese microscope confirmed the use of cotton together in a vertical direction along the embroiderers as a guide. Each border different panels. from the story of the Trojan War (MMA embroidery, suggesting the interven- in both warp and weft threads. The selvedge, which is visible on the reverse on both sides is embroidered on one 1979.282), was prominently displayed in tion of European practices in the painted undyed warp is made of two yarns plied of the textile. In order to document the long panel, while the upper and lower Narrow fabric strips placed along the the first gallery. It was presented as an areas. in a Z-direction; the undyed weft is also reverse of the panel, a lining made of borders are embroidered on small four sides between the borders and example of the monumental iconograph- made of two yarns plied in a Z-direction. jute, which had been applied during a pieces of fabric joined together in a the main scene show that the piece ic and ornamental exchange between The weave structure is still tight, dem- previous restoration treatment before row. Because of the large dimensions was altered after completion, suggest- the Eastern and Western traditions in onstrating a count of 22 warp and 30 the object entered the Museum’s collec- of the piece, each panel was embroi- ing that the dimensions of the whole 72 The Abduction of Helen: Uncovering the Technical Features of a Monumental Embroidery Hanging from the Collection of The Metropolitan Museum of Art The Abduction of Helen: Uncovering the Technical Features of a Monumental Embroidery Hanging from the Collection of The Metropolitan Museum of Art 73

European. The Abduction of Helen could shades and the movement of the human binary gold-silver alloy, whose approxi- have been independently commis- figures as well as defining architectural mate composition is 88% gold and 12% sioned by a wealthy European patron interiors on the proper right side of the silver. The thin layer of gold was applied or purchased by merchants for sale at panel. In this crowded composition, via a paper previously prepared with a European fairs.[3] In either case, its remarkably small details such as Helen’s thin layer of kaolinite and finely divided entirely Western subject shows it was earrings are clearly depicted at the center iron oxides.[5] (Fig. 5) made for export. of the main scene through the use of seed knots in yellow silk thread. (Fig. 3) These gilt-paper wrapped threads were Embroidery Techniques an important element of the original and Materials Abundant use of gilt-paper wrapped appearance of the embroidery. Although The Abduction of Helen panel has been threads enhance other details, such as the majority of the fragile gilt-paper embroidered using a variety of materials architectural elements and the phoenix has been lost, what remains today is and techniques common to Chinese em- feathers on the top border of the panel. evidence of the original luxury of this broidery practices.[4] Gradations of dyed (Fig. 4) monumental hanging. satin silk threads slightly plied in Z- twist fill large areas of the background. The analysis conducted by scientist Painted Figures Applied in slanted directions, vividly Federico Caro of the Metropolitan An interesting component of this em- dyed satin stitches in combination with Museum’s Department of Scientific broidery is revealed by analysis of the short and long silk stitches modulate the Research shows that the gilding is a painted portions of its figures. A narrow

2. This image shows the band in a plain weaving structure measuring about 10 centimeters. 3. Detail of the earring realized with seed Both warp and weft are made of two Z-twist threads. The tightly woven structure counts knot stitches and outlined by gilt-wrapped 26 warp and 48 to 50 weft threads per centimeter. Photo: Giulia Chiostrini. paper threads. Photo: Giulia Chiostrini.

embroidery panel were adjusted and to be the source for the cotton canvas cloth was woven everywhere. Each Chi- readjusted over time to fit differently- under discussion. However, according nese region specialized in the production sized display spaces. to Riello, cotton textiles from domestic of various kinds of cotton textiles, from plants were widely produced in China plain weave to more complex weaving Further investigation of the cotton twill from the twelfth century, when raw structures. For example, the Songjiang weave structure from its reverse shows cotton was first introduced to the area. region marketed more than twenty an unexpected detail on the proper right (Riello, 2013, p.68) By the thirteenth different varieties of cotton textiles, corner of the piece. One border panel pre- century, cotton was such a widely including the cotton twill for which the serves a weft-faced woven band, which manufactured national commodity that area’s weavers led production. (Compiler constitutes the beginning of the weav- China’s new Mongol rulers established and Weiji, 1992, p.449) By this period, ing on the loom. This band has a strip cotton textiles as a regular part of the Chinese cotton cloth was of such high pattern alternating beige, brown and national taxation system. By the time quality that its trade was expanded blue color weft threads. Following a few of the Yuan dynasty (1271–1368), cotton to the European market. It became an weft thread passages, the plain weave began to replace the longer-established important Chinese export commodity switches to a twill structure.[2] hemp in weaving. (Compiler and Weiji, alongside silk and porcelain. (Fig. 2) 1992, p.135) In short, this social-economic de- The use of cotton fabric as the ground While India was developing an interna- velopment in seventeenth-century for a Chinese embroidery requires some tional export trade in its cotton textiles, China makes it likely that not only consideration of the Chinese cotton China was developing a sophisticated the embroidery, but also the cotton industry that flourished in the seven- and widespread domestic trade in the fabric it was placed on, were produced teenth century. Given the dynamics of same product. By the end of the Ming internally, meaning the original mate- international trade in the early seven- Dynasty (1368–1644), looms were set up rial makeup of this textile is entirely teenth century, India might be assumed in almost every household and cotton Chinese, though its subject is entirely

4. The gilt-paper wrapped thread is couched down by a fine blue silk thread, while small rolls of paper are placed underneath the orange satin silk stitches to mold the curved form of each feather. Photo: Giulia Chiostrini. 74 The Abduction of Helen: Uncovering the Technical Features of a Monumental Embroidery Hanging from the Collection of The Metropolitan Museum of Art The Abduction of Helen: Uncovering the Technical Features of a Monumental Embroidery Hanging from the Collection of The Metropolitan Museum of Art 75

techniques. However, their paintings were achieved with local materials avail- able in Asia (not the European pigments found in this hanging). In addition, there is no evidence that Jesuit painters ever worked commercially or for European markets.

Previous Interventions

In some areas, where there has been a loss of embroidery, pigments were applied matching the original color of the silk stitches. These interventions 5. (left) (Magnification 30x) Backscattered electron image (BSE) of the thread; were meant to restore the embroidery’s (right) (Magnification 120x) BSE image of the gilt-paper thread. Photo: Federico Caro. aesthetic value. For example, blue- green pigments were used to replace the pattern of Helen’s green dress in the center of the scene, where the lost gilt- paper wrapped threads were originally couched by green silk threads in regular white satin strip outlines the features taste, the original embroidered satin chalk was widely used as a white pig- rows. (Fig. 7) of the human bodies in the hanging, fabric was removed to allow the painting ment or ground in the European paint- including faces, arms, legs and feet of the human features now visible, with ing tradition, and its identification with Scientific investigations are currently painted directly on the cotton canvas. their remarkably European character. coccoliths establishes its origins in the underway to identify the nature of these On closer inspection, it was apparent [7] The painting is not executed with ubiquitous carbonate marine deposits of pigments in order to compare them with that the narrow strip was originally the same accuracy as the rest of the Europe.[9] All the materials identified by those from the painted human features. wider. Much of it is hidden by the sur- embroidery. In some areas, colors have scientific analysis were commonly used 6. (top) This human face shows a narrow 7. Detail of Helen’s dress pattern. The results of this analysis will help rounding embroidery silk stitches, been inexpertly brushed over the edges in European art, including the copper white satin strip along its outline, Photo: Giulia Chiostrini. determine if both interventions are which were applied on top of it to hold of the painted canvas, covering portions resinate used as a green pigment. The while the facial features are painted contemporary. the fabric in place. This finding suggests of the silk stitches and of the gilt-paper latter does not have any documented directly on the cotton canvas. (bottom) that originally pieces of white satin wrapped threads. This is at odds with history of use in Asia. (Magnification 60 x) Detail of a satin Later interventions are simpler to date fabric cut in the shape of human features the technical expertise shown elsewhere fabric fragment. Photo: Giulia Chiostrini. and obviously intended as conserva- were attached to the cotton canvas after in the hanging and strengthens the To sum up: the piece was certainly made tion treatments. While pigments were being embroidered or painted with de- hypothesis that the painted decorations in China with Chinese materials and used to fill areas originally embroidered tails such as the eyes, mouth, and nose. represent an alteration of the original using a Chinese embroidery technique. in the main scene, in the border, large [6] However, at some unknown point, the composition that took place in a different However, scientific analysis suggests areas of missing embroidered design satin was cut internally along the edges, artistic practice. that the material of the painting has its were reintegrated with synthetic-dyed lifted out, and its function was supersed- origins in Europe and was added at a mercerized cotton threads. These are ed by paint applied directly to the cotton Samples of the paint from the face of the later stage of the embroidery’s lifetime, applied in a shoddy manner, intended canvas. Removing the entire shaped Triton on the right border were ana- a stage that took place in a European to imitate the original silk embroidery pieces of precious embroidered satin fab- lyzed. Among the resulting materials, cultural-artistic context. It could pos- stitches. The use of synthetic dyes means ric would have been a waste of material pigments including calcium carbonate, sibly be argued that this context could that this treatment could not be applied and of the embroiderer’s valuable time. lead white, and copper resinate were still have been geographically located before the mid-nineteenth century, iden- It may therefore be suggested that the identified. Whole egg was determined in China, where a circle of European tifying another stage of development in painted areas are not contemporary to to be the binder in the paint layer, while Jesuit painters had been present since the embroidery’s lifetime. [10] the original embroidery’s composition, a protein binder was found in the white the early sixteenth century. (Musillo, but are later additions. (Fig. 6) ground. The calcium carbonate used as 2008, p.45–49) Skilled painters like Mat- the ground white pigment was a variety teo Ricci in the sixteenth century and Why the replacement was made is not of natural chalk composed of microfos- Giuseppe Castiglione in the eighteenth clear. Perhaps because of a change in sils known as coccoliths.[8] Natural century executed their paintings in European styles and with European 76 The Abduction of Helen: Uncovering the Technical Features of a Monumental Embroidery Hanging from the Collection of The Metropolitan Museum of Art The Abduction of Helen: Uncovering the Technical Features of a Monumental Embroidery Hanging from the Collection of The Metropolitan Museum of Art 77

Notes References [1] According to Thomas Campbell, from the early [7] It is interesting to note that the other two em- CAMPBELL, T. (2002) Tapestry in the Renaissance: fifteenth century, the story of Troy was one of the broidery panels from the same set belonging to the art and magnificence.New York: The Metropolitan most popular subjects for monumental European Metropolitan show similar characteristics: human Museum of Art. tapestries. (Campbell, 2002, p.24–27) The panel features are painted directly on a similar cotton examined in this article is part of a large set of ground fabric and outlined by a satin fabric strip. COMPILER, C. and WEIJI, C. (1992) History of textile seven hangings. The Museum owns two others in It is worth highlighting the Western character of technology of Ancient China. New York: Science the set (MMA 50.97.2 and 51.152), while four more these human features: long noses and a moustache Press. remain in European collections. Each panel depicts on the panel under discussion and on panel MMA a scene in a narrative sequence, corresponding to 50.97.2 and blue eyes and curled blonde hair on DENNEY, J. (2012) ‘14. The abduction of Helen, from the Western tapestry tradition. (Denney, 2012) panel MMA 51.152. It should be remembered that a set of the story of Troy’ in Peck, A. (ed.) Interwoven from the early sixteenth century, patrons wished to Globe: The Worldwide Textile Trade, 1500–1800. New [2] From a technical perspective, the use of a twill be associated with the heroic or legendary figures York: The Metropolitan Museum of Art. weaving structure for such a large embroidery depicted on the tapestries they purchased, and panel assures greater strength and flexibility dur- that artists therefore tried to make commissioned GETTENS, R. J., Fitzhugh, E. W., and Feller, R. L. ing the textile’s suspension. pieces resemble their future owners (or the owner’s (1974) ‘Calcium carbonate calcium whites.’ Studies self-image). See Campbell, 2002, p.22–27. in Conservation, vol. 19 (no. 3) p. 157–184. [3] The second instance would explain the difficulty of finding an example of the armorial bearings [8] On its first examination by Polarized Light MELLOT, R. L. (1988) ‘Embroidery stitches’ in Asian depicted on the embroidery panel in any known Microscope, this sample showed similarities to Embroideries: Asian Art Museum of San Francisco European family’s arms. (Denney, 2012) the morphology of calcium carbonate derived April 6–July 10, 1988. San Francisco: Asian Art from ground oyster shell (gofun), the unique white Museum of San Francisco. [4] For a better description of the embroidery pigment of Japanese painting. However, further stitches common to Asian practice, see Mellot, investigation using Scanning Electron Microcopy MUSILLO, M. (2008) ‘Reconciling two careers: the 1988. (SEM) imaging clearly showed the presence of Jesuit memoir of Giuseppe Castiglione lay brother [5] The composition and structure of the gilt-paper coccoliths as the main component of this natural and Qing imperial painters.’ Eighteenth Century thread was analyzed using SEM-EDS. See the chalk or calcium carbonate. For a better description Studies, vol. 42 (no. 1) p. 45–49. examination report by Dr. Federico Caro, January of the variety and nature of the calcium carbonate 30, 2015. used as white pigment, see Gettens, Fitzhugh and RIELLO, G. (2013) Cotton, the fabric that made the 8. The reverse of the embroidery panel during the attachment of the backing support, while patches of various dimensions Feller, 1974, p.157–184. modern world. New York: Cambridge University from previous restoration treatments were held in place. Photo: Giulia Chiostrini. [6] Fragments remain of a stiffening layer of paper Press. underneath remnants of the satin fabric. This find- [9] See the examination report by Dr. Elena Basso ing suggests that embroidery rather than painting and Dr. Marco Leona, February 24th, 2015. was originally planned to fill in these details. [10] The synthetic dye-making industry was founded in 1856 by the young chemist William Henry Perkin, who discovered the artificial dye mauveine.

Treatment Procedure centimeter polyester batting was first Conclusions placed on the working tables and covered The overall aim of the treatment was by phototex paper sheets. This layer In conclusion, the 2012 treatment to stabilize the embroidery and assure functioned as a cushion for the pressure described above now represents the last that the panel was strong enough to be applied on the embroidery’s obverse dur- stage of development in this embroidery’s displayed hanging vertically. ing the conservation work. Four cotton lifetime, which began in seventeenth- sateen fabric straps 10 centimeters wide century China. The influence of European While the cotton ground fabric was in were vertically stitched to the embroi- cultural and aesthetic value dramatically good condition, the embroidery original dery’s reverse to provide reinforcement affected this Chinese export embroi- material was fragile; the loose gilt-paper during the hanging. A cotton sateen dery’s composition and eventually led to wrapped threads and the small rolls of band 70 centimeters wide was also the partial replacement of the original paper were stabilized by couching them stitched along the top edge of the panel, material with a painted surface that in thin polyester thread through the cot- while a plain cotton band 50 centimeters contrasts with the luxurious and skilful ton embroidery ground fabric. wide was stitched along the bottom edge embroidery. to assure protection during the hanging Although further investigation, including Finally, the piece was supported for of the piece in the gallery. (Fig. 8) an examination of the other two panels hanging according to the Department’s in the Museum’s collection, is underway, standards for the conservation of large Pima cotton lining was finally applied. A this initial analysis of the smallest details figurative textiles. The embroidery band of Velcro sewn onto cotton webbing of The Abduction of Helen reveals evidence was opened on adjacent tables with its and attached through the lining on the of a monumental combination of Western reverse up. Given the fragile condition top edge constituted the hanging system and Eastern artistic practices. of the material, including the cracked of this large embroidery panel. surface of the painted areas, a layer of 2.5 78 79

Christina Danielli & Susanna Eklund Keywords: conservation challenges in interdisciplinary collaboration the finnish jabal haroun excavation camp facilities project excavations in conservation petra, jordan

Abstract The Finnish Jabal Haroun Project is a excavations, their close collaboration comprehensive, multidisciplinary pro- with the archaeologists, and the fre- gram of archaeological investigations quent exchange of opinions has proven in Petra, Jordan, directed by Prof. Jaakko an extremely valuable and successful ex- Frösén, University of Helsinki, and perience, essential in keeping interven- sponsored by the Academy of Finland. tions to the minimum level necessary to The participants include archaeologists, maintain the authenticity of the site. All conservators and cartographers from the conservation work carried out during Finland, USA, Italy, and Sweden. The the excavation was accomplished while project studies the spatial and temporal carefully considering the different col- human occupation in the area of Jabal lapses and reconstruction phases, since Harûn throughout the ages, with special these are a significant characterization emphasis on the extent and nature of of the history of the complex. occupation at the site recognized as a Byzantine monastery. The possibility of studying and monitor- ing the deterioration processes and the Excavations of the area of the monastery, building materials, and the continuous carried out between 1998 and 2013, led to coordination between archaeologists the exposition of a significant pilgrim- and conservators during the excavation age centre dedicated to St. Aaron and has allowed for an effective collaboration dated to the 5th - early 8th centuries, during the fieldwork and in the following built in local sandstone and limestone. study phases, resulting in the preserva- The arid climate, the rapid change in tion of the archaeological context, while temperature, and relative humidity on operating on the environmental control the site, as well as its elevation (1250 m through minimal intervention in order above sea level), demanded particular to preserve the authenticity of the site. care in the choice of the treatments and in their timing. The presence of conser- vators on site since the beginning of the 80 Conservation Challenges in the Finnish Jabal Haroun Project Excavations in Petra, Jordan Conservation Challenges in the Finnish Jabal Haroun Project Excavations in Petra, Jordan 81

Introduction allowing open minded and flexible ful in attaining their goals, the human professional exchanges, which contrib- factor is not always considered beyond The Finnish Jabal Haroun Project (FJHP) ute to successful results in the field. its professional aspect. The FJHP is one may be considered a successful example Cultural differences, power struggles of those rare examples where careful of collaboration and cooperation among between different areas of study, and a planning of all the aspects, from the experienced professionals with differ- lack of communication among the team’s organization of the worksite, the selec- ent qualifications, university students, professionals may hinder the work and tion of appropriate professionals, a good and local people. Many archaeological create problems that impede the correct local team, and the comfort of living projects propose the interdisciplinary progress of the fieldwork. Other factors conditions, have made the endeavor of approach along with the involvement that may contribute to a problematic working on a very difficult and exhaust- of locals when excavating and restor- interdisciplinary approach on an ar- ing worksite pleasant and efficient. The ing in foreign countries, following the chaeological excavation may be: difficult project, in its many years of excavation requirements of the International guide- living conditions, a hostile environment, seasons, has not always been “ideal” lines for funding and financial support and an inadequate organization of the in that everything went smoothly and (Feilden & Jokilehto, 1998, p. 127-131). fieldwork. without difficulty. Personal and profes- However, it is seldom easy to create the sional issues, as well as extreme climatic 2. The camp and dining area in front, toilet/shower stalls at the 3. Sleeping quarters. Photo: Anna Erving 2005. right atmosphere among the project’s Although many international projects conditions, have sometimes led to dif- back. Photo: Anna Erving 2005. multidisciplinary team and local people, are planned correctly and are success- ficult circumstances; nevertheless, the

general approach has been extremely provision of supplies and conservation each season they could be disassembled positive. The mutual esteem shared material is thus particularly difficult. and placed into storage. The toilet and among the different professionals and However, due to its location in proximity shower facilities were located at about the respectful consideration of the local of Petra - the major cultural attraction 15 m from the tent, consisting of a series workmen, the dedication and conscien- in Jordan - its spectacular natural set- of stalls made of lightweight glass-rein- tious enthusiasm of the students, the ting and the wildlife, Jabal Haroun area forced composite tube frames, on which pleasantness and efficiency of the living is gradually accorded more interest by heavy nylon fabric is attached to create quarters together with a positive at- tourists. partitions, and aluminum-coated nylon titude of all the team members has been fabric for roofs. The toilets were Scan- key to solving both issues and day to day The Finnish project carried out 10 full dinavian style dry toilets with wooden problems. field seasons between 1998 and 2013, seats inside the fabric stalls. The whole which led to the exposition of a large system could be mounted and disman- The FJHP is a comprehensive, multi- part of a significant Byzantine monas- tled in a day, so that no trace remained in disciplinary program of archaeological tery/pilgrimage centre dedicated to St. between seasons. investigations directed by Prof. Jaakko Aaron, existing between later 5th and Frösén, University of Helsinki, and the 9th/10th centuries (Fiema, 2008, p. Water was carried to the site by donkeys sponsored by the Academy of Finland. 51). and used sparingly for all activities, from The participants include archaeolo- showers, to dishwashing, to conser- gists, conservators, and cartographers vation, and pottery washing. It was from Finland, USA, Italy, and Sweden. Camp and excavation site brought up in 25 l plastic containers and The project has been involved in the poured into two large tanks, one that excavation of an Early Christian site Although the site was located in a harsh serves the kitchen area and the other located at Jabal Haroun (the mountain of environment at the top of an arid and – the toilet area. The quantity of water the Prophet Aaron) ca. 5 km SW of Petra windblown plateau, reachable only by for individual use was limited to 1,5 l per since 1998, and often referred to as the foot or donkey, the living quarters were person per day and a 5 l shower per week. Biblical Mount Hôr by the early explor- comfortable and the organization ef- Bottled drinking water, which was not ers of the area. The location of the Jabal ficient. The team lodged under a Bedouin limited due to the high risk of dehydra- Haroun complex is both spectacular and tent ca. 20 m long and 3 m wide, divided tion, also came with the donkeys. challenging. The site is located at 1250 m by a partition separating the male and above sea level, with an access route ac- female quarters. The beds were folding The kitchen facilities were located in a cessible only by humans or donkeys. The military camp beds, so that at the end of small stone building adjacent the tent.

1. The excavation site (in the centre) is located on a mountain plateau. The camp can be seen on the left. Photo: Susanna Eklund 2005. 82 Conservation Challenges in the Finnish Jabal Haroun Project Excavations in Petra, Jordan Conservation Challenges in the Finnish Jabal Haroun Project Excavations in Petra, Jordan 83

Three local people were in charge of its rigid settings, allowed for swift and During the FJHP’s excavation seasons, used different building techniques and were used for the long term monitoring the cooking and dishwashing; the food efficient work, often punctuated by dia- a senior conservator from Rome, Italy, materials, which had to be taken into con- of the site and materials, while several was usually excellent, and the kitchen logue and confrontation, an important specialized in stone conservation, and sideration during the interventions. Due to short-term analyses were carried out was kept very clean. At the end of each requisite to work well as a team in which two or more Finnish conservators (with the difficulty of ordering and transporting during the work period on site. The study season, the kitchen became a storage each element is an important and equal different specializations) or conserva- chemical products from abroad, prefer- of the stone weathering was carried out area for beds, bathroom facilities, and part of the whole. tion students composed the team of ence was given to local materials (sand, by one of the junior conservators, and also excavation equipment. Carpets and conservators. Most of the conservation clay, lime, and limestone) and traditional represented the subject for her MA thesis small gazebo-like structures, built with work carried out during the excavation techniques. (Eklund, 2008). the same materials as the bathroom Conservation regarded the stabilization of the exposed stalls, covered the area in front of the architectural structures. First-aid treat- Environmental conditions influence not tent. This space, furnished with tables The presence of a conservation team on ment was performed on only the most Environmental only the chemicals used for conserva- and chairs, was used as a dining area as an excavation site is not always regarded important and fragile objects. The ar- monitoring and tion, but also the weathering of the well as a communal area for studying as necessary, as often conservation is chitectural elements to be treated were weathering analysis building materials at the site. Relative and documentation. Small tents were considered the final step in the excava- chosen according to their condition and humidity (RH%) and temperature (°C) used as office space, where computers tion process, to repair and secure the the importance of their integrity within The importance of having a good team were first monitored briefly in 1999 with used by the engineering students and various structural and decorative ele- the site. Since the function of some of and an efficient worksite is that it allows a Vaisala hand-held humidity and tem- cartographers were also available for ments for the final presentation. Yet, it is these structures was not yet clear to the people to concentrate on their work perature meter, primarily to see what reading email. Electricity was provided extremely important that a conservator archaeologists, it was decided to under- with an open and relaxed mind, open to chemicals could be used for object con- by two large solar panels, which were be present on site during the excavation, take only temporary and reversible re- confrontation. Thus, many subjects were servation (Karakoski, 2001, p. 87). More 6. The open air sensor of the Hobo used to charge the computers and lamps as many elements may be altered, lost, pairs on the masonry and to consolidate discussed with other team members, extensive monitoring was conducted datalogger. Photo: Susanna Eklund 2005. for the evening. or damaged, if not taken care of from the the marble floors and what remained of allowing for a more in-depth research in 2005-2006 to observe the conditions moment they are exposed. Since rapid the plaster fragments. (Danielli, 2008, p. and the possibility of changing solu- to which the structures are exposed The excavation site is located circa 30 chemical and physical reactions occur 158-163) tions on the site. The arid climate and (Eklund, 2008). In September 2013, m from the camp, thus very close to the almost immediately after excavation, it the rapid change in temperature and wind conditions were monitored briefly living quarters. Work at the site was or- is important that a qualified conservator Building techniques used at the site were relative humidity on the site, as well as with a hand-held Skywatch Xplorer 2 ganized by assigning different trenches is present on site to control further decay carefully documented: the large sandstone its elevation (1250 m above sea level) anemo-thermometer with the purpose to students supervised by the senior by slowing down the reaction of materi- blocks constituting the main walls of the demanded particular care in the choice of examining the maximum wind speed archaeologists or former students. The als to environmental factors, providing a buildings were cemented with a thin layer of the treatments and in their timing. values at the site (Putkonen, 2015). chief archaeologist was in charge of the gradual exposure of the remains to their of mud mortar mixed with sand. During Traditional conservation procedures and entire site and supervised all the trench- new condition. (Stanley Price, 1995, p.1-9) a later phase some walls were rebuilt or proportions had to be slightly altered A Hobo Microstation datalogger with es as well as the conservation work. The re-erected using a lime mortar mixed with and carried out at particular hours of the two humidity and temperature sensors strict organization at the site, despite sand. The different construction phases day. Due to the elevated temperatures was used for the monitoring in 2005- (up to 40-45 °C) at midday, all chemical 2006. The logger and one sensor were treatments had to be minimal and ap- placed in a plywood box sheltering a plied during the late hours of the after- plastered altar and the other sensor was noon. Mortar repairs were applied under placed in open air, but sheltered from a protective shelter, which provided rain and direct sunlight. Climatic con- lower temperature and avoided direct ditions vary annually; the data acquired sunlight. Metal finds and glass were was a sample of the conditions during packed immediately after excavation the measurement period. Comparison and kept dry with silica gel to prevent of the data to long-term (1984-1998) further corrosion. values from the nearest Wadi Musa Weather Station indicated that the The difficult climatic conditions also monitored 12 months were not extreme required long and short term monitoring with regards to temperature and gener- of the site and the masonry. Building ele- ally drier than average with regards ments, such as plaster, stone and mortars, to average relative humidity. The altar required different types of conserva- box proved successful in stabilizing the tion treatments, which were calibrated conditions inside by reducing extreme following the monitoring phases from temperature and humidity variations. year to year. The prolonged periods of (Eklund, 2008, p. 55, 57). inactivity in between excavation seasons

4. Donkey with carrying crates. 5. Conservators covering the plastered altar with geotextile. Photo: Anna Erving 2005. Photo: Susanna Eklund 2005. 84 Conservation Challenges in the Finnish Jabal Haroun Project Excavations in Petra, Jordan Conservation Challenges in the Finnish Jabal Haroun Project Excavations in Petra, Jordan 85

site by employing minimum interven- References tion techniques and constant monitor- BARJOUS, M.O. and JASER, D. (1992) Geotechni- EKLUND, S. and POUTA, S. (2005) Challenges of ing. However, many issues still remain cal Studies and Geological mapping of Ancient Petra On-site Conservation at Jabal Haroun, Petra, Jor- City. Amman: The Hashemite Kingdom of Jordan, dan. Meddelelser om Konservering 2/2005. p. 3-12. to be solved. At present, the archaeo- Ministry of Energy and Mineral Resources, Natural logical remains are still exposed, and Resources Authority, Geology Directorate, Geologi- EKLUND, S. (2008) Stone Weathering in the Monastic although a conservation plan and a cal Mapping Division. Building Complex On Mountain of St Aaron in Petra, Jordan. [Online] Master of Arts thesis, Department shelter project have been developed for DANIELLI, C. (2001). In FRÖSÉN, J. et al. The of Archaeology, Institute for Cultural Studies. the final presentation, financial support 1999-2000 Finnish Jabal Haroun Project: Special- Helsinki: University of Helsinki. Available from: for the final conservation or backfill- ized reports. ADAJ (Annual of the Department of http://urn.fi/URN:NBN:fi-fe200902111176 [Ac- Antiquities Jordan) 45, p. 377-392. cessed: 30th April 2015]. ing of the site has not yet been granted. Urgent intervention is needed in order DANIELLI, C. (2002) Archaeological Conservation: FEILDEN B.M. and JOKILEHTO, J. (eds.) (1998) not to forsake the work carried out in Jabal Harun as a Case Study. In FIEMA, Z.T. and Management Guidelines for world Cultural Heritage FRÖSÉN, J. (eds.). Petra a city forgotten and rediscov- Sites. Rome: ICCROM. the past years. Although the difficulties ered. Helsinki: Helsinki University Press. p.156-166. involved in reaching Jabal Haroun would FIEMA, Z.T. and FRÖSÉN, J. (eds.) (2008) Petra – not allow for mass tourism as in the DANIELLI, C. (2008) The Analysis of Wall Plaster at The Mountain of Aaron. The Finnish Archaeological Jabal Haroun. In FIEMA, Z.T. and FRÖSÉN, J. Petra Project in Jordan. Vol. 1. The Church and the Chapel. Petra centre, the archaeological remains – The Mountain of Aaron. The Finnish Archaeological Helsinki: Societas Scientiarum Fennica. should be protected and organized by a Project in Jordan. Vol. 1. The Church and the Chapel. 7. April was a month of intense fluctuations. The altar box stabilized the interior conditions and reduced condensation. management plan that would ensure the Helsinki: Societas Scientiarum Fennica. p. 405-420. KARAKOSKI, A. (2001) Synteettiset polymeerit kent- täkonservoinnissa kuumassa ilmastossa Finnish Jabal proper final conservation and sheltering DE LA TORRE, M. (ed.) (1997) The Conserva- Haroun –projektissa Jordaniassa. Final thesis for the of the site. tion of Archaeological Sites in the Mediterranean Bachelor’s Degree Programme in Conservation. Region. Conference Proceedings. An International Vantaa: EVTEK Institute of Art and Design. Conference Organized by the Getty Conservation The significance of this project cannot Institute and the J. Paul Getty Museum, May 1995. MACDONALD, B. (2001) Climatic Changes in Generally, the Middle Eastern year noons and evenings. Wind erosion takes The climate measurements confirmed be underestimated, in terms of the Los Angeles: Getty Conservation Institute. Jordan through Time. In MacDonald, B., Adams, R. is divided into three seasons with place when strong winds carrying sand that the variation in temperature and historical and cultural ramifications, and Bienkowski, P. (eds.). The Archaeology of Jordan. FIEMA, Z.T. (2008) The FJHP: Background, Goals, Great Britain: Sheffield Academic Press. p. 595-601. summer extending from mid-June to remove the outer surface of sandstone humidity is large and frequent enough the scholarly value of the investiga- and Methodology. In FIEMA, Z.T. and FRÖSÉN, J. mid-September, the cooler rainy season that has already disintegrated due to to enable severe damaging processes tion, and its potential for the tourist Petra – The Mountain of Aaron. The Finnish Archaeo- PUTKONEN, V. (2015) Tuulimittaukset vuorella. [E- – from mid-October to mid-April, and salt crystallization or other weathering caused by salts, especially in stones development of the Petra area. The site logical Project in Jordan. Vol. 1. The Church and the mail]. Message to (Eklund S.) 19th January 2015. Chapel. Helsinki: Societas Scientiarum Fennica. the months in between constituting processes (Barjous and Jaser, 1992, p. 27). whose lithological properties make them also holds special religious significance. STANLEY PRICE, N. (ed.) (1995) Conservation on the transitional seasons (MacDonald, Wind conditions have to be considered sensitive to salt weathering. (Eklund, According to the Jewish, Christian, GOUDIE, A. and VILES, H. (1997) Salt Weathering Archaeological Excavations. Rome: ICCROM. 2001, p. 595). On Jabal Haroun the high- when planning possible shelters for the 2008, p. 59-74, 80). and Muslim traditions, the mountain Hazards. Chichester: Wiley. est recorded temperature was 35,70 ˚C site. Wind measurements in September is considered to be the place of burial of in August and the lowest – 0,29˚C in 2013 recorded that the average wind Moses’ brother Aaron. The excavated February. September, March, and April speed could reach up to 12 m/s with peak Conclusions complex provides a unique opportunity were months of intense fluctuation gusts being up to 17 m/s. The meas- to fully study and interpret a complete between warm, dry periods and cooler, urements were taken in open ground. The work on Jabal Haroun has been a monastic establishment in terms of its more humid periods. On a daily scale, the (Putkonen, 2015). great challenge and a valuable experi- architecture, phases of development, lowest temperatures usually occurred ence in testing the local materials and daily life economy and activities, and between 12am and 8am and the highest Salt weathering is recognized to be a their strength, and, with the help of its overall significance in the perspec- occurred between 12pm and 6pm. Dew problem, especially in areas with large long term monitoring of the site, it has tive of the rise of Christianity not only and fog water are two important sources and frequent cycling of temperature given the conservators the possibility to in Jordan, but also in the entire Middle of moisture for stone weathering. Dew and humidity or strong evaporation improve the type of interventions with East. The area associated with the events on Jabal Haroun took place 1-12 (Goudie and Viles, 1997, p. 89-90) such a better understanding of the climatic major tradition of the Biblical narrative days per month in January, February, as Jabal Haroun. Salt samples were variations and the resistance of the was already recognized as such in an- March, April, and July, and the duration taken from locations displaying visible materials as well as their proportion in tiquity and accorded special importance of the events varied from approximately and large amounts of salt spikes and/ the various treatments employed on the in terms of pilgrimage traffic, the traces 1 hour to 70 hours. During the longer or crystals. The different locations had site. The many issues that originated of which were already recognized in events, clouds surrounded the mountain been exposed for different lengths of during the work, the productive open the archaeological fieldwork. Notably, for several days, probably. (Eklund, 2008, time. The salt analysis showed that the discussions among the participants, the sanctity of the place continued to p. 50-54, 57-58). structures contain a variety of salts and and the respectful consideration given attract the pilgrimage traffic, whether that potential salt combinations may to the different building phases of the Christian, Jewish, or Muslim, in the Me- Strong winds can be observed regularly include ones which have been found by complex have allowed the preservation dieval period as well and it continued in on Jabal Haroun, especially in the after- earlier research to be very aggressive. and protection of the authenticity of the recent times. 86 87

Pieta Greaves & Chris Fern Keywords: the staffordshire Anglo-Saxon hoard: a monumental hoard conservation anglo-saxon hoard research outreach collaboration

Abstract The Staffordshire Hoard was discovered in 2009 by a metal detectorist; it is the most important and high-profile Anglo- Saxon archaeological discovery since Sutton Hoo.

The hoard is undergoing one of the largest artefact research programs in England, a programme which will continue for another three years. The team has been conserving and conduct- ing scientific analyses on the finds at Birmingham Museum and Art Gallery and at the British Museum. The research programme also draws on many Anglo- Saxon experts from across the UK and Europe to place the hoard objects in the broadest possible social and political context.

This paper will seek to show how the programme has started delivering results in collaboration with multiple stakeholders, such as Historic England (formally English Heritage), Birming- ham and Stoke City Councils, Anglo- Saxon academics, conservation and sci- ence specialists and the public at large. 88 The Staffordshire Hoard: A Monumental Anglo-Saxon Hoard The Staffordshire Hoard: A Monumental Anglo-Saxon Hoard 89

Introduction The 7th century was a crucial period in After the discovery (Fig. 3), the finder England’s history that saw the forma- contacted the Portable Antiquities The Staffordshire hoard is a truly tion of multiple regional kingdoms, Scheme, who notified the Coroner, as monumental treasure, being the largest still remembered today in the names required by English Law, who formally find of Anglo-Saxon gold, garnet and of counties and modern organisations, declared it to be “Treasure” (Lewis, silver metalwork ever made. Not since including Kent, East Anglia, Mercia and 2010). Treasure cases are valued by an the discovery in 1939 of the Sutton Hoo Northumbria. At the same time, the pa- independent committee and a public ship-burial in Suffolk, has our under- gan Anglo-Saxons were gradually con- institution wishing to acquire the items standing of 7th century England been verted to Christianity. Warfare between has a defined period of time to raise the so transformed (Bruce-Mitford,1975, competing regions was frequent. Yet, purchase price (which is shared by the 1978 and 1983). The hoard was found in out of this turbulent age came excep- finder and the landowner). The hoard July 2009 by a metal detectorist in the tional objects, as the hoard now above was valued at £3.285 million, making Parish of Hammerwich (Fig. 1), north of all testifies — echoing the vast riches it the UK’s largest ever treasure case to Birmingham. It had been scattered by described in the famous Anglo-Saxon that point, and a significant fundraising ploughing, and if it was originally in a poem Beowulf. challenge. pit, no trace remained when the site was excavated shortly afterwards (Dean et Birmingham Museums Trust (BMT) and al. 2010, p.144). Many hundreds of items Discovery and acquisition the Potteries Museum & Art Gallery, are represented by it’s over 3800 objects/ Stoke-on-Trent (PMAG), on behalf of fragments, some 5 kg gold and around 1.5 The discovery of the Staffordshire Hoard their respective city councils, decided kg silver. made headline news around the world to acquire the collection. Public demand 3. Hoard object before conservation. Photo: ©Birmingham Museums Trust’. when it was announced in September played a significant role in this deci- Most objects are fittings from the hilts of 2009. It was clear the find had captured sion. Part of the hoard had been placed bladed weapons, i.e. swords and seaxes the public’s attention in a way very few on display at Birmingham Museum and (fighting knives), though there are also archaeological stories do. The initial Art Gallery (BMAG) prior to the valu- remains from at least one helmet and a public reaction to the acquisition process ation, and 42,000 people had visited in worldwide that year- and the top UK cal collecting museum for Staffordshire England’s many regional kingdoms were small, but a significant group of overtly is worth outlining because it illustrates just 19 days. Comparing these numbers attraction (Pes and Sharpe, 2011). is the Potteries Museum & Art Gallery, locked in warfare, against a background Christian objects. It is possible the mate- how powerful a response a historic find to planned exhibition visitor figures for Stoke-on-Trent, but the Portable Antiq- of religious conversion (from pagan- rial was accrued from battle loot over a can generate, at both an international 2010 would place the hoard fifth in daily These exhibition figures strongly uities Scheme is based at Birmingham ism) to Christianity. In particular, the period of decades (Fig. 2). and regional level. figures for antiquities exhibitions indicated the power of the collection Museum and Art Gallery, which has a hoard will tell us about the formation, to generate a direct response from the specialist conservation department. character and contacts at the time of the public. Visitors were drawn from both Both lie within the historic Anglo-Saxon Anglo-Saxon kingdom of Mercia, within national and international sources, Mercian region. Thus, public inter- which territory it had been buried in, but overwhelmingly, they visited from est and sense of “ownership” crossed beside the old Roman Watling Street (a the local West Midlands region, with modern administrative boundaries and major route way in the period). But what individuals identifying a strong sense of created a constituency of its own for the Anglo-Saxon England’s richest find ac- local pride and “ownership” in the hoard hoard from the start. tually signifies is a mystery. A concealed (Cane, D., Cane, S. and Greaves, 2014). royal treasure or offering to pagan gods It was thus considered appropriate that The extraordinary sum required to are just two suggestions (e.g. Behr 2010; the collection should remain within the acquire the collection was raised in just Périn 2011). region, rather than going to a national three months, with substantial support institution. from the National Heritage Memorial Almost all the objects had been damaged Fund and the Art Fund, and with the before burial. For example, the sword The decision to acquire the hoard by two UK’s largest ever public giving campaign fittings appear to have been crudely, separate museums reflected the specific (Leahy & Bland 2009). but systematically, stripped from their circumstances of the find spot. The weapons (the iron blades being ex- hoard was discovered inside the modern cluded). The condition of the material administrative county of Staffordshire, Archaeological is crucial to its interpretation. Other but only a few hundred metres outside context of the hoard items, including Christian objects, seem the boundary of the metropolitan West possibly to have suffered iconoclastic Midlands area, which includes the city of The early 7th century was a period of damage. Nevertheless, whether by ritual Birmingham. The regional archaeologi- turbulence and change, during which or profane action, the overwhelming

1. Hoard Location Map. 2. Hoard grouped together. Photo: ©Birmingham Museums Trust’. Photo: ©Birmingham Museums Trust’. 90 The Staffordshire Hoard: A Monumental Anglo-Saxon Hoard The Staffordshire Hoard: A Monumental Anglo-Saxon Hoard 91

impression is of a collection of bullion. of the hoard, was likely made elsewhere The objects display decorative tech- 5. Filigree hilt collar during conservation. The Mercian kingdom is a mysterious in England in other Anglo-Saxon king- niques of the highest quality, comparable Photo: ©Birmingham Museums Trust’. place: historical, archaeological and doms. One or two of the artefacts may to Sutton Hoo, many have no direct modern administrative quirks have be from North Germany or Scandina- parallels either in the UK or Europe and combined to make it less “visible” to via. But all of the objects represent the their precise use or function is unclear. us than its neighbours. We know that elite strata of early medieval society There are no iron and only a few cop- by 655 AD, when King Penda was slain and perhaps some of them would even per alloy items within the hoard. The at the battle of Winwaed, Mercia was have been worn by members of a royal precious metal hilt fittings had been already an aggressive and expansion- household. The rarity and status of stripped from the swords and knives, ist military power that would come these objects would ensure that even in and no blades remain. Many of the other to dominate England in the centuries an illiterate society the wearer could be items that might be expected to form ahead. But the evidence for the formative easily identified as a person of impor- part of a warrior’s battle kit are missing period of this important Anglo-Saxon tance or power. from the collection. There are no horse kingdom is sparse, and that is why the fittings, and only three tiny buckles - hoard is such an important and unique The few Christian pieces (Fig. 4) within nothing to parallel the great buckle from collection. the hoard shed light on a transitional Sutton Hoo, and nowhere near the num- period when Pagan traditions were ber of strap ends and buckle fastenings Although found in the Mercian heart- coming to an end and Christian practice that 85 swords might suggest. There are land, it seems likely that most, if not all adopted. no female dress fittings and accessories.

The role of the was conducted 2010-2013, and a second were launched by the conservation team conservation programme stage of conservation continues at the to create a supportive public community time of writing (Cool, 2011; Cane, S., 2010). of interest. The narrative of discovery and engage- Alongside cleaning as conserving the ment with the process of learning materials (Fig. 5), the team took a highly The positive benefit of this social media about the hoard is central to its appeal. innovative, open and collegiate approach approach was a large audience without Encouraging this aspect of public inter- to conservation. It has successfully many start-up costs and an existing est was identified as a priority by the engaged both conservation professionals audience already familiar with the plat- owners early on, and the conservation and public audiences, and has delivered forms in use. programme was recognised as a key way an extraordinary range of activities over to deliver this narrative within the wider a short time period (Fig. 6), raising the Further to the outreach programme, programme. conservation profile in the UK public a collegiate conservation programme domain and beyond (Cane, D., Cane, S. was also put into place. The aim of the In many cases, an initial spike of public and Greaves, 2014). collegiate conservation programme was interest in a find risks being dissipated to allow the project to be as inclusive whilst it disappears “behind closed A strong hoard presence was created as possible and to maintain the profes- doors” for a research programme, before on social media (Facebook, Twitter, sional interest already generated by the emerging for display, often years later. In Youtube) and via a dedicated website, to discovery. Between 2010 and 2013, there the case of the Staffordshire Hoard, the allow the public to follow the progress were 14 professional, 27 student and 10 owners were committed to public display of the hoard conservation programme. non-specialist placements participated of the collection throughout the research Conservation plays a central role in in both the hands-on conservation and conservation process, at not one, but creating a “behind the scenes” feeling of programme and the public engagement four venues. participation to the public output of the programme. The placement programme project, and delivering new and develop- proved very successful in attracting BMT leads the conservation programme ing information about the collection. participants for the professional and for the hoard because it has an established Wider engagement has been created student placements from Germany, conservation department. The primary through a programme of talks, studio Canada, Holland, Greece the USA as well investigative conservation programme tours, open days, written and video blogs as the UK.

4. Great gold cross. Photo: ©Birmingham Museums Trust’. 92 The Staffordshire Hoard: A Monumental Anglo-Saxon Hoard The Staffordshire Hoard: A Monumental Anglo-Saxon Hoard 93

and the objects’ function is ongoing. the accompanying conservation pro- References Links with Anglo-Saxon re-enactors, gramme. This approach has reaped huge BEHR, C. (2010) ‘The Symbolic Nature of Gold in such as the 7th-century specialists, benefits for the collection, the research Magical and Religious Contexts’. In Staffordshire Hoard Symposium. London, March 2010. Available Wulfheodenas, who make and use programme and the discipline itself, due from: https://finds.org.uk/staffshoardsymposium replica artefacts, likewise bring new to the public facing. [Accessed May 22nd 2012]. perspectives to the collection and its BRUCE-MITFORD, R. L. S. (1975) The Sutton Hoo conservation. The conservation and research that Ship burial, vol 1: excavations, background, the ship, has already taken place has delivered dating and inventory. London: British Museum The wider project has also created astonishing results in understanding Publications Ltd.

a long-term partnership with local the collection and how it fits into our BRUCE-MITFORD, R. L. S. (1978) The Sutton Hoo government organizations and historic knowledge of the 7th century. But there Ship burial, vol 2: arms, armour and regalia. London: sites across the region. Known as the is still much more to do: more stories, British Museum Publications Ltd.

Staffordshire Hoard Trail, the aim of the information and understanding that BRUCE-MITFORD, R. L. S. (1983) The Sutton Hoo partnership is to generate longer-term can be extracted from the collection. To Ship burial, vol 3: Late Roman and Byzantine silver, social and economic benefits for the take one example, the continued piecing hanging-bowls, drinking vessels, cauldrons and other containers, textiles, the lyre, pottery bottle and other region by building on high levels of pub- together of the thousands of fragments items. London: British Museum Publications Ltd. lic interest in the find and the broader of silver foil that form a helmet, has the Mercian past of the area. The partner- potential to reveal a new corpus of data DEAN, S., HOOKE, D. and JONES, A. (2010) The ‘Staffordshire Hoard’: the Fieldwork. The Antiquar- 6. Conservation in the museum galleries. Photo: ©Birmingham Museums Trust’. ship brings together BMAG, PMAG, that informs us about wider aspects of ies Journal vol. 90, p. 139–152. Lichfield Cathedral, Lichfield District Anglo-Saxon life – dress, weaponry, CANE, D., CANE, S. and GREAVES, P. (2014) After Council, Tamworth Borough Council animals, beliefs, mythology, craft tech- the Goldrush: creating and sustaining communi- ties of interest around the Staffordshire Hoard. In and Staffordshire County Council. niques, international influences, politics ICOM-CC 17th Triennial Conference. Melbourne, 15th Their vision is to position the region as and even humour through their art. The to 19th September 2014. Unpublished. the heartland of Anglo-Saxon England hoard will never be “solved”, but that is a CANE, S. (2010) The Staffordshire Hoard conservation through the creation of a permanent positive thing, not a disadvantage. It is Plan. Initial conservation document produced by The professional placement participants ing cross-disciplinary debate within with the British Museum Depart- visitor trail, with each location telling a such a rich resource that new research BMAG & BM. were able to experience working on different disciplines of the heritage sec- ment of Conservation and Scientific different part of the Mercian story. This will always be able to draw out new sto- COOL, H.E.M. (2011) (rev. 2013) Contextualising the hoard objects while sharing their tor. In particular often the discussion on Research, where the hoard project has will be done through permanent galler- ries about the mysterious, but powerful Metal-Detected Discoveries: Staffordshire Anglo-Saxon conservation experience with the Hoard restoration vs conservation and the line benefitted from the expertise of the ies and local displays about the hoard, Mercian Kingdom. Hoard (Project 5892).Revised Project Design Version team, the conservation students and between the two. conservation and research depart- the Kingdom of Mercia, and the region’s 3 (18th July 2013). Barbican Research Associates. Available from: http://www.barbicanra.co.uk/sec- the non-specialists, creating a vibrant ments and the Centre de Recherche et rich Anglo-Saxon heritage, to inspire tion.php?xSec=48 [Accessed October 17th 2013]. learning environment where everyone All the placements participated in public de Restauration des Musées de la France local, national and international audi- could openly discuss ideas. The con- tours, social media and on occasion were (C2RMF) research laboratory at the ences. Continued public profile, largely LEAHY, K. and BLAND, R. (2009) The Staffordshire Hoard. London: The British Museum Press. servation students gained confidence part of the team used in the filming of Louvre through the EU funded CHA- created by the conservation outreach LEWIS, M. (ed.) (2011) The Portable Antiquities in helping the non-specialists by using the conservation process for National RISMA programme. Both institutions programme, is the key to the success of Scheme Annual Report, 2009 & 2010. London: The their knowledge to demonstrate such Geographic, Time Team (an archaeo- hold important collections of compara- the trail. Department of Portable Antiquities and Treasure, British Museum. as how one handles tools, the ethics of logical programme show on channel 4, ble material to the hoard, these collabo- conservation and how one approaches UK), Country File (BBC) and local and rations have facilitated the exchange PES, J., & SHARPE, E. (2011) Exhibition & Museum the treatment of an object, all under the national news teams. of expertise and scientific data, and Conclusion Attendance Figures 2010. The Art Newspaper. No. 223 (April), p.23-30. guidance of member of the full-time helped establish the conservation and team. Non-specialists came from the Na- research project in its wider context. The Staffordshire Hoard is undoubt- PÉRIN, P. (2011) A pagan sanctuary?. In: Hills, C., tional Heritage Ironwork Group (NHIG). Collaborations edly a monumental collection with Périn, P., Sparey-Green, C., Webster L. The Staf- fordshire (Ogley Hay) hoard: problems of interpre- The NHIG students consisted of profes- The conservation programme has also exceptional public draw. However, the tation. Antiquity. Vol. 85 (327), p. 225–226. sional and trainee blacksmiths, who The main funding collaboration was forged long-term academic partner- strategy implemented by the owners learnt about conservation on the micro with National Geographic, which sup- ships with Birmingham University and and their partners to create a pub- Hoard Web Sites scale, in comparison to the large objects ported the conservation programme Birmingham City University, relat- licly engaged, inclusive and collegiate http://www.facebook.com/staffordshirehoard and restoration techniques that they with £150,000, and with Historic Eng- ing to the use of scanning and digital conservation programme can provide a http://twitter.com/staffshoard http://www.youtube.com/BirminghamMAG practice as part of their degree. Working land being a main partner and funder technology to interpret the hoard. This broad model for heritage collections of http://www.staffordshirehoard.org.uk under microscopes allowed an exchange of research programme to a level of cross-disciplinary dialogue is particu- many types. The model stems from the of knowledge relating to treatment of £400,000. larly important for a collection like the initial commitment to prioritize public metals, types of tools and the working of Staffordshire Hoard, where the debate interest by maintaining exhibitions and metals once again created an invigorat Partnerships have been established about the manufacturing techniques engaging a community of interest with 94 95

Conny Hansen & Kim Hou Alberdi & Birgitte Larsen Keywords: out of darkness - epitaph investigations of three polychromy inventory large scale renaissance conservation paint research Epitaphs wood construction carving technique

Abstract In 2014, the National Museum of Den- mark carried out the conservation of seven 17th century epitaphs from the Cathedral of Elsinore, Denmark. The gigantic task was completed within 10 months; a monumental project that called for 16 conservators from four dif- ferent material areas.

As the conservation progressed, a special group of three epitaphs was real- ized to be in extremely good condition, of very high quality and hardly ever touched. This woke our curiosity to ex- amine them to gather knowledge on the technology and material usage, crafts- manship and workshops, especially Statius Otto (Rydbeck & Paulsson, 1915) and the ”Oresunds group” (Norn, 1960) and the wealthy people who had com- missioned these outstanding epitaphs for their eternal commemoration. The conservation left us with a wide range of samples, analytical photographs and multiple technological observations. The next step is to process the data to broaden our knowledge on first class craftsmanship of the 17th century. 96 Out of Darkness - Investigations of Three Large Scale Renaissance Epitaphs Out of Darkness - Investigations of Three Large Scale Renaissance Epitaphs 97

tures or paintings. In old times, the term the Sound Due, but also the officials, and was also used as a term for an elegy or Elsinore grew fast in population and in the tombstone alone. (Natmus.dk) 1559, it was the second largest city in Denmark with a wealthy and powerful upper class. Therefore, the tax collec- The deceased tors had some of the most spectacular epitaphs commissioned to mark their The three epitaphs were commissioned position in the earthly life, formed in due by Elsinore’s prominent people to serve respect to the church seeking an afterlife the purpose of bringing the deceased and above. his family closer to God as “an orna- mental beautification of the church in the honor of God “. It is obvious that the Conservation 2014 memorial works in this scale were only possible by the society´s upper class fi- The overall purpose of the conserva- nancing. Being a tax collector in Elsinore tion was to clean and consolidate the was a top position serving under King polychromy of the epitaphs as well as to Frederik the 2nd. stabilize the wooden constructions and 3. Elegantly decorated textiles on skillful carvings. carving. After conservation. Frederik The commissioners of the epitaphs were: Leils epitaph. Photo: Lise Johansson, Tax collector David Hansen, dead 1599. Initially, archival investigations were The Nationalmuseum Epitaph manufactured and placed in the made to determine previous treatments, church in 1599. but not much had been documented. Only minor repairs were mentioned Tax collector Frederik Leil, dead 1601. in connection with the damage on the Epitaph manufactured and placed in the building or the redecoration of the inte- 1. Dismounting Frederik Leiels epitaph, Elsinor Cathedral. After 2. Frederik Leils epitaph in Elsinor Cathedral, after conservation. church in 1601-1606. rior. Documentation of the conservation conservation. Photo: Roberto Fortuna, The Nationalmuseum Photo: Roberto Fortuna, The Nationalmuseum and repair history of the inventory was Tax collector Hans Meier, dead 1602. not a practice in Denmark before 1908 Epitaph manufactured and placed in the (Mollerup, 1908), so only little archi- church in 1602-1604. val information was recovered. Our curiosity for “the true condition” of the Introduction schemes in churches. She had noticed It definitely became 10 months of intense epitaphs grew as the main observations that only a few percent of 17th century conservation, treating the many differ- Sound Dues in on the condition had been executed from In 2014, the National Museum of Den- polychromy is untouched and with great ent materials of the seven epitaphs. Re- Elsinore 1559 the floor or from a ladder. mark carried out the conservation of variation in quality, and made us aware storing epitaphs of this scale, normally seven epitaphs from the Cathedral of Sct. of the obvious reason for further investi- placed unapproachably high above the In 1559, the Danish kingdom consisted of Olai in Elsinore, Denmark. The epitaphs’ gation of the Sct. Olai epitaphs. floor, demands great focus on extract- Denmark, Norway and southern Sweden Originality monumental sizes ranged between H. 8 ing as much information as possible and (Skåne, Halland and Blekinge), which m x W.5 m. and H.5 m. x W.3 m. The large scale epitaphs conduct out- gathering samples and recordings, when meant full Danish control of these land Already during the dismounting of the standing craftsmanship carried out they were accessible. Quite a challenge areas and the sea in between. The Sound epitaphs, it became obvious that the As the conservation progressed and the by a group of painters, joiners, turners when four other large scale epitaphs Due launched by king Erik of Pomerania mounting was original and few parts true state and appearance of three of and carvers - in literature nicknamed have to be treated within the same lim- (1382-1459) was exploited by the Danish had been dismounted at earlier stages. the epitaphs was revealed, we realized the “Oresund group”, a group of skilled ited period of time. crown for centuries and accumulated In the workshop, further investigations that we were in the midst of a monu- craftsmen producing inventory in north great wealth paid by the ships passing of paint layers and wooden construc- mental treasure. The rareness of the Zealand and south Sweden. We real- through Oresund. Due to the geographi- tions confirmed the originality of the epitaphs’ pristine state was confirmed by ized the unique possibility to gather Description of an epitaph cal advantage with the narrow strait, epitaphs. Most surprisingly, 95% of their conservator Karin Vestergaard Kristian- knowledge on the manufacturing of high the tax payment office was situated in constructions had never been touched sen, who was finishing her Ph.D. on the quality polychromy and woodwork of the Epitaf(ium), commemorate inscription Elsinore, collecting the Sound Due from or treated during their 400 years! Only subject: “The colour history of Danish early 17th Century. on a tomb or burial inscription about a ships in transit to Sweden, Balticum, 5% on these epitaphs seem to have church furniture” (Kristiansen, 2014) re- person buried on site, often formed as a Finland, Russia and Germany. Not only undergone minor repairs or retouchings, cording the last 500 years changing color wall monument decorated with sculp- the king profited from the wealth from apparently all carried out as repairs due 98 Out of Darkness - Investigations of Three Large Scale Renaissance Epitaphs Out of Darkness - Investigations of Three Large Scale Renaissance Epitaphs 99

to architectural damage in the immediate and carvings in general to get wiser in vicinity. In general, most Danish church the field of early Renaissance inventory. inventory has been redecorated several (Fig. 4 & 5). Another area of interest times during the centuries, so the almost was to look for similarities or deviations untouched state of the three Renaissance to test the claim of the involvement of epitaphs reassured us on their rare condi- the Oresunds group. The polychromy tion and them as a source to knowledge of conservators divided the painted areas the period. into the framework of the epitaphs and the central panel paintings. On all three epitaphs’ framework, pigment samples Exclusive Renaissance that represented organic colours were epitaphs taken manually, whereas all the inorganic colours were analysed by XRF diffrac- After having worked our way down tion. Complementary samples for cross through centuries of thick layers of sections were gathered to identify paint dirt, the first view of the well preserved layer structures, their composition and and colourful 17th century polychromy working methods. As few samples as surfaced. possible were collected from the panel paintings. This was supplemented with The expression of the polychromy was analytical photographical exposures car- extremely detailed, which was obvious ried out as x-ray and infrared recordings on the figures that had many fine facial to document any underlinings, penti features and elegantly decorated textiles. menti and painting techniques. (Fig. 6). (Fig. 3).The precise and elegant colouring of the details showed that the painting had been carried out by extremely skilled Results craftsmen. Our many observations during the conser- The paint layers’ binding media seems vation resulted in a versatile and complex to be tempera, and the colour scheme picture of the Renaissance workshops and appears bright and with contrast in black, craftsmen who had manufactured the over- red, light red, green, light green, blue, whelming high quality inventory within gold and silver. Generally, the black colour seven years. is arranged as a dark frame, with bright 6. Paneau painting, Hans Meier, after conservation. After conservation. colouring painted on the various carvings The amount and level of details in all the Photo: Roberto Fortuna. as a special effect on minor details. The epitaphs shows their skilfulness in carving epitaphs’ colour scheme closely follows methods, joinery as well as the painting the results gathered by Karin Vestergaard techniques. Ornamental elaborations on Kristiansen in her thesis.. all three epitaphs, that were only visible on close hold, were surprisingly overwhelming and extravagant in details. Painted areas Method decorated as feathers and subtle facial ex- pressions with the outlining of eyes, mouth A general plan for collecting material to be and hands were recorded, not to mention analysed was made, and the polychromy, the variation of textiles that were carried 4. Woodstudies show that columns,angelwings and hang piece are made from the same the wooden construction and the carvings out with high precision, elegantly following wood. During conservation. Frederik Leils epitaph. Photo: Kim Hou Alberdi. were chosen as areas of special interest. the carvings representing heavy brocades 5. Skillful carving underlining facial details. Frederik Leils epitaph. After conservation. or light linen. The outstanding carvings of Photo: Roberto Fortuna. The main goals for the cabinet makers all the decorations and figures were elabo- were to register tool marks, to detect the rated and completed to make an impression origin of the wood and its dating, as well of elegance and a finish that is rarely seen as studying the construction, joinery in this period in Denmark. 100 Out of Darkness - Investigations of Three Large Scale Renaissance Epitaphs Out of Darkness - Investigations of Three Large Scale Renaissance Epitaphs 101

8. Appearance frequency of five colours in the 17th century due to the material collected. Outlined in percentage related to the total amount of colour information. Kristiansen, Karin Vestergaard, (2014)Danish church interiors, research into colour change,and knowledge of colour history, material used from the Antiquari and Topografic archive at the Nationalmuseum of Denmark,p.217, (in Danish)

A decorative style with fine and typical Conclusion References intarsia represented in several churches KRISTIANSEN, K. VESTERGAARD. (2014). Danish on Zeeland was found on David Hansen’s Due to our many observations on the church interiors, research into colour change,and knowledge of colour history. Ph.D. thesis. Material epitaph. (Fig. 7). This indicates that unique qualities of the epitaphs, we want used from the Antiquari and Topografic archive at local craftsmen were also engaged in to expand our knowledge on Renais- the National Museum of Denmark (in Danish). the manufacturing of the monumental sance polychromy and the technology of MOLLERUP, W. (1908). ‘Statement for the business epitaphs. woodwork – a field where little has been of the second department of the National Museum documented on the craftsmanship as since 1892’. Second Department. Copenhagen (in So far, we are at the start of a monumen- well as on the materials and methods. Danish).

tal journey into the investigation of the The next step is to outline a research NORN, O. (1960). The National Museum, Folklife and production of Renaissance inventories, project on a thorough analysis of the cultural inhearance, red. Bjarne Stocklund, Studies which hopefully will reveal an under- samples, data and information collected dedicated to Kai Uldall Group of Craftsmen producing inventory for several Danish churches and buildings in standing of the time, its craftsmanship during the conservation. The polychro- 17th century, active in southern Sweden and Zeeland. and the way of working. The observa- my will be analysed by colour samples, Mentioned by: Otto Norn, Royal cabinetmaker and tions and material gathered gives by analytical infrared and x-ray photos Guild Master, p.106 (in Danish).

us a picture of a group of very skilled and by X-ray diffraction analysis of the RYDBECK, M. & PAULSSON, G. (1915) ‘Carver Sta- craftsmen, who perhaps might have inorganic pigments. The wood will be tius Otto’ p. 53, ‘Decorative art from Skåne’, p. 160. been engaged in royal context. But lo- examined by dendrochronology and the Stockholm (in Danish).

cal craftsmen have also been involved, constructions; methods of the joinery Danmarks Kirker - Danmarks Kirker. Available which was revealed by special carvings and carving techniques will be studied. from: [23 Feb. 2015]. and decorative techniques compa- The combined results will facilitate a X-ray fluorescence (XRF) is the emission of charac- rable and duplicated on inventory in profound understanding of the crafts- teristic fluorescent. X-rays from a material and is other churches on Zeeland. These and manship in the Renaissance. used, to identify inorganic pigments. many other questions on materials and methodology will be followed up and attempted to answer in the upcoming 7. Uncovered intarsia made by local workshop, David Hansen, After conservation. Photo: Lise Johansson. research project. 102 103

Anna Henningsson Keywords: discovering the meaning documentation and the making of a baroque altarpiece Burchard Precht baroque altarpiece during technical art history forensic investigation tunnelling work conservation management

Abstract This paper presents an investigative approach for a baroque altarpiece and how it is used as a primary investiga- tion source. This artwork was originally designed for Uppsala Cathedral between 1725 and 1731. An extensive tunneling project under its current location led to the altarpiece being investigated for the very first time. The investigation was carried out leveraging a set of methods and complementing expert competen- cies. The interdisciplinary in situ exami- nation revealed that it is a sophisticated modular system of wooden boxes locked with a wedge system. Treatments of the altar construction during the 20th century were repeatedly done without an understanding of and respect for the original construction scheme and baroque craftsmanship. Unfortunately, interdisciplinary investigations of building-related art in Sweden are still seldom carried out for informed conser- vation decisions. This reinforces that it is time to change the treatment-focused approaches in the Swedish conservation process and adapt an investigative and reflective approach. 104 Discovering the Meaning and the Making of a Baroque Altarpiece during Tunnelling Work Discovering the Meaning and the Making of a Baroque Altarpiece during Tunnelling Work 105

The altarpiece Methods tracing and evaluating the construction, materials used and alterations. The altarpiece is a three-dimensional As no documentation and archival For the assessment of risks, it is essential free-standing construction, accessible sources were available, a forensic [1] to have evidence-based facts regard- from both the inside and the outside. The approach was applied, i.e., the altar ing the altarpiece´s supporting system, construction is substantially self-con- material itself served as the primary attachment of the decorative features tained with a considerable size of approx. source. This approach was necessary and their meaning. For risk mitigation, it 15,5 x 10,0 x 4,5 meters. This structure to understand the original construc- was important to understand the causes also includes two sculpture groups, situ- tion scheme as well as the extent of of the current condition in relation to ated in front of the main construction. and causes for alterations. The findings former treatments. regarding the original construction The lowest architectural parts, base and were captured separately from later Usually, conservators become involved the overlying predella are placed in a alterations. The execution process of the in interdisciplinary teams due to the concave segment-shaped form, which altar parts was traced through using need of remedial conservation. In this contributes to the depth effect. The endoscopes, site microscopes, ultra ve- case, the aim was different – to ensure altarpiece is created through an interac- locity measurements and multispectral that the altarpiece maintains its current tion of different materials such as wood, imaging. Besides this, methods such as status through a preventive approach stucco and paint. Together this conveys photogrammetry, stereo-photograph- focusing on indirect measurements. A an image of perspective and illusionary ing, calculation of weight, monitoring new way of thinking was needed for the effects. and movement measurements of the conservators in the team. The project- altar structure were used and played an integrated dialogues based on conver- The altar base is fronted with an altar important role for the outcome. gence and divergence thinking were a table and above this is a stucco relief very important aspect to manage the depicting the Last Supper. The columns By leveraging dialogue and structured team and the stakeholders in a relevant and pilasters rest on the predella, fram- thinking methods, the findings could and efficient way. ing the scene of the Crucifixion accom- be set in a cause and effect relationship. panied by Mary and John in the aedicula This dialogue between the involved of the architecture. Behind the Crucifix- experts was based on convergence The construction ion, directly on the choir wall, is a scene and divergence thinking (Thompson, of Holy Jerusalem. The upper part of the Brajkovich 2003, p.98-99). The dialogues Wood construction 1. Frontal view of the altarpiece in Gustaf Vasa church in 2007. 2. The concave-shaped ground form of the altarpiece. altar depicts the Holy Spirit through a connected to this investigation involved The altar consists of a system of units Photo: Fokus GmbH Leipzig. Photo: Fokus GmbH Leipzig. dove in a stucco cloud surrounded by different experts in the field of conserva- built up of modules. Each module con- putti and light rays. tion as well as mechanical engineers and sists of wooden boxes in a frame and vibration experts. filling system. Unit I is located in the This baroque artwork was originally middle of the base and predella, between designed for Uppsala Cathedral by the unit II and III. Unit I carries the cross Introduction have been unknown for almost 280 As a result, an interdisciplinary team of court sculptor Burchard Precht’s work- New questions construction (unit V). This module is a years. During an extensive tunneling conservators, engineers, art historians, shop between 1725 and 1731 (Rossholm – new thinking frame construction in a vertical and a This paper elaborates on experiences project under Gustaf Vasa church, the wood craftsmen and vibration experts Lagerlöf, 2007, p.191). Around 1885, the horizontal direction with an upper and from an interdisciplinary investigation altarpiece was investigated for the first had to examine the altar in situ from the altar was considered improper in the The construction scheme of the altar- lower section. of the altarpiece in Gustaf Vasa Church time ever. Unfortunately, little archive inside and outside. gothic Cathedral in Uppsala and was piece is a complex system. A uniform in Stockholm. The paper highlights an material was available and could not dismantled, followed by fifteen years and structured investigation is essential Unit II and III are the two main parts in investigative approach using the materi- provide any facts about the construc- The assignment was to identify, evaluate of storage under bad circumstances in for efficiently capturing and critically the architecture, framing the scene of als and construction of an altarpiece as tion and materials used in the altar and, if needed, mitigate risks related Nordiska Museet, Stockholm. In 1905, it interpreting findings. A pre-condition the Crucifixion as well as carrying the the primary investigation source. Beside over time. Beyond this, treatments on to the altarpiece during the tunneling finally got a new place in Stockholm in for this is to first depict the altar system- arch. These central units are self-con- this, the paper discusses specific man- the altar have been undertaken during work. This was achieved by tracing how the neo-baroque church Gustaf Vasa. Its atically from its different sides, angles tained and built-up in a concave shape agement aspects in interdisciplinary the 20th century, but no conservation it was originally constructed, to which history of reception makes it even more and views through photo documentation by modules placed beside and above investigations related to artefact studies reports were available. This limited extent alterations have been carried out significant. The altarpiece represents with both a mid-format camera and a each other to reach the height of approx. and conservation. state of documentation complicated the and how these have had an impact on its one of the most significant sacred ba- photometric camera. Based on this, an 14 meters. The modules have probably condition statement of the altarpiece as current state of preservation. roque art works in Scandinavia. initial understanding of its shape and di- been manufactured in a workshop and The construction and materials used well as the risk assessment related to mensions could be reached. Photographs transported into the church. At the in Sweden’s largest baroque altarpiece the tunneling work under the church. and drawings became the base map for site, the modules were positioned and 106 Discovering the Meaning and the Making of a Baroque Altarpiece during Tunnelling Work Discovering the Meaning and the Making of a Baroque Altarpiece during Tunnelling Work 107

finally horizontally stabilized in a lock- are aesthetically tied together by the these central units in the structure. ing system through wedge units with a arch, but without any real construc- frame made of pine and wedges made of tive function or unifying effect due to The upper part of the altarpiece, unit oak. According to the baroque tradition alterations in the original construction IV, is a cloud of stucco mounted on a of craftsmanship, these locking systems during the 20th century. The undertaken wooden framing system. This unit is with wedge units were originally located survey discovered a preserved locking the only unit in the construction that in the top and bottom of all modules. construction of frames and wedges on 13 is connected to the wall and carried by levels over the height of the altar units II the masonry through four iron beams. Each of unit II and III in the altarpiece and III. This means that there must have The stucco cloud is applied by freehand consists of seven wooden box modules been seven levels of wooden modules in a modelling and built-up of different (in height) locked together through 13 vertical direction available to create the plaster layers to achieve its shape. The horizontal frame systems by a keyed height of unit II and III. Further, this led surface character of the putti figure in mortise and tenon joint. Units II and III to the need of about 38 box modules for the cloud suggests that parts have been

5. Layers of mortar, plaster and birch bark used in the creation of 6. Details of original preserved paint of a marble imitation on the the stucco elements. Photo: Anna Henningsson. back side of the altar. Photo: Anna Henningsson.

pre-cast in molds and then fitted into the the vertical wooden stick in a horizontal has its original marble-imitating paint cloud. After that, details were added by direction using wood or metal reinforce- well preserved. Different layers of white freehand modelling. ments. surface treatments from different times cover the stucco in the altarpiece. Unit V, the cross with a figure of Christ The figures are a combination of in stucco, is resting on unit I. precast parts and freehand modelling (for example, the robes). Precast parts Visible and invisible Wood details became integrated in the structure and alterations between 1885 The four columns as well as their completed by freehand modelling at site. and 1975 decorative features were created in a An interesting finding in the sculpture modular system. The column shaft is construction is that between the wood The reconstruction in 1905 did not fol- hollow and consists of six pieces, each construction and the stucco material, low the sophisticated original baroque with a height of 43 cm. The column shaft a layer of birch bark has been added. craftsmanship and lacked awareness parts are fixed with four round wooden On this birch bark, a coarse mortar was regarding how the original construc- plates and secured with wooden dowels. applied to give shape to the figures and tion added the modules to a static unit. Small modules are also used to create the cloud. A second fine plaster layer Maintenance was carried out in a similar the capitals and bases of the columns. containing fine aggregates of sand was manner during the 20th century, i.e., These carved parts are attached to the applied over the coarse mortar. The fine without an understanding of the specifi- column shaft with wooden dowels. This aggregates of this second plaster enable cities in this 18th century construction. investigation shows that one column careful modeling of fine details such as This caused additional alterations in the with its decorative features consists of hair and folds in the drapery. baroque construction, which further up to approximately sixty wooden parts complicated the understanding of the manufactured by sawing, planing and The surface original construction. carving. The wood is painted to imitate vari- ous types of stone in colours of red, In order to evaluate how alterations Stucco elements brown, green and blue. Carved wooden have affected the stability, the object’s Stucco sculptures are attached and insert- ornaments are provided with layers of cultural significance as well as to posi- ed into the wooden construction mainly unidentified metal applications, this was tion the altarpiece in context of sacred by a vertical wooden stick that goes in order to imitate metal and enhance art history, it was necessary to develop a through the whole sculpture center and lighting effects, as was highly desired at deep understanding of baroque crafts- into the supporting system of modules. the time that the altarpiece was created. manship. The cores of the sculptures are added to Most of the backside of the altarpiece

3. The location of the five constructive units of the altar structure. 4. The location of the wedge levels in the modules. Photogrammetric Photo: Fokus GmbH Leipzig. drawing: Fokus GmbH Leipzig. 108 Discovering the Meaning and the Making of a Baroque Altarpiece during Tunnelling Work Discovering the Meaning and the Making of a Baroque Altarpiece during Tunnelling Work 109

From the outside, only a few alterations understanding of the benefits and values Discussion of results to the altar are visible. The major altera- of the original structures was neglected tions have been made inside the altar, and once again, treatments were made The in situ examination with the altar- which has impacted the whole construc- without respect to the original crafts- piece itself as the primary source re- tion. This has been ongoing for almost manship. vealed that it is a sophisticated modular a hundred years. A visual comparison system of wooden boxes that gives it a of archival photographs shows that Hidden solution shape of depth and perspective. A secure the lowest part of the base, as well the for merging units construction of these modules is reached uppers parts, the rays in the cloud, were The original horizontal constructive through keyed mortise and tenon joints sawn off in 1905, when it was realized connection between the two 14-meter- as the locking system. that the altar was too high for the choir high units II and III is missing. The in Gustaf Vasa church. In Uppsala, the free-standing units II and III are not The way alterations to the altarpiece cross was positioned in line with the connected to the wall behind. The have been carried out is a reflection of entablature. In the Gustaf Vasa church, shortening of the vertical cross beam, how it has been valued as art and historic it was shortened and given a lower posi- followed by a re-positioning (lowering) crafts piece over the course of time. The tion in the arch (compare fig. 1. and 7). of the entire cross, resulted in the origi- rebuilding of the altar in 1905 was done nal technical solution for merging unit without an understanding of or respect By observing the altar from the front, it II and III in a horizontal direction; thus, for the original construction scheme. In is clear that the base has been lowered; supporting the self-contained system addition, this approach of treatments this has extensive consequences for the being neglected.[2] Studies of photo- has been repeated during the three structure. The first constructive frame graphs from the end of the 19th century conservations carried out between 1935 sections of the lowest module box have indicate that a horizontal stabilization and 1975. The examination that has been been eliminated. In particular, the entire between these units was positioned be- undertaken, followed by a multi-year lower frame construction in the middle hind the crossbeam of the cross. Further, monitoring programme has made it pos- of the altar (Unit I) was affected. the deviation in the frame-wedged sys- sible to trace how the altar components tem at level 8 and 9 indicates a possible behave in their current environment. A missing lock system former horizontal stabilization of the This could only be achieved through un- The in situ examination revealed that two units in conjunction with the cross. derstanding its original purpose and the the 20th century treatments did not use [3] Today, a wooden plank above the arch impacts of former treatments over time. the original locking system of frames, on the backside of the altar is aimed to wedge mortises and tenon joints. In- replace the original horizontal connec- The undertaken investigation, which stead, the wooden parts were nailed and tion between units II and III. was performed by an interdisciplinary screwed into bearing and dormant parts team, led to new facts that could not without any respect and understanding Tracing though monitoring have been discovered if a team included of the baroque construction. The initial The tunneling work under the church only conservators. But what do we mean survey in 2008 reveals that 93% of the was accompanied by a two-year moni- by an interdisciplinary approach and locking wooden wedges were missing. toring programme based on the initial what is our understanding of it? Is it Additionally, extensive parts of the investigation results. The monitor- reached by adding conservation science frames in the modules were absent. ing was a combination of continuous to a project? A general definition of “in- measurements of vibrations and visual terdisciplinary” is that it involves com- Moreover, unit I and its higher frame inspections. Monitoring is an opportuni- bining two or more approaches, ways of construction were originally integrated ty for deeper understanding of the struc- thinking or methods within a task or a in the cross construction. Traces in the ture of historic artefacts and the causes project. The aim is to combine different base of the cross indicate that it was of their deterioration: for example, the disciplines to something new by crossing integrated in the higher frame of unit continuous measurements of vibrations boundaries and thinking across them. I. However, in the 1970s, the cross beam over the years made it possible to cor- was screwed into unit I without taking relate movements in the different altar the advantages of the original construc- units to specific alterations and patterns tive securing system into account. It is of deterioration in the structure and its 7. The altarpiece on its original location in Uppsala cathedral before 1885. interesting that only forty years ago, the surface. Photo: unknown photographer, from archive at National Heritage Board, Stockholm (ATA). 110 Discovering the Meaning and the Making of a Baroque Altarpiece during Tunnelling Work Discovering the Meaning and the Making of a Baroque Altarpiece during Tunnelling Work 111

8. A wedge mortise and tenon joint (blue colour) on a frame of a module inside the altarpiece. Photo: Disent AB.

Combining experts with different Conclusion and outlook It is time to change the treatment Acknowledgements Notes References perspectives requires a management focused approached in the Swedish con- All this new understanding of the altarpiece would [1] Forensic methods and the collection of evidence ALMEVIK, G. (2012) Byggnaden som kunskapskälla. approach focused on the artefact and its In Sweden, interdisciplinary investi- servation process regarding building- not have been possible without the dedication and are described by Almevik, 2012, p. 63; referring to Göteborgs universitet. Available from: http://hdl. generosity of many people involved in the City Line Weaver, who introduced the forensic approaches handle.net/2077/28072 [Accessed: 1st March 2015]. context. An interdisciplinary approach gations of art in churches or profane related art and adapt an investigative project. Special thanks to my colleague Alexander for the build heritage. in conservation raises the question as to buildings takes place very rarely in the and reflective approach. This shift Eckert, M.A in European Cultural Heritage, for a ROSSHOLM LAGERLÖF, M. (2007) Inlevelse och

how and what to manage? A quick look conservation process. As a consequence, would allow us to understand values of significant contribution that led to new facts as [2]These parts of the altar construction still need vetenskap: om tolkning av bildkonst. Stockholm: well as appreciation of this altarpiece. Thanks also supplementary examinations to make any final Atlantis. back at conservation history shows us decisions for conservation are not taken material and intangible characteristics. to the governmental Swedish Transport Adminis- conclusion regarding the baroque manner to solve that the role of management can be more based on facts. To preserve the cultural This approach was already introduced tration for funding this investigation as part of the this constructive task. THOMPSON, L., BRAJKOVICH, F. (2003) ‘Improving essential than we are aware of. Thus, heritage, it is key that decisions are tak- in Sweden at the end of 1970s and City Line project. the Creativity of Organizational Work Groups’. The [3] There is still a need for deeper investigation Academy of Management Executive (1993-2005), merging different methods and perspec- en based on facts and that there is time presented at the Nordic Association of regarding the frames and wedged system in level 8 vol. 17 (no.1) p. 96-111. Available from: http://www. tives to interdisciplinary work are op- to reflect on short- and long-term effects Conservators Congress 1981 held in Oslo and 9 as well as on level 12 and 13. In these levels in jstor.org/stable/4165931. [Accessed: 1st March portunities and risks at the same time. of possible treatments. Interdiscipli- (Tångeberg, 1981, p. 79-81). Unfortu- the wedged system, the alterations have been very 2015]. extensive over time and an extended examina- This investigation was aware of this risk nary investigations before conservation nately, the discussed approach is still not tion of negative traces in the structure on this TÅNGEBERG, P. (1981) Om undersökning av and integrated an elaboration on con- treatments of building-related art in common practice in the Swedish con- level is required to establish and finally verify this medeltida måleriteknik. Preprints Nordiska Kon- vergence and divergence thinking. The Sweden are an underestimated resource servation process. Reintroducing this assumption. servatorsforbunds kongress / IIC Nordic group, 9th congress, Oslo 25-29 May. Oslo 1981. use of applied critical thinking methods for creating strategies for informed approach would help us pass the culture turned out to be one of the most fruitful conservation decisions. heritage into the future in a sustainable ways to reach the overall objective. and meaningful way. 112 113

Karin Hermerén Keywords: from “monumental trash” building-related to “monumental cultural heritage ethics treasures”? legislation management public art risk value

Abstract The overarching purpose of this article is to augment the knowledge of the pre- conditions governing the management, supervision and conservation of public art by highlighting risks, such as differ- ences between ethical decisions during the conservation process, investigating changes of ownership structure and resource requirements, and discussing the enforcement of legislation and valu- ation. Legislation reflects what people consider being worth preserving, thus what could be named a “treasure”. The article focuses on the on-going change in valuation, from “monumental trash” to “monumental treasure”, in building- related art. In order to determine what a monumental treasure really is, the methods and concepts of valuation of building-related art need to be devel- oped, in the same way as has been done for old buildings and churches. Instead of letting chance alone decide what should be preserved, the discussion will hopefully facilitate building-related art to be preserved as monumental treasures. 114 From “Monumental Trash” to “Monumental Treasure”? From “Monumental Trash” to “Monumental Treasure”? 115

Introduction Methodology way as has been done for older buildings conservation funding. The (regulatory) Analysing Risks Evaluation of Risks and churches. An on-going PhD project authorities working within the area of During the 1900s, major investments have The research project Public Art – A Cultural discusses ethics, legislation and valuation cultural environment lack knowledge of Risks can, obviously, occur at differ- There appeared to be some major risk been made in public building-related art in Heritage (Hermerén & Orrje 2014), sought change (Hermerén 2015) and some of the public art, and differences also manifest ent frequency and lead to different factors to be considered in relation to the Sweden. Since the decision in 1937, in prin- to assess and identify the expertise questions concerning risks and ethics will on the view taken by the authorities on consequences for a specific work of art. owner of the property and the manage- ciple, 1% of building costs should be spent and financial resources needed for the be presented in this article. this art as cultural heritage. The amount With the help of risk analysis risks are ment of the artworks connected to the on art or artistic decoration. Thousands of long-term care and preservation of public of antiquarian expertise required is not described and evaluated. By quantifying building: 1) the lack of competence and works of art have been commissioned by the art commissioned by the state, county clear. Methods do not exist to determine the risks of change in state and loss of resources concerning the knowledge State, county councils and municipalities councils and municipalities and today Results and Risks which artworks are exposed to the value per unit time, the probability that of the work of art in question, knowl- and form part of environments which, in owned by different parties, also private greatest risks, which artworks should be an unwanted event will occur and its con- edge of the laws and their implications various ways, tell of the ideas, currents of property companies. In order to address There are various dimensions to the safeguarded in the long-term perspec- sequence, can be judged. The evaluation concerning the administration of the opinion and tendencies in forming the mod- the overarching issues, case studies of 25 concept of risk: one concerns the prob- tive, or how preference should be allot- of the probability indicates how often the artworks, practical measures (what is ern Swedish state. The antiquarian field building-related works of art were chosen. ability that a certain event will occur; ted. There are few channels of communi- risks in question can be expected to occur to be undertaken and how) and plan- has started to pay attention to the cultural The results have been presented elsewhere another concerns the evaluation of this cation between the various actors within under the given circumstances, and the ning for long-term financial resources heritage of industrial society, but building- (Hermerén & Orrje 2012) and pointed out event. If this turns out to be positive, one the area of cultural heritage supervision frequency indicates the number of times for management; 2) lack of experience, related art is not yet subject to cultural several shortcomings in the administra- is speaking of an opportunity, if it is nega- and between them and property owners. the event is likely to occur in a given organisation and financial resources heritage legislation. tion of building-related public art in public tive, one is speaking of damage or risk. period of time. for the administration of art which was and private ownership. One conclusion Both of these dimensions can be graded. A Building-related art in a public setting originally bought with public moneys; From the viewpoint of art history, public art was that heritage conservation authorities further dimension involves factors which is exposed to wear in various ways and In order to calculate the extent of risk, 3) infrequent contact with antiquarian also affords specimens of eminent achieve- could play an important role in the long- can contribute to increasing risk. But there are several factors which contrib- the risk factors have been quantified on expertise and/or regulatory authori- ment in a continuous present; at the same term preservation of twentieth century there is another type of risk, a different ute to an increasing risk of damage. The a scale of 1 to 5; concerning how often an ties and 4) frequent changes of owner, time, as every period has its own dialogue public art by meeting the need for heritage concept, for which the probability cannot climate causes wear, etching and crack- event occurs, indicating loss of value and manager and activities or tenants, where and its own interaction between the work conservation advice and supporting exist- be quantified. We know that an event ing by the actions of acid rain, cold and the proportion of the collection which changes of owner implied a greater of art, the space it forms and the people by ing private and public owners of public art. can occur, but our knowledge is not such heat. Handling and contact with people may be affected. risk for the art works than changes of whom the place is frequented. And here we Opportunities of financial support could that we can assess the probability with produce wear, abrasion and scratch- manager. have another change, namely a transition help to preserve public art with the same which it may occur (called epistemic risk). ing. Increasing age implies grime or It is obviously important for these of the work of art purchased, from being degree of consideration as with historic Our knowledge about what we study is alteration in the material. Damage and/ calculations that the factors are based part of a milieu, something to be “used” – as art, and particularly in buildings which sometimes imprecise and fragmentary, or theft may mean graffiti, lost parts, on well-established knowledge. We may Discussion on Ethics decoration, definition, commentary – to are threatened by demolition or which are and can therefore not be given in quantita- or, in the worst case, a lost work of art. have limited knowledge of some of the being regarded as part of our heritage. subject to changes of ownership or func- tive terms. This increases the uncertainty Neglect, such as vegetation close to, or variables, and in that case, it is difficult to The works of art are exposed to a num- tion. Existing policy instruments, both of the analysis, as the risk concerns the on the artwork, which is not pruned or calculate an exact measure of probability. ber of risks in connection with manage- Building-related art is defined here as art statutory provisions such as the Heritage probability that a certain event (graded as cut back, technical devices involving For example, if a building is regularly ment – not only risks connected with created expressly for a particular place Conservation Act and systems of finding negative) occurs, given that our knowl- water or light which are not tended, or renovated, the work of art and its envi- the placement and handling, but also or adjoining a building or some other support, could be developed in order to edge has been elucidated. an artwork which is entirely forgotten. ronment may be altered. Renovation may such factors as the absence of ethical structure. Movable art, on the contrary, is meet actual needs. Existing registers on The physical environment of the work of enhance the presentation of the work of deliberations in connection with deci- not so firmly tied to its milieu and usually buildings could be extended to contain art / its location, may undergo change. art and lead to the improvement of its su- sions taken during the conservation intended for circulation within public ac- nationwide conspectus of the number and Identifying Risk Examples can be found in the case of re- pervision, but, on the other hand, it may process, and inadequate knowledge of tivities of various kinds, without the choice identities of public works of art and where building or extensive renovations of the cause damage or even destruction. legal aspects, e.g. copyright. Building- of venue being governed by the artist’s they are located. Interaction and coopera- One risk has already been mentioned, site. The work may have been removed related art can be adversely affected by intention. In the legal context, building- tion between national, regional and local namely the change of ownership and from its original location for which it How the value and loss of value of a changes of activity and by the renova- related art constitutes real property, which supervisory authorities and also between of activities in a building, which could was designed. The work of art can even specific artwork is defined depends on tion needs usually appearing in the sur- makes it part of the building in which it has heritage conservation agencies and the lead to changes that might affect the suffer demolition. a variety of factors, for instance, whose roundings every 20 or 30 years. Another been placed. This means that both owner- owners or administrators of these works of artworks. opinion is sought and in which context, risk factor may be a lack of understand- ship and responsibility for the management art is important to even out differences of Obviously, these events can take place or which categories are the basis of the ing for (contemporary) art among and conservation lies with the owner of the management between different regions, Lack of supervision can also be a risk simultaneously, and they can influence valuation (uniqueness, economic value, owners and managers and also among building, regardless who commissioned it. property owners and supervisory authori- factor. In Sweden, historic settings are each other. A neglected work of art is at etc.). The criteria should be specified and supervisory agencies and “users” in the With a continuous change of ownership, ties. It will also call attention to manage- protected by law and both private and greater risk to be spoiled by graffiti or analysed because their choice determines vicinity of the works of art. with new owners who might wish for new ment and conservation efforts. public owners can apply for governmen- other such damage than one which is the result to a high degree, which, in turn, solutions that might affect the artworks, As legislation reflects what people con- tal grants for the care and preservation well taken care of. An alteration of the establishes the basis on which various In connection with the decision process together with the fact that art ages, several sider being worth preserving, the methods of the historic cultural assets in their site on which the work was originally decisions are made, for instance, which concerning management issues, an works of art by Sweden’s foremost artists and concepts of valuation of building-re- possession, but twentieth century placed may lead to its relocation, and so works of art should be given priority to ethical approach or ethical positions are at risk. lated art need to be developed in the same public art is excluded from this heritage on. administrative considerations. can be said to account for how the 116 From “Monumental Trash” to “Monumental Treasure”? From “Monumental Trash” to “Monumental Treasure”? 117

management relates to different values will be preliminary and may change be clear. What is the problem? Is the Ethics is not about laws and regula- Conclusion and Summary References (cf. Hermerén 2015, pp. 82–92). These can if knowledge and values ​​change. The problem clearly defined? Are several tions, although some ethical issues HERMERÉN, K., ORRJE, H. (2012) ‘Exposed and vary depending on time and place. The decision-making becomes important: to issues bundled together? Are we look- must be formally regulated. And, con- Many building-related works of art have unseen: Management of public immovable art’. International Institute for Conservation of Historic values determine what is chosen to be preserve and strengthen the legitimacy, ing at symptoms rather than causes? versely, neither laws nor what is gener- gradually become part of our heritage in and Artistic Works. Studies in Conservation. Vol. 57 managed and what is not. Since different it is necessary to have an established Whose problems are they? Who benefits ally regarded as ethical or unethical the same way as historic buildings. But (no. S1) pp. 157–164. values weighs differently for the actors decision-making process, where differ- and who is put at a disadvantage by the conduct are the same. It would, as an as building-related art does not come HERMERÉN, K., ORRJE, H. (2014) Offentlig konst – involved, so to speak, it is important to ent sides and experts are heard. decisions? example, be considered unethical by a within the domain of heritage conserva- Ett kulturarv. Tillsyn och förvaltning av byggnadsank- have proper knowledge of what is to be property owner to demolish a work of tion, it can be partly or wholly (some- nuten konst. 2 uppl. Stockholm: Statens konstråd. managed and to make a careful ethical Knowledge is, as stated, important to And what does this knowledge lead to? art for the reconstruction of the room times imperceptibly) destroyed, quite HERMERÉN, K. (2015) Den utsatta konsten. Att förvalta konst i offentlig miljö – etik, lagstiftning och analysis before deciding on what to do, the decision-making process. But the There is often more than one action where it exists, but there is no support regardless of whether it was paid for out värdeförändring. Licentiate thesis. Göteborg: Göte- when and how. object itself is not static, it changes with possible. Therefore, it is also important in the Copyright Act that this is illegal. of private or public funds and of the set- borgs universitet. time both by material aging and various to recognise the stakeholders (owners, tings in which it is placed. In contrast to Decisions in connection with manage- external events. Therefore, decision- managers, conservators and others) The way in which a work of art is the safeguards of conservation, funding ment have implications for which works making before conservation has to take and the concerned parties (artist, regarded and valued, and who is the and application of laws, for example, to of art are preserved, by what methods changes into account, such as: owner, viewer, and others). What do beholder, decides how that work of art church buildings, there are no effective and with what materials, which items - the material has changed (pig- the different stakeholders want – in will be preserved and also what kind statutory safeguards or funding support are to be kept for future generations and ments have darkened, varnish has the long term and the short term? Who of (legal and financial) protection has system for the inspection and preserva- in what state they are to be preserved. yellowed) is responsible for what and how much to be used. If “building-related art” is tion or management of public art, a fact These decisions rest on various values, - subsequent additions and changes should be done in a given situation? regarded as a building or milieu, then which becomes increasingly evident as which should be made clear in order to (as conservation) Which interests are rational, and which there is the Planning and Building Act works of art grow older and will need preserve and reinforce the legitimacy of - damage other interests can exist (aesthetic, to fall back on, complete with building maintenance increasingly. an established decision-making process. given that: antiquarian, financial, political, tech- permit procedures and possibilities of Depending on how the works of art are A) you know what it looked like nological, etc.)? How to identify these protection through a detailed develop- The methods and concepts of valua- looked upon and thus valuated, they are when it was new, interests? Who is responsible for how ment plan. From a heritage perspec- tion of building-related art need to be preserved differently. B) you do not know what it looked (much) the object is to be preserved or tive, we have the Environmental Code developed in order to be used by both like when it was new. restored in a given situation? Who sets and the possibility of grants out of the the property-owners and the cultural Ethical decisions are based on consid- the requirements? Can these require- heritage conservation appropriation. heritage authorities. This would help erations of several kinds. Firstly, an Is it relevant if the artist is known or ments control the choice of preserva- If a historical approach is adopted, to improve future supervision and important starting point is available unknown? Does an addition through tion methods? there is the Heritage Conservation facilitate access to different kinds of knowledge – in this case, the condition conservation improve or impair the Act, which protects both historic resources, thus furthering the preserva- of the artworks, the artist’s intentions, work of art? Does the addition have Do changes in the milieu surround- buildings and historic churches. tion of an important part of Sweden’s ownership, cost of conservation and the artist’s approval? Do we know if ing a building-related artwork, There is an established inspection cultural heritage. restoration as well as applicable laws etc. the artist would have approved of the commissioned for a certain location, procedure offering the chance of help Secondly, one also needs to recognise and measures taken by the conservator? change its value? Does this change towards conservation contingency ex- Several case studies, work on long-term clarify what different stakeholders want How do the current/previous owners affect the perception of the artwork? penses and also, in the case of historic management and a coherent preserva- to achieve and avoid in the short and long consider these measures? Are these churches, for conservation of movable tion strategy for building-related art, as term, that is, what values ​​they have. questions relevant to the conservation The values ​​or the value attached to art or furnishings. If the work of art is well as the decision-making process con- process? And how do we know anything the object influence the decision regarded as “art”, it is divorced from nected with management, need to be an- Knowledge can change. New knowledge about the artist’s intentions? Even if we making process related to manage- its setting, with the Copyright Act as alysed and studied in order to bring out may appear and things you thought do know the artistic intention, it is not ment. If historical value, for example, its sole safeguard, and in the event of any further problems into the open and you knew could prove to be incorrect. certain that the expressed intentions is given great importance, it could infringement of artistic reputation or contribute more knowledge and further Uncertainties and knowledge gaps are clarifying. mean that all historical traces, or a individuality, the issue has to be pur- conclusions. Further topics of enquiry may also occur. The same thing is true historical process, is equally valu- sued by the artist or someone closely and fields of development with a view about values ​​and valuation, which are ​​ It is important to examine what we able. The result would be that pres- connected to them. There ought to be to achieve better preservation in the not static, but change over time. The know for certain and what is uncertain, ervation is carried out so that the public, shared responsibility for art administration of both building-related valuations of different groups and actors to see if there are any gaps. All informa- lapse of history is shown as clearly purchased with public money. Such and movable art concern methods of risk do not necessarily coincide, but can pull tion must be interpreted and put into as possible, maybe with minimal in- art belongs to everybody and should assessment and methods of articulat- in different directions and sometimes context. Different kinds of risk assess- tervention. If one is forced to choose be protected and valued accordingly. ing (analysing and critically discussing) conflict with each other. Then, a ranking ment must be analysed on the decision which part of history to be shown, It is therefore proposed that existing underlying ethics and values. is needed – which values ​​are more im- about what should be done or not done. knowledge is essential to determine legislation should be widened so as to portant than others. For these reasons, It is therefore important to make a which part of the story has the great- also include public building-related the ethical standpoints and analyses careful analysis of the problem and to est value (if one can choose). art. 118 119

Hilkka Hiiop & Helen Volber Keywords: demounting murals mural paintings from their architectural demounting of murals Elmar Kits environment – salvage or destruction?

Abstract The Soviet period was a generous time for the development of monumental art in Estonia – large scale artworks were commissioned for many public build- ings. After Estonia gained independ- ence, many of these buildings and the artworks within them were either privatised, demolished or left to decay. The situation raised a question: could the artworks be preserved separate from their architectural embodiment? The following article will discuss two such cases, where demounting of the artwork was the only option for saving the murals from the Soviet period: in 2010, from the building of Estonian Academy of Arts and from restaurant Tarvas in Tartu, before demolishing the building in 2014. The article will discuss the problems conservators and engi- neers faced in the process of demounting and dealing with the municipalities, and will consider how the guiding principles of conservation ethics can be followed in such cases. 120 Demounting Murals from Their Architectural Environment – Salvage or Destruction? Demounting Murals from Their Architectural Environment – Salvage or Destruction? 121

paintings, since his other works have Sagrits and Evald Okas – the Estonia artistic value of the mural painting, been too much like oil paintings, which Theatre’s ceiling painting in Tallinn. the Tarvas restaurant was an epochal is unnatural in monumental art. The Kits fulfilled several commissions at institution in itself that became a sign Tarvas mural painting is monochro- that time - factories, executive commit- that speaks of the history of a particular matic in style and harmonises in a jazzy tees, restaurants and hotels all asked for period in Estonia, its cultural space, and way.” (Saadoja et al., 2012, p. 80). paintings from him. Even though Kits a certain opposition to the surrounding had to stand his ground at the beginning political situation. Elmar Kits was born as the son of a of the Soviet period against accusations bricklayer in Tartu on 27 April 1913. He that labelled his work formalist, his acquired an education in art at the Pallas monumental paintings with their great Cooperation ensures the Art School in Tartu in 1935-1939. Kits degree of generalisation became very preservation of artistic was among the best graduates of his popular over time. While the treatment value class and already asserted himself in the of art was initially restricted with great Estonian art scene immediately after consistency in the Soviet Union, artists This nearly 20 m2 mural painting completing art school (Talvistu, 1994). returned to progressive examples in survived the change in the system of Art critic Ants Juske has christened the art of painting from the end of the government, as well as the demise of Kits Estonia’s Picasso since like him, 1950’s onward, though initially, rather the restaurant, and its death knell did Kits’s body of creative work also includes hesitantly. The distinctive feature of not start to sound until the decision was several different kinds of media, rebirths Estonian art of the 1960’s and 1970’s is the made to demolish the building (Tarand, and extreme productivity. aspiration to work through the stages 2014, p. 8). of development of modern art in a short During the Soviet occupation, Kits’s time frame, while this same process took Nearly five years ago, discussions began realistic style of painting enabled him to decades elsewhere (Kartna, 1972). concerning the Tartu Consumers’ Coop- quickly adapt to the new conditions. In erative plan to build a modern business 1947-1949, Kits worked at the Tartu State Kits’s mural painting in sgraffito tech- centre on the site of the old department Institute of Art as head of the monu- nique, that was located in the Tarvas res- store. By that time, all that remained mental painting faculty. He became a taurant in Tartu’s old department store, of the one-time renowned restaurant’s 1. Mural painting painted by Elmar Kits in Tartu’s old department store (1965). freelance artist in 1949, but before that, occupies an important place in Kits’s body authentic interior was Kits’s mural he painted Estonia’s largest monumental of creative work. The work is important painting. painting together with artists Richard for several reasons – in addition to the

Introduction One characteristic of this transition Soviet Estonia. His sgraffito style mural period is an incapacity for sufficiently painting located in Tartu’s old depart- The Soviet era created favourable condi- appreciating art born in the bosom of the ment store was completed in 1965 and tions for the development of monu- Soviet era. originally adorned the wall of the Tarvas mental art in Estonia: numerous works restaurant. of art were commissioned in various By now, we have sufficiently distanced techniques (fresco, mosaic, sgraffito) for ourselves from the ideological burden This mural painting is one of the most the more presentable state buildings as that encumbers the art of that time and remarkable examples both in Kits’s own well as for many public buildings. With we are ever more capable of appreciat- body of creative work as well as in the the arrival of independence, however, ing works created during that period history of Estonian monumental art, and the monumental art of that time often without interference from political in a certain sense, it is also one of the found itself in the way of the construc- memory. If only there were still works to works symbolising the artistic scene of tion boom. Quantities of works of art be appreciated. that time. A recently published mono- that were located in those buildings graph on the history of Estonian monu- were destroyed together with buildings mental art describes it “a stylish mural that were no longer functional or in the Elmar Kits painting was located on the end wall of process of providing such buildings with Tartu’s most distinguished restaurant of new functions. The reason for this was Elmar Kits, whose works are among the that time. Its pictorial rhythm corre- economic arguments on the one hand, most noteworthy examples of Estonian sponded to the columns that dominated but also the sensitive political back- monumental art, is undeniably one the room. This work is perhaps the most ground of the Soviet period on the other. of the most distinguished artists of successful of Elmar Kits’s monumental

2. Mural paintings in the demolished Estonian Academy of Arts building (2010). Photo by Hilkka Hiiop. 122 Demounting Murals from Their Architectural Environment – Salvage or Destruction? Demounting Murals from Their Architectural Environment – Salvage or Destruction? 123

At the end of 2012, Tartu Consum- A similar precedent was set in the animal products. After the adhesive when wet lime comes into contact with adhesives. It was provisionally decided ers’ Cooperative Investments held an course of the demolition of the Esto- had dried, the frescoes were removed carbon dioxide in the air (technically to use the synthetic adhesive Paraloid B architectural competition for finding the nian Academy of Arts building in 2010, in strips from the walls together with similar to the fresco technique). Even 72 10% solution to protect the painting. best architectural and urban construc- when the school’s cultural heritage and the support plaster and deposited in the though the composition of the plaster In order to be certain that the adhesive tion solution for the entire city block. conservation department successfully repository. and the binder of the pigments in Kits’s could later be successfully removed, an The competition conditions included demounted the more valuable part of the mural have not been determined, it approximately 20 cm x 20 cm test sheet the requirement to preserve the mural mural paintings located in the building. can be presumed on the basis of the was left on the surface. Some months painting in the new building. There- Already from the beginning of the histo- Back to Tartu observation that the relief was cut into later, this same protective sheet was suc- upon, an emotional discussion flared up ry of the building in the 1960’s, the walls the plaster containing cement and that cessfully removed from the surface by in the press on whether and how this of the school had been used as training At the end of May, 2013, the Tartu different surfaces were coloured on lightly moistening it with acetone. could succeed in a new complex that space for mural paintings. Many of those Municipal Government issued a permit plaster that was already dry. The binder will not retain a single brick of the old were made by artists who have by now for demolishing the buildings situated of the paints appeared to originate from Unexpectedly, however, it was discov- building. Since in terms of construction taken up dignified places in the history on the properties of the old department an unusual arsenal of the artist – it is a ered that the monochromatic matte technology, it proved to be impossible of Estonian art and some of these works store under the condition that the 9 relatively strong paint surface resem- beige background colour in the upper to preserve the wall or room bearing the have become symbols of the Academy of meter long and slightly more than 2.6 bling plastic that alludes to some sort of portion of the painting reacted with painting in the course of the building’s Arts for several generations. meter tall mural painting be first trans- acrylate medium. Kits presumably used acetone, leaving a whitish film on the demolition, or such preservation would ferred and preserved. But how? The first paints left over from the construction surface. For this reason, it was decided have become prohibitively costly; some Throughout history, the demounting of plan worked out by engineers entailed of the restaurant (this information is to replace the synthetic adhesive with of Tartu’s opinion makers even voiced murals as a technical solution has been a cutting out the entire mural painting, based on the assumption of the poet and natural glue of animal origin, rabbit the position that the demolition of the rather widespread means for preserving its transportation and preservation as artist Indrek Hirv, who participated in skin, which has been the traditional amortised and architecturally worthless paintings. It is only the heritage philoso- a complete monolith together with the the making of the painting as a little boy. medium for applying protective layers. building should be brought to a halt. The phy of the latter half of the 20th century silica brick wall supporting it. This was The acrylate nature of the painting layer Its drawback is the use of large quanti- mural painting by Kits is not subject to that has questioned this practice, claim- nevertheless considered technically too of the mural boded well for the success of ties of water on the painted surface, but cultural heritage protection and for this ing that in this way, the work loses its difficult to implement. The nearly ten the demounting, even though this was tests on various areas of the artwork reason, it was not possible to pressure authentic (spatial) context. More, the metre wall alone would have weighed an experimental and risky process. Even indicated that all the paints, including the building’s owner. The owners faced opposite process accompanies contem- nearly 40 tonnes. A second plan worked though previous work with the frescos the beige background tone, that differed a choice: either to get rid of the work of porary conservational work: murals are out by conservators in cooperation with at the Academy of Arts provided certain in nature from the overall material use, art, that had proven to be a problem, by once again brought out of museums into engineers relied purely on tradition and experience, the deep relief of the three- are resistant to water. legal means or otherwise, and thus earn their original architectural environment was based on methodology for transfer- dimensional surface of Kits’s mural the long-term designation of being a and mounted on walls once again. ring mural paintings that had been pre- painting made its removal considerably The advantage of natural adhesive is the barbarian, or to try to find a way and the viously tried and proven, based on using more complicated. A possibility had to be harmlessness of the process (both prior necessary technology for preserving the Since this kind of complicated and ag- adhesives of different solubility. In order found for supporting each groove. to demounting and after remounting) mural painting and to move it to some gressive way of preservation had not to prevent damage to the surface layer to the persons carrying out the process other repository, either temporary or been practiced before in Estonia, the of the painting, the plan was to demount – large amounts of synthetic materials permanent (Tarand, 2014, p. 8). walls of the Academy provided an excel- the mural painting in sections. It took Covering of the painting often create major risks of health dam- lent training ground for students of con- about three months to proceed from the with a prophylactic age to those carrying out the work. The preservation of the authentic servation. The work took place while the concept to the beginning of work, during adhesive textile architectural framework is unquestion- demolition of the building was already which time, the technique for removing 3. Estonian Academy of Arts and Tartu ably the safest and most ethical way to in progress. Some ten of the most valu- the painting was fine-tuned. The pos- The mechanical removal of panels of the Work process Art College conservation students preserve a work of art, but sometimes, able mural paintings were successfully sibility for error was out of the question! painting from the wall could have been demounting the mural painting. this proves to be impossible. The choices removed from the walls over the course potentially very dangerous for the paint- First, a layer of gauze that could easily Photo by Hilkka Hiiop. are the destruction of the work of art of a couple of days. In a way, this salvage ings’ surface. Thus, the mural painting be stuffed into all the grooves of the 4. Application of prophylactic adhesive together with the environment and con- operation created a more positive image Distinct features of Elmar was pre-emptively covered by layers of painting in relief was applied to the fabric. Photo by Ülle Jukk. text that surrounds it, or saving it by de- for the much discussed, and criticised, Kits’s mural painting protective fabric to prevent the cracking surface of the painting using a water mounting it and transferring it to a new demolition work of the Academy of Arts. and crumbling of the plaster and dam- solution of approximately 20-25% support. In the event that this proves to Even national media channels reported The mural executed by Kits is a painting age to the pigment layer in the process of rabbit-skin adhesive. This is extremely be the only possibility for preserving the on the work of the students. On the other in relief and can be referred to as sgraf- demounting. important in removing the base layer work, moving the work is justified, even hand, this was an excellent chance to fito only due to its external similarity to because every piece of plaster without though such cases do not always come play out the process of this technically classical sgraffito. Sgraffito is tradition- Tentative experiments were carried a protective covering would most likely without further questions – what is the pretentious method of preservation. Two ally done on lime-based plasters, where out on the lower accessible area of the break off of the surface in the course of value of a work of art, if the authentic layers of fabric were affixed to the paint- the binder of the various coloured layers painting and it was determined that the mechanical removal and would be lost. context surrounding it is destroyed? ings with strong adhesive made from is calcium carbonate that is produced test surface was resistant to synthetic As a second layer, a stronger cotton 124 Demounting Murals from Their Architectural Environment – Salvage or Destruction? Demounting Murals from Their Architectural Environment – Salvage or Destruction? 125

fabric was applied on top of the gauze to the ceiling. The gaps that ensued in Summary adhered to the painting using the same the deep grooves of the relief between adhesive to protect the entire surface the plywood and the plastic film were in The Tarvas restaurant environment, of the painting as a uniform layer. Due turn stiffened using stiffening foam, in where Elmar Kits created his work of to its stronger weave structure, it was order to prevent cracking in unsupport- art in his day, disappeared from Tartu impossible to adhere this fabric in every ed parts of the painting. After it dried, 15 years ago. The department store, in depression of relief, but the lower layer the plaster was sawed through using a other words, its architectural embodi- of gauze provided the primary mechan- cable cutting system as close as possible ment, was demolished in 2014. The work ical protection for the layer of plaster. to the brick wall. Thereafter, the panels itself, however, was successfully brought were lowered using hanging cables into out of the debris. Well thought out meth- a horizontal position and their back sides odology and close cooperation between Demounting of were covered with reinforcing netting conservators and engineers ensured the the mural painting and a mixture of adhesive and reinforce- success of this experimental and risky ment, and after this dried, it was covered work that was undertaken. The trust of In order to demount the mural paint- with an additional layer of plywood to the customer is also of no less impor- ing, the edge strips, plaster panels, wall complete its affixing (Hiiop & Jukk, 2014, tance. plaster and suspended ceiling panels pp. 66-68). were removed first to a sufficient extent This is all nevertheless only the first stage to afford unrestricted access to the The uneven masonry and thickness in preserving the work of art. There is still work and to prepare the places where of the base layer of plaster made the no physical environment where the works the hooks for hanging the work were demounting of the panels complicated. could be remounted in the case of either to be affixed. The scenes of the work Fortunately, there was little binder in the Estonian Academy of Arts or Tartu’s were separated from one another using the latter, which made it considerably old department store. In technical terms, a circular cutter and the demounting easier to saw the sections apart. In the the success of these works can be spoken began one by one, moving from right to end, nine marked “suitcases” were left in of only when the second stage is also seen left. A separate protective frame made the room, which could be easily stored through to completion, in other words, of iron rods was constructed for each in a suitable place. As a compromise when the works are once again attached section. After the fixation of the frame, decision, the owners of the building did to the wall and displayed in their new the panel with its protective layers of not wish to find a new place for display- environment. fabric was covered with an additional ing this work of art in the new building. 7. The demounting process. Photo by Ülle Jukk. 8. The demounting process. Photo by Ülle Jukk. plastic film. A protective surface made Instead, they ceremonially donated it to The question of where and whether these of strong plywood was attached to the the Estonian National Museum re- works will find their place at all is per- front side of the painting and the frame pository at Raadi, in other words, to the haps even more complicated. Can these was hung on a hook that had been fixed Estonian state. works of art be made to tell stories of the

more major historical epochs, and if so, Estonian National Museum at Raadi in References then how? One possibility is to simply Tartu and the new Estonian Academy of HIIOP, H. and JUKK, Ü. (2013) ‘Tarvase restorani mount the works on a portable base and Arts building in Tallinn. Both institu- seinapannoo. Päästmine või pääsemine?’ Cultural Heritage Preservation Yearbook, p. 66-68. to display them in a museum environ- tions will be moving into new buildings ment, as has been done for centuries in from their historical locations during KARTNA, A. (1972) ‘Elmar Kits 1913- 1972 In history. Another possibility is to leave this decade, and mural paintings that Memoriam’. Kuns, 43/3.

the mural paintings stored and covered are historical, yet nevertheless relate to SAADOJA, T. et al. (2012) Konspekteeritud ruum. by protective layers for future genera- their new architectural embodiments, Tõnis Saadoja laemaal Teater NO99s. Eesti monu- tions, who can decide if this section of would create that tiny bit of visually mentaalmaal 1879-2012. Tallinn: Lugemik & Teater NO99. Estonian history merits being put on perceptible connection in both cases display. A third possibility is, hopefully, with the immediate past that has to be TALVISTU, E. (1994) Elmar Kitse fenomen. Tartu: that a worthy architectural environment appreciated equally with others. Tartu Kunstimuuseum.

is found for these works in two environ- TARAND, K. (2014) ‘Kuidas teisaldada freskot?’ ments that are also being reborn – in the Horisont, 2/ 2014 p. 8.

5. Mural partially covered by the second layer of fabric. 6. Mural covered by layers of prophylactic fabric prior to demounting. Photo by Hilkka Hiiop. Photo by Peeter Säre. 126 127

Emma Hocker & Malin Sahlstedt Keywords: a conservator’s warship role in large-scale Vasa preservation preservation research research sampling

Abstract The discovery of acidic salt outbreaks on the surface of the seventeenth-century warship Vasa about fifteen years ago set in motion a series of international research projects to examine different aspects affecting the condition of Vasa’s wood. Although focus initially cen- tred on the surface outbreaks, further analyses showed that conditions in the interior regions were equally concern- ing. Here, there were high levels of other types of acids and timber strength was severely reduced. The threat to the wood strength has highlighted the inadequa- cies of the current support cradle, which has been in place since the 1960s, but is unable to prevent deformation of the hull. A new support system is now being planned. For the last twelve years, Vasa has been the focus of three comprehen- sive, international research initiatives. Over that time, museum conservators have gained valuable experience in dealing with large-scale projects. This paper summarizes the major results and highlights some of the lessons learned over that time. 128 A Conservator’s Role in Large-Scale Preservation Research A Conservator’s Role in Large-Scale Preservation Research 129

A summary of the research conservation of the hull by this method from a conservator’s perspective, of the is not practically feasible. Instead, lessons that have been learned. At 69 m long, 11 m wide and with masts preventive measures, such as control of reaching 33 m high, the seventeenth the relative humidity and temperature century warship Vasa is a monumen- around the ship, are vital for the stability The project models tal structure, equivalent to a 5-storey of both the chemical situation inside building, with a complex chemistry and the wood, since moisture transport will In 2002, on the advice of one of the agen- conservation history. be reduced, but also, for the mechani- cies funding the research, the museum cal stability of the three-dimensional sought proposals for study into the causes One of the first large-scale structures structure. As PEG is hygroscopic, an un- of the acidic salt outbreaks. Of eleven impregnated with polyethylene glycol controlled climate will cause absorption proposals, six were chosen to receive re- to prevent shrinkage and distortion, and desorption of moisture, which will search funding for the project “Preserving the ship has been on display in the Vasa in turn affect the ship’s weight, cause Vasa” and a senior professor in chemistry Museum since 1990. Almost a decade stress on joints and create movement was employed to coordinate the research, later, the discovery of yellowish white and global and local deformation of the as such high level scientific competence salt precipitations on the wood sur- hull. In 2004, the museum’s air condi- was not available within the museum. faces, identified as a range of hydrated tioning system was upgraded and now Meetings were held twice a year for iron sulfate salts, set in motion a series maintains a remarkably stable climate of the teams to report on their work. Each of international research projects to 53 +/- 2 % RH and 18 +/- 1.5 oC around the sub-project was planned for an 18-month examine the various factors affecting ship. No new salt outbreaks have been period and at the end of three years, an in- the chemical status of the wood. The first noticed and movements in the ship, as a ternational team of senior scientists was two projects, “Preserving Vasa” and “A result of climate fluctuations, have been gathered to evaluate the results and make Future for Vasa” focused on the chemi- largely eliminated. The remaining de- recommendations for future study. This cal changes mainly in the surface of the formations and movements are mainly model worked well for the first project wood, a problem potentially affecting the result of the ship’s own weight and and was followed to a large extent in the the hundreds of objects and sculptures, insufficient support, but an unknown subsequent project, “A Future for Vasa.” which contain most of their cultural factor is still the gradual loss of wood In the current project, to design an im- value (tool marks, pigments, etc.) in strength in the interior regions of the proved system of support for the ship, the 1. The seventeenth-century warship, Vasa. their surfaces. As research progressed, timbers over time. So far, few feasible researchers are all based at one university however, it was clear that the interior methods have been proposed for remov- department. The need for an external regions of the timbers were suffering ing or neutralizing these threats and so, project coordinator is negated, since the from high levels of organic acids and any new support structure will have to team meets on a daily basis under the iron, resulting in localized breakdown be over-dimensioned and flexible to deal leadership of their professor, who is also of the wood cellulose. Consequently, the with the future loss of wood strength. the project director. Monthly meetings focus of the latest research project “Sup- are held between museum staff and the port Vasa” has shifted to an examination As summarized by Elding (2010), the project leader and every six months, the of the mechanical properties of Vasa’s undertaken research has been broad, group presents their work to a group of wood and how best to support the hull in interdisciplinary and international in external experts– the museum’s Conser- future. nature and has incorporated a range of vation Council, which provides critical new analytical methods along the way. oversight on the research. The Conserva- The main culprit for the conditions in Hundreds of core samples have been tion Council has been in existence since both the interior and exterior wood taken from the ship and wooden objects the ship was raised in 1961, its members appears to be the presence of large and often shared between groups, which reflecting the expertise required for dif- amounts of iron corrosion products from has necessitated close coordination and ferent preservation projects. the thousands of iron bolts originally in- cooperation between museum conser- serted to hold the hull together. Methods vators and the research teams. Twelve have been developed to extract this iron years have now elapsed since the first Lessons learned using high performance iron chelators, research project was initiated in 2003; such as DTPA, but for practical reasons in that time, Vasa Museum conserva- Project management: With such com- such aqueous treatments can only be tors have gained valuable experience in plex, large-scale projects, clear project performed on relatively small objects managing large-scale, interdisciplinary leadership is essential. Finding the right that can be treated in tanks. Full-scale projects. The following is a summary, person for this demanding role is far 130 A Conservator’s Role in Large-Scale Preservation Research A Conservator’s Role in Large-Scale Preservation Research 131

from easy. The ideal candidate needs to governing their line of work. It has been ers, we agreed to grant data discussed be someone with sufficient understand- our experience that the conservation field during research meetings a “working ing of the respective research areas to be is relatively poorly understood within level” status, which meant it was not able to evaluate results and ask critical the scientific community and the idea made available in our public archives for questions; someone who can be strict of reversibility or re-treatability and a period of twelve months, giving time and take difficult and unpopular deci- minimum intervention are concepts for researchers to publish their results. sions (especially when research money alien to many natural scientists. The fact is concerned), but also be non-partisan that cultural material is an irreplaceable Universal Terminology: Beware that and neutral. Preferably, the project source of knowledge, rather than an end- some terms have very different mean- leader should come from the institution less source of sample material, is often ings, depending on who is speaking. responsible for the cultural heritage not appreciated, so a clear statement of Take the common preservation terms resource, the receiver of knowledge, in these conservation principles at the start “degradation” or “poor condition.” To a order to keep the focus on the main goal of the project will, hopefully, prevent micro-biologist, the word “degradation” of the project. Without this anchoring wasted time and false assumptions. Since will imply fungal or bacterial causes, influence, it is easy for some projects there is no guarantee that new project while to a structural engineer, it will to veer away from the main goal and members joining part way through the mean weakened mechanical proper- prioritize their own research goals. It research will receive this information, it ties, or to a chemist, cleavage of the might be argued that project leadership might be preferable to state these roles wood polymers. Often, the effects are should fall to the conservator, but since and principles in a clearly worded project the same, but one needs to bear in mind many funding agencies require that the description, as part of an introduction who is talking and the origin and history project leader has received a doctorate, package to the project. of the sample in question. Often, these this rules out most practicing museum are relative terms, and need to be more conservators, very few of which have Contracts: Many misunderstand- detailed, in order to understand what is PhD qualifications. An alternative to a ings will be avoided by clearly written meant on a molecular level. It is also use- project coordinator is an advisory board contracts– the more specific, the better. ful in a multi-disciplined project to agree or evaluation committee of experts on Intellectual property rights should be on the same units of measurement when 2. A popular sampling site in the hold different subjects, who meet regularly discussed at an early stage, but owner- conducting analyses, as this makes sub- with the researchers to discuss the mer- ship of images, analytical data, use and sequent comparison of data much easier. its and direction of the work. return of samples and how this informa- tion should be shared between project Sampling strategy: It is worth taking Openness and respect: A requirement participants should also be considered. the time to formulate a well-considered for any large project is openness and a Many large institutions will have their sampling strategy that will give a repre- mutual respect for different disciplines, own legal advisors who will wish to sentative picture of the whole object or a courtesy easy to assume, but often oversee these aspects, but it is worth site, but will also take into account local forgotten in the heat of lively argument, clarifying these questions in writing variations. The number and distribution especially where continued funding is at with smaller, less experienced institu- of samples required should be clearly stake. A climate of trust and generosity tions at the start of the project, in order discussed in advance. This is potentially should be encouraged, with respect for to avoid surprises and misunderstand- an area of tension, as the scientist needs other areas of expertise and perspec- ings later on. Often, different professions to have statistically valid results, which tives, especially in multi-disciplinary have different expectations about what may require taking many samples, projects which combine natural sciences entails intellectual property and how preferably from the same area, but this and humanities. Conflicts should be it may be used. Many researchers have creates a dilemma for the conservator sorted immediately, as in our narrow to “publish or perish”, so can be quite in that, besides being damaging and field, it is likely that the respective par- restrictive in sharing data, while others unsightly, the removal of material in a ties will have to work together or need are very willing to share. load-bearing structure may cause points access to each other’s results and experi- of weakness. Negotiation here is key. Be ences in the future. Sometimes, there can be a clash in poli- prepared to adapt the strategy over time, cies between museums and universities. if necessary. Our recommendation is to arrange a Our institution is a government author- kick-off meeting, where each project ity and our records and archives legally Before taking samples, extensive discus- member presents their expertise and role lie in the public domain. In order to pro- sion with the person requesting samples in the project and the guiding principles tect the academic rights of the research- is strongly recommended, so that both 132 A Conservator’s Role in Large-Scale Preservation Research A Conservator’s Role in Large-Scale Preservation Research 133

parties understand the reason for sam- which let us avoid these problems, but Understand the principle of the analyti- Conclusions: the role of material. A natural scientist is not al- pling and what type of analysis is to be it also means that a sample’s location cal technique and discuss the relative the conservator ways used to working with such changed undertaken. Knowing which questions is not immediately understood. Since benefits and limitations. Sometimes, in materials. to ask will improve with experience. hundreds of samples have been taken order to evaluate a conclusion, it helps Armed with theoretical and practical Currently, there are European guidelines over the years, it is necessary to have to know all the steps that have led to it. training in both natural sciences and The conservator is also the receiver of on what should be considered when access to the database when discussing Visits to the facilities, where analyses humanities, conservators are uniquely the research results and is responsible sampling cultural material (European research results. Participants should be are being undertaken, are very beneficial qualified to translate the scientific hard for putting them into practice, providing Committee for Standardization EN16085 encouraged to include sample numbers in raising awareness of the techniques facts and raw data for use in a museum feedback and suggesting improvements. Conservation of Cultural property - in reports and publications (in tables or involved, how the sample is prepared and or cultural context. Our role in large Only with constructive cooperation Methodology for sampling from materi- as an appendix), so that results can be is also good for project morale. multi-disciplinary projects is to remind between conservator and researcher can als of cultural property - General rules). tracked and compared. In the case of core researchers to relate the scientific ques- the field develop for the better. Safe- These were not available at the start of samples, it is also wise to ensure that the Later in the Vasa project, there was a tions to the cultural context. In many guarding our cultural heritage is both a the Vasa research, but we were gratified depth of a sample is clearly indicated. In desire for each core sample to be tested respects, we are the conscience of the joint responsibility and a privilege. to discover that we reached the same Vasa material, there is a large difference for the same properties, for example, pH, cultural resource. This is not an easy conclusions and recorded the same in properties between surface and inner iron and PEG contents, in order to get a task. Unlike the majority of scientific information as the guidelines now sug- samples of wood, a difference which was better general picture of an extremely fields, our world is not black and white, gest. Without a thorough understanding only discovered thanks to careful docu- heterogenous material and to make but many shades of grey. We have to of the sample’s history or the purpose of mentation of core depths. meaningful comparisons. How realistic balance various aspects of the cultural the analysis, there is a risk that too broad this goal is depends on the properties to historical or museum perspective with – and perhaps false –conclusions may be Sampling should be documented be measured and whether the analyses the available scientific facts. We may drawn. A good knowledge of the mate- thoroughly and a samples’ database is can be repeated by each group using reject the most effective scientific treat- rial and its history can prevent wasted recommended, in order to keep track the same techniques. The downside is ment, if it is too damaging to the arte- time. For example, in the Vasa research, of and evaluate analytical results. This that depending on the type of analyses, fact, and instead, choose a less effective, it occasionally transpired that major should preferably be done by the project an even larger sample may have to be but gentler solution. Or we may accept conclusions on the hull structure were owner. In the Vasa project, although taken, and the extra testing may result some loss of archaeological/cultural being based on samples taken from one participants were allowed to have ac- in increased costs and time. historical information, in order, for of the many loose objects, which were cess to the database, it was decided that example, to extract iron from an object conserved quite differently from the only the conservators would be able to Media strategy: Media interest can be a to improve its long-term survival. To do ship and with polyethylene glycol (PEG) input data. This afforded some control double-edged sword. In our experience, this effectively, we need to be articulate of different molecular weight. Another over the information and ensured that the media avidly picked up any refer- in explaining our decisions to others. example is the conclusions drawn about the project groups reported their data ence to the Vasa ship, which sometimes We have the cultural resource as our the strength of the load-bearing timbers through a single channel. If samples proved hard to manage, especially as first priority and our perspective is the based on a sample from a single block are shared, make sure everyone in the some of our project teams were from long-term, rather than finding quick of wood. The block had been used to fill project is informed and this information overseas. Although contracts with re- solutions and results. the gap between where the deck met the is included in the database. This often searchers requested that we be informed sides of the ship, between knees, and caused problems in the Vasa project, as it when articles were published, the The conservator is best placed to know may already have been discarded by the was not always made clear whether the actual dates of publication were harder and understand the material under ship-builders as unsuitable for bearing entire sample was passed on to another to predict. On many occasions, we had study. The material is not just chemical, loads and instead used as a filler piece. team or just a part of that sample. If to respond to reporters asking us for biological or physical, but is a medium samples are divided, it is wise to assign comments on an article we did not know for several different abstract values, Sample numbering: When the Vasa sub-numbers, which makes it easier to had been published. On the other hand, including aesthetic, historic, scientific project began, we used a numbering keep track of what is going on and to media attention should be used to raise or social, which together make up its system which showed exactly from evaluate results. Consider whether sam- awareness among the general public cultural significance. The material is where on the ship the sample was taken. ples from other sources, which are used about the value of preservation. In any an irreplaceable source of knowledge, References This was meaningful to us, but resulted as reference material, should be included case, if a media officer is not included which is especially true for archaeologi- ELDING, LI (2010) ‘Vasa – Recent Preservation in quite long, complex numbers. All too in the database. in the project, a clear strategy of how to cal material, for which there are few or Research’. Proceedings of the 11th ICOM-WOAM Conference. Greenville, N.C., USA. 24-28 May, 2010. often the project teams would shorten deal with the media should also be con- no written records. Awareness of the p. 371-382. this number in their tables and reports Analytical techniques: Be aware that sidered early on in the planning process. conservation history is also important, which resulted in much confusion, as the different analytical techniques can as substances may have been added, or BJURHAGER, I et al. (2012) ‘State of degradation in archaeological oak from the 17th century Vasa first part of the number was repeated yield different results and conclusions, the original material changed through ship: substantial strength loss correlates with over many samples. We soon changed based on the sensitivity of the instru- treatment, which may alter the physical reduction in (holo)cellulose molecular weight’. to a simple ascending number series, ment and the experience of the operator. and chemical properties of the original Biomacromolecules. 2012. Vol. 13(no.8) p.2521-2527. 134 135

Laura Kauppinen & Heikki Häyhä Keywords: the circus horses pedagogy are under conservation participation the weather public space public art

Abstract “The Circus Horses are Under the Weather” is a story of a pedagogical conservation project in Kerava, Finland. The project was carried out in collabora- tion with the Kerava Art Museum, the Helsinki Metropolia University of Ap- plied Sciences and the local community. The three main things in the project were to raise awareness of conservation and restoration, the art in a public space and foremost, to invite the local people to connect with their own local heritage. The project made the local people famil- iar with museum work and invited them to follow and participate in the process. 136 The Circus Horses Are Under the Weather The Circus Horses Are Under the Weather 137

Introduction past. What would be the ideal state of the animals and artists. Many of Kerava’s sel horse that once was the showstop- Too many gallops later monument was decided together with beloved stories and legends were born per at Sariolas biggest carousel. The The Kerava Art Museum and the Helsinki the community. The ideal state meaning, with the family’s colourful way of living. horses were given black, white, grey Some thirty years later, after the days Metropolia University of Applied Sciences which physical state of an object is con- and brown colours that imitated the of glory seemed long gone, the circus launched together a pedagogical con- sidered most desirable by its custodians Money for the monument was collected real horses. Placing of the monument horses were “under the weather”. Legs servation project “The circus horses are (Appelbaum, 2007). We invited local com- by local people in numerous events. A changed the town’s public space, for it and tails had gone missing, the horses under the weather” for a public sculpture, munity to join us as we went ahead with bank account was opened for donations. was placed at the beginning of the main were covered in tags and dirt and the The Circus Monument, in Kerava, in 2013. the process without a certain designated Nearly everyone pitched in one way street blocking the cars and making it a once shiny paint was coming down. The The project aimed to do the conservation goal. or another. Even the materials for the promenade for the people. horses obviously needed a good amount process in active co-operation with local horses were received by donation. The of love and care. community. In 2014 a group of fiberglass horses were monument was designed by the Finnish In the opening speech people were In 30 years, Kerava also had changed. reintroduced to Kerava people in a big sculptor Heikki Häiväoja and a theatre encouraged to lift their children to ride Earlier the monument stood on a spot The conservation project was transparent celebration. The homecoming pack had mask maker Antero Poppius. The inten- the five horses, and so they did. The next to a lively promenade with shops. and had participatory dimensions.The undergone a complete restoration, their tion was to make a functional piece of monument gathered the children and Now, the monument and its surround- aim was to increase the public’s apprecia- past had been discovered and written art that would allow the same kind of made the place so desirable that even ings seemed deserted and the businesses tion of public works of art and to prevent down for future generations, and people´s joy as riding a carousel does. children from other towns wanted to seemed to have moved further down the further deterioration. The project aimed memories of them had been passed on in visit the spot. There were sometimes street. The children’s joy was nowhere to 1. The Circus Horses are Under the Weather to encourage city dwellers from indiffer- numerous occasions. Five fiberglass horses were made in a even queues for the most desired white be found. -project gathered caretakers for five ence to solicitude. mould taken from a 19th century carou- horse. fiberglass horses of a Circus monument. White horse with Carla Vesto. Photo: “The Circus Horses are under the weath- Kerava, fairground Kerava Art Museum / Sirkushevoset er” aimed to revive the participation of and a few horses sairastaa. the community, which is strongly linked to the history of the monument. By shar- Kerava is a city in southern Finland, ing knowledge to develop attitudes, we just 20 minutes away from Helsinki. It aimed to strengthen the bond between has been a city for only 90 years. The the community and the public sculptures city really started developing when the it owns. The project supported the com- first railway in Finland was built from munity’s identity, by telling the history of Helsinki to the city of Hämeenlinna. the monument to the new generations. It The railway passed Kerava and soon the also respected the previous generation’s trains also started stopping there. The efforts for the common good. The keys to industry grew fast, due to Kerava’s good the social inclusion were access, repre- location and accessibility. The town sentation and participation. grew on brick, wood, rubber and metal industries, which gave work to the The circus monument respects the growing population. But the town also Kerava based Grönroos-Sariola (after- grew with the circus and the fairground wards Sariola) Circus. The fiberglass as its curiosity. circus monument consists of five carousel horses on separate stands. The implemen- In 1979 people of Kerava gathered to tation of the monument was acquired by the city centre at the opening ceremony a public fundraising in 1977. The circus of the Circus Monument. A few years monument was designed to be a func- back, an enthusiastic prominent figure, tional work of art, where the children can Aune Laaksonen had had an idea to play. The circus monument is part of the celebrate the history of Kerava with a city’s self-image, it tells the history of the new monument. The monument was to town, the urban development of the com- commemorate the Kerava- based circus munity, and the idea that art exists for and fairground family Grönroos-Sariola the city dwellers. (afterwards Sariola), who started their business in 1888. The Sariola family The beloved sculpture was in its cur- made Kerava their home and stayed in rent state, however, only a hint of the town for the winter with their exotic

2. The Circus Monument is an important piece of public art in Kerava city center. After a profound conservation project the monuments horses regained their shiny appearance. Photo: Kerava Art Museum. 138 The Circus Horses Are Under the Weather The Circus Horses Are Under the Weather 139

4. Veli-Matti Immonen and Eevi Kallio taking a sample of the 5. The monument has witnessed a lot of play and it has helped material. Photo: Kerava Art Museum / Sirkushevoset sairastaa. creating childhood memories for generations. Two-year-old Mika and his older brother, 6 year old and Juha ride the horses in 1982. Photo: Pirjo Seppälä / Kerava Art Museum / Sirkushevoset sairastaa.

Take care, intervention The children were given a task to spread to fall in love with their horses again, the word about the project. They were so that they would care for them in the In 2013, the Kerava Art Museum and the expressing their thoughts and sharing future with us. Helsinki Metropolia University of Applied their knowledge to us and to a wider Sciences launched a pedagogical conser- audience through a blog. They also did We shared our knowledge as we got fur- vation project to restore the horses. We a short film that was shown in every ther in our investigations and the aim wanted to share our journey of caretaking elementary school in Kerava. was that people could be at the same with the Kerava people. The aim was to page with us as the project went on. We raise awareness of the circus monument, used social media, a blog and a Face- to lift the curtain of the museum work Sharing does count book -site, as an information platform, and to allow people to participate in the but we also did a window exhibition for future of their cherished monument. Alongside the children’s project, we people who are not engaged in social invited Kerava people to participate in media. The idea was to make the exhibi- We collaborated with a local elementary different ways. We asked people to con- tion as accessible as possible. school, the Kerava Museum and the tribute to our project by sharing their Urban Environment Unit of Kerava. A memories and stories of the monument. We also made a few gift items: a tem- class of school children was at the core By engaging people, we were able to porary tattoo, a reflector and a magnet. of our project. They were following the look closer at the function and different With these items, people could take the process from the beginning and working meanings of the artwork. horses and their tale with them from with the conservation students. They the museum gift shop and spread the were also given classes on conservation The memories played a significant role “news”. At the very end, we published and its aims, the history of the monu- in the process to understand the mean- a book that told the whole story of the ment and the history of the fairground in ing of the monument, but they also process (Kuula, 2014). The book also Kerava. They also learned about sculpting helped us in sharing the importance widened the readers’ perspective with in a workshop given by a Finnish sculptor of the monument back to the people. It the history of the original carousel Anne Meskanen-Barman. They collabo- wasn’t the voice of museum workers or horse and the history of the carousel as rated in the making of condition reports conservators saying why the monument a form of amusement. People’s memo- and an exhibition held at the Kerava Art should be taken care of, but by the peo- ries and pictures were published in the museum. ple themselves. We needed the people book as part of the monument’s history.

3. Thirty years in a public space leaves traces of encounters with people and outdoors. The Circus Monuments condition was very poor in winter 2013. Photo: Kerava Art Museum / Sirkushevoset sairastaa. 140 The Circus Horses Are Under the Weather The Circus Horses Are Under the Weather 141

By engaging people in the process we Finding the best According to the consultations car- CONCLUSIONS NOTES got them talking about the horses and care possible ried out in Kerava it seemed clear that [1] The Finnish Significance analysis was published sharing their thoughts and memories through functionality the Circus Horses What did we gain by engaging school in 2015 by the Finnish Museums Association. not only with us, but also among them- The remedial conservation project had made their way to the lives and children in our project? The children selves. The local press also followed the seemed to be very demanding. The memories of the Kerava people. They collaborated with the conservation REFERENCES project with enthusiasm, which helped condition of the monument was poor. played significant role in the memories students. They were our primary source APPELBAUM, B. (2007) Conservation Treatment us share the process. At the end, in June Structurally, the monument was not of the childhood in Kerava. According of information about the horses from Methodology. Great Britain: Elsevier Ltd, 2007.

2014, we organized a big celebration for solid. Two horses were missing a front to the collected memories and conduct- their childhood. They were also the ones HÄYHÄ, H., JANTUNEN, S. and PAASKOSKI, the homecoming gallopers and made leg, one missing a tail, and all the ed interviews, functionality was the who showed us how to ride the horses, L. (2015) Merkitysanalyysimenetelmä. Suomen the day special for the local people. horses were stained with dirt and graf- most important value for the commu- and why some spots were more damaged museoliiton julkaisuja 64. Suomen museoliitto. Available from: http://www.museoliitto.fi/merki- fiti. At some point we discussed about nity. Functionality was then chosen as than others. The children also collabo- tysanalyysimenetelma. the possibility of making new horses the ideal state of the monument. “Ideal rated significantly by helping us share Looking through by using the original mould because state”, a concept from art conservator information about the project. They did KUULA, M. (2014) Karusellihevosten kyydissä: Keravan sirkushevosten kyydissä. Tarto: Keravan the surface it seemed difficult to find a workshop Barbara Appelbaum (2007), is very use- it from child to child. taidemuseo. which could carry out the demand- ful in defining the realistic goal for the The conservation process began with ing conservation-restoration work. conservation-restoration process. “Ideal By involving children we were forced to RUSSELL, R. and Winkworth, K. (2009) Significance 2.0. - a guide to assessing the significance of col- two types of studies: the materials and Metropolia doesn’t have a workshop State” is always a real historical state, look closer at our ways of speech about lections. Austaralia: The Collections Council of the significance of the monument. We suitable for glassfibre work. Finally, we which includes the intention of the conservation and public art. We also cre- Australia LTD. Available from: http://arts.gov.au/ needed to form a picture of its tangi- were lucky to find two sculptors, Noora artist and the evidence of the use of the ated new ways of working. For example, resources-publications/industry-reports/signifi- cance-20. [Accessed February 3rd, 2015]. ble and intangible elements. Only by and Kimmo Schroderus, who had been object and the traces of time. The aim is the documentation form developed with combining these studies we found out working with glassfibre earlier. They not to alter or improve the history, but the children, will be used in the future VAN MENCH, P. and VAN MENCH-MEIJER, what we had in our hands and what we have a fully-equipped workshop, with to regain a chosen state of the object’s to follow up the condition of the monu- L. (2011) New Trends in Museology. Celje: Muzei Novejse Zgodovine. should do with it. professional personal safety equip- lifespan. ment. ment. As a starting point for the conserva- The conservation-restoration pro- What did we gain by opening the pro- RELATED LINKS tion project we used documentation Overpaintings were removed, rusty cess was planned to reach the goal of cess instead of just making it behind http://sirkushevosetsairastaa2013.blogspot.fi/ made with the children, archival iron armature was partly replaced with functionality and usability. In practice, closed doors? We were able to show that https://www.facebook.com/SirkushevosetSai- rastaa information from the Kerava Museum, stainless steel, new legs and tails were the inner structure of the horses was conservation is a process that does not interviews and memories from the mended. The horses were painted with strengthened, loose parts were at- happen overnight and that it involves community. The artist Heikki Häiväo- colours as close as possible to the origi- tached in a reliable way, and the paint decisions. We wanted to show that both ja, age 84, was interviewed as well as nal colours. Over the years, the horses coating performed in the way that it can the tangible and intangible should be the lady behind the monument – Aune had switched places like in a carousel. last wear and tear. studied carefully before decisions are Laaksonen, who passed away recently. Now the set-up was restored back to the made. We were also able to share knowl- Material analyses were made by the original. In this process we failed to deliver the edge of the local history to a new public. Metropolia, including cross sections, ideal state of the monument because The public got to learn how a community colour measurements and a radiograph Significance 2.0 analysis was used as safety regulations seemed to be can change their own town by working of the whole horse. a key to unlocking the meaning of the stronger than the experience of the together. From an idea of a person, to a monument, and to study the intangible people. A new pedestal, which makes monument that changed the urban plan- The radiograph revealed that the iron elements of it. Significance 2.0 was climbing on a horse more difficult, was ning of a town, this piece of art is quite armature inside the horse was poorly originally published in 2009 by the Col- designed. The horses are strong enough convincing evidence of a community’s attached and corroded. It had to be lections Council of Australia (Russell to carry new riders, as the ideal state power. 6. Poorly made iron armature was renewed and strengthened. From and Winkworth, 2009). [1] Significance proposes and people are making up discovered in a radiograph. Photo: the cross sections we learned that 2.0 is used to define the meanings and their own minds about safety. The local Perhaps most importantly, we gained Metropolia University of Applied Sciences the horses were painted many times values of a cultural heritage item or col- people keep on riding and allowing the the sense of engagement with the com- / Sirkushevoset sairastaa. and the gelcoat layer on glassfibre lection through research and analysis, children to ride the horses anyway. munity. We were able to demonstrate 7. Noora Schroderus started taking care of was quite thin. The sculptors Heikki and by assessment against a standard that public space and, in this case, the surface by removing over paintings. Häiväoja and Aarne Jämsä provided set of criteria. The significance assess- public art creates private memories and Photo: Noora and Kimmo Schroderus / valuable information about the materi- ment is a collaborative and transparent experiences that are beyond the creators’ Sirkushevoset sairastaa. als and construction of the monument. process and it should take into account intentions; those experiences are of 8. Local people gathered to welcome the Both of them were interviewed by the that the Circus monument may hold value. In our opinion people should have horses back in June 2014. Photo: Kerava conservation students. different meanings and values for dif- a stronger role in what is happening in Art Museum / Sirkushevoset sairastaa. ferent groups and individuals. their public space. 142 143

Suvi Leukumaavaara Keywords: raising awareness of cemeteries remembrance – works of art history funerary art artists as part of invisible grave monuments outdoors sculpture cultural heritage conservation-restoration historical techniques deterioration

Abstract The present study discusses invisible heritage in our cultural environment through cross-disciplinary research of historical grave markers. Cemeteries present a complex situation with many celebrated artists’ works – and graves – deteriorating at cemeteries. Due to their nature and location, grave monuments are outdoors sculptures which are not considered works of art as such, and normally are not maintained as part of outdoors sculpture conservation. Due to their materials, many of these works are currently in a severe state of deteriora- tion, at risk of disintegration. Since their maintenance is mostly the responsibility of private gravesite leaseholders, conser- vation of grave monuments is subject to permission. Studying deserted graves may require many kinds of background research. The preservation of these in many ways important historical monu- ments calls for expertise and would benefit from a collaboration of several fields, as well as new ways of looking into funerary art. 144 Raising Awareness of Remembrance – Works of Artists as Part of Invisible Cultural Heritage Raising Awareness of Remembrance – Works of Artists as Part of Invisible Cultural Heritage 145

Introduction regarding e.g. the cleaning of a grave Methods of the project graves of notable artists and architects, made of wood, metal and stone. Grave monument. In many cases, however, as well as the designers and executers of monuments include both handcrafted Grave monuments often fall out of families have become extinguished, During the past decades, several local the grave monuments. and serially produced memorials, as well the category of outdoor sculpture or or, with the passing of generations, the inventories of cemeteries have been as artists’ and architects’ commissioned funerary art in public places, and their families in question might not be aware carried out. The scope of most of these Attributions regarding authorship have works, or works executed via design condition is usually not monitored as of their ancestors and subsequent grave inventories has been to document local at times been possible to be carried competitions. A grave monument can part of outdoor sculpture conservation markers anymore. These gravesites grave monuments and/or transcribe out on stylistic grounds via compara- also be a combination of these. carried out by, for example, city councils. have thus, from the point of view of their inscriptions. Few of these inven- tive study of monuments of the period This can create a contradictory situa- congregations, become “inactive”, and tories have however documented or in question. This type of study would Materials typically used for grave tion, especially when works of art by the therefore – as has happened in many evaluated the materials or condition of typically be combined with researching monuments in Finland are a) both local same artists can in many cases be found places during the past decades – many the grave monuments or carried out fur- the professional networks of the artists and imported types of natural stone, b) both at local cemeteries and in museum significant grave monuments have al- ther research on the deceased persons. and the buried persons – artists and metals: wrought iron, cast iron, copper, collections. ready been disposed of to make way for Even fewer studies have concentrated architects are known to have designed c) mixtures of these, d) wood and other new gravesites. on researching grave monument design funerary art for serial production also. less permanent materials, of which Presently, a large number of histori- and their production or studying the Attributing the designers of even e.g. old wooden crosses have mostly cal grave monuments across Finnish With growing awareness of the impor- authorship of unattributed works at mass-produced grave monuments can weathered away. Typical problems of cemeteries are at risk of deterioration, tance of preserving cultural heritage, cemeteries. therefore add value and importance to grave monuments include the tilting of or already in the process of falling into old grave monuments have started to preserving surviving examples of such grave markers, instability or falling of decay. The use of fragile materials, get more attention. Due to their nature, Existing literature and data on Finnish memorials too. Documenting serially headstones, cracking and deterioration combinations of materials, environ- they, however, belong to both visible and cemeteries and funerary art is there- produced cultural heritage also has of stone, deterioration of metal e.g. by mental factors, a lack of maintenance invisible cultural heritage and environ- fore still scarce, and there is a number important industrial historical and local rust and oxidation, deterioration by veg- and long-term exposure to changes in ment, especially with the distinction of unresearched cemeteries across the historical values. etation and biological growth. Damages temperature and humidity have caused between public monuments and grave country. Unattributed grave monuments are caused by different kinds of weather- deterioration and disintegration of many monuments. Changes in funerary cul- often require both genealogical and During the inventory, observations ing (deterioration of materials in situ), grave markers. In Finland, there is no ture and visiting cemeteries have also different kinds of historical research. regarding the overall condition of which can be divided into three main law strictly protecting these works. largely affected the situation as well as This research can be laborious and time individual monuments and the rates of types: physical, chemical and biological Whose responsibility is it then to care for the deterioration of the said monuments. consuming as it normally necessitates deterioration of the materials were car- weathering. these in many ways historically signifi- Naturally, artistic values are not the only studying unedited primary sources. ried out. The materials, techniques and cant grave monuments? justification or reason for preserving Therefore, it would be beneficial to deterioration rates of the monuments Factors for weathering depend on the old grave monuments. Graves of many combine different sub-categories of were studied comparatively. To increase materials of the grave monuments, The context of preserving can be important people at their own time have, cemetery research and develop collabo- cross-disciplinary knowledge, these the location and the surroundings of considered from many perspectives: however, also been forgotten. ration between interested parties, e.g. observations have also been discussed the cemeteries and those of the monu- preserving the memory of a deceased genealogical research (documenting with external experts in related fields ments within cemeteries (e.g. proximity person, preserving a unique work of art In Finland, funerary art as a discipline inscriptions) and graveyard photogra- of study. Examination and evaluation to coast, linked with salt weathering). or preserving a surviving example of old still remains rather under-researched, phers (documenting old graves). work at cemeteries is normally carried While most damage is caused by fatigue graveyard culture. The latter can include and in many places provides only limited out through summertime fieldwork and erosion of materials and environ- preserving grave monuments crafted by locally-applicable tools for a comprehen- In the project, a cross-disciplinary ap- whereas archival and genealogical mental changes, long-term neglect is a known mason or even examples mass- sive study on the subject. In 2013, the proach was considered the most effective research can be carried out regardless crucial for these historical monuments. produced by local factories – both often Finnish Cultural Foundation initiated a basis for research methods (document- of weather conditions. The scope of the Gaps in the maintenance and upkeep collaborated with well-known artists pilot project on studying and safeguard- ing and evaluating the condition of grave project has been to combine the results intensify deterioration, particularly and architects. In the context of preserv- ing significant grave monuments.[1] monuments), serving both decision- of these two. concerning sensitive materials. 1. The c. 1910’s art nouveau style grave ing parts of artists’ œuvres situated in The scope of the project, not discussed making and further study. Grave monu- monument has started to tilt and the cemeteries, it should be borne in mind, in depth in this paper, has been to raise ments and their values have thus been joints in the structure have started to however, that “forgotten” graves can awareness of the importance of preserv- considered combining art historical, Examples of damage open. sometimes be the graves of the – still – ing historical gravestones and grave cultural-historical, industrial historical, 2. The early 20th-century grave monument celebrated artists themselves. monuments in Finland by activating local historical and conservational view- Grave markers can be divided into dif- of the Edelfelt family, made of soapstone gravesite leaseholders and other inter- points and approaches. Monuments have ferent categories. These can include e.g. (by Armas Lindgren). The majority of grave monuments and ested parties and providing tools for con- also been studied categorically, making upright gravestones, flat, horizontal their condition is entirely at the respon- crete actions. The approach of the project inventories and mapping the graves gravestones, ledger (pillow) gravestones, sibility of individual gravesite leasehold- has been cross-disciplinary, combining e.g. by type, materials, or the symbol- pedestal monuments, dry stone monu- ers. This means that, without permis- e.g. conservational, art historical and ism in them. Another research pattern ments, mausoleums, sculptures and sion, it is not allowed to take any action historical viewpoints. has been studying them by profession: crosses. These have traditionally been 146 Raising Awareness of Remembrance – Works of Artists as Part of Invisible Cultural Heritage Raising Awareness of Remembrance – Works of Artists as Part of Invisible Cultural Heritage 147

Physical weathering concern to localise the monuments most Physical weathering is a process caused at risk. by the effects of changing temperatures on rocks. Tilting, falling and collaps- In the early 20th century, grave monu- ing of different types of grave markers ments imitating a rustic stone wall is currently a major problem at many were popular in Finland. These often cemeteries. The tilting of an upright u-shaped massive monuments, often memorial with a base stone or a mono- executed by commission and designed lith normally depends on the quality of by the most important architects of the its foundation, the materials used and time, were made using the dry stone the stability of the supporting soil; it is building method, constructed from sensitive to movements caused by ground quaderblocks (blocks of stone) without frost (frost heaving). In some cases, the using mortar to bind them together. weight of the monument might also be About a century later, the stability an accelerating factor. The age of the of this type of grave monuments has grave monument does not normally co- started to suffer. Some quaderblocks incide with the tilting, as can be noticed have now started to move within the in many 19th-century memorials, for structure and the walls have started to example. incline, which has in some cases even resulted in the collapsing of an entire Grave markers consisting of two pieces, monument. a headstone and a base, have typically been joined together by “blind pin- ning”, i.e. placing hidden metal dowels Chemical weathering in between the two elements. With A comparison of grave markers from time, these metal dowels have started different periods of time indicates how to rust, which eventually causes the different stone materials react under 5. Exposed copper dowel. 6. Many cracks on a marble grave monument grave monument to topple over usually changing atmospheric conditions, cli- due to freeze-thaw and corrosion of the dowel. causing breakage; depending on the mate and pollution. Chemical weather- surroundings and the distance to other ing and decomposition of gravestones is monuments. The process of rusting is due to reactions that occur between the further aggravated by the combination environment and the various minerals of freeze-thaws, long-term presence of in the stone material. The deterioration humidity and snow blankets. of individual rock species varies depend- ing on their properties. A freeze-thaw occurs when water that seeps into cracks or joints in the Factors affecting weathering are the gravestones, in dropping temperatures, porosity of grave monument materials, expands as ice. Repeated freezing and the position of the monument (hori- thawing weakens the rock and the zontal or upright) and the level of their gravestone might eventually split – maintenance and upkeep. Whereas dowels used for the “blind pinning” can horizontal pillow gravestones hold often be seen through the cracking of the water in puddles for longer than vertical 3. Dry stone wall type of grave monument at gravestone. Freeze-thaw and the fatigue stones, upright headstones have often the final stages before collapsing. of the metal of the dowels is a crucial weathered to equal extent, the porosity 4. Crack caused by freeze-thaw, exposing combination for many grave monuments of the rock species being the decisive the dowel used in ‘blind pinning’. that a proximity to sea and/or long win- factor. ters might further provoke. This kind of damage can be observed throughout Materials used for grave monuments in cemeteries. The fact that structur- Finland include both local and imported ally speaking this is the most common types of natural stone such as gran- type of grave monument increases the ite, diorite, gneiss, marble, soapstone,

7. Lichen and sugaring on a 19th-century grave monument 8. Sugaring of the inscription of the marble grave (by Robert Stigell). monument of Aurora Karamzin (by Ville Vallgren). 148 Raising Awareness of Remembrance – Works of Artists as Part of Invisible Cultural Heritage Raising Awareness of Remembrance – Works of Artists as Part of Invisible Cultural Heritage 149

9. & 10. Details of lichen and changes in colour on Aurora Karamzin’s grave monument, possibly due to an earlier laser cleaning (2 photos)

sandstone and limestone. Igneous stones es, the edges begin to soften and round, black crusts. Due to its scarce suitability (such as granite and diorite) usually affecting the legibility of the lettering. for outdoors use in Finnish climate, the have a lower porosity than metamor- Depending on the depth of the carved overall condition of many marble-con- phic (marble, soapstone and gneiss) letters, further degradation can cause taining grave monuments is poor. Marble or sedimentary stones (limestone and disintegration of the lettering that, weathers under rainwater by carbona- sandstone). eventually, becomes indistinguishable or tion, causing for instance rounding of the even disappears. edges of lettering and details of sculp- A means for monitoring the weather- tures. In the final and most advanced ing of gravestones could, for example, Marble in particular is a material sus- stage of the deterioration through exten- be examining the edges of the carved ceptive to atmospheric staining. The sive sugaring (loosening of the surface or sandblasted inscriptions of the grave surface of marble grave monuments crystals) and erosion, these features on a monuments. When weathering advanc- has often blackened by depositions and marble monument can be lost.

11. Gravestone of architect Usko Nyström (by Alvar Aalto). 150 Raising Awareness of Remembrance – Works of Artists as Part of Invisible Cultural Heritage Raising Awareness of Remembrance – Works of Artists as Part of Invisible Cultural Heritage 151

14. Grave monument of Gunnar Berndtson 15. Grave of Alexandra Gripenberg 16. Grave of Magnus von Wright (by Eliel Saarinen and Robert Stigell). (by Emil Wikström). (by Walter Runeberg).

Biological weathering or even breaking of the grave monument. quent surface cleaning would be a safer Grave monuments have proved to be The environment under the trees is option, rather than cleaning the monu- 12. Lichen on the grave monument of Albert Edelfelt (by Eliel Saarinen). 13. Lichen on early 20th-century soapstone grave useful in monitoring weathering rates usually very moist, causing the chemical ment once in a decade, (or more rarely) as monument (by Gesellius, Lindgren, Saarinen). and changes in air pollution. During and biological weathering to take place the removal of lichen and moss at an ad- the project, observations regarding faster. The attachment of lichens – such vanced stage is likely to cause damage to vegetation on grave monuments were as algae, fungi growth and moss – on the the surface, particularly in case of details discussed with researchers, e.g. in the surface of a grave monument indicates a and lettering on sensitive materials. field of biology. The growth, disappear- regular supply of moisture. In large cem- ance and reappearance of different types eteries, it is possible to notice that the Apart from damages regarding the of lichens on grave monuments indicate grave monuments have different kinds surface of the grave monuments, some changes in the level of pollution around of lichens and moss growing on them, de- of the “inactive” graves present an- city cemeteries. pending on the surrounding trees. other problem: overgrowing. Graves not covered by annual leaseholder fees are Trees planted on (or in proximity of) Plant roots, rhizoids and lichens produce typically not maintained, or, depending graves during the past centuries have acids, which cause slow decomposing on the stipulations of the contracts, the caused damage to many grave monu- of some minerals on the surface of the maintenance might be limited to certain ments. Falling tree branches may dam- gravestones. Inscriptions and epitaphs aspects of the gravesite. The microcos- age or even break them, as was witnessed on more porous rock species are sensi- mos of an overgrown gravesite is also during the research project. The pressure tive to the attack of leafy foliose lichen subject to eventually cause further prob- of plant roots growing under or in the and moss, as long term neglect allows the lems affecting the conditions and the cracks of a grave monument can be sub- rhizoids to penetrate the surface of the stability of the grave monument itself. stantial, causing cracking, tilting, falling stone. For the grave markers, a more fre 152 Raising Awareness of Remembrance – Works of Artists as Part of Invisible Cultural Heritage Raising Awareness of Remembrance – Works of Artists as Part of Invisible Cultural Heritage 153

Metals Conclusions and ness of their graves. A famous painter’s In the 19th century, iron crosses became further study simple grave might be overgrown with popular at cemeteries. With production weed, while across the town, people costs dropping with industrialisation, Based on the examinations carried out queue to see and buy reproductions of decorative wrought-iron crosses, ham- during the cemetery research project, the same artist’s works in the collections mered or forged into shape, started to be physical weathering of stone and the of museums – where also scale models, replaced by those made of cast-iron (iron rusting of metal are the most seriously sketches and architectural drawings of made in a mould). Mass production of affecting phenomena regarding histori- grave monuments are kept in optimal iron crosses in Finland reached its peak cal grave monuments. Physical weather- conditions. Invisible cultural environ- in the 1860s. Apart from crosses with ing has started to alter the stability of ment has become something considered elaborate iconography, iron fences, iron early 20th-century stone monuments self-evident, even though during the benches and other ornamentics belong- and some of them have already col- research project, it has also been noticed ing to the cemetery culture were also lapsed. Due to the hidden structure that some badly-weathered grave monu- produced. (“blind pinning” using metal dowels) of ments have recently been cleaned and a common type of upright gravestones, appropriately restored. Crosses and fences were normally given the stage of the rusting process of the a protective paint layer. Old photographs dowels is not always visible, presenting While raising awareness of the impor- of grave monuments have indicated an increasing risk as headstones may tance of preserving historical grave that even copper decorations have been unexpectedly fall. monuments is crucial, it would call for painted. Due to gaps in maintenance contributions and inputs from outside and the lack of a protecting coat of The research indicates that grave of the actual gravesite leaseholders also. 18. Deteriorated iron of an early 20th- paint, the original material has often monuments currently most in need of Apart from further research, a change century grave monument (by Herman been exposed. Reactions in metal often conservation-restoration are not neces- in the cemetery culture and new ways Gesellius and Eric O. W. Ehrström). stain grave monuments, particularly in sarily the oldest, such as the early 19th- of considering funerary art should be cases of monuments with bronze reliefs century Empire style grave monuments, introduced, enhancing collaboration incorporated on the surface of a stone but rather the early 20th-century graves. between different conservation-resto- monument. In many places, the lack of a This is particularly evident in the case of ration areas, historians, genealogists, protective paint layer has caused severe architect-designed, massive art nouveau biologists and individual enthusiasts of corrosion to the materials, affecting the 17. Ornate art nouveau gate at advanced stage of rusting, style monuments, mostly constructed the subject. New ways of celebrating art- structural integrity of the grave monu- showing handicraft and mixture of materials. using the dry stone wall technique (con- ists could also be introduced – not only ments. These parts in advanced stage of structed without using mortar). by celebrating the individual artists by rusting may already be beyond the point jubilee exhibitions and, e.g., commemo- of rescue. Historical grave monuments made of rative stamps, but rather by reviving an metal, on the other hand, would require old custom that has become less and less Wrought-iron and chiselling metal can urgent action, as they may in places be common: by visiting their graves as part nowadays almost be considered a lost in an extremely fragile condition – ap- of these occasions. art, with only a handful of craftsmen proaching the final stage of deterioration mastering the technique. Works of art due to oxidation caused by a long-term nouveau era ciseleurs (such as Eric O. W. lack of protective paint layer. Preserva- Ehrström) at cemeteries are in a fragile tion and/or documentation of the surviv- state. Therefore, it would be important ing examples of ornate wrought-iron and for the cemetery culture and conserva- chiselled copper and further study on the tor-restorers to maintain the knowl- role of artists and architects in design- edge of this tradition and to familiarise ing grave monuments is crucial for the themselves with these metal-working cemetery culture and different aspects of techniques via exchange of practise historical preservation. More attention Notes and experience, in order to be able to should be drawn to invisible cultural [1] Initiative for the project came from art historian preserve and work on these often unique heritage and more conservator-restorers Petja Hovinheimo (1975–2013), fund officer of the grave monuments. specialising in outdoor sculpture, grave Uusimaa Regional Fund of the Finnish Cultural Foundation, in collaboration with a steering group monuments in particular, are needed. comprising of experts from different sectors The prestige of artists does not always regarding cemeteries, study of funerary art and coincide with the condition or imposing- preservation of cultural heritage in Finland. 154 155

Katja Luoma & Teemu Kajaste & Elina Järvelä & Hanne Mannerheimo Keywords: conservation scagliola of scagliola cleaning material analyse columns at finnish patching Modostuc national library

Abstract Scagliola is glossy artificial marble made of coloured gypsum and animal glue. Its surface is also highly sensitive to wrong cleaning methods. These may lead to a matt finish, but also, repairing surfaces without causing additional stains is a challenge. The Finnish National Library is one of the most significant sights in Finland representing scagliola crafts- manship. Our conservation team had the opportunity to carry out pioneering ground work in the Library´s scagliola conservation. Current research-based literature has practically no references of scagliola conservation methods. The thorough cleaning tests of our team resulted in an efficient formula based on Marseille soap, and the material analy- ses produced new information about the use of dyes in scagliola instead of dry pigments. 156 Conservation of Scagliola Columns at Finnish National Library Conservation of Scagliola Columns at Finnish National Library 157

Introduction First we wanted to be certain that the orant is a new discovery and explains the high gloss of the surface wasn´t obtained fading. The analyses methods were opti- The main building of the Finnish by using wax. The original technique cal microscopying in visible light, port- National Library was designed by Carl does not necessarily include wax. Scagl- able EDXRF, XRD and wet-chemistry. Ludvig Engel and the construction work iola is a polished plaster, which consists started in 1828. The construction was of gypsum, animal glue and natural finished in 1840, after Engel´s death. The pigments. The polishing is done by the Cleaning library´s first extension was the rotunda. activation of the adhesive with the pol- It was built by architect Gustav Nyström ishing stone. The glue tends to harden Cleaning tests started from the Cupola in 1906. These two designs form the the plaster, and give gloss to the surface. Hall. The white columns were the most main building of the present-day Finn- According to some references, scagliola unforgiving place to start the clean- ish National Library. Gustav Nyström surface have been treated with oiling ing tests. Our team was assigned to wanted to be faithful to Engels´ original or waxing after the polishing (Harrison find the most efficient way of cleaning drawing. The interiors have been stun- 2013). Using soap in the polishing process the columns, while at the same time ningly well preserved and is without a is also possible. maintaining the patina and the feeling doubt one of the most beautiful interi- of old surface. We were also to find ways ors of neoclassical Helsinki. One of the Since there was no research-based of consolidating and patching scagliola most important elements of the interior information of previous restorations, it material that seemed to miss research- is the line of beautiful glossy scagliola could have been possible that the col- based studies of successful conserva- columns. umns were previously cleaned and that tion. The conservation team was to be the current glossy surface was obtained selected based on the tests. The planning of the National Library´s with a layer of wax. Before taking action conservation work started in 2013 with with the cleaning tests some material The dirt on the columns consisted 1. Interior of The North Hall. Conservator Teemu Kajaste working with the scagliola repairs. cleaning tests. In the beginning of the analysis had to be carried out. mostly of soot and grease left by fingers project all columns had multiple types making the surface look matt. The of damage, stains and dirt. The damage columns also had a range of other stains: had been mostly caused by the building Material Analyses paint drops caused during the renova- subsidence and minor vandalism but tions of other building parts such as the also by using wrong cleaning methods. Material analyses were carried out panel ceilings and stains caused by floor The previous cleaning tests were made by Hanne Mannerheimo. In order to washing water and students´ drawings. with a refining method. This produced detect the wax on the surfaces of the a matt finish surface to be later treated columns altogether, 12 samples were The cleaning tests started with simple with wax. Our team started planning collected from the columns in each hall. dry cleaning methods that seemed to tests in order to avoid any new materi- The samples were diluted in acetone. work for the dust and some soot. It was als. Also the layer of the actual scagliola After 24 hours of dilution, the remains obvious that to some degree the dirt had may be very thin on some parts and of acetone that should have contained integrated itself into the glossy surface. refining could lead to non-reversible wax - if present were collected and left Dry cleaning was still a good way to pre- blank areas. to evaporate. Afterwards the FTIR-ATR- vent the dirt from impregnating deeper, spectras were run from the remains. No while we still studied possible wet clean- The scagliola technique originated in the wax was detected from the samples with ing methods. ancient world. It was rediscovered in the this analysis method. Renaissance and became very popular Scagliola is mostly a calcium carbon- during Baroque and Rococo (Harrison Particular attention was paid to the ate and the use of any acid cleaning 2013). It had its golden era during the pigments of the dome hall columns. solutions was out of the question. Any Regency (in Finland Empire style). There The veins in the scagliola columns were wet treatment should be alkaline and seems to be some cultural diversity in moulded with bright blue pigment, it should not include large amounts of the polishing materials used, but in which gave the impression of eminence water since scagliola is vulnerable to Finland the high gloss of scagliola was on otherwise white columns. They were water ingress. The best cleaning result achieved using animal glue, not wax. also distinctly faded in the brighter side was obtained by real saliva, but obvi- This makes the surface fragile to water of the hall. Pigment analyses proved that ously, the large scale of the cleaning area contact. the pigment used was organic indigo would prove to be technically difficult. mixed with gypsum. Using a dye as a col- After testing several cleaning solutions, 158 Conservation of Scagliola Columns at Finnish National Library Conservation of Scagliola Columns at Finnish National Library 159

it became clear that Marseille soap (pH to the surface, but does not make it look ing and the “living” wooden structures, 10) would be the most effective sub- like new or too glossy. there were cracks and missing areas on stance for the cleaning. The only problem the columns. Parts of the scagliola were was that its use also required also water. The method was also tested under loose from the base and needed inject- We were also concerned that the pH microscope to make sure it would not ing. Small scratches and impact marks would be too alkaline. Since turpentine impregnate to the surface. The cross- needed patching. did not have any effect on the surface, section of the scagliola shows how the we decided to try mixing Marseille soap porosity diminishes to the surface where Injections with turpentine. the upper layer turns almost glass like. It is possible to attach loose scagliola The soap emulsion or even turpentine parts to its original place. The basic start The mixture of Marseille soap and doesn´t impregnate through unbroken for the injection repairs is to find the turpentine is not easy to achieve without surface. Any residues of the soap can be injection material that works with the certain method. Using turpentine made seen in side light and remove by repeat- scagliola and the base plaster. At the Na- the use of water acceptable since turpen- ing the turpentine treatment. tional Library, the base of the columns tine oils seem to lock water molecules in- is made of grey gypsum, which besides side and won´t let them affect the surface After finding the cleaning method for the gypsum also consists of carbon waste. of scagliola. Turpentine also lowered the general cleaning we were able to use sa- The base plaster has been cut down to pH in a more favourable way. The pH of liva for the most difficult stains. For the the shape of the column. Marseille soap and turpentine mixture is paint stains, the use of weak ammonium 8,5, which is still relatively alkaline. The and for some thick paint layers, MP Eko The most natural choice for repairing emulsion was used with cotton swabs paint stripper was found to be effective with injections is to use the same materi- until the cotton stayed clean. After this and still not damaging to the surface. als as the original ones. The adhesion treatment, the soap residue was washed in injection is obtained by animal glue. away with cloths containing pure tur- Bigger gaps between the base plaster and pentine and dried. This emulsion proved Patching and injections scagliola may require filling material that to be effective. It removes all soot and consists of gypsum and glue. Adding gyp- grease while maintaining the surface The columns had several types of dam- sum to the injection material reduces the patina. It also revives the original gloss age. Due to the subsidence of the build- filling material´s shrinkage. One of the

2. Cleaned area at the Cupola Hall column. 3. After cleaning one of the railings needed to be removed. Area shows the difference between cleaned and untouched scagliola.

4. Cross-section of the North Hall scagliola with soap emulsion on top. Polished surface makes the top layer of gypsum glassy and turpentine or soap doesn´t impregnate to the structure. (40X). 160 Conservation of Scagliola Columns at Finnish National Library Conservation of Scagliola Columns at Finnish National Library 161

main issues in fixing the damages is keep- water as possible to avoid any stain- Conclusion and summary ing the moisture out of the old scagliola. ing. Due to having earlier experience with Modostuc® , we started testing its To find successful cleaning and patching Attaching with injections may need usefulness with scagliola. Modostuc methods our team was required to carry drilling injection holes or removing the is a putty based on PVA formulation out several tests and thorough material loose parts of scagliola. If removing parts (Manufactures data: Vinyversatic resin research. The project in the National is possible, the injection can be made PVA 1,5-3% weight dryness). This putty Library has produced an efficient way of without any further damage from the is very dense compared to other fillers cleaning a very impure original scagliola sides of the loose part. This also gives an and has little to no shrinkage. Modostuc surface without refining. The method opportunity to observe the injection and will adhere to most clean surfaces such has proved to be efficient, even with the amount of filling. as paintings and wooden artefacts. It other objects. New patching materials is also quite “dry” and the containing make repairing easier without bringing Before starting the injections, the moisture evaporates quite quickly. The on the wax. surface of the scagliola has to be cleaned benefit is to have less staining compared properly. The cleaning presented here to products with more water content. gives the old scagliola surface some re- Modostuc proved to be worth using. It sistance against moisture. It also lowers can be coloured with watercolours as the risk of migrating dirt. well as with powder pigments, without losing any of its features. To see the final Patching with colour, it can be left to dry and be revived scagliola technique again with a small amount of water. Its Missing areas of scagliola can be surface can be retouched with water reconstructed with the old scagliola colours to make veins, if needed. It can technique. First, the base of the dam- also be polished with a metal spatula or aged and missing area has to be carved polishing stone (agate) to achieve the to matching shapes. If the repair area needed gloss without any wax. Most im- is very deep, the base is first filled with portantly, it can be removed and if neces- gypsum plaster to achieve equal depth sary, the patch can easily be renewed. for the base. The correct depth is im- Acknowledgements portant to achieve, so that the scaglio- We would like to thank the Tikkurila department las are compatible and the hardening Discussion of Metropolia University for the possibility to use laboratory facilities. process is possible. The reconstruction plaster is mixed on a sheet of glass. The There is very little research material blend of gypsum, glue and pigments is about the cleaning of scagliola. Conser- Notes 5. Missing area before patching. 6. Missing area after patching with Modostuc and watercolours. added to the wetted base of the repair vation database articles do not give prac- Equipment used in material analyses: area. The amount of moisture has to tical results for the problem. Neverthe- EDXRF analyses were conducted with portable be minimized, so that the old scagliola less, scagliola is widely used in all kinds EDXRF X-MET 7500 -spectrometer from Oxford In- surface does not receive damage. First of artefacts throughout the centuries. struments. Elements of the columns were detected the surface is rubbed down with the rasp Survived original surfaces are at risk of with Soil mode using Light elements analyses (LEAP) calibration. tool and pumice stones. The holes on the wrong conservation methods. The most scagliola are filled with creamy putty, usual solution for cleaning is unfortu- FTIR-ATR were conducted in MID-IR range (4000- which is made of a stronger animal glue nately refining the surface and adding 530nm), equipment was PerkinElmers Spectrum 100 FT-IR Spectrometer with Universal ATR and gypsum powder. The polishing wax to regain the gloss. This method Sampling accessory. is done with animal glue and fine wet is also easy for patching solutions, but X-ray diffraction analyses were conducted with sanding papers. Final polishing is done it changes the essence of scagliola and (XRD) Philips PW3020 goniometer with X´Pert with polishing stones. ruins the patina. PW3710 MPD equipment. There are still some unresolved ques- Patching with PVA putty tions regarding loose scagliola material. The columns also had lots of small holes Is it possible to stop the migration of dirt References and cracks that needed patching with with moisture? Surface cleaning does Harrison, David (2013). Scagliola. Available at something dryer than gypsum. The not solve the issue of discolouring resi- http://www.buildingconservation.com/articles/ scagliola/scagliola.htm filling material should contain as little dues migrating from the base materials. 162 163

Lisa Nilsen & Catharina Nordenstedt Keywords: cleaning and housekeeping housekeeping guidelines at the national cleaning guidelines property board of sweden tendering

Abstract The National Property Board of Sweden (SFV) was facing challenges of wear and tear and inadequate cleaning procedures that had become evident at properties in their care. With seminars specifically on preventive conservation and writ- ten housekeeping guidelines, SFV took steps to address the issues. This paper describes the process and evaluates the methodology with questionnaires and SFV staff interviews. 164 Cleaning and Housekeeping Guidelines at the National Property Board of Sweden Cleaning and Housekeeping Guidelines at the National Property Board of Sweden 165

1, 2 & 3. Ornäsloftet, Löfsta bruk and the Chinese Pavilion at Drottningholm were some of the SFV properties visited during the process of writing the housekeeping guidelines. Photos: Lisa Nilsen.

Introduction foundations, theatres, museums and porative events, are risk factors for many other organisations. For properties of- of the interiors. The Swedish State Property Board/ Stat- cultural significance, these contracts are At the end of the 1990s, housekeepers ens fastighetsverk (SFV) is the owner, prepared thoroughly, sometimes with and property managers became more administrator and main caretaker of detailed attachments. SFV procures and and more concerned about signs of wear approximately 2 300 properties, which pays for maintenance of all architectural and tear of the interiors, which resulted are collectively owned by the Swedish finishes, i.e., walls, floors, windows and from incorrect cleaning procedures and people. Included are palaces and royal architectural features such as balus- use of the buildings. They contacted her- parks, theatres and museums, Swedish trades. If the tenant wishes to change or itage experts at SFV, who decided it was embassies, residencies and institutions in any way affect architectural finishes, time to address the issue. The following throughout the world. There are 300 list- SFV must give approval. questions were posed: ed historical buildings, many of which 1. How can SFV work more on prevention still very much in use, for example, the Cleaning the properties is never included rather than repair of historic interiors? offices of the Foreign Ministry, an 18th in the lease. Cleaning staff are therefore 2. How can SFV encourage tenants to century palace, and the 19th century usually hired by the tenant, which often take better care of historic interiors? Stockholm Opera. Commissioned by the means contracting a cleaning firm with Swedish Government, SFV has a duty little or no knowledge of the sensitivity Three strategies were chosen – first, a to make their part of the built cultural of historic interiors. This makes it diffi- series of seminars with SFV property heritage available and accessible to the cult for SFV to control the daily cleaning managers to highlight the wear and tear Swedish public. activities in their properties. The risks factors that could be mitigated without are clear – floors could be destroyed large costs, to provide information about Leases and contracts are drawn up be- by inadequate cleaning methods and what questions to ask when letting the tween tenants and SFV, provisos regard- decorative details could be damaged. properties and when tendering clean- ing the use and certain maintenance Another concern is how the buildings ing services and other on site work. The being dictated by SFV. Tenants could are used. Various activities, such as press second factor was to write guidelines be, for example, government offices, conferences, filming, weddings and cor- for property managers, custodians, 166 Cleaning and Housekeeping Guidelines at the National Property Board of Sweden Cleaning and Housekeeping Guidelines at the National Property Board of Sweden 167

5. Signs of wear and tear from dragging furniture were sometimes testimony of incorrect use. Photo: Lisa Nilsen.

4. Historic interiors and modern use are often combined in SFV properties, as this conference room at the 17th century Ryning Palace, today home of the Swedish Labour Court. Photo: Alexandru Babos/SFV.

housekeepers and cleaners. The third SFV to continue with the ‘wear and tear Pilot with cleaners and that water was spilled and that pots housekeepers, custodians and cleaning a special feature issue of the journal way forward would be to incorporate the seminars’, as they became known. In visits to properties were not always waterproof, resulting in staff to create a picture of what was Byggnadsvård, where conservators and written guidelines in the discussions the following years, SFV hosted several damage to floors. However, complaints needed. other experts wrote about the history between SFV and tenants. such seminars, both within and outside The same preventive conservator, who from cleaning staff regarding these facts of cleaning and housekeeping and gave Stockholm. led the wear and tear seminars, was con- seemed to lead nowhere. advice (Arnö-Berg, Kårsnäs, Tunander, tracted to write the guidelines. Before Housekeeping guidelines 1998). However, SFV needed very specific Seminars After the first seminar, it had become starting, two pilot seminars were set up The preventive conservator also met instructions in order to address the is- clear that written guidelines on these with the cleaning staff at the Foreign catering staff, who prepared lunch and/ An investigation of the existing litera- sues staff and tenants were facing on a In 2006, SFV engaged a conservator matters would be necessary. At a Ministry, a city palace dating from the or coffee for foreign delegations and ture on cleaning historic interiors was daily basis. specialising in preventive conserva- seminar in 2009, around 20 property end of the 18th century. Because of strict other guests at the Ministry. It became necessary. The magnificent Manual of tion to conduct a one day seminar for managers, cleaners and custodians were security requirements, cleaning is not evident that too few people were en- Housekeeping (2006), published by the Another conservator, specialising in property managers and custodians. invited to give advice on the written subcontracted and cleaning staff are gaged in putting out tables and chairs; National Trust, was of course exem- cleaning historic surfaces, was con- The first part of the seminar focused on guidelines. The desired outcome was the permanently employed by the Govern- in fact, only one person was the norm. plary, with chapters on everything tracted to write the chapter about floors. presenting reoccurring situations that need for something concrete, a text that ment Offices. During the seminars, This resulted in marks and scratches all from how to clean floors to preventing During writing, an additional factor was may lead to deterioration such as wear could be attached to a contract or a lease cleaners and conservators discussed over the floors from extensive dragging pests. However, almost 1000 pages long, considered, namely that many cleaners and tear, light damage, pest infestation, for tenants, subcontractors, external what topics needed to be part of the of tables and chairs. There were also heavy and written in English, it could in Sweden do not have Swedish as their etc. Low cost and practical solutions cleaning companies and catering firms. guidelines. The conservator joined one of several glass rings on historic tables and hardly be used for SFV purposes. There first language. The authors therefore were presented. The second part of the There was also a wish for the guidelines the cleaners for her round in the historic dents in the floors, presumably from were several publications in Swedish made an effort to eliminate words that seminar was conducted at a SFV prop- to be easy to read in comprehensible interiors, in order to study the daily chal- stiletto heels. on preventive conservation for muse- were perhaps specific for conservation. erty where the group walked round and Swedish and pictures to go with the lenges. There were several interesting ums, but hardly anything appropriate Another very important task was to discussed issues such as cleaning, choice text. observations. For example, an external In addition, the preventive conservator for the SFV audience. Exceptions were explain how to do things in detail. For of materials, renovation, etc. Good company watered and took care of the visited different types of SFV proper- a shorter publication on cleaning in example, an instruction such as “use feedback from participants prompted plants. Cleaning staff often observed ties and talked to property managers, historic houses (Arnö-Berg, 1996) and water very sparingly when mopping the 168 Cleaning and Housekeeping Guidelines at the National Property Board of Sweden Cleaning and Housekeeping Guidelines at the National Property Board of Sweden 169

floor” had to be explained; in this case, whether the guidelines were of use. that the floor mop should be wrung out Were they known among new staff? Did The most common method was regular at least three times. they reach the users? Were measures meetings with the tenants and the sec- followed up by SFV staff? A question- ond most common method was special The housekeeping guidelines were naire was sent out in December 2014 to follow-up meetings with the tenant. divided into chapters, such as ‘Chande- 126 members of staff: property manag- Ten respondents had very thorough ap- liers’, ‘Gilded surfaces’, ‘Events’, ‘Mould’, ers, custodians and others working in proaches to monitoring use; they walked ‘Candlewax’, ‘Chewing gum and sticky related fields. With 69 respondents, the through the property with the tenant, tape’ and several more. The most exten- percentage of responses was 54 %. checking if proper cleaning procedures sive chapter, ‘Floors’, was divided into were in place. several subchapters, describing how to The final question on the questionnaire clean and maintain different kinds of Results – questionnaire addressed the need for additional in- floor types. The introduction, written by and interviews formation in the guidelines. Only three the SFV project manager, described the respondents replied with suggestions: intended use, for example, for distribu- The questionnaire clearly showed that graffiti removal, wall washing and more tion among staff and tenants and use in the guidelines were well known among on cleaning textiles. the tendering processes with external a majority of the respondents (84%). Of contractors and/or suppliers. Every those, only 28% had read them complete- The questionnaire was followed up with chapter was illustrated with photos, ei- ly, however 64% had read parts of them. telephone interviews with some of the ther to identify different kinds of mate- 9% had not read them at all. Only two property managers and custodians who rial, e.g., floors, to show typical interiors, respondents who had worked at SFV for had volunteered to be contacted. Eight to illustrate good examples and also to five years or more had never heard about people were interviewed who had all said identify bad ones. the guidelines. that they distributed the guidelines to tenants or to cleaning firms. Five ques- Among property managers, key persons tions were posed: Launch in distributing the guidelines, only six - How did tenants react to the respondents had not heard about them. guidelines? After a trial period at selected proper- Four of those had worked at SFV for 1-2 - Do you think they are being read? ties, the guidelines were revised by a years. - Can you see any improvements? core working group. Finally, in 2011, with When asked which sections had been of - Have mistakes been corrected the title Care instructions for sensitive most use, the chapter on floors was men- by meetings? environments (in Swedish: Skötselanvis- tioned most often, followed by cleaning - Can you be sure the information ningar för känsliga miljöer), they were in general and events. reaches the person actually doing launched on the internal SFV website the cleaning? and presented by the project manager A majority of the respondents who at staff meetings and property events knew about the guidelines (60%) took The response from tenants had overall and listed in newsletters. The project an active part in distributing them by been very positive. They liked the fact manager also toured the country, visit- different methods: printing them and that the guidelines were very practi- ing all the SFV administrative districts. giving them to tenants, attaching them cal and written specifically for them. She estimates that 90% of the property to contracts/leases or selecting relevant At one property, the housekeeper had managers were contacted, which was chapters and distributing and/or attach- learned them more or less by heart and important – they were to be ambassa- ing them to contracts/leases. In a few everybody now goes to her for advice. In dors for spreading information about the cases, the guidelines were distributed some instances, both internal cleaning guidelines. The reception was very en- directly to cleaning firms and in one case staff and external cleaning firms reacted thusiastic and both the project manager acted as a basis for a cleaning tendering suspiciously, believing that cleaning was and the authors received many positive process. their job and that special instructions comments, for example, about the choice were unnecessary. However, after initial of topics, the down-to-earth approach When it came to monitoring whether the meetings and/or a walk-through of the and the ease of use. In 2012, the guide- tenants and their subcontractors actu- premises, looking at the lines were put on the external website ally do abide by the guidelines, only 40% sensitivity of the interiors, the impor- for anyone to download and use. of those distributing the guidelines, had tance of the guidelines became clear. 6. At one property, discussions between SFV and cleaning staff resulted in SFV extracting particular information from the guidelines After some time, SFV decided to survey procedures in place to follow up the use. to create specific cleaning rounds. The image shows cleaner Carina Lindström with the extracted information laminated and ready to use in the cleaning cart. Photo: Charlotte Dahn-Günther/SFV. 170 Cleaning and Housekeeping Guidelines at the National Property Board of Sweden Cleaning and Housekeeping Guidelines at the National Property Board of Sweden 171

As for actual improvements, replies sub-contractors. It was mentioned that In the UK, conservators and scientists at SFV itself very seldom is involved in the Acknowledgements were more vague. “Less water use” and it is not very realistic to have joiners, the National Trust and English Herit- tendering process. Another challenge The authors wish to thank Eva Skog Berg, co- “better knowledge of cleaning prod- electricians and carpenters reading text age have estimated costs for preventive is to reach event companies and sub author of the housekeeping guidelines, Hélène Hanes, Stefan Mattson and the staff of SFV and ucts” were the only concrete examples. before starting work, even if it is part of conservation and cleaning (Lloyd et al., contractors working for the tenants in Freda Matassa. However, a sense of confidence was the contract – the information must be 2007). However, the conditions in our SFV properties. mentioned, as well as better planning for explained to them by someone on site. case are different. Firstly, the drawing- certain activities and/or events. One of One of the property managers always up of boundaries between SFV and its Every year, SFV invests large sums of References the property managers put it thus: “We gave a tour for sub-contractors, telling tenants involves more stakeholders and money in restoration and renovation ARNÖ-BERG, I., STAVENOW-HIDEMARK, E., & now have something concrete to show them about the history and uniqueness secondly, only a few of the properties are of historic properties. If it is possible to WULFCRONA, M. L. (1996). Städfrågan i kulturhis- toriska miljöer. 2., rev. uppl. Stockholm: Nordiska the tenants; the guidelines work like of the place. This was always a good historic houses/museums, but are used reduce costs by improving daily mainte- museet. a reference book. The tenants feel that investment of time, she said. It increased on a daily basis as places of work. nance and reducing wear and tear during the guidelines are adapted for them”. At awareness and perhaps gave a sense events and building work, there will be ARNÖ-BERG, I. (1998). ‘Från skrapa till dammsug- are’. Byggnadskultur. Vol. 3, p.10-11. another property, the practicality of the of pride. Another property manager Another challenge for SFV is to make significant gains. At present, there is no guidelines (and training at the semi- gave an example of when the guidelines sure that the tenants are really follow- clear indication that money has indeed HENRIKSSON, K., owner Borago Konsult. Personal nar) had made the housekeeper much should have been used, but were not: a ing the guidelines. Cleaning companies been saved because of the guidelines, communication 20 February 2015.

more confident in dealing with historic tenant hired an external firm to clean a that compete on the market are cutting as there is no easy way to make such KÅRSNÄS, M. (1998). ‘Sten och såpa hör ihop’. Byg- interiors and less afraid in carrying out chandelier; the sub-contractor in ques- prices and the competition is extremely estimation. gnadskultur. Vol. 3, p. 8-9. certain cleaning measures. tion used too much water and caused a fierce. Many public organisations have LLOYD, H., BRIMBLECOMBE, P. & LITHGOW, K. power failure. halved their cleaning budget in recent Finally, SFV will need to address how to (2007). ‘Economics of Dust’. Studies in Conservation. One thing that became clear in the years (Henriksson, 2015) – a definitive reach new property managers with in- Vol. 52, p. 135-146. interviews was the difference between A public relations officer at SFV, who sign that supply is bigger than demand formation about the guidelines and how NATIONAL TRUST (GREAT BRITAIN). (2006). in-house cleaning staff/housekeepers had responded that she would distribute and that quality risks being second to they can be used in relation with tenants The National Trust manual of housekeeping: the care and external cleaning firms. Three of the guidelines, was the ninth inter- quantity. When tendering for clean- and sub-contractors. Interviews with of collections in historic houses open to the public. the interviewees brought up the matter, viewee. When writing newsletters to ing services, the customer has to be property managers clearly showed that Amsterdam, Elsevier.

saying how hard it was to make external tenants, she would add information from extremely well versed in the tendering personal contact, discussions and follow- NILSEN, L. and SKOG BERG, E. (2011) Skötselan- cleaning companies follow instructions. the guidelines to make the text more process and must also put resources up meetings with tenants were crucial visningar för känsliga interiörer. Stockholm: Statens One custodian manages two 19th century interesting. For example, in the autumn into following up the services provided. and led to constructive results. fastighetsverk. Available from: http://www. statensfastighetsverk.se/globalassets/bygg-pa- buildings of similar use, where one prop- newsletter, she would study the chapter Otherwise, the customer risks asking kunskap/skotselanvisningar/skotselanvisningar- erty had in-house cleaning staff and the on autumn cleaning/putting the house for quality but buying quantity when it for-kansliga-miljoer.pdf other – an external cleaning company. to bed, extract information and put the comes to historic interiors. TUNANDER, P. (1998) ’Rent hus! En lite handledn- According to him, there is a visible sense information in her own words in the ing i den nästan bortglömda konsten att städa’. of duty and responsibility with in-house newsletter. For Christmas, she would Byggnadskultur. Vol. 3, p. 2-7. staff during cleaning inspections. Not do the same thing with information on Conclusion and Summary only is the cleaning better, i.e., surfaces candle wax and how to manage naked are cleaner, but there is a deeper sense of outdoor candles which were very typical The ‘wear and tear seminars’ and house- care and respect for the finishes. Anoth- for the season. keeping guidelines were created by SFV er interviewee who managed properties as a response to demands by property with permanent cleaning staff was very managers and tenants. The original satisfied with the results and the guide- Discussion questions posed by SFV, such as whether lines had been used to design specific it is possible to address prevention cleaning rounds (see Figure 6). The challenge of preventive conserva- rather than repair and whether SFV can tion is the difficulty of making cost- influence tenants to take better care of As for other external entrepreneurs, benefit analyses. If more focus was put historic interiors, have been revisited for example, sub-contractors dur- on minimising damage from wear and and the answer must be “yes”. Seminars, ing restoration work and events, the tear, how would it be possible to estimate meetings and housekeeping guidelines guidelines did not seem to reach very far. financial gain? How much is spent each have given property managers and When asked, the interviewees men- year on pest control, renovation and custodians a concrete and useful tool in tioned only a few occasions when they repairs that might be saved if preven- negotiations with tenants. had been used, for example, by external tive conservation were to play a more catering companies, who needed advice substantial part in the daily running of There is, of course, still a lot of work to on sensitive interiors, and, in some SFV properties? do in this field. A big challenge seems to instances, for good communication with be external cleaning companies, where 172 173

Tone Marie Olstad Keywords: conservation of church conservation interiors guided by the ecclesiastical art stave church budget – are principles distemper paint at stake?

Abstract The challenge of doing conservation work within a limited budget is the main issue of the paper, which is based on NIKU’s experience from working in 12 Stave churches within the Stave Church Preservation Programme. Kvernes Stavechurch is introduced, the deci- sions and the work carried out are briefly described, and the result of the work is discussed. 174 Conservation of Church Interiors Guided by the Budget – Are Principles at Stake? Conservation of Church Interiors Guided by the Budget – Are Principles at Stake? 175

Introduction interiors. 25 M Norwegian kroner allows of the modernised stave churches were about one annual work year per treated restored and reconstructed to how they In 2001, the Directorate for Cultural Her- church on average. The calculated work were assumed to have looked like origi- itage in Norway initiated a programme year includes travel and other expenses, nally or in the 17th century. to restore the 28 remaining stave so the actual working hours in each churches. These monumental treasures, church are less than a work year. The minimum furnishing to be found one of them a UNESCO World Herit- in a Lutheran Norwegian stave church age Site, are Norway’s most important The aim for the conservation work in included pews and a pulpit, an altar with contribution to world architecture and each stave church is to treat selected ob- an altarpiece and a baptismal font. How- represent our foremost contribution to jects and parts of the interior so that the ever, a significant number of the stave international construction history. The whole church is in good condition when churches have richly decorated interiors Stave Church Preservation Programme the conservators leave the building. and are adorned with canvas paintings, will be completed in 2015. epitaphs with carved and painted frames The aim of this paper is to describe and as well as mediaeval polychrome wooden Stave churches are named after the discuss the conservation work in one sculptures. Nineteen of the stave supporting staves in the construction of the twelve churches in which NIKU churches are decorated in the interior of the walls. These are placed in the has worked for the programme. The with distemper decorative paint. A few corners and at other important connect- intention of the paper is not to criticise of the decorative paintings are mediae- ing points in the churches. The stave the Directorate, but to reflect upon the val; several date from the 17th century churches that have been preserved to situation for the object, the conservation and some from the 18th century (Olstad date are by no means identical. They principles (Ecco, 2015) and the stake- & Kaun 2011). are of different types, built by different holders when the budget is a dominant kinds of craftsmen, with differing levels decision criteria for the scope of the of ambition and at different times during conservation work. Kvernes stave church – the period between the 12th and 15th an introduction century (Jensenius 2015). The interior of the stave Kvernes Stave Church, dated to the first According to the Directorate, the aim churches -a visible timeline half of the 14th century, is located on the 1. The interior of Kvernes Stave church towards the screen and the chancel. Photo: NIKU 2011©NIKU. of the programme is “to restore all the through history west coast of Norway and is a single- stave churches in the country” to enable The stave churches have been adjusted to nave church of the so-called “Møre”- the preservation of this important cul- the society’s changing demand through type. It is owned by the Society for the tural heritage for the future. Conserva- the ages. The reformation of the Church, Preservation of Ancient Norwegian tion of the interior and the ecclesiastical officially in 1536, led to rearrangements Monuments. The church was rebuilt art objects is a part of the programme. in the interior space; pews and pulpits and changes were made in the interior Another aim is that ”the restoration and were added, and the chancel was often in 1630s, 1670, 1776, and again in 1810, preservation of the churches should lead opened up towards the nave. Change in to add a tower. It is one of the biggest to more visits, and show the cultural and ownership might be the background for stave churches in the country, 16 m long historical values that they represent” the alterations seen in the churches in and 7.5 m wide, and can seat 200 persons (Riksantikvaren, 2015, Riksantikvaren, the 17th century. An act established in (Kunsthistorie 2014). 2014). Collected information and docu- 1851, which stated that the church should mentation produced during the work seat three tenths of the parish popula- The 1630s rebuilding and redecorating of within the programme is supposed to tion, caused both demolition of several the church dominates both the exterior constitute a base for further research, stave churches, and the rebuilding and and the interior today. The walls and and possibly be used to reconstruct what enlarging of those that were kept. The the ceiling in the nave, as well as the is now lost in the churches. remaining stave churches were often baptistery in the western end of the transformed into Neo-Gothic churches; nave, are totally covered with decorative The financial frame of the programme is galleries were added, larger windows distemper paintings. On the southwest about 130 M Norwegian kroner (15-16 M replaced the smaller secondary 17th or wall, there is a small decorated gallery euro, 10.02.2015). According to the leader 18th century windows, the interiors and for the priest’s family, and an epitaph of the Programme, about 25 M Norwegian exteriors were cladded and painted. Dur- (1630s) describing the work done in the kroner is spent on conservation of ecclesi- ing the last part of the 19th century and 1630s hangs on the north wall. astical art and decorative paintings in the the first part of the 20th century, several 176 Conservation of Church Interiors Guided by the Budget – Are Principles at Stake? Conservation of Church Interiors Guided by the Budget – Are Principles at Stake? 177

The screen between the nave and the Kvernes stave church [1] were generally restricted to what chancel is made up of a dado under a row - The conservation process was necessary to be able to perform the Object Treated in situ Treated at NIKU in Oslo of turned balusters carrying horizontal consolidation. Restoration [2] was not mouldings in two levels. King Christian An assessment of the condition of the included in the budget. Epitaph in the chancel (1671) x VI’s carved and painted monogram is church interior was done in March 2011 centrally placed over the opening into (Olstad 2011). Based on the assessment All the above listed objects were The altarpiece: corpus from a late mediaeval triptych built into a 1695 x the chancel. Carved and painted coats of of the estimated cost for the work, the cleaned of surface dirt and consolidated. altarpiece arms are on each side of the monogram. budget and work plan was adjusted to Discolorations in the distemper paint On top of the screen and over the mono- the sum allocated for conservation work were partially removed as a part of the Two coats of arms on the screen (1630s) x gram is a polychrome crucifix (probably in the church by the Directorate. The consolidation process. The consolida- from 1630s). There is an opening be- work was divided over three years and tion methods were chosen in accord- King Christian VI monogram on the screen (1730s?). NIKU had x tween the screen and the southern wall, in four subprojects: three periods of field ance with the needs: local consolidation planned that King Christian VI monogram on the screen should be where a stair leads from the chancel to work in the church, and some objects using a synthetic or natural consoli- treated in the workshop due to its bad condition and seemingly odd the carved and painted pulpit (1630s). sent to be treated in NIKU’s conserva- dation medium, or overall consolida- paint technique. The church owner and the Directorate decided that it tion studio in Oslo. tion using a natural consolidant. Only should be treated in situ. The walls and the ceiling in the chancel well-established methods were used. are decorated with distemper paintings In total, 3,204 hours were spent on the Retouching was not done on the objects Decorative distemper paint in the chancel; ceiling and walls (1630s) x (1630s). The quite fragmentary figurative work, including the assessment, travel treated in the church, but retouching scenes from the Old and New Testament preparatory work, the work done in the tests were made in some areas. On the Four carved ornaments on the pews (1630s) x on the walls are of high quality and one- conservation studio and documenta- objects treated at the conservation of-a-kind among decorative distemper tion. 1,486 hours of the total was spent workshop, the most disturbing losses The Pulpit (1630s) x paint in Norwegian churches. Renais- on conservation work in the church. were retouched. Documentation - photo sance influenced decorative paint covers The conservation work was executed and reports - was carried out by the The King’s coat of arm by the pulpit (1730s) x the ceiling. A huge, carved and painted by trained conservators with different conservators. polychrome epitaph (1671) dominates the experience and backgrounds. Wooden polychrome turned and carved candlestick, x northern wall. A wooden painted altar (17th century?) carries an altarpiece with the corpus of a Consolidation of loose paint and surface late mediaeval triptych built into a cleaning was the main aim for the work. Distemper decorative paint in the nave, ceiling and walls x carved and painted altarpiece in 1695. Diagnostic examinations of the objects (1630s)

The crucifix on top of the screen (1630s?) x

Table: Inventory in Kvernes stave church. Treated in situ or at NIKUs conservation studio in Oslo

Some thoughts about three examples below are quite typi- the distemper paint was consolidated the conservation cal for the treatment process in such a with soluble nylon, which was sprayed project. on. (Information about the treatment in Conservation within a limited budget the Directorate’s church-archive, Oslo). is a question of value for money. The The distemper paint Damage caused by scalpel when the conservator needs to be good at decid- in the chancel whitewash was removed, and remain- ing the “type and extent of treatment The distemper paint in the chancel had ing dots of lime wash scattered over the needed” [1]. And even if a plan is made been painted over with a lime wash surface add to the difficulty of reading beforehand for the work in situ, there probably in the 19th century. Due to the paintings on the wall. In addition, will always be new decisions to make several water leakages and ordinary use lime wash is still kept on small parts of while the work in the church goes on. of the church room, the paintings were the wall, and on the reverse of some of The conservator often has this frustrat- probably already very damaged when the beams in the ceiling. The conserva- ing feeling of wanting to do more than is they were whitewashed. The lime wash tion method used on the distemper paint possible in the given situation. The was removed in the 1960s and 70s before in 2011-2012 worked well for thin layers

2. The chancel with the altar and altarpiece, and the fragmented distemper paintings on the walls. Photo: NIKU 2011©NIKU. 178 Conservation of Church Interiors Guided by the Budget – Are Principles at Stake? Conservation of Church Interiors Guided by the Budget – Are Principles at Stake? 179

of paint, and reconsolidating the paint paint - did we really want that? The un- in the studio. In Kvernes stave church, which earlier had been consolidated retouched painting has authentic value, the owner, in particular, but also the with soluble nylon did not appear to be a and future consolidation of the decora- Directorate wanted as few of the objects problem. tive paintings is made easier when they taken out of the church as possible. The are left without retouching. main argument for deciding what should The project group spent many hours, be treated in the conservation studio was, however, trying to find an efficient Our alternative, and a more realistic, therefore, the objects’ condition. Objects method for consolidating the paint proposal to help the visitors understand in a very bad state or with damage that where the whitewash remained and thus the painting on the wall was to make a was difficult to treat in the church were made the paint layer thicker. We did not guide – a leaflet with photos of each of transported to Oslo. The aesthetic or his- manage to find an optimum method. the motifs placed in the same way as on toric value of the objects was not assessed The methods tested seemed to give the walls, and with an explanation of when deciding what to treat where. good immediate results, but there were each motif. Minor digital reconstruc- areas with loose paint when we checked tions might have been done on the Mediaeval art objects in Norway are the year after. On one hand, more time photos to help the understanding of the traditionally classified as the most im- should have been allowed for further motives. Making the guide would add portant part of the art in the churches. testing. On the other, would more tests to the conservation budget, but not as The central part of the altarpiece in give a solution to the conservation much as cleaning or retouching. This Kvernes stave church is said to have problem? proposal has not been accepted, neither been made in Lübeck, Germany in the by the owner, nor the Directorate, even late 15th century (Engelstad 1936). The The solution, as we saw it, would be to if one of the aims of the Stave Church condition assessment in March 2011 remove the remaining whitewash as the Preservation Programme is that “the judged the central mediaeval part to be thickness of the layer was the problem. restoration and preservation of the in better condition than the rest of the This was not possible to do within the churches should lead to more visits, and altarpiece. It was concluded that the financial frame of the project. Thus, we show the cultural and historical values altarpiece’s condition justified its treat- decided to consolidate using the best that they represent” (Riksantikvaren, ment in the church and that demount- method we had found, knowing that 2014). Kvernes stave church is a museum ing, transport and change of climate some of the paint would not be fixed. church with more than 10,000 visitors could be avoided. We were unsure about Ethically, this was not an easy decision each year (May-September). Today, only that decision when we started to work to make.[3] one of the figurative motifs in the chan- on the altarpiece and discovered that cel is pointed out and explained by the the condition of the mediaeval part was 3. The Kiss of Judas – the easiest readable motif among the remnants of the paintings on the chancel walls. Photo: NIKU 2011©NIKU As the readability of the motifs was an guides. The whole painted story is not worse than anticipated. The central part, issue for us; we made tests for removing communicated and not possible to read at least, would probably have benefit- the remaining scattered small dots of without help. During our fieldwork, we ted from being treated in the studio. lime wash, which were all over the sur- observed that the visitors do not see the The hours allocated for the altarpiece face, and for retouching. The dots could motives on the chancel walls before they were spent on understanding how to be removed from an area of 0.024m² in are pointed out and explained to them. treat the various surfaces and on the one hour. Cleaning the decorated surface Communicating the paintings in the consolidation which was carried out in on the walls in the chancel would take chancel would make the visitors under- the church. There was no possibility of more than 2,000 hours. Even if we were stand the artistic value of the paintings, removing unwanted residues that had to do that, it would have been difficult add to their experience of the interior been left on the surface, or restoring the to justify spending so many hours on a and the respect for the church. damage on the surface from the previous painting in such a fragmented state. treatment.[3] Thus, the consolidation done in 2011-2012 was an addition to the Retouching an area of 0.12cm² took about The altarpiece former treatment. Fortunately, only local one hour, depending on the number of A conservation treatment procedure for consolidation was needed. There was no colours. Retouching was the fastest way an object treated in the conservation time for a thorough examination to gain to a better readability of the paintings, studio often differs from a comparable new knowledge about the altarpiece, and but the ~500 hours that would have been conservation procedure in situ. Simply added information was mainly collected required would not have been added to deciding to transport the object seems outside billable hours in the project. the project. Retouching would imply cov- to implicitly give value to the object, and Finding out about the variation in use ering a huge part of the wall with added more attention is often given to the object of metals, the applied relief brocades, 180 Conservation of Church Interiors Guided by the Budget – Are Principles at Stake? Conservation of Church Interiors Guided by the Budget – Are Principles at Stake? 181

4. Detail from the Virgin and Child with Saint Anne sculpture in the corpus in the altarpiece. The sculptures have detailed surfaces and two kinds of golden metal. A lot of information is still to be researched in this and other objects in the church. Photo: NIKU 2011©NIKU4.3 The distemper decorative paint in the nave.

the paint structure, the faded colours that really needed to be consolidated, as future conservators will thank us for the discussing problems with the owner, the Notes and other secrets of the altarpiece is left it was an aim to consolidate as little as minimum intervention and for not doing Directorate or other conservators.No [1] Ecco professional guidelines, I. Definition of the Oppdragsrapport nr. 76/2011. Oslo. Unpublished. to future conservators. Hopefully, the possible. We would not do what we refer remedial preventive conservation. matter how cold, tired and stressed the Conservator-Restorer: “Diagnostic examination consists of the identification, the determination OLSTAD, T. M., et al. (2013) Kvernes stavkirke. Avslut- condition of the altarpiece in the future to as ‘remedial preventive conservation’: conservator in the church is, treating the of the composition and the assessment of the tende arbeider i interiøret’. NIKU Oppdragsrapport will provide the possibility of finding the Consolidate to secure the paint because objects in the optimum way under the condition of cultural heritage; the identification, nr. 136/2013. Oslo, Unpublished. answers to the questions we had. the degradation would continue without Conclusions given conditions is the conservators’ re- nature and extent of alterations; the evaluation of the causes of deterioration and the determination ECCO (2015) Ecco professional guidelines [Online]. a conservator working in the church for sponsibility as well as documenting the of the type and extent of treatment needed.” http:// Available from: http://www.ecco-eu.org/about- The distemper paintings in the nave are many years. Every day, work in a conservation pro- choices made during the conservation www.ecco-eu.org/about-e.c.c.o./professional- e.c.c.o./professional-guidelines.html [Accessed a dominant element of the interior. The ject with a limited budget is a balance process to the future conservator. guidelines.html Accessed 16.02.15. 10.02.2015].

fact that they had never been consoli- The consolidation made a small change between maintaining conservation [2] See: EN 15898. Conservation of cultural JENSENIUS, J. (2015) Stavkirke.info [Online] Avail- dated before NIKU worked in the church, in how the colours of the paint were principles and getting the work done. property - Main general terms and definitions; able from: http://www.stavkirke.info/stavkirker/ and that they might be the original 1630s perceived. This was also caused by the Working in situ for a defined period and 3.3.1.Conservation and 3.3.7 Restoration. [Accessed 10.02.2015].

painting adds to their importance. Very fact that the colour of the wood was within a strict timeframe is efficient, [3] The altarpiece was demounted and treated in KUNSTHISTORIE (2014) Kvernes stavkirke [On- little of more than 2,600m² of distemper altered during conservation. We had to but also causes stress, especially for the the period 1967-1973. line]. Available from: http://kunsthistorie.com/ paint in the stave churches is untreated choose between not consolidating and project leader. A group of conservators fagwiki/Kvernes_stavkirke [Accessed 10.02.2015].

(Olstad & Kaun 2011). We allowed some keeping the appearance or consolidating are at work for a short period, and the References RIKSANTIKVAREN (2015) Bevaringsprogram- time to examine them, but without be- and changing the appearance. This made time has to be spent on getting the work ENGELSTAD, E. (1936) Senmiddelalderens kunst i met for stavkyrkjene [Online]. Available from: ing able to conclude whether the distem- us very restrictive when we decided done and concurrently allocating time Norge ca. 1400-1535. Oslo: Universitetets oldsak- http://www.riksantikvaren.no/Prosjekter/Bevar- samling. ingsprogrammene/Bevaringsprogrammet-for- per paint was the original paint from the what to consolidate. Our main concern for necessary discussions. Every decision stavkyrkjene [Accessed: 10.2.2015]. 1630s, or if it is partly retouched or re- was whether we had been too restrictive regarding work on the objects must be OLSTAD, T.M., KAUN, S. (2011) Limfargedekor og painted later. The main type of damage when deciding what to treat, and the discussed and justified. It is most ef- kalkmaleri i norske kirker, utbredelse og tilstand’. NIKU RIKSANTIKVAREN (2014) The Stave Church Oppdragsrapport nr. 274/2011. Oslo. Unpublished. Preservation Programme [Online]. Available from: was deterioration of the binding media paint would wear off in the near future ficient when in situ work is divided into http://www.riksantikvaren.no/en/Topics/The- and loss of pigment in various grades. due to the lack of binding media? Hope- several periods. This gives the possibil- OLSTAD, T. M. (2011) Kvernes stavkirke, vurdering og Stave-Churches/The-Stave-Church-Preservation- It was a challenge to define the areas fully, the decisions we made were so that ity of rearranging the workplan, and forslag til behandling av interiør og inventar’. NIKU Programme [Accessed: 10.2.2015]. 182 183

Jani Puhakka Keywords: seurasaari open-air building conservation museum and preventive conservation preservation conservation technical conservation of the museum restoration building collection

Abstract The Seurasaari Open-Air Museum was building techniques as well as following established in 1909, when the first group the international principles of conser- of 13 buildings, the Niemelä tenant farm vation and museum work. The tools from Central Finland, was relocated to required for preserving the buildings are Seurasaari. Today, the open-air museum research, preventive conservation, tech- includes 89 separate buildings acquired nical conservation and restoration. comprehensively throughout Finland for the collection. The buildings represent The building conservation work of the various social classes and typical exam- Restoration Services unit of the Finnish ples of wood architecture from the 17th National Board of Antiquities has na- to the 20th centuries. tional importance. The aim is to produce information on how to improve the pre- A four-member building conserva- requisites of preserving monuments in tion working group works with the challenging conditions and to study the Seurasaari museum buildings all year behaviour of materials as well as to test long. The work is based on an in-depth and develop different kinds of new meth- understanding of the history of the ods for the preservation of materials. buildings, the traditional materials and 184 Seurasaari Open-Air Museum and Conservation of The Museum Building Collection Seurasaari Open-Air Museum and Conservation of The Museum Building Collection 185

Introduction one is the large log house Pertinotsa esting and evocative part in the open-air from Karelia, an area lost to Russia in the museum. The buildings inspire emotions The open-air museum was founded by Second World War. and questions as well as interpretations Professor Axel Olai Heikel, archaeologist of beauty, the authenticity of materials and ethnologist. Scandinavian exam- The museum buildings are not dead as well as traditional handicraft know- ples, such as Skansen in Stockholm and monuments, despite being removed from how from the perspectives of experts Bygdøy in Oslo, served as inspirations their original locations. They continue to and lay persons with different kinds of for the new kind of museum. However, have an active communicative ability in backgrounds. At their best, the well- Seurasaari is not only a museum; it is the museum and they produce a range of tended open-air museum area and the also a recreation area and nature reserve reflections of the past, the present and museum buildings that are maintained visited by approximately 700,000 people the values of each era. through conservation are a national every year. Even though the museum example on the maintenance of a built buildings are only open during the sum- cultural environment. mer, the island of Seurasaari itself is A Museum Building open to all citizens throughout the year. Is a Museum Artefact This presents certain challenges for Building Conservation conservation and museum work. The buildings in the Seurasaari Open- in Seurasaari and Air Museum are classified as artefacts, Changing Principles All of the buildings in the open-air but they are exhibited in challeng- museum are translocated, i.e. they ing natural conditions. Compared to Over the years, the principles of the con- have been moved there; in their time, museum artefacts kept in controlled servation and maintenance of museum the buildings have even been slightly conditions, buildings require constant buildings have changed in Seurasaari undervalued compared to protected intensive maintenance to ensure their as well. The questions of conservation buildings that have been preserved in preservation. All of the buildings in the and restoration have been contemplated situ. The collection of museum build- open-air museum are unheated and for roughly 100 years. During a certain ings includes the Karuna Church (1688) constructed out of wood. The changing period of time, the aim was to preserve from Taivassalo on the southern coast weather conditions create their own the buildings in their original condi- of Finland, the Kahiluoto Manor House special challenges for the preserva- tion mainly by using various chemi- 1. An overall image of Seurasaari (1790) from Southwest Finland, and the tion and maintenance of the collection. cals, and the materials used for repairs Antti farmstead from Western Finland The building, itself a museum artefact, were largely produced industrially, (early 19th century). The smallest indi- should also be an exhibition space, which which resulted in a loss of the marks of vidual museum building is the tiny Nili is in conflict with the need to preserve it. craftsmanship from the materials; the outbuilding from Lapland, built on top of The relationship between people and traditional know-how of repairs and a tall tree stump, while the most exotic buildings in different eras plays an inter- construction also began to disappear.

2. The Niemelä tenant farm at its original location in 3. The Niemelä tenant farm after being moved to Seurasaari, where Konginkangas, Central Finland. it is a part of the collection of museum buildings. 186 Seurasaari Open-Air Museum and Conservation of The Museum Building Collection Seurasaari Open-Air Museum and Conservation of The Museum Building Collection 187

4. Kahiluoto Manor House at its Different kinds of repairs were made; tion of the building comprehensively by as old working methods and ways of original location in Taivassalo in as a result, even the appearance of the measures that prevent damage. Preven- acquiring materials. Southwest Finland, ca. 1880. buildings might sometimes change. In tative conservation measures are mainly 5. Kahiluoto Manor House in the the mid-20th century, the aim was to focused on the immediate surroundings Seurasaari Open-Air Museum. emphasise the first stage of the build- of the building and also monitoring the Traditional and Modern The porch was removed in 1940 ings’ appearance. However, it was later conditions and other risk factors inside because the intention at the time was acknowledged that the only right way the building. Comprehensive documentation is a part to present the original appearance to preserve and maintain buildings is to of maintaining museum buildings. For of the building in the 1790s. do it in a manner characteristic of each The aim is to conserve and restore museum buildings, traditional research 6. Kahiluoto Manor House in Seurasaari period and preserve traditions, primarily structures where taking action is neces- of history and collecting information is in 2012, after extensive conservation. attempting to influence the conditions sary, by using similar methods and made possible by the Finnish National surrounding the building. materials as those used in the original Archives Service and the photographs structures and the building’s original and documents found in the Finnish Today, layers from different periods are area. Therefore, building conservation National Board of Antiquities’ archives. preserved while conserving buildings, uses techniques that have in principle In connection with more extensive if possible. Old, well-functioning repairs remained almost the same for centuries. conservation and restoration work on and materials are preserved as remind- At the same time, the goal is to pre- the buildings, information on their con- ers of past philosophies and principles of serve intangible cultural heritage along struction and repair history is always conservation and restoration. The aim with the tangible, meaning, traditional studied and completed. is to influence the welfare and preserva- expertise in wood construction as well

7. Material obtained by laser scanning on the main building of the Niemelä tenant farm 188 Seurasaari Open-Air Museum and Conservation of The Museum Building Collection Seurasaari Open-Air Museum and Conservation of The Museum Building Collection 189

Identifying authentic structural ele- group. Dimensionally accurate damage the working group tests and studies ments among the previous conservation surveys are carried out and marked as surfaces created by using different treatments is not always simple, and a base for the scanned materials using kinds of natural materials and surface it requires field research, in addition CAD software. treatments. There are several test fields to knowledge of the history of repairs. Materials research is also used to ac- in challenging conditions in Seurasaari Cooperation with students has already cumulate information on the museum for both metal surface treatments and been utilised in extensive background buildings. The possibilities offered by tarring as well as exterior painting. In research and damage surveys for years, the analysis equipment in researching fact, all of the 89 buildings also act as and many conservators and restor- pigments and binders are used in the a large test laboratory that provides ers have completed their thesis on the study of interiors in particular. The Na- information on the durability of various buildings in Seurasaari. The aim is to tional Board of Antiquities’ own selec- materials and wooden structures. bring all new information gathered on tion of equipment covers handheld X-ray Modern tools and technology are also the museum buildings publicly available fluorescence and infrared spectroscopes used in technical conservation in through the Board’s archives. as well as microscopy. If necessary, addition to the traditional tools and analyses are also ordered from partners. methods. Different kinds of power Modern technology is also utilised in Log frames have been studied compre- tools, as well as modern construction structural research and documentation. hensively using dendrochronology, and methods, when applicable, help with The goal is to use 3D laser scanning to new methods are being developed for conserving the museum buildings. For create up-to-date drawings of all build- studying rot damage to log structures example, the foundations of the build- ings with the help of the National Board using an X-ray machine and a resisto- ings in Seurasaari’s loamy soil have been 9. Modern and traditional tools meet in the Niemelä. of Antiquities’ documentation working graph. In addition to studying buildings, stabilised with bored piles. The Con-

servation Centre has its own carpentry The journey of wood from the forest to a shop and woodworking machines to help building is a long, challenging and time- with working the materials, but all of the consuming process. For example, wood replaced in the buildings is always old pine trees suitable for use as church finished by hand. roof shingles are usually already pro- tected. In addition, efficient modern In addition to the modern power tools, forestry makes it difficult to find types of craftsmanship and the traditional use wood traditionally used for construction, of wood as a material are preserved. when stunted, suppressed trees suitable Some of the wood used is selected from for weight beams used on a birch-bark the forest one trunk at a time, and roof, fencing and fence ties are cleared particular attention is paid to the high out of a managed forest. In procuring quality of the materials. All felled timber wood, the National Board of Antiquities must also be processed further into cooperates with the state forest owner suitable construction materials, using organisations with their vast forest traditional production methods such properties, but timber is also purchased as splitting, sawing and hewing. After from private forest owners and small this, the material must be dried and sawmills. stored in the old way. In addition to the construction techniques and materials, Because personnel resources for building when preserving expertise in traditional maintenance are small, conservation construction in a conservation project, and restoration services are also pur- the aim is to preserve the shape of the chased from private experts. The work original structure, as well as the marks in Seurasaari also includes construction of craftsmanship, if structural elements management projects, where knowledge need to be replaced with new material. of the legislation on competitive tender- In that case, the tools should also match ing and the ability to monitor the imple- the originals. mentation of contracts are necessary. 8. Dimensionally accurate documentation on the log repairs in the Niemelä tenant farm 190 Seurasaari Open-Air Museum and Conservation of The Museum Building Collection Seurasaari Open-Air Museum and Conservation of The Museum Building Collection 191

11. Handicraft days in Seurasaari.

Conclusions good care of buildings are shared on pair of wooden buildings is also decreas- the Seurasaari building conservation ing because the training programmes The information accumulated at the Facebook page. that specialise in the subject are being Seurasaari Building Conservation closed down and the older generation Centre is distributed for public use in Building conservation aims to find of experts are retiring. Because of this, a variety of ways. Each conservation ways to inspire, preserve and develop the appreciation of wooden buildings is project generates conservation reports national continuity in maintaining increasing, as is that of conservators and for the archives, which are freely avail- traditional craftsmanship and create restorers. It also seems that the appreci- able for everyone to read. The restoration practical examples of good repair meth- ation of open-air museums is on the rise. services and the building conserva- ods that promote preservation. Another Once, threatened buildings were collect- tion working group of the National important perspective is sustainable ed there; now, they have been classified 10. Sawing planks by traditional methods. Board of Antiquities organise seminars development; its principles are consist- as monuments are protected as museum whenever possible, and in addition, ent with the goals of conservation. artefacts and maintained professionally. demonstrations are arranged annually Together with other experts working The over 100-year-old Seurasaari Open- in the museum area. Information is with cultural heritage, conservators Air Museum has claimed its place as one also disseminated via cooperation with create a dialogue between values, of the most important tourist attrac- experts and the educational institutions museums, artefacts and people, which tions in Helsinki, the capital of Finland. in the field. Visitors are received at the allows museum visitors and all citizens The museum buildings have also been Conservation Centre, and they are told to form an easily comprehensible image confirmed as strategically important about the maintenance of the museum of the connections between the past and properties owned by the state of Finland, buildings from the points of view of the present. which means that their preservation and building conservation and restoration. maintenance is secure, at least for the In addition, the working group aims to Historical wooden and log buildings are time being. create information boards on current an important part of the global cultural conservation projects in the museum heritage. Their number is constantly area. Today, social media is also a part of and alarmingly decreasing, and the the maintenance of museum buildings, traditional construction know-how is in addition to the traditional media. disappearing. The number of experts Photographs and information on the specialised in the conservation and re- 192 193

Nanna Kymäläinen Keywords: ida’s storehouse: building conservation a case study on pigments analytical research methods tar paint and paint binders FTIR on the folk buildings in seurasaari

Abstract Ida’s storehouse, the youngest of the possible during preliminary studies. group of buildings belonging to the In addition to simple dissolution tests, Niemelä tenant farm in the Seurasaari the research methods used included Open-Air Museum, was conserved and microscopy as well as X-ray fluorescence restored in 2014–2015. For the restora- and infrared spectroscopy. Based on the tion painting, the paint surfaces on the studies, tar paint was prepared for the storehouse’s door and window structures restoration painting of the door, and were analysed to identify the pigments white industrially-produced linseed oil and binders used. Several layers of paint paint was selected for the decorative and three different types of paint sur- parts in accordance with the previous faces were found on the door panelling. maintenance painting. The frames, lin- Some of the paint layers are presumably ings and door edges that were in good a result of maintenance painting during condition were not painted. The aim of the time the building has been at the the research was to confirm the used museum. However, there is only one pigments and binders in order to collect layer of paint on the frames, linings and information for the historic documen- door edges, which is therefore likely to tation and the upcoming restoration be the paint surface from the time before painting work. In addition to protect- the building was relocated to Seurasaari. ing the wood, the paint surface of Ida’s The aim was to confirm the binder used storehouse also has architectural and in the paint of this layer in particular, historical importance in the Niemelä because identifying it had not been group of buildings. 194 Ida’s Storehouse: A Case Study on Pigments and Paint Binders on The Folk Buildings in Seurasaari Ida’s Storehouse: A Case Study on Pigments and Paint Binders on The Folk Buildings in Seurasaari 195

Introduction the linings and the frame of both the Initial situation door and the window are the same single The Niemelä tenant farm, the first dark shade as the door panels. The paint on the door is worn, but the of the building groups relocated to paint layers on the upper part of the door Seurasaari, has been the main focus When the project started, the paint sur- and the edges protected by the frame can of the Seurasaari building conserva- face of the door had worn off almost com- still be studied. Elsewhere, remnants of tion team for the past three years. The pletely on the outside, the same as that the paint surface remain mainly in the oldest of the buildings date back to the of the window, but the inside linings and cracks and the splits in the wooden sur- latter half of the 18th century and Ida’s the paint on the edges of the door were face. Until now, the paint surfaces have storehouse, the youngest of the group of relatively well-preserved. In connection been considered to be red ochre paint, as buildings and the object of the research with project planning, a question of the in the horizontal panelling on the door, presented here, dates back to 1856. The repair history and the materials used in but the paint surface on the door edges buildings of the Niemelä tenant farm the paint surfaces arose, since the inten- and the linings are visibly different from are log buildings without a facing, and tion was to maintenance paint the door the panels. Based on visual observation, the only painted surfaces on the build- and the window as part of the restora- it can be assumed that there are three ings can be found in Ida’s storehouse. tion. The aim was to find out what bind- different kinds of paint on the door: red The storehouse’s door, frame structures ers and pigments had been used in the ochre paint on the horizontal panelling, and the window above the door have remaining paint fragments. There are dark brownish red translucent paint been painted. The painted details of the regular entries on the repairs made to on the edges and the frame and white storehouse are already visible in the the buildings in Seurasaari dating back opaque oil paint on the profiles. black and white photographs taken in to the earliest times at the museum, but Konginkangas before the buildings were the information is often general. There At least two different shades of red can dismantled and relocated to Seurasaari. may be more information about larger be detected in the paint layers of the In the photographs, the door is two- repairs, but regular maintenance paint- horizontal panelling, and the paint coloured: the broad panels are dark and ing has not necessarily been recorded surfaces are presumably maintenance the edge bevels are white. Similarly, the separately. For Ida’s storehouse, there are painting from the building’s time at the window is painted with two colours, but no records of painting at all. museum. However, there seems to be

2: Ida’s storehouse before conservation and restoration.

1. Ida’s storehouse in Konginkangas before the relocation to Seurasaari. The storehouse in the image is on the left. Image by the National Board of Antiquities. 196 Ida’s Storehouse: A Case Study on Pigments and Paint Binders on The Folk Buildings in Seurasaari Ida’s Storehouse: A Case Study on Pigments and Paint Binders on The Folk Buildings in Seurasaari 197

only one layer of paint on the frames, surface, but more precise analyses were XRF elementary analysis linings and the edges of the door. The carried out in an external laboratory. binder in the paint of this layer in par- Because the paint surfaces were badly Elementary analyses were carried out by ticular was interesting, because the type worn, it was not possible to gain full using the handheld X-ray fluorescence of paint could not be determined in the certainty of the paint layers and how analyser (XRF) X-MET7500 by Oxford preliminary studies. many times painting was done. A clearer Instruments. The analyser identifies 1. result of the paint layers could be gained elements from magnesium onwards, by preparing cross-section moulds of which means that the lightest elements, Methods the paint samples for microscopy, but such as organic substances containing even in this case, the sample itself is carbon, cannot be identified. There is The aim of the study was to verify which very important: when only fragments a separate table on the measurement pigments and binders had been used in of the uniform paint surface remain, it results, which lists the elements with painting. In addition to simple dissolu- is not possible to be completely certain the largest concentrations or otherwise tion tests and microscopy, X-ray fluores- that all layers are included in the sample. important elements found on the sam- cence measurement (XRF) for measuring However, an attempt was made to select ple. The unit of concentration in the table elements and Fourier transform infrared the points examined among places that is ppm (parts per million). Because the 2. spectroscopy (FTIR) for measuring the had remained as intact as possible, and method has different limits of detection movement of molecular bonds were se- small microsamples for elementary and and identification for different elements; lected as the research methods. The thin, binder analyses were also taken from the significant concentrations for ele- dark, reddish brown paint surface on the these points. In addition, a sample of the ments vary to an extent. It can be said edges (measurement 3), the brighter red white paint surface was taken for a later that when studying the composition of paint surface on the horizontal panel- cross-section analysis. pigments, 10,000–100,000 ppm is a sig- ling (measurement 4) and the white nificant concentration and 1,000–10,000 decorative strip (measurement 1) on the Both XRF and FTIR measurements can ppm is a moderate amount. In some door as well as the white (measurement also be taken directly from the surface of cases, even smaller concentrations of an 2) and red paint surfaces on the window the structure using handheld instru- element can be significant. were studied. Both the window and ments instead of taking microsamples. 3. door frames were studied on site in the The measurements of Ida’s storehouse The high concentration of chlorine in storehouse. The lining that was removed were taken in the winter, which meant all of the paint samples, as well as the 3. Points examined due to conservation (measurement 5) that the restrictions on the tempera- arsenic in the door frame, may indicate was studied at the workshop, and it was tures in which the measuring instru- impregnants used earlier to protect the found that the appearance of its paint ments can be used prevented research in wooden parts. Some of the concentration surface matches the paint surface on the the field. of lead may also be due to impregnants. frame and the door edges. Because the XRF analysis was carried out in a laboratory, it was not possible to The initial studies were carried out at take a reference measurement of the un- Seurasaari directly on the building’s painted surface of the building to verify the presence of impregnants. 4.

NiemelänThe torppa Niemelä tenant farm. Summary of XRF measurements of Ida’s storehouses door 13.1.2015 13.1.2015 Idan aitan oven väritutkimus XRF-yhteenveto ppm Pb Cl Fe Ba Ti S Si V Sr Ca Tl Zr Rb Zn Se Au Th Mo As Mittausmeasurement 1 Ovi valkoinen 1. 390903 149116 94718 59211 23022 20368 15947 13230 7286 5397 3314 1088 710 650 574 4. Microscopic images of the measurement points: Mittausmeasurement 2 Ikkuna valkoinen 2. 484744 197931 84089 20919 3188 2476 2933 1274 1062 803

Photos from up to down: Mittausmeasurement 3 oven reuna t.pun 3. 35816 210489 306603 68592 1874 36456 2298 4067 3644 2373 measurement 1. White and red paint layers on door panelling, 5. mittausmeasurement 4 oven paneeli 4.pun 24359 447839 296841 2449 measurement 2. White paint on window framing, measurement 3. Smooth, even layer of deep red paint on door´s edge, mittausmeasurement 5 oven karmi t.pun 5. 85231 74677 456102 25355 15481 1064 4435 measurement 4. Several bright red earth paint layers on door panelling, measurement 5. Deep red on door framing matches the paint layers on door´s edge and lining. 5. Table of XRF measurements 198 Ida’s Storehouse: A Case Study on Pigments and Paint Binders on The Folk Buildings in Seurasaari Ida’s Storehouse: A Case Study on Pigments and Paint Binders on The Folk Buildings in Seurasaari 199

museum. According to master painter H2O) or hematite (Fe2O3). The iron earth J. Järvelä, the first titanium whites pigments can be either mined directly used contained titanium dioxide and from the ground or derived from yel- barium sulphate. After the Second World low ochre by calcination. Currently, War, barium sulphate was replaced by there are also synthetic iron oxides on dolomite (calcium carbonate), which the the market. Because the colour of the studied sample did not contain (Järvelä: paint surface is brownish rather than a White 1956). On the other hand, barium sul- clear iron oxide red, its silicon content phate has also been used as a filler in indicates that in addition to iron oxide, Measurements 1 and 2: white lead since the 19th century, so the it could also contain burnt sienna

Samples of white paint, door and window element can also be connected to white (FeO(OH)) or Fe2O3 • Al2O3 • SiO2 2H2O). lead. In any case, there is less titanium Of red pigments, red lead contains lead, There are mainly only small fragments in the sample than lead and barium; but the shade of the paint surface does of paint left; however, there is a larger therefore, it can be assumed that the lay- not match the bright orange colour of red amount of white on the top edge of the ers of paint that have now been studied lead and when studied under a micro- door that has been protected from were painted the last time in the period scope, the paint surface does not show weather. The remaining paint fragments between the 1930s and the Second World the pigment particles typical to red lead are relatively thick, and a study with War. The use of titanium became more (Eastaugh et al: 2008). a microscope reveals a thin red layer common in the early 1930s, but it was under the white layer. Unfortunately, the still relatively expensive as a pure raw definition of the digital microscope is not material (Takala, 2003). The repair in- sufficient to show whether the lowest formation does not include any mention layer matches the darker reddish brown of painting done on the door during its 6. FTIR spectrum of the white paint samples from the door and the window. paint on the edges of the door. time at the museum.

A cross-section sample of the paint surface has not been prepared, but it Red can be assumed that there is more than one layer of white paint. The samples Measurement 4: Binder analysis using The IR spectrum was run for paint sam- but the characteristic “maple leaf figure” contained lead, iron, barium and tita- Door panel infrared spectroscopy (FTIR) ples 1 (white paint on the door), 2 (white in the area of 1,103–1,240 cm-1 can be nium as elements significant to pigment paint on the window), 4 (red paint on the seen. Knowing the time of painting, research. Despite cleaning, remnants of Under visual observation, several layers Infrared spectroscopy (FTIR) is well- door) and 5 (lining). White paint samples the used oil binder has most likely been red paint remained on top of the white can be distinguished on the paint surface suited for identifying organic binders. 1 and 2 were assumed to match. None of linseed oil, varnish or a fat of animal paint surface, and it is also visible on the Reddish brown of the door panel, with a bright red as FTIR (Fourier transform infrared) spec- the studied samples showed the stepped origin. However, this area of C-O bonds microscopic image under the white layer, the topmost layer. The brighter red paint troscopy is based on molecules absorbing spikes around wave number 1,500 cm-1 is clearly different from the correspond- meaning that it is the origin of the iron Measurements 3 and 5, layer is assumed to date from the time IR radiation and vibrating at certain that are typical of proteins. ing area in sample 5, and the solubility in the sample. door edge and lining at the museum and to have been painted frequencies, which are characteristic to of the white paint indicates that it was with red ochre paint. The appearance of each compound. The absorptions show Based on samples 1 and 2, it can be stated manufactured with drying oil. Before the 1930s, white oil paint was The reddish brown paint layer is thin the paint surface differs from that of the up as spikes on the IR spectrum (Derric that the samples contain an oil of some mainly manufactured out of white lead, and translucent, and no more than one door edges, frame and linings. et al.: 1999). Based on the preliminary kind, because of the sharp spikes of In sample 4 (door panel), a wide spike and its use in exterior paint continued layer of paint could be discovered on studies, certain assumptions on the hydrocarbon bonds, typical of the bond typical of carbohydrates can be seen in to be popular until the 1950s, along with the surfaces studied according to the The aim was to take a sample of the paints’ binder compositions existed, but types found in oils between 3,000 and the area of 3,300 cm-1. Because there was titanium and zinc white (Takala, 2003). research methods. The studied samples surface layer only. The result of the the lack of reference curves for certain 2,800 cm-1, as well as the spike indi- no reference spectrum available for red Based on the period of construction and were identical in regard to their main measurement differs from the reddish binder types presents challenges for pre- cating a carbonyl group in the area of ochre paint, the sample was compared the archive photograph (see Image 1), elements, and they contained iron, lead brown sample in that the only main cise identification. Therefore, the results 1,740–1,750 cm-1, which are clearly vis- to the spectrum of wheat starch found in the first layer of paint would therefore be and silicon as elements significant to element it contains is iron. The high of the analysis are not 100% certain, but ible in the reference spectrum. The small the analyser’s reference library. Typically, white lead. In addition to lead, a signifi- pigment research. lead and chlorine content is explained they can be used to exclude certain types third spike in the area of 3,020 cm-1 rye or wheat flour has been used in cook- cant amount of titanium and barium was by the impregnants used, as in the other of paint. All of the example spectrum that separates oils from waxes is almost ing red ochre paint and, therefore, it was found in the paint sample, which means The iron contained in the sample samples. Therefore, the red colour on the values can be found in the Getty Conser- completely unnoticeable and indicates assumed that the chemical compositions that if there is more than one layer of indicates iron earth pigments, which door panel is red iron oxide or hematite, vation Institute’s publication Infrared that the oil has dried out extensively. of binders with starch content would white paint, the other layers can be are often colloquially called red ochre. because red lead would turn the hue too Spectroscopy in Conservation Science Certain spikes indicating pure linseed correspond to each other enough to de-

considered to be from the period at the This refers to red iron oxide (Fe2O3 • orange. (Derric et al. 1999). oil do not match the samples perfectly, termine the type of paint being studied. 200 Ida’s Storehouse: A Case Study on Pigments and Paint Binders on The Folk Buildings in Seurasaari Ida’s Storehouse: A Case Study on Pigments and Paint Binders on The Folk Buildings in Seurasaari 201

Restoration painting aroused curiosity in the usability of tar the museum presents its own challenges paint and their durability in general, for materials research. The conservation As far as possible, the restoration paint- and a test field for samples painted with methods and trends in the museum sec- ing was carried out using pigments in paint manufactured according to dif- tor have varied over the decades, and the accordance with the analysis. The use of ferent tar paint recipes was created in use of various toxic chemicals in building white lead as a pigment in restoration connection with the restoration. A paint conservation was common until the sites must be considered carefully. It was manufactured with lard in accordance late 20th century. When using different decided to use industrially produced lin- with the research results is also included kinds of analytical research methods, the seed oil paint for the white details of the in the test field. effect of previous chemical treatments door, because there is no special reason on the research results must be taken to use white lead at the site. The reddish into account. Interpreting the results brown paint on the door panels and the Conclusion of analytical research also presents its window frame was mixed by the con- own challenges. For example, compari- servators according to a tar paint recipe Good and successful materials research son with known reference spectra is key that has been found to work in the condi- requires background research and in interpreting FTIR spectra. However, tions at Seurasaari. The paint contains certainty in interpreting the results. there may not be reliable references avail- pit tar, linseed oil varnish, turpentine Knowledge of the substances typical able for the materials used in traditional and paint pigment. In accordance with of the construction method, the period paints and, therefore, the interpretation the research results, the pigments used and their use, as well as the aging of the of research results is rarely completely were red iron oxide and burnt sienna. materials, is necessary. The more infor- unambiguous. When studying historical The paint was tinted to match the paint mation there is on the building’s history materials, the ageing of substances that surfaces on the frame and the lining that and the repairs made in the building, the can be seen in the spectrum must also be were left intact, taking the effect of the more reliably can the resulting research taken into account, as it creates further 7. FTIR spectrum of the paint sample from the door panel. weather-damaged wood surface on the information be included as part of the difficulties for comparing the researched shade into account. The research results repair history. The building’s history at spectra with the references.

Sample 5 (lining) was the most interest- For this sample too, the lack of refer- resins, could also be seen. In addition, ing of the studied samples. The paint ences was a problem; therefore, the paint the sample includes a small, low spike in surface, which seems original, has sample was compared to the spectrum the area of 720/730 cm-1, which indicates cracked, but it has not become chalky. of pure pit tar as well as an industrially that the sample contains a natural wax. When the surface is lightly wiped dry, no manufactured linseed oil glaze. However, The wax could come from a resin added noticeable pigment particles come loose. it is known that tar paints may also have to the paint, for example. Instead, cotton wool dampened with contained tar piss (the first fraction of saliva does dissolve a reasonable amount tar obtained from a tar pit) or pitch oil, as A significant difference to the pure tar of paint. The paint also dissolves notably well as lard or other animal fat or linseed used as a reference is the wide, deep spike easily in denatured ethanol. The most oil, and occasionally also a resin of some in the sample in the area of 1,055 cm-1. dissolution occurs in sodium hydroxide, kind, which makes the paint a complex The spike indicates C-O bonds in the and when a drop of NaOH3 is applied to object of interpretation (Kaila, 2000). carbon chain; linseed oil would produce the paint surface, the colour of the paint a clear pattern resembling a maple leaf film becomes lighter and clear dissolu- The studied spectrum has a strong formed by several spikes in this area. tion can be observed on the surface. Oil double spike (preceded by a small ad- However, the sample shows a clear, single paint should only dissolve at such extent ditional spike) in the area of 2,930–2,850 side spike and, therefore, another fat in sodium hydroxide, but on the other cm-1, which matches the spectrum of pit must be involved. In addition, the paint hand, the surface does not seem to be red tar. However, the spikes in the studied is easily soluble, which indicates a sub- ochre paint either. Because the time of sample were deeper, and some of the stance other than linseed oil, which dries the storehouse’s construction is known, intensity may well be due to other fats well by oxidation. There were no appro- and the door was already painted before contained in the sample. Of the spectra priate reference spectra available for lard the relocation to Seurasaari based on of the sample and the tar, a sharp spike or train oil, but knowing the background historical photographs, one possible indicating carbonyl groups in the area of of the site, the use of fat of animal origin alternative type of paint is tar paint. 1,715–1,695 cm-1, typical of wood-based is very likely.

8. FTIR-spectrum of the paint sample from the lining 202 Ida’s Storehouse: A Case Study on Pigments and Paint Binders on The Folk Buildings in Seurasaari Ida’s Storehouse: A Case Study on Pigments and Paint Binders on The Folk Buildings in Seurasaari 203

For Ida’s storehouse, the analysis of dition to the iron oxide. It is likely that References binders in the paint samples confirmed the maintenance painting of the door DERRICK, M. R., STULIK, D. and LANDRY J. M. the assumptions on the three different during its time at the museum was only (1999) Infrared spectroscopy in conservation science. Los Angeles: The Getty Conservation Institute. types of paint. The top layer of the door focused on the panelling; the frames panels was painted with a red ochre and linings, as well as the protected EASTAUGH, N. et al. (2008) Pigment compendium. paint containing starch, the white parts door edges, have kept their original A dictionary and optical microscopy of historical pig- ments. Oxford: Elsevier, Butterworth-Heinemann. were painted with oil paint and the lin- paint. ings, frames and edges of the door were JÄRVELÄ, J. (1965) Maalarin kemia ja aineoppi. painted with tar paint. The identifica- The oil in the white paint differs from Porvoo: Werner Söderström osakeyhtiö.

tion of tar paint in particular proved to the spectrum of the oil in the tar paint, KAILA, P. (2000) Kevät toi maalarin. Perinteinen be difficult, because there are several which supports the assumption that ulkomaalaus. Helsinki: Rakennusalan kustantajat. known paint recipes from the period the tar paint contains a fat of animal TAKALA, A. (2003) Suomen väriteollisuus. Suomen being studied. In addition to tar or tar- origin. The analysis of the white paint väriteollisuuden koko kuva vuoteen 2002. Tampere: based substances, the recipes often also remnants also showed that the linseed Tammmerpaino Oy. use an oil or a fat as well as resins. The oil binder was extensively aged, which more unusual paint materials used in means that the door has not been main- the recipes, such as pitch oil or tar piss, tenance painted in the last few decades. could not be found in the analyser’s ref- In addition, large amounts of chlorine erence library, so the identification was were found in all samples during el- made using the spectrum of pure pit tar ementary analysis as well as arsenic on and the spectrum values of known resins the door frame. It can be assumed that of wooden origin found in literature. the substances are from impregnants Complete certainty was not reached for used to protect the wooden parts. The the oil contained in the paint, because amounts of lead measured were rela- its spectrum did not completely match tively high, and some of the concentra- linseed oil’s, and a reference spectrum of tion may come from impregnants. an animal fat was not available. There- fore, the original recipe may well have Even though there has been a large been a mixture of pigment, lard and tar amount of research on the buildings or tar piss. of the Niemelä tenant farm, the study of folk buildings is often connected to Elementary analysis provided addi- ethnology, while less attention is paid tional information on the used pig- to building research. In particular, ments and assistance in dating the research supporting conservation is paint surfaces. In addition to a different still needed, and not even a century of binder, the pigment composition of museum history has been enough to the paint on the door panels differed exhaustively document and study the from the pigments on the door edges Niemelä building group. On the other and frame structures. The paint on the hand, research methods and equip- panels was pure iron oxide red ochre ment also continue to develop, and the paint, while the reddish brown tar paint equipment used now makes it possible used to paint the edges and the frame to carry out research that could not even structures included burnt sienna in ad- be dreamed of fifty years ago.

9. Ida’s storehouse after conservation and restoration. 204 205

Erkka Pajula Keywords: case study: birch-bark roof conserving the weighting spar building conservation roof of the niemelä building restoration tenant farm in seurasaari 206 Case Study: Conserving The Roof of The Niemelä Tenant Farm in Seurasaari Case Study: Conserving The Roof of The Niemelä Tenant Farm in Seurasaari 207

Introduction its base floor, log walls, roof structures Roof Restoration ­ and the flue on the roof. The work on the - Starting point The main building of the Niemelä tenant main building was done from 28 October farm consists of a chimneyless cabin, a 2013 to 10 December 2014, along with the The weighting spars were badly rot- dairy room, a smoke sauna and a porch other work of the Seurasaari building ted and a large amount of humus had that connects them to each other. The conservation working group. In addition collected on the roof. The building is oldest part of the building is a smoke to the permanent working group, two surrounded by a large number of trees, sauna from the 18th century, built out trainees participated in the work. The whose leaves and needles fall on the roof; of round logs, which Lasse Heikinpoika restoration of the chimneyless cabin’s the resulting layer of humus keeps the Turpeinen, the founder of the tenant roof began during the winter of 2014, weighting spars moist and speeds up farm, received upon leaving the main while the building was surrounded by their rotting process. The only leak in farm in the 1770s. The chimneyless cabin scaffolding and weather protection; the the roof was at the base of the flue. and the dairy room were built in 1844 to topmost logs in the side walls were also Previous measures on the roof had been replace an earlier, smaller chimneyless restored at that time. taken in 1980, after which the roof struc- cabin. The wall structures of the porch ture was as follows: purlins, base spars, a that functions as a passageway may date With the help of the briefly recorded single layer of birch bark, horizontal roof from the time when the tenant farm was history of repairs, archive photographs boarding, hardboard, bitumen felt, birch first established. The roof of the chim- and field research on the site, the ma- bark and weighting spars. The hard- neyless cabin is a birch-bark roof with terials used in previous conservation board, bitumen felt and birch bark date support railing that represents an East measures were dated and separated back to 1980, but the other parts date Finnish type. from the authentic structural elements presumably from 1971, when the roof was of the building. Care was taken to try replaced, according to the repair history. The conservation of the birch-bark roof to save materials used in previous Samples were taken of the bitumen felt of the main building was a part of a conservation measures, if they caused to be tested for harmful substances. conservation project covering the whole no aesthetic harm and did not provide farmstead that started in 2012. The disinformation about architecture and The roof boarding at the eaves was 2. Roof layers under restoration. conservation and restoration measures history, and if they were still techni- partially rotten. The hardboard had in the main building were focused on cally functional. become waterlogged and rotten at the

lower and gable eaves. The roof board- attached by nailing them together at the The ceiling boarding is slanted in four ing had also sustained localised insect vertical lapped joint. The surface of the angles. It consists of planks hewn with damage; however, the damage was no planks visible to the outside has been an axe laid on top of the ceiling beams. longer active. hewn with an axe. The rot damage was Two of the ceiling joists contained rot minor enough that only one plank had to damage that required action. The “mould The battens had been attached to the be replaced. Of the root hooks supporting fungus” discovered in the ceiling in 1980 purlins by nails, so that their lower end the eaves, three on the southwest side had softened up the wood and made it did not touch the eaves railing, but left were so badly rotted that they had to be into an environment suitable for wood a gap of approximately 25 mm instead. replaced. pest insects such as Hadrobregmus con- The base slats had been installed on the fusus or Hadrobregmus pertinax. All of the roof by alternating butt and top ends Both roof planes have four purlins. ceiling planks contained some level of at the eaves. The top ends had been left Some of the purlin ends had rotted. The damage. The damage was mainly caused approximately 100 mm above the eaves damage was sustained when the roof by Hadrobregmus confusus and located on railing. The weight beams had been either didn’t cover the end of the purlin the top surface of the planks. The bottom slightly thinned at the ridge joint, where completely, or when water ran along the ends of the outermost boards on the they were also nailed together, so that bark at the gable to the end of the purlin. plane had sustained more damage. It had they were not leaning on the eaves rail- The northwest gable had five purlins in been worsened by the roofing felt, which ing, either. Neither weighting spars, nor need of repair; the rot damage in one of had been passed over the outermost ceil- base spars had been carved sharp at the the purlins reached all the way to the log ing purlin down to the wall logs, thereby bottom end. wall. At the southeast gable, the upper weakening the ventilation of the bottom surface of four purlins and the ends of ends of the ceiling planks. The eaves railing is made of two the last layer of logs on both side walls consecutive planks, which have been required repairs.

1. Names of the roof structures. 208 Case Study: Conserving The Roof of The Niemelä Tenant Farm in Seurasaari Case Study: Conserving The Roof of The Niemelä Tenant Farm in Seurasaari 209

Roof Restoration – water from entering the structures. Methods The spruce weight spars were sharp- ened at both ends, and the section at The layers of roof-covering sheeting the roof ridge was thinned down by were removed from the eaves up to the carving with an axe. At the gables, the first purlin when the wall log repairs outermost weight spars were attached made it necessary. Roof-covering sheet- to each other with a 400 mm long and ing was removed from the gable eaves 20 mm thick ridge dowel carved out of down to the gable walls, due to purlin juniper. repairs. Some of the base spars and the boards on top of them were reused. The new and the reinstalled spars were Summary sharpened at the bottom end and in- stalled against the support railing. The The birch bark and weight spars on rotten sheathing boards were replaced the roof of the chimneyless cabin were by 125 x 22 mm spruce boards. Near the installed using traditional methods. The eaves, a single layer of birch bark was axe-hewn weight beams are held by the laid between the base spars and the support railing at the bottom end; no boards. The partially removed bitumen nails were used in attaching them. The felt and hardboard were replaced by materials in the hidden lower layers of Tyvek® Pro microfibre fabric, which is a the roof remained as historical layers in vapour-permeable roof-covering sheet- the structure, exemplifying conserva- ing material. A strip of Tyvek ® Pro was tion measures in the 1900s. The Tyvek ® also added on the roof ridge on top of the Pro microfibre fabric has been intro- felt layers, because there were holes in duced in test use on a few birch bark some areas of the felt on the ridge. roofs in Seurasaari to protect against possible leaks in the roofing. However, Three eaves hooks were replaced on the birch bark functions as the actual wa- southwestern roof plane. Only one of terproof layer at the sites. The microfi- the boards of the eaves railing on the bre fabric replaces the previously used 3. Laying the birch bark. northeastern side was replaced. The bitumen felt, which has been extremely new board for the eaves railing is pine, harmful to wooden structures when it hewn with an axe on every side. The has leaked. However, no final results ex- surface of the new wood materials used ist regarding the suitability of microfibre for restoration was always hewn with an fabric for these artefacts. axe, and the use of nails to attach things was avoided. Removing the trees around the buildings would extend the life of both birch-bark The birch-bark roof with weighting and other types of wooden roofing. Roofs spars was constructed in the traditional can be cleaned using a leaf blower, for ex- way, regardless of the modern underlay- ample, but removing all leaves and nee- ers. Four layers of birch bark were laid, dles from birch-bark roofs in particular progressing from the northwestern to is challenging and time-consuming. the southeastern end. The lowest layer of birch bark on the eaves was laid with the white side up, going approximately 25 mm over the edge to form a short drip moulding. Approximately, every fourth piece of bark was laid horizontally. The section of bark that goes approximately 150 mm over the edge of the gable eaves curls into a drip moulding that prevents 210 211

Nina Robbins & Päivi Ukkonen Keywords: museological value museology assessment protecting large-scale conservation artworks from disposal value assessment – a large-scale case from hyvinkää

Abstract In cases of large-scale conservation, the commission’s funding and timeframe both play significant roles in the overall process. In order to be able to make heritologically sound decisions, it is vital to implement museological value assessment before any conservation procedures are undertaken. 212 Museological Value Assessment Protecting Artworks from Disposal – A Large-scale Case from Hyvinkää Museological Value Assessment Protecting Artworks from Disposal – A Large-scale Case from Hyvinkää 213

Introduction various spaces for museum functions, as the new architecture. The Arena movie well as artistic workshops. The paintings theatre paintings were to be placed in This paper introduces a case of conserva- have been consuming storage resources the conference rooms on the first floor. tion involving four large-scale paint- ever since. This temporary storage suf- ings that belong to the collection of the fered some fire damage in the September The paintings were given a second Hyvinkää Art Museum. The focal point 2003 fire, although the paintings sur- chance, but from a conservation point of the paper is to emphasize how proper vived, despite their poor condition. of view, the relevant question was now museological value assessments can raised: How could the dignity of the save artworks from being improperly The paintings were painted with sturdy paintings be preserved in a situation disposed of. oil paint mixtures on strong screening where the original context of the theatre paper. After cutting the paintings from no longer existed, the resources for any their original context in 1989, the size of conservation efforts were quite limited, Case an individual sheet was approximately the temporary conservation workshop 530 x 320 cm. All of the sheets were was in reality an ordinary storage facil- The paintings were painted by Jalmari extremely dirty, had several two-to- ity, the timeline for the needed conser- Ruokokoski (1886-1936) and a group of lo- three meter tears and were full of marks, vation work was determined by outside cal painters in 1914. They were originally indicating sometimes less-than-success- factors and players and the individual made as wall paintings for the Arena ful previous repairs. Some of the paint display rooms in the new city hall would movie theatre in Hyvinkää. Their themes layers were discoloured due to exposure not fit the large size (530 x 320 cm) of the depict exotic landscapes, animals and to corrosive dirt, but were otherwise given works? It seemed that some kind people from far-away countries. These well-attached to the supports. of compromise had to be reached. works were intended as entertainment for the audience during intermissions. The Hyvinkää Art Museum made efforts Regular movie theatre operations ended to conserve the paintings in the 1990s. Museological Value in the Arena building in 1985, thus put- But only after the wool factory fire in Assessment ting an end to the paintings’ original con- 2003, and upon the building of a new text. In April 1990, all of the large sheets city hall in 2010-2012 on the wool factory In general, value assessment of a collec- 1. Before conservation, 2012. Photo: Annina Hokkanen were cut from the theatre walls and premises, did the issue become relevant tion is a natural companion to collec- stored in a temporary storage in the old again. The new city hall was to be built tion management (Knell, 1994, 2004; Hyvinkää wool factory (Wanha Villateh- on the wool factory premises, using the Appelbaum, 2007; Davies, 2011). It sets das, 1892-1993) premises that contained old building structure as the basis for a concrete foundation for determining

2. The effect of corrosive dirt. Photo: Nina Robbins 214 Museological Value Assessment Protecting Artworks from Disposal – A Large-scale Case from Hyvinkää Museological Value Assessment Protecting Artworks from Disposal – A Large-scale Case from Hyvinkää 215

which artworks are of critical impor- heritage from quite a wide perspective. best fit their museum and its collection. Museological value assessment will has been tested, for example, in the tance to a museum and its identity. In This means that all so-called memory Five values emerged from the material leave an indelible mark on a collection’s Finnish Forest Museum Lusto. In the 2012, a dissertation survey was conduct- organizations, i.e. museums, archives as the most important ones in Finnish history and it is clearly all about making Finnish model documentation, value as- ed involving all Finnish art museums; and libraries, belong to the field of art museums: artistic, aesthetic, local, choices between the significant and the sessments and analyses of significance in this survey, museum personnel were heritology. The term is closely connected museum and research (Robbins, 2014). All non-significant. It is precisely to the are both important. It is also essential also asked about such values. It be- to the idea of the Great Museum. This is of these values indicate the necessity question of selection that collection- to gather information from all parties came clear that there are three types of a concept launched by British museolo- of implementing a museological value oriented museological value assessment involved before any final analysis is value assessments active in Finnish art gist Kenneth Hudson (1916-1999). The assessment when dealing with collection is seeking solid answers for. This task undertaken. museums: art historical, pragmatic and core idea behind the concept of the Great management. They form the background is a close companion to the Austral- museological (Robbins, 2014). Museum is that the world around us is for a wider discussion that is guided by ian Significance 2.0 method, which is a The 2012 research on Finnish art muse- understood as a network of the past, museum personnel and not by outside value assessment method that aims to ums showed that museums have a lot of Artistic and art historical assessments present and future. The museum as an factors and players. In the core of the dis- form a unified statement of significance information, practical knowledge and are naturally important and have their institution is seen only as one part of cussion, themes such as these emerge: regarding any given culturally impor- tools regarding value assessments, espe- background in disciplines such as his- this network: “What is important is not tant phenomenon. Before any written cially museological value assessments. tory and philosophy. As an example of what is in the museum, but the power of its - Which items pass the artwork statements are produced, a thorough They have the know-how to separate the pragmatic value assessments, one can collections and displays to increase and threshold? study needs to take place. Such a study significant from the less significant. It point to the rescue plan for or insurance enrich people’s understanding of the world - Which items are significant to will help to understand the phenomenon was time to mediate this information, value of any given artwork. The problem outside and around them, of the Great Mu- our identity? from all possible vantage points and will to put it to good use. The Hyvinkää case with art historical and pragmatic value seum.” (Hudson, 1993, p. 55) The idea of - How do we divide our resources eventually aid in forming intelligent was an example of this. assessments is that they do not neces- the Great Museum is all about selection. and time? decisions concerning the phenomenon in sarily cover the entire collection and are Being selected as heritologically inter- question. In order for the compromise in the 5. Attaching the ready paintings to the wall. to some extent determined by outside esting creates the starting point for the In addition to clarifying the decision Hyvinkää case to be well thought of and Photo: Nina Robbins factors and players. They are important museum value to accumulate (Kinanen, process, museological value assessment Four criteria are used when forming a managed, a museological value assess- in their own right, but are not consid- 2009, p. 174; Vilkuna, 2010, p. 344). comprehensively takes the entire spec- Statement of Significance: ment had to take place. Before starting ered comprehensive from a collection trum of collection management into ac- any conservation procedures with the management point of view; their scope is Eventually, the function of a museum is count, from acquisition to disposal, when - Historical significance large-scale paintings in question, a seen as somewhat narrower. to make the world around us understand determining any long-term decisions - Artistic or aesthetic significance meeting was held in Hyvinkää with the what is heritologically significant. In affecting a museum’s collection. It also - Scientific potential conservators and museum staff, in order When value assessment is museologi- this work, museological value assess- addresses the need for both philosophi- - Social and spiritual significance to determine the value class for these cally oriented, it recognizes the wider ment helps museum professionals in cal and practical approaches. It functions (Russell & Winkworth, 2009, p. 10; van large-scale artworks. They were clearly range of issues that are crucial, both to their decision-making processes. This as a bridge between philosophical issues, Mensch & Meijer-van Mensch, 2011, p. seen as significant to the people of Hy- collection management in particular became clear in the 2012 survey answers, such as good vs. bad art, and pragmatic 28-29) vinkää; their strong connection to the and to sustainable heritology in general. where museum personnel were given an issues such as the monetary-oriented city’s local history was thus established. Heritology, as a term, views our cultural opportunity to freely choose values that values of art. In addition, four comparative criteria are Their art historical value was seen as used to evaluate the level of significance: important, but it was noticed that since their original function was as “wall - Provenance papering” in a movie theatre, the artist - Rarity had not exercised the utmost accuracy - Condition in his brush strokes. Also, their value as - Power of Expression rare examples of old and exotic small- (Russell & Winkworth, 2009, p. 10; van town movie theatre enhancements was Mensch & Meijer-van Mensch, 2011, p. noted. 28-29) A museological value assessment was The method has been recently adopted composed, based on all available infor- by several museums in Europe, es- mation and having a strong knowledge pecially in Britain and Holland (van of the fact that if the sheets were not Mensch & Meijer-van Mensch, 2011, p. be displayed in the new city hall, they 28-29). Finnish museums have adapted would not get a chance to be conserved the model to suit their purposes and or displayed – ever. the Finnish Merkitysanalyysimenetelmä (Häyhä & Jantunen & Paaskoski, 2015)

3. Turning the paintings. Photo: Annina Hokkanen 4. Backing paper and edge support. Photo: Nina Robbins 216 Museological Value Assessment Protecting Artworks from Disposal – A Large-scale Case from Hyvinkää Museological Value Assessment Protecting Artworks from Disposal – A Large-scale Case from Hyvinkää 217

Conservation Procedures After the surface cleaning, the paint- of Managed Compromise ings were turned over, in order to treat their backsides. For this, the surface had As stated before, a compromise had to be to be cleaned, the long tears and holes reached in order to save these artworks. had to be repaired and a new backing The first decision, before any procedures support had to be attached. The turning were implemented, was to test the process involved several people and the paint and support surfaces, in order to paintings were first rolled before turned. determine how vulnerable they were to The backside was cleaned with a soft handling. This was valuable information brush and vacuum, the long tears were and had a direct impact as to the time repaired with wheat starch and Japanese needed for conservation. Both the sur- Kozo paper. The Kozo sheets were also face and the support were very sturdy, material for the backing support of the except some areas of decay; it was thus paintings. Finally, linen border supports determined that no separate scaffolding were attached to secure the edges. This structure on top of the paintings was was a necessary procedure, since the needed. Large sheets of thick cardboard paintings were to be screwed directly were set on top of the painting, which from their edges to the walls of the city offered a safe enough working surface. hall’s conference rooms.

Secondly, a firm decision regarding the Once the cleaning and structural 7. Detail after conservation. cutting of the original paintings had to treatments were done, it was time to Photo: Nina Robbins be made. It was determined from early make decisions about the paint surface; on that the paintings would not fit their these decisions had to also fit the given new location in their current size, and deadline. It was decided to leave signs of approximately 20-30 cm from one end some of the old surface repairs and neat of each painting had to be cut. The exact rows of nail holes as marks of history 6. After conservation. Photo: Nina Robbins cutting points were decided together on the surface of the paintings. Larger with the conservators and museum staff damaged areas were treated with glue, in order to preserve as much of the art containing filling and watercolours. works’ integrity as possible. Luckily, no Due to the time pressure, it was decided significant information was lost. One that after the initial surface treatment, has to also keep in mind that the paint- the surface was to be monitored in the hardly echo the demand set in the first References ings had already been cut at some point future, with any further signs of decay sentence. Earlier on in this paper, the APPELBAUM, B. (2007). Conservation treatment HÄYHÄ, H & JANTUNEN, S & PAASKOSKI, in history and were not actually their to be treated accordingly. In the end, issue of selection was mentioned. In this methodology. Oxford: Butterworth-Heinemann. L (2015). Merkitysanalyysimenetelmä. Helsinki: Suomen Museoliitto. Available from: [21st January 2015]. process was undertaken. place, and the relevant information pan- had to exercise severe selection, in order debate. Edinburgh: Museums Etc. els were attached to the walls. to preserve locally significant art works MENSCH (VAN), P & MEIJER-VAN MENSCH, L KINANEN, P (2009). Museologiset objektit. In: (2011). New trends in museology. Celje: Museum of After these decisions were made, a for the future citizens of Hyvinkää. KINANEN, P (ed.). Museologia tänään. Suomen Recent History Celje. relatively quick way of cleaning had to be Museological value assessment had to museoliiton julkaisuja 57. Saarijärvi: Gummerus found. After testing with different-sized In Conclusion be tested in practice, in order to save the Kirjapaino Oy, p. 168–186. ROBBINS, N (2014). Museological value assessment protecting disposals: survey results from Finland. In: tools, the paintings were cleaned using large-scale paintings from storage and KNELL, S. (ed.) (1994). Care of collections. London: New trends in museology. ICOFOM 37. 5–9.6.2014 soft disposable cleaning cloths and 1.5% It has been said that conservators are in to bring them into public visibility. The Routledge. Paris. Paris: ICOFOM. triammonium citrate in water. Cleaning the business of preserving our cultural conservation process was a good eye- KNELL, S. (ed.) (2004). Museums and the future of RUSSEL, R & WINKWORTH, K (2009). Significance cloths were safe to use and also made the heritage. During the conservation pro- opener for seeing the possibilities of our collecting. Burlington: Ashgate. 2.0: a guide to assessing the significance of collections. cleaning quicker than would have been cess, the conservators involved had to cultural heritage within the context of Heritage Publications. Available from: [30th September In addition, all vulnerable areas were and walk on top of the paintings. They politics. The outcome was nevertheless sitet, p. 51-60. 2011]. treated with special care, using small had to make decisions as to the level of a managed compromise. Even though cotton swabs. The non-soluble surface surface treatment and give advice as to the original context of the art works was VILKUNA, J. (2010) Museologia ja Suomen museot. In: PETTERSSON, S & KINANEN, P (eds.). Suomen dirt and over-paint were removed me- how to attach the paintings directly on lost, the paintings are now nonetheless museohistoria. Helsinki: SKS, p. 332–346. chanically. the walls with screws. These sentences visible in a public space. 218 219

Will Shank Keywords: keith haring’s murals monumental outdoor contemporary art conservation murals: collaborative Keith Haring Efforts in pisa and in paris

Abstract Two monumental murals painted by American artist Keith Haring (1958- 1990) were recently preserved by a team of preservation experts, working with the owners of the buildings on which the murals are painted, as well as outside consultants. The murals are an untitled work painted at a children’s hospital in Paris, 1987, and Tuttomondo, 1989, in Pisa. The paper reveals the challenges in understanding the materials used by the artist and the architectural supports upon which he painted, and the process of identifying the most appropriate par- ties to undertake analyses of those mate- rials before treatment could commence. The conservation of other Haring murals will be considered in the context of the two that are the focus of this study. The Haring murals are considered within the larger context of international approach- es to the conservation of contemporary paintings upon exterior walls, which remains the brave new frontier of paint- ing conservation. 220 Keith Haring’s Monumental Outdoor Murals: Collaborative Efforts in Pisa and in Paris Keith Haring’s Monumental Outdoor Murals: Collaborative Efforts in Pisa and in Paris 221

Introduction original number of murals, the majority Our approach to the misunderstood of which have been painted over, other- specialty of the conservation of contem- American artist Keith Haring (1958- wise altered or destroyed. [1] porary murals focuses on the impor- 1990) was the superstar of interna- tance of collaboration. Our experience in tional pop art, whose meteoric rise in While many of Haring’s large-scale assessing the needs of the disappearing the 1980s, after dropping out of New paintings were intended to be tempo- public murals of the United States is York’s School of Visual Arts, came to an rary, due to varying circumstances of that many different approaches to their abrupt end with his death from AIDS their creation, it is clear that some of preservation may be acceptable, and at age 31. His simple and bold designs, them were not. In the artist’s own words, sometimes the solution lies outside the which are immediately recognizable and some of his larger murals were consid- ethics of the profession of traditional easy to reproduce, may be dismissed as ered “permanent,” [2] as opposed to a painting conservation. What is of para- simplistic. But Haring was an important wall painting created for a temporary mount importance is that all stakehold- and unique voice for a young generation exhibition, for instance. ers in the welfare of the painting have a and, in many ways, the heir to his friend voice, and that the most reliable sources and collaborator Andy Warhol. With his The task of making decisions about of information available, be they artistic, colorful animated figures, he entered the the welfare of the “permanent” Haring historic, social or technical, be applied to art world through the back door of popu- murals has been addressed in a number the preservation effort. [3] lar appeal. In spite of his success and his of different manners in the locales where fame, he remained an outsider in the art his public outdoor paintings are located. Haring restored at least one of his own world, committed to populism. The author was part of the decision-mak- murals. In the case of Crack is Wack, 1986, ing team in the case of two important Haring’s anti-drug message painted on 3. Keith Haring, Tuttomondo, 1989, photographed in 2011. Photo: Will Shank Among the many works created during Haring murals; this paper focuses on a wall on an abandoned handball court his short career were a series of interior the history of recent preservation efforts in Harlem, the artist himself intervened and exterior mural paintings. Those directed toward those two works, while when his work was vandalized shortly who observed him at work were stunned incorporating information about other after the mural was completed. by his consistent energy, speed and as- related conservation scenarios, in the substantially different from the original. task the frequently more cautious and ence that his work continues to exert surance, with virtually no preliminary case of other painted walls by Haring. Haring’s text Crack Is Wack was changed (The paint layers of the mural subse- measured intervention of a conservation upon those who live in its shadow. sketches or plans, even on his enormous by a vandal to “Crack Is It,” the opposite quently deteriorated rather quickly, and team. As recently as 2013, a collabora- murals. The Keith Haring Foundation The perspective that I bring to this of Haring’s intended message. After the “Crack Is Wack” was repainted complete- tive Haring mural in Philadelphia called numbers his extant painted walls at story comes from my role as the Co- city obliterated the negative message, ly - at least once - in 2007). We the Youth, which was created in 1987 Pisa eighteen, and of those, seven are painted Creator and Co-Chair (with Dr. Timothy they invited Haring to paint it again by teenagers from Philadelphia and on outdoor architectural surfaces. This Drescher of Berkeley, California) of and to create an additional mural on the Haring’s first major public wall painting, New York (Brandywine Workshop and When the altered state of Haring’s last number of surviving wall paintings rep- Rescue Public Murals, a programme by other side of the freestanding wall. [4] the Houston Street and Bowery Mural of CityKids, respectively) under Haring’s outdoor mural, Tuttomondo, located resents approximately one third of the Heritage Preservation in Washington. The second design was 1982, in Manhattan, painted with fluores- supervision, was restored by artists from on the exterior wall of the church of cent paints on a cement handball court, the Mural Arts Program of Philadelphia Sant’Antonio dell’Abate in Pisa, came to has had a rich posthumous life, as it did [6] with the support of the Foundation. the attention of the author and his col- not survive long in its original state. Since leagues, its originally vibrant palette had 2008, the “Keith Haring Tribute Wall” has In Melbourne, Haring’s only public work become severely subdued. been a sought-after destination for street in Australia, an untitled mural from artists who compete for the privilege of 1984, on the wall of the former Colling- There was, at that time (2011), some painting over Haring’s early work. wood Technical School, was the subject shared concern about its welfare, based of a heated debate for several years on the chromatic changes that were The Keith Haring Foundation, which was before it was finally restored in 2013. Its obvious to anyone who knew the mural created by the artist himself in 1989 be- deteriorated state had embarrassed and when it was new. Painted by the artist fore his death the following year, has the distressed the communities who lived with five assistants over the course preservation of Haring’s artistic legacy with and/or took pride in the Haring of four days in June of 1989 as a sort of as an important part of its mission, [5] mural, and various vocal factions had of- street performance that was the main including his murals. It has approached fered to return it to its original splendor. event of Haring’s Progetto Italia, the mu- the preservation of a number of mural ral encompasses an encyclopedia of the projects more in the manner of the tradi- This story of passionate conflicts over artist’s most familiar imagery, including tional creation - or repainting - of mural a preservation project underlines the the crawling baby, a mother and child, paintings, rather than applying to the power of Haring’s legacy, and the influ- and the suggestion of the triumph of 1. Keith Haring with “Crack is Wack,” New York, 1986. Photo: Tseng 2. Keith Haring, Mural at the Collingwood Technical School, 1984, Kwong Chi, copyright Keith Haring Foundation and Muna Tseng when new. Photo: Tseng Kwong Chi, copyright Keith Haring Dance Projects, Inc. Foundation and Muna Tseng Dance Projects, Inc. 222 Keith Haring’s Monumental Outdoor Murals: Collaborative Efforts in Pisa and in Paris Keith Haring’s Monumental Outdoor Murals: Collaborative Efforts in Pisa and in Paris 223

Good over Evil, in the form of a snake team wisely created a homogenous lies outside the field of art conservation, of the conservation project was made cylindrical tower that holds an emer- being cut by scissors, among the many surface over the irregular wall of the benefited from the advice of local and obvious through the ongoing support of gency stairway, attached to the pediatric shimmering human, animal and android church for the artist to paint upon by national authorities about the work of the administration not only in provid- surgery building. figures. using an “overcoat” (capotto) system of the conservation team. The visual state ing access to the mural by financing polystyrene panels adhered to the wall, of the mural was appreciably improved the costs of the treatment, but also by The artist chose the wall in order to give Tuttomondo had been intended, accord- reinforced with a fiberglass web, and by the treatment. incorporating the mural into a larger ur- a gift to the city, while he was in Paris for ing to the artist, to last for “hundreds smoothed out evenly with a white prim- banization project. Since the completion an exhibition of young American artists of years.” [7] But after only twenty-two ing layer. After test panels were pro- The success of the cleaning was ensured of the conservation project, the Piazzetta at the Centre Pompidou. The cheerful years, the colors of the figures were sig- vided to Haring for his approval of the by the application of a water-repellent Keith Haring has been beautified by the mural, freed from the polemic of much nificantly muted, and the white passages texture, Caparol acrylic emulsion paints protective coating, whose purpose is to addition of a children’s playground and of Haring’s work, is intended to lift the of the negative space of the background were chosen and mixed in the manufac- halt the dislodging of original material enlarged with an increased viewing area spirits of those who view it, many of had grayed. The overall effect was a turer’s headquarters outside Pisa. The that had accumulated over his paint for the mural . whom are sick children or their loved neutralization of the chiaroscuro, to the painting then began from a movable layer during the course of two decades. ones. It features crawling babies on the detriment of the image. scaffolding, with Haring first creating north side, a pregnant woman bisected a beautiful black line painting on the Whether or not all of the stakeholders Paris by the vertical windows of the tower on The conservation effort came together white surface, then returning with a of the welfare of Tuttomondo were in the west side, and joyful adult figures as a series of fortuitous coincidences of team of assistants to fill in the colors of complete harmony during the decision- When the Keith Haring Foundation was on the south side. (The fourth, east side, timing. When Antonio Rava and I first the figures. The entire art “happening” making progress, the system of checks alerted in 2011 about imminent physical is attached to a building by a series of became aware of the state of Tuttomondo, lasted four days in June of 1989. (Caparol and balances worked well, and it ulti- changes that were about to take place at bridges.) At a great height, he created a and we were preparing a presentation to saved the test panels and Haring’s paint mately served the best interests of the the Hopital Necker des Enfants Mal- harmonious whole out of eleven diverse the city officials of Pisa in order to un- brushes as souvenirs; these were proudly artwork. The mayor of Pisa and the staff ades in Paris, Executive Director Julia figures, which, as was his custom, were dertake a conservation study, we learned shown to the conservation team during of the Comune had been understandably Gruen included a conservator in the painted without preliminary sketches. that a group of our colleagues were our visit to the paint headquarters.) concerned that they were doing the right initial meetings with the hospital staff. He worked pro bono and without a already planning an assessment of the thing for this unique monument in a The purpose of the rendezvous was to contract. [9] Suspended in an open cage mural. COPAC (Conservazione Preventiva The decision to create this homogenous city not known for its contemporary art address the future of a mural painted by from a crane with his boyfriend Juan dell’Arte Contemporanea) [8] was study- and durable substrate undoubtedly gave holdings. Their interest in the success Haring in 1987 on an exterior wall of a Rivera during three chilly days in April, ing several important works throughout Tuttomondo a longer life than it would Tuscany, Tuttomondo among them, as part have had, had the paint been applied of a preventive conservation investiga- directly to the uneven surface of the tion focused on contemporary art. church wall. It did create problems of its own, however. The graying of the image 4. Keith Haring painting Tuttomondo in Generous funding for the treatment was turned out to be a visual effect of a veil of 1989. Photo: Tseng Kwong Chi, copyright subsequently identified, thanks to the calcium carbonate that had washed over Keith Haring Foundation and Muna Friends of Heritage Preservation in Los the surface during two decades of rainy Tseng Dance Projects, Inc. Angeles, and of the Keith Haring Foun- weather that dislodged a chalky element 5. Cleaning of Tuttomondo with an agar gel, dation in New York. The liaison between from the white background plaster layer. 2011-12. Photo:Will Shank. the conservation team, the COPAC study After much testing of cleaning alterna- and the Comune was Dr. Perla Colom- tives, the team decided to use a gel made bini, noted chemist at the University of of agar, a natural polysaccharide, which Pisa. The science team, which included effectively peeled away the surface de- the Institute of Applied Physics in Flor- posits. The process was labor-intensive, ence, and the science department of Scu- taking place over the course of several ola Normale Superiore of Pisa provided months in 2011 and 2012. invaluable data about the paints, as well as quantifying the changes in the As an aid for the officials of the Co- appearance of the mural as the conser- mune, a group of art historians from the vators began to test various methods to University of Pisa were kept apprised revive Haring’s palette. of the progress and the success of the treatment as it progressed. Thus, neither Indispensible was the input of the people the conservation team nor the COPAC who had created and prepared the wall group were working in a vacuum, and on which Haring painted. The Caporol the officials at city hall, whose expertise

6. Tuttomondo after treatment (with the exception of the portion still behind glass), April 2012. Photo: Luciano Marras 224 Keith Haring’s Monumental Outdoor Murals: Collaborative Efforts in Pisa and in Paris Keith Haring’s Monumental Outdoor Murals: Collaborative Efforts in Pisa and in Paris 225

Haring applied the four fields of color But what to do about the deteriorating art, especially one of the scale of the 8. Keith Haring, detail of the south side of the mural at the (yellow, blue, red, and green) in two mural itself? In 2006, Haring’s Paris gal- Necker Hospital mural. Hopital Necker des Enfants Malades, 2012. Photo: Jean-Philippe coats, then the black lines of the figures. lerist Jerome de Noirmont had learned Humbert, Courtesy Galerie Jerome de Noirmont, Paris of the plans to destroy the tower during The hospital, whose important mission The mural did not age well. By the time the planned hospital renovation, and he is focused far away from the worlds of of the first conservation assessment in convinced architect Philippe Gazeau to contemporary art and of conservation, 2012, serious condition problems had integrate the work into the reconfigured has provided valuable support for the become evident, mostly in the thick campus of the Hopital Necker. [11] As the complex conservation effort. This effort black lines that were painted either saving of the mural approached reality, has been spearheaded by Mme. Florence directly into the concrete substrate, or he became the leading force behind Mahé-Dombis, who has served as liaison over the primary color fields that had funding the preservation effort. In an between the art world and the needs of been applied first. In the meantime, the exemplary gesture of generosity, Mr. de the children’s hospital. hospital was implementing its plans to Noirmont not only financed the initial renovate, an enterprise so vast that it conservation assessment of the mural, The somewhat shocking phenomenon of was the second largest construction site but also collaborated with Sotheby’s the extreme separation of the paint from in France at the time. [10] Central to the Paris auction house to stage a 2013 art its architectural support was not an easy plan for the new configuration of the sale whose proceeds would benefit matter to solve; it could not simply be hospital was the idea of featuring the the conservation of the Haring work. scraped off and repainted by an artist in Haring tower as the centerpiece of its Sotheby’s itself received no commission imitation of Haring. newly configured gardens. The stairwell on the sales at the charity auction. The upon which it was painted would be de- author of this paper provided a descrip- As the first close examinations of the tached from the pediatric surgery center, tion in the auction catalog of the special mural and the tower on which it was slated for demolition, and would become resources required for the conservation painted began, it was clear that various a freestanding “totem”. of such a major work of contemporary types of preservation expertise would be

called for. By the end of 2011, the project in an effort to provide as much salient National de la Recherche Scientifique had attracted the attention of two Paris- information about the composition of (CNRS) [12] began preliminary talks ian colleagues who generously offered the mural and the tower as possible; as with the conservation team and the their expertise toward answering ques- the hospital is a historic monument, this hospital. The participation of the MAP tions about the materials of the hospital path was smoothed considerably. The laboratory will, literally, add another tower and the Haring mural. concrete study was submitted to the dimension to this complex undertaking. hospital in July of 2012, based on their Nathalie Balcar, a specialist in contem- sampling and analysis, which had begun porary art at the Centre de recherche et earlier that year. The following year, an Conclusion de restauration des musées de France analytical study was completed by Ms. (C2RMF) at Versailles, contributed her Balcar of C2RMF, in which the compo- As Keith Haring painted in a frenzy in expertise to the project, as the national nents of the paints were identified. Hap- the 1980s, making his mark on the his- conservation center had already done a pily, with all of this pertinent technical tory of art and pop culture, it is unlikely 2006 study of the painting itself, as well information gathered, the April 2013 that he could have envisioned the efforts as related research of vinyl paints that Sotheby’s charity auction put the conser- that would be made in the future in exhibited poor durability on a concrete vation effort on firm financial footing. order to help ease his outdoor works into support. The Laboratoire de Recherche posterity. The reality is that his use of a des Monuments Historiques (LRMH) Preliminary consolidation of the peeling variety of paints whose longevity had not joined the effort to study the tower in black paint began as Phase One in 2014, had a chance to be tested upon walls that the person of Elisabeth Marie-Victoire, before demolition was to begin in the were not always adequately prepared whose expertise is concrete. vicinity of the tower, and Phase Two of has created monumental preservation treatment is now being planned as of the challenges. Monumental efforts can By early 2012, the two experts had moment of writing. Recently, the direc- be required in order to save them when agreed to share their respective findings tor of the MAP laboratory of the Centre they are endangered.

7. Keith Haring and Juan Rivera painting the Necker Hospital Mural, 1987. Photo: Tseng Kwong Chi, copyright Keith Haring Foundation and Muna Tseng Dance Projects, Inc. 226 Keith Haring’s Monumental Outdoor Murals: Collaborative Efforts in Pisa and in Paris Keith Haring’s Monumental Outdoor Murals: Collaborative Efforts in Pisa and in Paris 227

Notes References [1] Keith Haring Foundation website, and from cor- GRUEN, J. (1991) Keith Haring: The Authorized Biog- respondence with staff at the KHF, 3 February 2015. raphy. New York: Simon & Schuster.

[2] For instance, Haring’s interview in the video by HARING, K. (1996) Journals. New York: Viking, Roberto Burchielli, “Progetto Italia Keith Haring” Penguin. regarding Tuttomondo, 1990; and Haring’s descrip- tion of the Collingwood mural in Melbourne as “a ISRAEL, M. (2014) ‘Keith Haring’s ‘Crack is Wack:’ permanent site,” in John Gruen, Keith Haring, The NYC’s Most Famous Mural?’ HuffPost Arts & Culture. Authorized Biography, p. 113. [Available from: http://www.huffingtonpost.com/ matthew-israel/keith-haring-crack-is-wack- [3] See the Rescue Public Murals web pages at the mural_b_5651871.html. [Accessed 23 February Heritage Preservation website: www.heritagep- 2015]. reservation.org. STEFANI, C. et al. (2013) ‘Developing a toolkit [4] Israel, M. (2014) Keith Haring’s ‘Crack is for mapping and displaying stone alteration on Wack:’ NYC’s Most Famous Mural?” HuffPost Arts a web-based documentation platform’. Journal of & Culture. [http://www.huffingtonpost.com/ Cultural Heritage. Available from: http://dx.doi. matthew-israel/keith-haring-crack-is-wack- org/10.1016/j.culher.2013.01.011 [Accessed 10 Janu- mural_b_5651871.html]. ary 2015].

[5] From the Foundation’s home page: “The Keith Drawing the Line: A Portrait of Keith Haring (1990) Haring Foundation perpetuates Haring’s artistic Documentary film. Directed by Elisabeth Aubert. and philanthropic legacy through the preservation [DVD] West Long Branch, New Jersey: Kultur and circulation of his artwork and archives…” International Films, Inc.

[6] Mural Arts Program website pages (2013) e.g. Keith Haring Progetto Italia (1990) Documentary [http://muralarts.org/collections/projects/we- film. Produced by Roberto Burchielli, directed by youth-restoration];and Newberry, L. (2013) [http:// Andrea Soldani. [DVD] Pisa: Comune di Pisa & muralarts.org/about/press/keith-haring-mural- Ondavideo. restored-philadelphia]. The Universe of Keith Haring (2007) Documentary [7] Interview with the artist, in the Roberto Bur- film. Directed by Christina Clausen [DVD] Milano: chielli video, “Haring a Pisa.” Feltrinelli Real Cinema.

[8] See the website for COPAC: http://copac.sns.it/ Vente Caritative pour la Restauration de la Peinture en_about. Murale de KEITH HARING de l’Hopital Necker- Enfants Malades (2013) Sotheby’s auction catalog. [9] Personal correspondence with Haring’s former Paris: Sotheby’s. Paris gallerist Daniel Templon, 21 December 2011. Website in English of COPAC. http://copac.sns.it/ [10] Julia Gruen, Executive Director of the Keith en_about Haring Foundation, in Sotheby’s auction catalog “Vente Caritative pour la Restauration de la Pei- Website of Keith Haring Foundation. http://www. nture Murale de KEITH HARING de l’Hopital Neck- haring.com er-Enfants Malades,” Paris 17 Avril 2013, page 7. Website of Mural Arts Program of Philadelphia. [11] Jerome de Noirmont, in Sotheby’s auction www.muralarts.org catalog, “Vente Caritative pour la Restauration de la Peinture Murale de KEITH HARING de l’Hopital Website of Rescue Public Murals at Heritage Pres- Necker-Enfants Malades,” Paris 17 Avril 2013, page ervation. http://www.heritagepreservation.org/ 11. RPM/about.html

[12] MAP (Modèles et simulations pour l’Architecture, l’urbanisme et le Paysage) is a research unit of the French National Center for Scientific Research and the Ministry of Culture. 228 229

Douwtje van der Meulen Keywords: monumental collaboration theatre sceneries: theatre sceneries education big groups emerald green big problems? PAS-air sampler

Abstract The article is an analysis of the collabo- ration and decision-making processes encountered in the international sum- mer school on the conservation of Fredrikshald theatre sceneries. After an introduction of the theatre and its scen- eries, the article looks at the challenges and advantages of dealing with a project involving international partners. Topics discussed are organisation, communica- tion, student and lecturer collaboration and dealing with unexpected prob- lems, in this case, hazardous pigments containing arsenic and lead. The article concludes that projects that involve big groups can create big problems in cer- tain cases, but with the right approach (and a bit of luck), these problems can be overcome. 230 Monumental Theatre Sceneries: Big Groups Big Problems? Monumental Theatre Sceneries: Big Groups Big Problems? 231

Introduction not finance big changes or buy new with the woods is a landscape most likely sceneries. In the 1970s, the theatre was painted by Gustav Gjøs in around 1848 Teaching staff in Conservation Studies threatened with demolition, but thanks (Parmer, 1988, p.25). It is this backdrop at the University of Oslo (UiO) initi- to the efforts of Vidar Parmer, former cu- that is currently being conserved. ated an international summer school in rator for Halden Historical Collections, 2012 to accommodate professional and it was saved and since 1988, it has been Halden Historical Collections recog- educational demands for conservation owned by Halden Historical Collections. nised the theatre’s national and possibly training (Document of Pavia, 1997; EN- Preserved along with the theatre were international value and gathered the CoRE Document, 2014; Seymour, 2014). the theatre sceneries dating from 1838 necessary funds to convert a mission The theatre sceneries owned by Halden to early 1900s, covering a total of 500 house near the theatre into a functioning Historical Collections formed the perfect m2. At present, the majority of them are storage, complete with a reconstructed set of monumental objects for large stored in the basement of the theatre in sloping stage. The original idea was to student groups to work on. Partnerships unsatisfactory conditions. create an open-storage, where the public were formed with the conservation can see one of the theatre sceneries on programs of the Universities of Cologne Theatres in the 18th and 19th century display. After many years of neglect, and Amsterdam, as well as with theatre had a standard limited set of sceneries. these objects needed to be conserved researchers at the Ibsen Centre in Oslo According to the assessment of fire in- and stabilized before they could go on (UiO). This meant that at times, over 30 surance from 1838 and an inventory list display. This is where the international people were involved in the project in from 1840, by the end of 1838, the theatre summer school came in. one way or another. owned a drop curtain and at least three perspective sceneries: “The wood”, “The Communication and decision-making street”, and ‘“The room” (Parmer, 1988, Organisation and can be a tricky process in such large p.20). Because of its appealing colour communication groups. The more people are involved, palette, the scenery of “The wood”, was the more diverse opinions need to be chosen as the first one to be conserved Conservation Studies at the Depart- considered and allowed to compete (Ven- by the project (Fig. 2). Today, the scenery ment of Archaeology, Conservation ditti and McLean, 2015, section 1.5). But consists of three pairs of two-fold wings and History (UiO) leads the summer do big groups mean big problems? This (350 x 200 cm), four cloud borders (60 x school project. This entails fundraising, article will address the collaboration and 800 cm), two single trees, and a backdrop being the central contact between all decision-making in the Halden project (400 x 800 cm). Initially, the wings con- parties, practical organisation, develop- on different levels. sisted of five pairs of single flats, which, ing online teaching material, running when in use, were directly nailed to the the projects blog and writing reports. 1. The interior of the theatre with a modern scenery of the street painted in the 1980’s. poles at either side of the scene. Parmer Lecturers at the Universities of Amster- The theatre and its (1988, p.21) mentions that according dam and Cologne are responsible for the sceneries to a newspaper article the motive was design of the documentation system and a spruce wood until 1897 when it was are taking the lead in the development of Fredrikshalds Theatre opened in March changed into a deciduous wood. In 1916, the conservation treatment and the test- 1838 and it is the only completely pre- the ten single flats were converted into ing of methods and materials. Each of served Baroque theatre with a slanting five freestanding folding frames. A new the education programs selects its own stage and perspective scenery in Norway double flat completed the three pairs of students (Bachelor and Master level) (Fig. 1). The theatre is unique, as it was double flats (Parmer, 1988, p.21). The old for the summer school. All parties are a bourgeois rather than a royal thea- canvas and, to some extent, the frames involved in setting up the program for tre, like many others in Europe. It also were re-used. The technique is glue- the two week on-site course and taking represents the transition from baroque or oil-bound matt paint on canvas, in part in teaching. The museum in Halden to modern times. The theatre went from mainly greens, yellows and red-browns. provides the monumental and unique oil and gas lamps to electric light, from Theatre painter Rudolf Krog was respon- objects to work on as well as work and single flats to closed decorations and sible for the drastic changes and he also lunch facilities. Furthermore, a mem- from sceneries for the perspective stage painted a new backdrop and four borders ber of staff is dedicated to the project to to sceneries for a small and wide stage. (Parmer, 1988, p.21). The two single trees assist with solving practical problems Both interior and exterior are largely date from 1838 (Parmer, 1988, p. 21). It is on-site, organising tours of the theatre preserved in their original state, as the uncertain whether Krog’s backdrop still as well as contacting local historical owners were relatively poor and could exists. The backdrop that has been used organisations and the media. Museum

2. The backdrop and wings of “The wood” under conservation. 232 Monumental Theatre Sceneries: Big Groups Big Problems? Monumental Theatre Sceneries: Big Groups Big Problems? 233

personnel also take part in discussions on display at the reconstructed stage for opportunity for both individual as well where the point of view of the museum the public to see, functioning effectively as collaborative learning. The emphasis is important for treatments. Finally, the as an open-storage. Precisely how the is on transformative learning by means Ibsen Centre advises on the use, mean- objects would be stored and the require- of interactive knowledge exchange and ing and context of the objects. ments for fastenings were unknown. active use of collaborative dialogue. It The second director thought of mov- also stresses the importance of the rela- One of the challenges of this project is ing the sceneries to the newly finished tion between theory and practice. maintaining a good flow in the commu- storage of Østfold museums, of which nication and organisation of the project. Halden Historical Collections is a part, The course starts with a theoretical e- Successful project management and displaying one of the sets in its original learning part providing lectures on his- communication is about being in touch context, the old theatre, during summer, torical background and completed work, with all parties and keeping everybody when there is no activity in the theatre. a reading list of conservation articles informed, understanding the issues in In each of these scenarios, the amount relating to issues encountered with the the team as well as the issues of the own- of handling and transport involved sceneries and a presentation of the docu- er. Much depends on the project leader will be different, which influences the mentation system used on-site. This being present, visible and engaged with treatment of the objects. The ideas of the information is offered to the students everyone. Due to all education pro- third director are still not known at the via UiO’s learning platform Fronter, with 3. Students having a group discussion. grammes having different schedules, moment of writing. The conservation the aim to acquaint students with the all lecturers having a heavy workload line taken for the moment is to stabi- project before coming on-site. However, and in addition being geographically lize the objects, so they tolerate being it is problematic to get foreign students spread, the communication has not been moved, and at the same time, to respect registered in Fronter for courses that run as efficient as wished for. To improve the integrity of the objects as much as outside regular term times, resulting in communication, the video-conferencing possible. students gaining very late access or no a tour around the theatre to learn about chance to work with the profession in the ous substances on cultural heritage program Adobe Connect was taken on. access at all to course material. In the the context, lectures from the theatre English language. Writing the blogposts, objects is a well-known fact and can be This tool has the advantage over e-mails future, a free online file-transferring historian and discussions about treat- giving presentations and informing the dealt with. However, these large objects in that decisions can be made there Educational opportunities platform will be used to avoid these ment with or without the owner present. public at the open day, as well as talking could potentially contain large amounts and then, which eliminates waiting problems. In addition, the acquired knowledge is to journalists, are all seen as a good way of hazardous substances and, in addi- time for answers/responses. However, Within the conservation profession, it communicated by writing a blogpost, to practice communication, and to give tion, those exposed to the danger would video-conferencing is not effective is recognized that students need the The second part of the course is an in- organizing an open day where members students the feeling that the project be students. This could only be resolved when conservation treatment decisions opportunity to learn professional skills tensive two-week program taking place of local historic societies are invited for gets attention and that they are part of a through investigating the extent of the need to be made. Here, direct consulta- and commonly, this is achieved through in Halden. Here, the focus is on gaining a tour of the old theatre followed by a worthwhile project. problem and whether exposure on some tion with the object is a must, and this internships. Another way of providing hands-on experience, getting insight presentation and demonstration of the level was acceptable. requires plenty of time to find a suitable this experience is by means of intensive into conservation decision-making and ongoing conservation work by students date for all parties to be present. To avoid on-site projects supervised by lecturers/ practicing communicating conservation. and speaking to journalists. Unpredictable problems Analysis with portable X-ray fluores- this problem in the future, all treatment tutors. Besides dealing with treatment To complete as much as possible in two cence (pXRF) taken during the inves- decisions for the next session are made of objects in a real-world context, these weeks, the members of the diverse stu- The evaluations of the course show that It is not only students that benefit from tigation and documentation of the by the end of the summer school, with all projects offer potential learning benefits dent group need to get acquainted with students are very pleased with the pro- this collaboration effort; the project wings and backdrop in summer 2012, parties present. of group work, such as interpersonal each other very quickly. To achieve this, gramme and find it very fruitful to work also provides opportunities to lectur- revealed the clear presence of copper skills, team working and communica- students have a 1.5 hour session of trust- in diverse international groups. They ers. For example, working with partner (Cu), lead (Pb) and arsenic (As), though Another complication is the change of tion. However, educational literature building and ice-breaking exercises on especially appreciate the large content institutions means a broader expertise their source was unclear. The museum directors at Halden Historical Collection. points out that assigning group work the first day of the summer school with of practical work, which allows for ap- base, leading to interesting professional was informed and in the first instance, To continue the collaboration, it requires is no guarantee that these goals will a dramatist from the National Theatre plying knowledge gained in an academic discussions and resulting in well-evalu- the partners agreed that staff from UiO establishing a new relationship with be achieved. In fact, group projects can in Oslo. On-site, students work in three environment to a real world conserva- ated conservation solutions. The project would investigate the source of these each director: who does what, what the backfire badly when they are not de- diverse groups (ca. 6 students each) of tion project and getting acquainted with offers new insight in conservation issues hazardous elements. The pXRF meas- expectations are and who is responsible signed, supervised and assessed in a way mixed education level (BA/ MA), nation- real problems. They learn a lot in a short and teaching methodologies that also urements and analyses of cotton-wool for paying for which part of the project. that promotes meaningful teamwork ality and conservation discipline (Fig. time, not only from the lecturers, but es- can be used in on-campus courses and buds with the colorimetric Merckoquant As every conservator knows, the future and deep collaboration (Van Rheede van 3). In 2014, students came from Cologne, pecially from each other. Their different improves the overall quality of teach- Arsenic test of two samples of a range of use of the objects determines to a certain Oudtshoorn and Hay, 2004, p.139).The Amsterdam, Sweden and Norway and backgrounds, both different education ing. However, on-site projects can also pigments clearly showed high amounts extent the conservation treatment. The pedagogical approach of the project is from the disciplines of painting, objects, establishment and discipline, encour- introduce unpredictable problems that of arsenic for the light green colour and aim of the first director was that all that of blended learning. The course has metal, paper and interior design. Small ages the exchange of ideas and con- need resolving. In the case of the Halden none or negligible amounts in the other scenery parts would be stored in the new a detailed program with a range of dif- group treatment exercises are alter- servation knowledge. For a number of summer school, this came in the form of colours. This was confirmed by analysis storage and one particular set would be ferent learning-activities, allowing the nated with large group activities such as students, it was an added bonus to have a poisonous pigments. The use of danger- of scrapings with Scanning Electron 234 Monumental Theatre Sceneries: Big Groups Big Problems? Monumental Theatre Sceneries: Big Groups Big Problems? 235

with the objects, if gloves were worn monly can be expected. The activities References and possibly safety masks. The lecturers performed during the air sampling FIEDLER, I. and BAYARD, A.(1997) Emerald Green from Cologne had not seen the objects at consisted of conservation activities and Scheele’s Green. In FITZHUGH, E.W. (ed). Artists’ Pigments. A handbook of Their History and the time, and the lecturer from Amster- that students would perform dur- Characteristics. Vol. 3, Chapter 8. New York and dam had noticed pigments on the hands ing the summer school. All activities Oxford: Oxford University Press. of one of the students during the sum- that could possibly lead to exposure of GETTENS, R. J. and STOUT, G. (1966) Painting mer school; cleaning tests had shown contaminated air were undertaken by Materials. New York: Dover Publications. pigments to rub off on polyurethane the person carrying the personal air sponges. They requested that further sampler (Fig. 4). The fitting of the equip- KEUNE, K. and BOON, J. (2011) Can dispersed and migrated arsenic from degraded pigments in research into the extent of the danger ment, calibration and change of filters paintings be a marker for water-linked transport was undertaken. As there was no time were performed by the occupational processes. In ICOM-CC 16th Triennial Conference. to provide hard data before the start of hygienist. She also kept a diary of the Lisbon, 19th to 23rd September 2011. Available from: http://www.restauratoren.nl/upload/ the summer school, it was decided to time that each activity took. Measure- documenten/1609_263_keune_icom-cc_2011.pdf cancel the project for June 2013. This ments were taken over six hours, equal (Accessed 10th October 2013). meant also that funding received from to one working day. The air samples PARMER, V. (1988) Fredrikshalds teater 1838-1988. Erasmus Intensive Programmes had to were analysed by RPS, an independent Halden: Halden Historiske Samlinger. be returned. advice and engineer bureau for environ- ment and security questions in Breda, SEYMOUR, K. (2014) Balancing knowledge and practice through repetition and reflection. Sine New funding was received from the Netherlands. De Graaf’s final report scientia ars nihil est-without knowledge, skill is Department of Archaeology, Conserva- concluded that it was safe to work on the nothing. In CeROArt Teaching Conservation-Restora- tion and History (UiO) to undertake a objects without masks, but the partici- tion, Symposium 26th March 2014. Baatz, W. (ed.) Available from: http://ceroart.revues.org/4206 systematic mapping of the presence of pants were required to wear gloves and (Accessed 17th February 2014). hazardous pigments and measurement wash hands before eating and drinking. of the exposure to lead and arsenic for The second summer school took place The ENCoRE Document on Practice in Conserva- tion-Restoration Education (2014). Available from: participants working on the objects. To with funding from Erasmus Intensive http://www.encore-edu.org/PracticePaper2014. assist with the analysis, conservation Programmes in 2014. html. (Accessed 17th February 2015). 4. Magnhild with a personal air sampler. The sampler (a) is positioned as near to the breathing zone as possible, the air pump (b) scientist Hartmut Kutzke (Cultural The document of Pavia (1997). Available from: is positioned at the back with a belt to allow freedom of movement. The insert shows the filter holder in the sampler. History Museum, University of Oslo) http://www.encore-edu.orgPaviahtml?tabindex=1 and painting conservator Magnhild Conclusion &tabid=188. (Accessed 17th February 2015). Aasen (National Gallery, Oslo) were VAN RHEEDE VAN OUDTSHOORN, G.P. and engaged for the project. The health and Organising projects involving a diverse HAY, D. (2004) Group work in higher education: safety section at the University of Oslo group of people with different functions a mismanaged evil or a potential good? South had difficulty to find an institution that and tasks will always lead to unpredict- African Journal of Higher Education, Vol 18 (Issue 2) p.131-149. could undertake exposure measure- able problems. The incident with the ments and with the help of University of poisonous pigments could easily have VENDITTI, P. and MCLEAN, S. (2015) Exploring Amsterdam, an occupational hygienist, been the end of the project. However, group communication (v.1.0). Flat world. Available from http://catalog.flatworldknowledge.com/ Microscopy with Energy-dispersive X- migration of arsenic had taken place. green is readily decomposed by acids Mariette de Graaf, was hired. In col- trust in the project from all parties catalog/editions/venditti-exploring-group-com- ray (SEM/EDX) undertaken in Cologne. The lead stemmed most likely from the and by warm alkalis and is blackened laboration, the type of tests to be taken involved, created during a very success- munication-1-0. (Accessed 2nd February 2015). Based on the mint-green colour and yellow or white colour. by heat. In moist environments, mould was decided upon. The tests consisted ful first season and enthusiastic student ZIESKE, F. (1995) An investigation of Paul the date of the paintings, the poisonous can convert the arsenic into arsine gas of sampling by tape lifts on the back of reports, as well as respect for the view Cézanne’s Watercolours with emphasis on Emerald

pigment was identified as most likely to Emerald green (also known as imperial (AsH3), which is very poisonous on inha- canvas and the surface underneath the of others, willingness to collaborate and Green. The Book and Paper AnnuaI. Vol. 14, 1995. be Emerald Green, which was later con- green, Veronese green, Schweinfurt lation (Gettens and Stout, 1966, p.113). object, as well as pXRF, sponge sampling taking the appropriate steps meant that The American Institute of Conservation. Available from: http://cool.conservation-us.org/coolaic/sg/ firmed via Raman analysis. According green) is a copper(II) acetoarsenite and scrapings of all colours of two wings this problem was solved. In general, the bpg/annual/v14/bp14-09.html. (Accessed 25th

to research scientists Katrien Keune and (Cu(CH3COO)2. 3Cu(AsO2)2 that started After the results became known, an and the backdrop and four cross-sec- better prepared one is and the more open June 2013). Paul Boon, arsenic in degrading arsenic to be used as a commercial pigment in intense discussion between the parties tions. the communication, the easier it is to containing pigments in oil paints can 1814 (Fiedler and Bayard, 1997, p.119). For followed. Inhalation formed the largest deal with the unknown. When working migrate (Keune and Boon, 2011, p.1), and reasons of toxicity, the pigment was used threat, but as long as the pigment was In addition, air samples were collected on international projects, allowing extra on the request from Amsterdam this less and less by the end of the nineteenth bound, it was safe to work with the ob- with a personal air sampler (PAS) to time for communication and organisa- was checked through pXRF measure- century, but did not disappear as an art- jects. The Norwegian lecturers, having measure inhalation exposures of arsenic tion is a huge advantage. So, big groups ments from an area covered with paint ist colour until the 1960s (Gettens and investigated the objects recently, evalu- and lead. A worst-case scenario was big problems? Yes, in some cases, but and just outside on the wooden frame. Stout, 1966, p.113; Fiedler and Bayard, ated the pigments to be bound, albeit created by causing more vibrations with the right approach (and a bit of The pXRF readings indicated that no 1997, p.219-225; Zieske, 1995). Emerald loosely, and considered it safe to work when handling the objects than com- luck), these problems can be overcome. 236 237

Marleena Vihakara Keywords: barcoding Everything moving collections – managing inventory workflow barcode condition survey and agile inventory move of two historical condition survey collections in the national library of finland

Abstract The restoration and conservation of the main building of the National Library of Finland took place in 2013. This project was preceded by moving the collections to relocated storage areas. Two collec- tions with high historical value and importance required a detailed move plan designed by a conservator. Moving these two collections that comprise an initially estimated 13 000 –15 000 items all together gave an opportunity to execute the inventory and the individual condition assessment survey alongside packing and relocating. The successful implementation of the project in a very tight time frame was enabled by the excellent cooperation of a small team barcoding every item, an agile inven- tory and a condition survey system and a customized workflow. 238 Barcoding Everything – Managing Inventory, Condition Survey and Move of Two Historical Collections in the National Library of Finland Barcoding Everything – Managing Inventory, Condition Survey and Move of Two Historical Collections in the National Library of Finland 239

Introduction finished by the end of 2015. Prior to the renovation, all the collections in Engel A collection move gives a unique op- were moved to allocated storage places. portunity for comprehensive checking Among these were two collections with and inspection of the collection. As each historical significance and value: the individual library item will anyhow go Monrepos Library collection and the old- through handling when being moved est part of the General Collection. from its original place to the new loca- tion, it is very adequate, advantageous To manage the complex job of mov- and timesaving to simultaneously carry ing these two big historical collections out the procedures important for the with thousands of individual library collection’s management and care: in- items made of versatile material and ventory, individual condition assessment techniques, differing in size and condi- survey and surface cleaning, prior to tion, careful designing and a detailed packing and moving collection items. plan was needed. The first step was to determine the necessary and suitable Inventory is an important collection processes and to create an efficient management tool that gives infor- workflow while optimizing the restrict- mation about the physical content of ed resources within the 3 month time. the collections. It provides details of This starting point had an impact on the 2. Identified bindings in the Monrepos inaccurate and incomplete records, need to design an agile method where collection uncatalogued items and items that are two processes in the workflow were on loan, missing or have been relocated. combined – the inventory and condition Individual identifiers in the form of opti- assessment survey. This system required cal machine-readable representations of barcoding everything; not only every data such as barcodes or QR-codes or any single library item within the collec- other form of automatic identification tions, but also the different inventory and data-capture (AIDC) technologies and condition assessment fields in the like RFID and magnetic stripes make system. The software was further devel- it possible to handle a large amount of oped during the project and the result data collecting and management when was something that can be used as a col- linked to a database or a library cata- lection management tool in the Library logue. In moving library collections, an in the future as well. individual identifier is not only neces- sary when carrying out inventory, but is The Monrepos 1. The oldest part of the General Collection in the 3rd floor of the Cupola Hall. Image by Sanna Järvinen@Kansalliskirjasto also an important tool for tracking the Library collection item. The Monrepos Library collection was An individual item condition assessment collected by Ludwig Heinrich von Nico- survey gives more detailed information lay (1737-1820), a German writer and a about the condition of the collection court officer in St Petersburg, and his than a condition assessment survey son, diplomat Paul von Nicolay (1777- that is based on sampling. It allows one 1866), who both lived in the Monrepos to precisely determine the collection manor house in Vyborg, Finland. In 1916, problems, thus helping define detailed During World War I, the collection was conservation, preservation and digitisa- donated to the Helsinki University and tion needs of the collections. was stored in the University Library that has been the National Library of Finland The main building of the National since 2006. The collection consists of Library of Finland, Engel, has been under mainly 18th century bindings, but also renovation and conservation since includes material from the 15th to the late 2013. The work is scheduled to be 19th century (Havu, 2006). Most of the 240 Barcoding Everything – Managing Inventory, Condition Survey and Move of Two Historical Collections in the National Library of Finland Barcoding Everything – Managing Inventory, Condition Survey and Move of Two Historical Collections in the National Library of Finland 241

bindings are series of publications even collection was assumed to be moderate reference number. The volume of the in size and binding style. The volumes and although the Monrepos Rooms were collection on the 3rd floor of the Cupola are full leather or half, one quarter or not environmentally controlled, the Hall is 350 shelf meters and the amount three quarter leather bindings with surrounding conditions appeared to be of catalogued items was 8000. The real paper covers. Some books are full silk or reasonably stable. amount of bindings was estimated to be parchment bindings. over 10 000.

The majority of the Monrepos Library The oldest part of the The collection consists of bindings from collection was stored in two rooms on General collection the 17th century up to the 20th century, the second floor of Engel. A part of the varying in style, material, size, struc- batch, mainly the folio-sized books, has The oldest part of the General collec- ture and condition. The bindings before been stored in the Library’s under- tion was housed on the third floor of the 17th century had previously been ground safe storage, The Cave, for the the Cupola Hall in Engel. It originates moved to the Rare Collections. There are past 15 years. The Monrepos Rooms form from the time when the main Univer- full leather bindings, half and quarter a separate space from the other collec- sity moved to Helsinki in 1828, after the leather bindings with paper covers, tex- tion halls and reading rooms in Engel great fire of Turku in 1827. The great fire tile and parchment-bound books, case and only have access via a staircase. The destroyed most of Turku, including the bindings with textile covers, paper bind- bindings in the rooms were stored in 32 Turku University Library and its col- ings, leaflets and single sheet material in book cabinets forming the volume of 275 lection of 40 000 bindings. Only around the collection. 3. Inventory slip for a General collection item shelf meters. Around 3000 of the bind- 800 bindings, that were on loan at the ings had been catalogued, but the real time, remained and most of the archives The condition of the items on the 3rd amount of the bindings before the inven- survived. floor of the Cupola Hall seemed to be tory was estimated to be approximately from fair to poor. Heavy surface dirt was 7000-8000. The new University Library building in apparent. Many of the leather bindings Helsinki designed by the architect Carl suffered from red rot, a deterioration of The most commonly appearing damages Ludvig Engel (1778-1840) was finished the vegetable tanned leather, causing within the Monrepos Library Collec- and put to use in 1845. When the Library the leather to lose its strength and turn all year round. As it is located right by and to pack and track library items dur- The processes tion are insect damage, leather spue was opened, the Public Collection of the into a red powdery substance. Mechani- the main entrance, the airflow brings in ing the move. and the workflow and stains of moisture or water dam- Senate was housed on the third floor of cal damage on covers, spine and binding outdoor air with dust and pollution. As a age that had been followed by mould. the Cupola Hall. This cirka 6000 binding was common: tears on the spine and consequence of the ceiling window, the The plan was further customized to The processes in the workflow were The insect damage was assumed to be collection consists of items gathered joints, missing spine pieces, scratches to 3rd floor collection had been under the suit the Engel’s historical collections by inventory, the individual condition as- from the time when the collection was together from all around Finland after and losses of the cover material, along influence of high levels of natural light observing different aspects that would sessment survey, and surface cleaning of still housed in Monrepos manor house. the great fire of Turku, donations by the with the expansion and contraction and direct sunshine for nearly 200 years. affect the workflow and the risks they the items followed by packing and trans- Leather spue, causing a white and sticky Russian government and the library of of the parchment, causing the cover All these surrounding environmental would involve. The collection’s location porting them to the underground safe surface to the leather bound books, had Matthias Calonius (1738-1817), a Finnish boards to bend. A closer look at the factors speeded up different degradation in the building, as well as the condi- storage area – The Cave. These stages formed after the books had been treated procurator. The collection grew during bindings also revealed deterioration to processes of the collection. tion of the bindings, determined how were divided between the operators: a with the British Museum’s leather the decades from donations and Legal text blocks: heavy surface dirt, chemical the items would be moved to the new conservator, a conservation trainee, a dressing in the 1970’s (Sallas, 2004). The Deposit Act items (Pärssinen, 2005). damage caused by the printing ink or storage location safely yet efficiently. Special Collection’s librarian and two leather dressing had prevented red rot in some cases corrosion of iron-gall ink, Planning Also, the volume of each collection was part-time library assistants. The key from appearing, but the sticky covers ad- The collection had been housed in acidity of the paper and foxing, just to the collection move measured and the commonly appear- person behind everything was the infor- hered easily to the adjacent books, hence the original open pine cabinets called name a few. ing damages on both collections were mation system specialist who trans- causing more damage. The collection armaario since 1845; the first book that The plan for moving the collections was mapped to define the fields for the condi- formed the ideas into working tools. had been affected by water and moisture was placed on the first shelf of the first The Cupola Hall is a beautiful, but not implemented following the British Li- tion assessment survey form. Surface on its previous storage location, before cabinet had remained in its place until a collection-friendly space. The book brary’s Packing and moving library and ar- cleaning methods and tools were tested The inventory consisted of three parts: it was housed in the Monrepos Rooms. the collection move took place in spring cabinets and shelves made of pine were chive collections hand-out (Bendix, 2005). to suit the material. The time used to identification of the item, taking a refer- It had then gone through rescue and 2013. The cabinets on the 3rd floor of the of standard size and in places too shallow In addition, international projects, such perform particular work processes was ence picture and feeding the data to the conservation work, but parts of it still Cupola Hall are numbered from one (1) to for the bindings. Some shelves were too as moving collections in St. Catherine measured and different ways to run the electronic database. suffered from inactive mould damage. 33 and nearly every cabinet has eight (8) packed and removing items from them Monastery Library in Sinai (Bendix, processes were assessed. Regardless, the Other problems frequently present shelves. Every book placed on the shelves easily caused damage to the bindings. Velios, 2011), provided inspiration and work process underwent further test- For the inventory, an inventory slip with were surface dirt and foxing, along with during the years had a location reference The Cupola Hall is not environmentally useful and important information on ing and development during the actual an individual identifier, a barcode, was chemical and mechanical damage to the number written inside its back cover, controlled and has had high fluctuations how to create an efficient workflow for project to make it more efficient. created. Barcodes are convenient to gen- text block. The overall condition of the which was also used as the collection in temperature and relative humidity moving large collections, use barcodes erate, as the internet is full of barcode 242 Barcoding Everything – Managing Inventory, Condition Survey and Move of Two Historical Collections in the National Library of Finland Barcoding Everything – Managing Inventory, Condition Survey and Move of Two Historical Collections in the National Library of Finland 243

generators and barcode fonts are easy from Finnish museums, libraries and pinpoint the problems of the collections to download to any computer. Barcodes archives. Images for the conservation more precisely. The condition survey have been used in the library’s cata- documentation were also taken in a was divided into three different groups: loguing system already, hence optical similar way. “Description”, “Damages” and “Recom- barcode readers were readily available. mended action”. “Description” included With the aim to create an efficient and fields for the binding type, style and Two types of inventory slips were agile workflow, the inventory and condi- cover material. In “Damages”, the fields produced. First, the library catalogue tion survey were combined together. The were listed according to the ones most information of the items was converted software was created with the Access commonly appearing in each collection. from Voyager into an Excel spreadsheet. database management system. It had a general part and two sub- From the Excel, an inventory slip with groups: damages in “binding” and “in a barcode, collection reference number In practice, scanning the inventory text block”. The “Recommended action” (signum), bibliographic id number and slip with an existing catalogue bar- had the fields “monitoring”, “protection/ bibliographic information (title, author, code automatically filled in the fields of housing”, “binding repair”, “conserva- date) was printed. Secondly, ‘empty’ title, collection reference number and tion” and “digitization”. Items that did inventory slips with KKM-codes, a bibliographic id number. In addition, the not need any action were marked as particularly defined barcode space for inventory part included fields like “miss- “OK”. The degree of damage and condi- the project, were printed. In these slips, ing”, “on loan”, “relocated” and “metadata tion, good-moderate-poor, was deter- the collection reference and volume error”. For the uncatalogued items, the mined by the recommended action, i.e., numbers were written by hand during KKM-barcode was scanned, yet a cata- a binding that has damages, but needs the inventory. loguing reference and a volume number monitoring or no action is in good condi- was typed in by hand. tion, a binding that has damages and A reference image of the title page with needs either protection or binding repair bibliographic information was taken When the condition survey format was is in moderate condition, and a binding with the inventory slip. The barcode designed, the purpose was first to cat- that has damage and needs conserva- connected the image with the inventory/ egorize condition surveyed items only by tion is in poor condition. The electronic condition survey information collected the recommended action, i.e. no action inventory/condition survey form also on the item. These images will be linked needed (OK), protection needed or need- had an open field for writing notes. 4. Reference imaging of the General collection items onto Finna, a search service entity ing conservation. However, it was felt that provides free access to material necessary to collect more data in order to

5. Scanning the inventory slip of a Monrepos item 244 Barcoding Everything – Managing Inventory, Condition Survey and Move of Two Historical Collections in the National Library of Finland Barcoding Everything – Managing Inventory, Condition Survey and Move of Two Historical Collections in the National Library of Finland 245

The inventory/condition survey was Hall. As the amount of fields in the “Dam- For both collections, precise calculations done using different techniques for ages” part increased with the Cupola were done to evaluate how many crates each collection. Each condition survey Hall collection, the inventory/condition and trolleys would be needed daily to field was changed to a barcode form. survey system was customized yet again. have the logistics running fluently. For the condition survey of the Mon- This time, an investment was made to repos Library items the inventory slip bring in a new tool: a touch screen for the had an “OK” barcode as a default. Some computer. The inventory/condition sur- Implementing the plan and of the “Damage” and “Recommended vey fields were filled either by selecting the system action” fields were combined together, and scanning the barcode from a printed i.e., “leather spue+protection” or “mould list or by selecting them from the form on All the work stages of the project had damage+conservation” which was found the touch screen. Using the touch screen been designed so that they could all be practical to speed up the survey process. felt like a jump from the past century to run separately from each other. The The different condition survey barcodes the next; this method made it possible to work started in the Monrepos Library were printed as stickers that were manage the inventory/condition survey collection. The areas of responsibility adhered onto the inventory slip during of up to 1000 items per day. were divided between the operators. The the survey. If a binding had a damage, conservator and the conservation train- a barcode sticker was adhered on top of The new storage location for the collec- ee performed a wide array of processes the “OK”. The slip was folded in two to tions was in the Library’s underground would perform a wide array of processes: prevent contact between the stickers space, The Cave, that is an environmen- identification, surface cleaning, refer- and the item. In the end, all the inven- tally controlled area with temperature ence photographing, condition survey, tory/condition survey barcodes were measuring +18 °C +/- 1 °C and 45% +/- 5% inventory/condition survey data input scanned into the database. This system with relative humidity. The Monrepos and packing. The librarian concentrated enabled entering inventory/condition Library Collection that had no other exit mainly on the identification and helped survey information of 400-700 items per other than a staircase was moved using with the reference photographing two 7. Different condition survey fields barcoded day. crates. The oldest part of the General part-time library assistants did the Collection was moved from the 3rd floor reference photographing and took care While working with the Monrepos collec- of the Cupola Hall using book trolleys, as of the packing and unpacking of items. tion, it became obvious that the barcode the inventory/condition survey was done The shifting of the book crates was done sticker system would not be feasible for outside the collection space and there by an external company and the book the items on the 3rd floor of the Cupola was an elevator connection to the Cave. trolleys by the library assistants.

The work began with item identification, identification and surface cleaning, the Results of the inventory/ i.e. giving each item a correct inven- librarian on the identification and the condition survey tory slip, or by surface cleaning, which part-time assistants were running the was done using a Museum Vac® with reference photographing and logistics. The total amount of the bindings of both vulcanized rubber wrapped around the As the volume of the collection was high, collections was 21 637, over 6000 more hose or conservation microfiber cloth. certain restrictions were made to the than initially estimated. The inventory During these processes, some items were process. The reference photographing of the Monrepos gave the result that the already pre-surveyed and given a colour- was done to all items dating before 1800, collection includes 9433 items. Over 6000 coded slip to indicate certain damage. but not to the 19th and 20th century, items were uncatalogued and given a All mould affected items were isolated unless they were uncatalogued or had KKM-barcode. The main condition prob- from the collection immediately for a cataloguing or metadata fault. All the lems with the collection were damages cleaning and were treated during 2013-15 folio-sized bindings, around 300 pieces, to covers and binding (857), moisture by the Library’s Conservation unit. The were very heavy, hence time consuming damage (509) and leather spue (443). 245 workflow was completed in the Conser- to handle. In consequence, they were bindings were mold damaged.10% of the vation unit after mould-removal. identified, but then sent to the Conser- collection needs an action taken, mainly vation Unit to have the other work stages protection/housing (445) and conserva- The responsibility areas were divided finished later on. The items in need of tion (356). The overall condition of the the same way as in the Cupola Hall, al- urgent conservation were separated ad collection was moderate. though the conservator focused mainly hoc after the inventory/condition survey. on identification and inventory/condi- The move of the collection items to The The inventory of the oldest part of the tion survey, the conservation trainee on Cave was done day-to-day. General Collection gave the result of

6. Inventory/condition survey form on a touch screen used for the oldest part of the General collection 246 Barcoding Everything – Managing Inventory, Condition Survey and Move of Two Historical Collections in the National Library of Finland Barcoding Everything – Managing Inventory, Condition Survey and Move of Two Historical Collections in the National Library of Finland 247

12 204 bindings. It revealed catalogu- an individual barcode that was essential Acknowledgements ing problems; hundreds of items had in collecting and handling information I would like to thank Jukka Kervinen, Hanna-Leena multiple barcodes and meta data faults. in a high volume and forming software Vainio, Mika Hakkarainen and the rest of the team. I also thank Sinimarja Ojonen for all her help. The result of the condition survey was that collected both the inventory and that nearly half of the bindings from condition survey data simultaneously. 17th to 19th century are suffering from This joint inventory and the individual References damages. 31,5% of the items will need condition assessment survey collected BENDIX C. (rev. 2013) Moving Collections, British further action taken, mainly protective key information on the items without Library Preservation Advisory Centre. First published January 2005 as Packing and moving housing (2027) binding repair (671) and going into too much detail. The efficien- library and archive collections Revised August 2013. conservation. cy of data collection was improved by Available from: http://www.bl.uk/aboutus/strat- barcoding each field in electronic form polprog/collectioncare/publications/booklets/ moving_library_and_archive_collections.pdf. and by using technical utilities such as a [Accessed: 10.12.2012] Conclusions and barcode scanner and a touch screen. The discussion item identification and giving the inven- BENDIX C., VELIOS A. (2012) Storing library collections: A workflow for packing and tracking tory slip was the most time consuming items in the library of the St. Catherine Monastery, Library collection moves provide a great part of the work while carrying out the Sinai, Proceedings of the thirteenth international opportunity to carry out important inventory and the condition survey was care and conservation of manuscripts seminar held at the University of Copenhagen 13th–15th April 2011, collection management tasks, such as the most time efficient. The inventory/ Museum Tusculanum Press. inventory and condition assessment condition survey system enabled data surveys, and improve the condition of a collection of up to 1000 items daily. HAVU S. (2006) Monrepos’n kartanon kirjasto - Eu- rooppalainen Monrepos. Kansalliskirjaston Gallerian collection. Nonetheless, these tasks can julkaisuja; 8, s. 18-21. easily become challenging to execute, Several modifications in the workflow, as they involve handling thousands of software and database were needed PÄRSSINEN L. (2005) Kokoelmarekisteri. Available from: http://www.doria.fi/bitstream/ library items that vary in style, mate- before and during the project to find handle/10024/94313/Kokoelmarekisteri. rial, size and condition in a very tight optimal efficiency and an agile way to pdf?sequence=2. [Accessed: 11.12.2012 ] time frame with a limited work force and work and collect data. A customised WINTERHALTER K., BONSDORFF M. (2011) other resources. move plan, joining together the exper- Kansalliskirjasto - Päärakennus ja Rotunda raken- 8. Work in process in the Cupola Hall tise of a conservator and an information nushistoriaselvitys, Available from: http://www. The move plan for two historical collec- system specialist in order to create the kansalliskirjasto.fi/extra/Rakennushistoriaselvi- tys_220911.pdf. [Accessed: 10.12.2012 ] tions in the National Library of Finland inventory/condition survey system and was based on the goal to execute the de- software and the skills, adaptability and sired work stages in as agile and efficient hard work of the operators during the way as possible, but without compro- project were all fundamental to success- mising item safety. This objective was fully complete the move of the historical accomplished by identifying items with collections of Engel.

9. Work in process in the Monrepos collection posters 250 Restoration of a Monumental Tapestry in Gothenburg Concert Hall Restoration of a Monumental Tapestry in Gothenburg Concert Hall 251

Lotti Benjaminson Keywords: with straps for hanging the tapestry on a pine rod, attached to the wall with iron tapestry consoles. The tapestry was previously washed in 1985 and received its current restoration of a washing mount at that time. That mount is now inadequate for its purpose. wet vacuuming monumental tapestry in The tapestry has faded and is dirty, sleeve mounting especially the upper part. The mounting does not support the textile adequately, gothenburg concert hall support producing fractures that can be seen in the upper part of the textile. Despite the support of the flax cords on the back, the tapestry has lengthened by 15 cm from when it was washed in 1985. The tap- estry is not completely flat, with slight evident waves as it hangs. Abstract ment itself is not unusual. It is unique the textile while it was being washed Poster due its size which affects planning and cleaned. Following cleaning, an im- A suitable facility was found with suf- This poster describes a traditional with respect to facilities, logistics and portant part of the conservation was to Studio Västsvensk Konservering - ficiently large areas, hot water, drainage restoration/conservation cleaning and equipment. In order to clean the object, support the tapestry, so that it could be Västarvet has many years of experience and equipment for drying. A pool was support of a large, 60 m2 tapestry. As the it was necessary to build a temporary hung, raised and lowered with minimal working with large tapestries. This built using wooden beams and tarpau- tapestry is in good condition, the treat- pool containing a plastic grid to support risk of damage to the textile. poster presents the conservation of a 60 lins with a plastic grid inside the pool to m2 tapestry, “Melodies in the square”. The support the tapestry. tapestry needed cleaning, a new mount- ing system and protection against light. Berol 784, an anionic/non-ionic deter- gent (1 ml/l water) was used for the wet The tapestry (935 x 630 cm, 120 kg), one cleaning. The tapestry was cleaned on of the largest and finest in Sweden, was the front side using soft rollers before specifically made for the foyer of the it was turned and the back side washed 2. Washing the tapestry. Photo: Västarvet. Gothenburg concert hall when it was with a fresh washing solution. After- 3. Vacuuming the tapestry between built in 1936. It was designed by Sven “X- wards, the tapestry was rinsed by spray- washings. Photo: Västarvet. et” Erixson and woven using traditional ing it 4 times. After each washing and tapestry techniques by Handarbetets rinsing the tapestry was vacuumed from Vänner, led by the textile artist Barbro the back. It was left to air dry before it Nilsson. In its current location it is ex- was stretched. posed to the damaging effects of daylight from adjacent windows and soiling from The new mount will consist of a fabric pollutants. sleeve, a light-weight metal rod and a sewn support fabric that covers a quarter The conservation work described in this of the tapestry. The rod and tapestry will poster is both ordinary and extraordi- then be hung on a movable beam that nary at the same time. The object’s size will allow it to be raised and lowered. is challenging, particularly with respect to handling, management and organiza- With these conservation and preventive tion of facilities and equipment. actions, including improved air purifica- tion filters and recommendations to re- The high-quality tapestry is in good duce exposure to ambient light, it should condition. It was originally supported be at least 50 years before the tapestry with closely-spaced, vertically sewn needs to be washed again. The movable cords made of flax at the back. Along the beam will also make it much easier to upper edge, there was narrow webbing regularly vacuum the tapestry.

1. Taking down the tapestry was challenging. Photo: Västarvet. 252 Proposal for the Restoration of the Exterior Architectural Decoration ‘Architectonic Commentaries’ (1979-1981) by the Danish Artist Bjørn Nørgaard at the Gladsaxe Main Library, Gladsaxe Municipality Proposal for the Restoration of the Exterior Architectural Decoration ‘Architectonic Commentaries’ (1979-1981) by the Danish Artist Bjørn Nørgaard at the Gladsaxe Main Library, Gladsaxe Munisipalty 253

Elisabetta Bosetti & Ilaria Saccani & Matteo Montanari

Introduction

proposal for The present paper focuses on the pro- posal of a conservation treatment and future preservation of exterior elements the restoration of the belonging to the artwork “Architectonic Commentaries” by Danish artist Bjørn Nørgaard. The artwork, made between exterior architectural 1979 and 1981, is a complex artwork that consists of several elements distributed inside and outside the Main Library in decoration Gladsaxe municipality. These elements are identified as the most vulnerable part in terms of degradation of the ’Architectonic Commentaries’ (1979-1981) by the Danish Artist Bjørn Nørgaard artwork. The study has been conducted in collaboration with biologist Professor at the Gladsaxe Main Library, Gladsaxe Municipality Matteo Montanari.

The inspiration for this article has come from an American study conducted by Professor Richard Wolbers (University of Delaware) and his research group. It is about the formulation of a specific wa- terborne and water-removable coating for art in exterior, particularly for acrylic surfaces in urban environments.

Method

Since the object of the study consists of a large number of elements and of a wide variety of materials, the painted con- crete columns have been selected as the parts of the monument that need a more urgent conservation treatment. Throughout the discussion between conservator-restorers and conservation scientists on the results from optical and chemical analyses, an ad hoc surface treatment has been suggested.

1. The columns in the skylight. 2. Digital microscope images of the samples. 254 Proposal for the Restoration of the Exterior Architectural Decoration ‘Architectonic Commentaries’ (1979-1981) by the Danish Artist Bjørn Nørgaard at the Gladsaxe Main Library, Gladsaxe Municipality Proposal for the Restoration of the Exterior Architectural Decoration ‘Architectonic Commentaries’ (1979-1981) by the Danish Artist Bjørn Nørgaard at the Gladsaxe Main Library, Gladsaxe Munisipalty 255

Results Treatment proposal References WOLBERS, R., A. NORBUTUS and A. LAGAL- The first assumption about the nature • Mechanical removal of the ANTE (2013) ‘Cleaning of acrylic emulsion paints: preliminary extractive studies with two commercial of the paint layer pointed at alkyd. Sub- biological attach with small paint systems’. New insights into the cleaning of sequently, a written conversation with brushes and micro-vacuum paintings: Proceedings from the Cleaning 2010, the artist clarified that the paint is an systems. International Conference, Universidad Politecnica and Museum Conservation Institute. acrylic paint manufactured in Denmark • Since the biodeteriogens are and applied directly with a brush on the active, application of BIOTIN R ANTARES. (2013). ‘Un Aggiornamento bare surface; the columns are a ready- (IPBC Iodopropynyl butylcarbamate sull’Algochene’. Antares Newsletter [online]. Avail- able from URL http://www.antaresrestauro.it/ made concrete mixed with plastic fibres and OIT N-octyl isothiazolinone) in img/cms/newsletter%20algochene.pdf [Accessed: and with a reinforcement of Tentor steel low percentage (3-5 % in hydrocarbon March 30, 2015] inside. solvent). In this phase, water should WOLBERS R. (2014). ‘Giornata di studio Aquazol: be avoided in order to minimize the esperienze ed applicazioni nel panorama italiano and The first optical inspection revealed the effect of migration of high soluble workhsop nuove propsettive e approfondimenti per presence of dirt particles and presum- salts (e.g. Chloride). l’uso di Poliossazoline (Aquazols) Giugno 4, 5, 6 2014‘. Centro Conservazione e restauro La Venaria Reale, ably algal growth. • Extraction of salts with demineral- Torino, Italy. ized water in cellulose or paper pulp. This was confirmed by examinations of • Cleaning the bare concrete parts with samples from deposits at the bottom of demineralized water with 5% the columns with a digital microscope, solution of ammonium bicarbonate where uni- and multicellular algae have in clay. Local cleaning with a pH 6 been detected. With epi-fluorescence, buffer solution (Citric Acid buffer) the red light revealed that the algae are with conductivity of 6mS/cm for in growth. acrylic surfaces (slight chelating action). Through simple micro chemical tests, • Application of a protector (es. Solution the presence of salts in samples from of N-butyl-1,2-benzisothiazolin-3-one three columns has been detected. in White Spirit). • Test for the application of water-borne and water re-swellable coating: Acrylic film former (VSR-50) + PEOX+ ASE-60 thickener.

3. Results of the analysis. 256 Zinc Sculptures in Denmark - Restoration Techniques and Materials Zinc Sculptures in Denmark - Restoration Techniques and Materials 257

Torben Holst & Anders Ekstroem Loekkegaard zinc sculptures in denmark –restoration­ techniques and materials

2. The balustrade of Frederik’s Church. 3. A scene from the paint workshop.

The first zinc sculptures made in Den- balustrade of the church, 25 meters over (Fig. 2). In addition to the sculptures A similar case is ten zinc sculptures mark were cast in 1842 for the facade of the ground are 18 sculptures of saints twenty four zinc vases, each of which from Rosenborg Castle in Copenhagen. St. Ansgar’s Church in central Copenha- and patriarchs, each of which is 3 meters are 3 meters high and placed ten meters The restoration has been taking place gen (Fig. 1). The seven sculptures were high. These sculptures form the biggest above, are also being restored at the in steps since 2009 and the last four cast very poorly, as no Danes at the time single collection of zinc sculptures in Sculpture Workshop. sculptures were remounted on the castle had mastered the right zinc casting Northern Europe. They were created in tower in April 2015. In addition, the method. During restoration in the early the first half of the 1880’s by ten Danish Nearly all Danish zinc sculptures have Sculpture Workshop is restoring some 1990’s, the sculptures were demounted sculptors and cast at four foundries situ- been cast between 1840 and 1920, and zinc sculptures to be erected as part of a and new internal supporting frames had ated in Copenhagen. Each sculpture was nearly all of them have originally been large group of sculptures placed in the to be constructed from iron, in order to cast in many smaller parts from simple painted in order to assemble limestone, Baroque Garden of Frederiksborg Castle replace the original frames, which had sand moulds and assembled by soldering marble or bronze. Analysis suggests that in Hilleroed, and some zinc statues and become too corroded to be repaired. The with tin-lead solder. This method was the paint used at the time was oil paint. fountains from Oslo in Norway. The sculptures at St. Ansgar’s Church are developed by Moritz Geiss in the 1830’s in Tests show that it has a low affinity for many projects restoring zinc sculptures now painted green to resemble bronze Germany for zinc casting. Zinc has a very the zinc surface and peels off after only have required the conservators in the statues. Although old oil paintings high linear coefficient of thermal expan- a few years. The type of paint which Sculpture Workshop to develop special showing the church façade confirm that sion that makes it unsuitable for casting we use today is an acrylic paint system restoration techniques and the use of the statues were painted green when bigger parts, as is done in traditional specially developed to protect zinc new acrylic paints. erected originally, no original traces of techniques such as cire perdue. galvanized steel constructions. The new paint have been found on the statues. colour is often chosen from the colours The eighteen zinc sculptures were found in the analysis of the original Frederik’s Church in Copenhagen is also restored at the Sculpture Workshop of paint layers combined with those used to decorated with zinc sculptures. On the the National Museum from 2003 to 2009 match the colours of stone (Fig. 3.).

1. The facade of St. Ansgar’s Church. 258 The Atom in the Universe - Restoration of the Monumental Artwork by Per Krohg in the Entrance Hall of the Physicians Building at the University of Oslo The Atom in the Universe - Restoration of the Monumental Artwork by Per Krohg in the Entrance Hall of the Physicians Building at the University of Oslo 259

Susanne Kaun Keywords: functionalism the atom in the universe ­ wall painting Restoration of the Monumental Artwork by Per Krohg in the fresco Entrance Hall of the Physicians Building at the University of Oslo glass art restoration asbestos acoustic plaster

2. During the restoration of the fresco parts of the artwork “The Atom of the Universe” by Per Krohg in the Entrance hall in the Physicians building at the University in Oslo. Photo: NIKU/Kaun 2014

Abstract hall is a spacious room that provides tion painter, an asbestos rehabilitation were secured from the inside with a spectacular view of Oslo and the company and other craftsmen. The plastic foil, and the glass was cleaned. In the Physicians building at the Uni- fjord. The centre part is a 13 meter high restoration and rehabilitation work was The movable steel window frames will versity of Oslo, a monumental piece of cube, which is decorated on three sides planned to last about 2 months, but the be repaired by a blacksmith in autumn art covers three walls of the entrance with monumental artwork made as a discovery of an original asbestos ceiling 2015. During the restoration work, it hall. The integrated artwork is made combination of stained-glass and fresco made it a more time consuming and turned out that the ceiling above the art- of a combination of stained-glass and with glass inlays. The artwork covers complex project. work was covered with asbestos, which fresco with glass inlays. It was realized an area of about 260 m2. The famous resulted in a comprehensive asbestos by the artist Per Krohg with help of a artist and member of the artist group The integrated artwork consists of three rehabilitation and a new ceiling covering stained-glass artist in 1938. Restoration frescobrødrene (fresco brothers) Per connected motives: 1) the universe, 2) with acoustic plaster. The new ceiling work performed in 2014/2015 involved Krohg realized the monumental artwork the earth and life and 3) research. Each covering was painted in the original col- conservators (from NIKU), a glazier, a with help of the stained-glass artist motif extends an entire wall, including our. The conservator from NIKU played blacksmith, a decoration painter, an as- Borgar Hauglid in 1938 (Ormestad, n.d.). both mural parts and windows, which an important role as a consultant during bestos rehabilitation company and other The building and some of the interiors, make the artwork so special. The sun the rehabilitation work of the ceiling. craftsmen. The conservator from NIKU including the entrance hall, are listed. light, the source of all life, binds those played an important role as a consultant motives together, leading sun beams during the rehabilitation work of the Based on architectural paint research from wall to wall (Ormestad, n.d.). ceiling. by NIKU in 2012, the entrance hall and stairways were painted in the original Restoration of the fresco parts of the The Physicians Building at the Univer- colour scheme. The restoration of the artwork encompassed cleaning of the sity of Oslo is a wonderful example of monumental artwork was carried out in surface, rendering repairs, the restora- References Functionalist architecture in Oslo, built 2014/2015, involving conservators (from tion of lost and loosened glass pieces and ORMESTAD, H. (n.d.) Dekorasjonene i fysikkbyg- between 1932 and 1934. The entrance NIKU), glaziers, a blacksmith, a decora- retouching. The stained glass windows ningens vestibyle. Oslo: Fysisk Institutt, UiO.

1. The Entrance hall in the Physicians building at the University in Oslo towards north with the motif of the earth and life, part of the monumental artwork by Per Krohg, before restoration. Photo: NIKU/Kaun 2014 260 Restored and Reconstructed Historical Wallpaper – Result of Common Work. Previous Villa “Bangert”, Kuldiga and Stock Exchange Building in Riga Restored and Reconstructed Historical Wallpaper – Result of Common Work. Previous Villa “Bangert”, Kuldiga and Stock Exchange Building in Riga 261

Daiga Levalde & Liesma Markova Search for the possible wallpaper wallpaper decorates Kuldiga District column with full pattern – chestnut foli- producer continued. Wallpaper on the Museum exposition, showing previ- age with red blossom wreaths on green paper appropriate for the original sample ous owner’s the Bangert family home background and a decorative border was ordered from the German enter- interiors. As a result, after renewing with acanthus leaves. New wallpaper restored and reconstructed prise “LUTZ J.WALTER, ATELIER FUR floor decorative painting and wallpaper, was made as a copy of the original, using HISTORISHE PAPIERTAPETEN”, which a study has an interesting and unusual historical technology. was specializing on the historical wall- start of the 20th century living environ- historical wallpaper – paper production using both authentic ment interior. We are grateful for its Second wallpaper was found in the ceil- and modern technique and equipment. completion to specialists of different ing backfill. Pattern was put together Cooperation with this enterprise oc- branches and simply interested persons. from many pieces: gray background result of common work curred beforehand reconstructing the with golden line accentuating arabesque Exchange building. The second building, where wallpaper by twine with a griffon depiction already Previous Villa “Bangert”, Kuldiga and Stock Exchange Building in Riga the same German enterprise was used, existing in the interior ornamentation. Thanks to the help of the construc- is a former Riga Exchange. Fragments of Copies were produced using modern tion firm “ReRe” it was possible to go to two types of historical wallpaper were technology. A difference in expenses for Germany to coordinate all nuances of found during reconstruction works. two technologies allowed to show two the production on-site. Now renovated One was a large Jugendstyle wallpaper authentic historical evidences.

“Architectural Investigations Group” Modelling of the pattern using the dis- is a bureau, dealing with investigation covered fragments continued, neverthe- and design of historical buildings, car- less the composition still was not clear. rying out separate phases or the whole Assuming it had heraldic elements, paws range of works, including supervi- meant the lion should be on the coat sion of reconstruction or restoration of arms. The paws are usually turned process in different objects. In two such one way, the head - another way. Such cases during construction works initial composition seemed reliable, but still wallpaper was found behind dismantled an idea and assumption. Information on constructions, determining changes in the existence of an analogue in Latvia or the design, original finish being more Europe could not be acquired from other important. wallpaper investigators.

A small wallpaper fragment has survived We tried different search possibilities, behind the stove in villa “Bangert” in involving other specialists as well. Kuldiga. Pieces of wallpaper were taken “Tician” LTD employees, which retail down only after the stove was dismantled. interior textiles in Latvia, were going A few ornamental fragments – oblique to the Paris interior exhibition. They dark claret coloured stripes with stylized were given a scanned fragment of this 1. Wallpaper fragments. lily flowers, distinctively arched framing wallpaper, hoping somebody could and, possibly, lion’s paws, did not hint at identify it. In two weeks a message the composition. Coat of arms with a lion, from US “ TRUSTWORTH STUDIO” alternately collocated with oblique fascias David E.Berman arrived. It seemed that seemed to be a possible pattern. Interest museum “The historic New England ar- was enlarged by the fact, that the floor in chive” had a sample of such a wallpaper. this room was painted in the same way – This definitely was ours! stripes with rhythmical depiction of the lilies of the same character.

2. Reconstructed wallpaper and decorative floor painting. 3. Fragment of the original wallpaper. 262 Conservation Material Research Project of 19th Century Decorative Interior Paintings in the House of the Estates and Arppeanum, Helsinki, Finland Conservation Material Research Project of 19th Century Decorative Interior Paintings in the House of the Estates and Arppeanum, Helsinki, Finland 263

Hanne Mannerheimo & Ulla Knuutinen & Arja Sorri & Heli Ketomäki Keywords: decorative conservation material indoor paintings research project of 19th materials research EDXRF-, FTIR-, century decorative Raman-Spectroscopy interior paintings in SEM-EDS the house of the estates NMR and arppeanum, helsinki, finland

2. The ceiling paintings in the House of the Estates.

The goal of this materials research In both buildings, the paint layers are with research institutes and universi- project is to study the problems behind seriously flaking and detaching from ties. Table 1 shows the protocol of the the deterioration process of the wall the primer layers. Since 2005, the material research process. It includes paintings in Arppeanum’s staircase and paintings of the House of the Estates both preliminary and further analy- in the ceiling paintings of the House have been consolidated after 3-5 years. ses. The preliminary studies started of the Estates. Both buildings were Arppeanum’s staircase paintings were with in situ analyses of paintings with painted in the late 19th century by the treated with consolidants 10 years ago. a portable EDXRF (Energy Dispersive well-known Finnish decorative painter The conservators who have been respon- X-ray Fluorescence), in order to collect Salomo Wuorio. The House of the Estates sible for the paintings were concerned data of elements of the wall paintings. was designed as the Finland´s first par- about the short reattachment cycle and The data revealed elements of inorganic liament building by the architect Gustav severe condition of the paintings. That is pigments, plasters, fillers, etc. These Nyström in 1888-90. Arppeanum was why the urgent question of the feasibil- analyses were performed in co-operation designed by the architect C.A. Edelfelt ity of chosen consolidation materials with Metropolia University of Applied in 1869 for the chemistry laboratory arose. Furthermore, original materials Sciences (Fig. 3). Because some areas of and for the museum of the University of and undocumented renovation materials the paintings are suffering color chang- Helsinki (Fig. 1 and 2). These buildings of the paintings needed investigation. es, VIS (Visible light spectroscopy) have been renovated during the 20th measurements were made in selected century and the decorative walls and The materials studies started in January areas. Furthermore, the preliminary ceiling paintings were also restored and 2014. They will be carried out using a studies included magnifying cross sec- consolidated. multi- analytical approach, cooperating tion samples under VIS and UV light

1. The marble imitation wall paintings in the staircase of Arppeanum. 264 Conservation Material Research Project of 19th Century Decorative Interior Paintings in the House of the Estates and Arppeanum, Helsinki, Finland Conservation Material Research Project of 19th Century Decorative Interior Paintings in the House of the Estates and Arppeanum, Helsinki, Finland 265

3. Elemental studies with portable EDXRF spectroscopy conducted to the ceiling paintings of the House of the Estates. 4. Cross-section of the paint layers in paintings of Arppeanum´s staircase photographed in UV light.

using a microscope. These analyses gave with analytical laboratory of Tikkurila detailed chemical compositions of bind- valuable information on the structure Ltd. and materials research laboratory of ers and investigate their degradation of paint layers (Fig. 4). In many areas, the National Museum of Denmark. Inor- processes. more paint layers were found than was ganic materials like pigments, plasters expected. Preliminary studies will be and fillers and their chemical composi- This is the first time in Finland when completed with collecting the data of tion will be analyzed further by Raman advantaged material studies of indoor RH/T (relative humidity/ temperature). spectroscopy and SEM EDS (Scanning paintings will be carried out. Results of Electron Microscopy Energy Dispersive the project will be published after com- After the preliminary studies, micro- Spectroscopy) in Spain, in co-operation pleting all analyses. Table 1. samples will be analyzed further by with the University of Basque Country. micro-FTIR, in order to characterize or- The last step of further research contains ganic binders in paint layers and verify NMR (Nuclear Magnetic Resonance) Acknowledgements original materials, possible renovation spectroscopy analyses of organic binders Authorities would like to thank Senate Properties materials and consolidation agents. in Greece, at the University of Crete. for funding and co-operation and the National Board of Antiquates requesting the studies. These analyses are made in co-operation With the NMR, it is possible to identify 266 Restoration of the Hunting Tower within the Remte Estate Park Restoration of the Hunting Tower within the Remte Estate Park 267

Juris Pavlovs & Ieva Rozentale In 1850, the Hunting Tower was built upper part of the tower is made of brick- • Surface fixation, renewal of the concurrently with the extension of the work with small pointed circular arches. losses in tufa and bricks. new palace. Historically, the tower was On the first floor, there is a passable • Masonry repointing. used as a recreation place after hunting room with exits to the South and North; • Glazing of renewed pointing. restoration of the or bathing in the canal. the room has a vaulted ceiling with diagonally arranged ribs. The wall finish Roof reconstruction: The 1960s. According to locals, emer- is painted plaster and the floor is covered • Removal of the damaged hunting tower within gency repairs to the Hunting Tower were with sand. The second floor room has a roof constructions. made in the 1960s, during which, the roof wooden door and three wooden double • Making of new roof constructions. was replaced, electricity was installed glass windows. The ceiling of the room • Covering the roof with new tin. the remte estate park (later removed), interior plastering was is a smooth vault, separated by a cornice repaired, cracks in the façade were filled, from the wall plane; the walls are Restoration of interior premises: windows and doors were replaced. smoothly plastered and painted up. The • Mechanical and chemical cleaning floor is poured with the cement mortar. of walls and ceilings. ­ The insides of the walls and ceilings have The tower has a tin roof, topped with a • Filling of wall cracks. been regularly repainted. Otherwise, noth- decorative spire. • Wall and ceiling plaster restoration. Address: Estate park, Remte civil ing else is known about previous repairs. • Renewal of paint on walls and parish, Brocēnu district, Latvia ceiling. The Remte estate park with its unique The Hunting Tower was constructed Work carried out • Cleaning and conservation of the architecture is an architectural in neo-gothic forms on an artificially during the restoration cupola decorative painting. monument of national significance. made elevation. Its layout is a circle, and of the tower • Replacement of windows and doors. Object: Hunting Tower the tower has two storeys. The façade is Dating: circa 1850 divided into three parts. The foundation Improvement of the tower’s Repairs of the tower’s supporting walls: Architect of the building: part is made up of boulders and above it surroundings. • Cracks in the façade Johan Georg Adam Berlitz is a decorative frieze of three layers of • Losses of façade plastering. Materials: brick wall, stone wall, tufa of bricks. The middle part of the tower is Restoration of the façade: • Wall masonry repointing. the Amata (river in Latvia), plastering covered with tufa masonry, divided by • Dry and wet cleaning • Losses of bricks. Size: h= 9,4m; d=5,5m ledges from bricks laid endways. The of the surfaces. • Dimensions of the new wall Restoration work was started on 01.08.2014 and was completed on 12.12.2014.

1. Tower before restoration. 2. Tower after restoration. 3. Restoration graph view. Photo: Juris Pavlovs. Photo: Juris Pavlovs. Photo: Juris Pavlovs. 268 Collection Management for Artworks in State Institutions in Norway Located Throughout the Country; Controlled Centrally and Executed Locally Collection Management for Artworks in State Institutions in Norway Located Throughout the Country; Controlled Centrally and Executed Locally 269

Ane Marte Ringstad collection management for artworks in state institutions in norway located throughout the country; controlled centrally and executed locally 2. Statistics Damage. Figure: Ane Marte Ringstad. 3. Temporary Storage. Photo: Ane Marte Ringstad.

Public Art Norway (KORO) is the Nor- The local user agencies are responsible ferent reasons and 1% was not available tion. The artworks are often damaged observation, documentation and wegian government’s professional body for reporting to the collection manage- for inspection during the project. Few of or lost with temporary storage in the reporting. for art in public spaces and the country’s ment department centrally in KORO. the problems were previously reported institutions (Fig. 3). The user agencies largest art producer. The collection of From 2011 to 2013, KORO conducted a to KORO. need to get advice from the collection The outcome of the project is an online contemporary art managed by KORO registration project for a random selec- management department in KORO with report system that the user agencies is therefore placed in a great variety of tion (c. 10 %) of the collection, to inspect KORO’s collection of contemporary art is handling and logistics, specifically in send in every year. Conservators will state institutions and reaches a wide au- the condition, placement, ownership and in a non-museum setting and in constant these situations. sort the material and prioritize future dience. KORO endeavours to ensure that safety of the artworks. The result (Fig. use, which presents particular challeng- work for preservation and conservation the works are managed effectively. For 1) shows that 17% of the collection is in es for preservation. Still, several issues The preservation of art has not been a within the collection. Instructions and art projects made for state institutions, good condition (0). 32% of the collection with poor condition (Fig. 2) can be cor- prioritized task in the state institutions. guidelines for the most common prob- KORO has the overall responsibility for is in an acceptable condition, but the rected by improving the circumstances The responsibility is often placed with lems identified will be posted on KORO’s management of the collections’ preser- artworks need better fixing, framing surrounding the art. Where the placing employees that have a special interest for website. The registered problems will vation. The daily, practical and financial or other improvements (1). 17% of the of the artworks was carefully considered art and not with a position in the institu- also be a basis for courses held in preser- responsibility lies with the various user collection needs qualified repairs or and there have been no later changes, tion. We see a need for more knowledge, vation centrally by the administration agencies, where the art resides. As the treatments by a conservator, the artists the artworks are mostly in good condi- best practices and better communica- in the coming years. This will hopefully state institutions, the artworks are themselves or others (2). 8% need emer- tion, independent of age and materials. tion between the local user agencies and strengthen the user agencies owner- located throughout the country. The gency measures for preservation (3) and KORO. The local administration is aware ship to the collection and give a stronger collection is made up of about 900 art 3% are in such poor condition that they Critical points identified are the change of the changes in condition, placing, feeling of responsibility. These experi- projects with over 7000 artworks. should be considered removed (4). 22% of institutions’ ownership, moving, ownership or safety of the artworks first ences are also useful in the preventive of the artworks were not found for dif- building constructions and renova- and they should therefore be trained in conservation for future art projects. 1. Statistics Condition. Figure: Ane Marte Ringstad. 270 Using the Existing to Create the Yet-To-Be: Preservation and Reactivation of Inujima Using the Existing to Create the Yet-To-Be: Preservation and Reactivation of Inujima 271

Dr. Kaori Taguchi Keywords: Inujima using the existing art festival to create the yet-to- public art contemporary art be: preservation and restoration reactivation of inujima preservation ­ performance art

2. Inujima ’Art House Project’, Yanahi, Yukinori., Sejima, kazuyo., Hasegawa, Yuko.

Inujima is an extremely small island in It was in 1909 that Kinya Sakamoto, former refinery as part of their work. For in the island villages into art galleries. the Seto Inland Sea. It takes about an a tycoon from Okayama, established instance, the refinery’s old-fashioned The project, carried out in 2013, concep- hour to go round the island, and there a copper refinery in the eastern part chimneys and unpainted walls have tualised the route to visit these houses, are about 70 people living there in 40 of Inujima. This was during the Meiji been used effectively as a location for TV ending at the sea, as ‘a journey’ with six households. The island once was a thriv- era (1868-1912), when factories were programmes and films. In addition, the exhibitions: ‘the birth of life’, ‘the stamp ing port at the centre of sea lanes and being built all over Japan under the staging of an open-air play by a famous of memory’, ‘transformation’, ‘celebra- served as a strategically located base slogan ‘Fukok-kyohe’, that is ‘Enrich theatre troupe in 2002, which increased tion’, ‘messages from history’ and ‘com- and hideout for pirates. Beginning in the country, strengthen the military’. popular recognition of the island, helped munication between meditation and 2001, the island festival was established The refinery occupied about 100,000 the island’s revival as an ‘island of art’ light’. The presentation examines the for the first time, and it attracted new square meters, and there were six brick in a significant way. This presentation ways in which each art piece is related attention as a hub for contemporary art chimneys and a thermal power station. focuses on this open-air play, ‘Kankara’, to the island’s history and confers new in Japan. However, as the price of copper took a a Japanese term that means a traditional value to the island while, moving along nosedive due to inflation in the Taisho drum for Kabuki or an empty can, to with the flow of time. This presentation re-examines cultural era, the refinery was forced to close after examine the ways in which the former artefacts found on Inujima from two just ten years. Ash exhaust from the refinery, with its overwhelmingly strong perspectives. One is related to a former refinery’s chimneys badly damaged the memory, has transformed itself into a copper refinery, frozen in time, that con- flora of the island, and it had the appear- site where art is created and performed. tains ‘strong memory’. The other is the ance of a ‘dead island’ for the next sev- Bibliography houses, which slowly move through time eral decades. Two events have led to the As mentioned above, the presentation ARIMORO, K. (2003) Inujima monogatari. Okayama: and contain ‘soft memory’. The object revival of the island. The first factor is also touches on other cultural artefacts Kibito Shuppan. which holds strong memory narrates 1. Inujima, 2004. the post-war planting of Japanese green with ‘soft memory’, in other words, a HASEGAWA, Y. et al. (2014) Inujima art house a history of national economy or the alder, which is resistant to ash. This has project to protect cultural artefacts. project. Tokyo: Millegraph. technology of modern civilization. The allowed for the re-greening of the island. This project is intended to preserve the other object with soft memory narrates a The second is the arrival of artists and island’s landscape for the future, by YANAGI, Y. (2010) Inujima note. Tokyo: Miyake Fine Art. private and familial history. other creative minds, who have used the transforming uninhabited residences 272 Exposing Hidden Treasures - Mural Conservation Training at Tartu Art College Exposing Hidden Treasures - Mural Conservation Training at Tartu Art College 273

Heli Tuksam Keywords: conservation teaching exposing hidden TAC treasures – mural Kiltsi manor conservation training wall paintings at tartu art college ­

3. The landscape paintings in the south tower after restoration. Photo: Toomas Aasmaa.

Tartu Art College (TAC) provides con- meet the regional need that emerged. the field did not exist; Estonian restorers wall paintings and in interior design. In the well-known explorer Adam Johann from the antiquity period, mythical fig- servation and restoration training in After Estonia became independent, ef- had learned their craft in Leningrad. The 1994, an agreement between the Finnish von Krusenstern. In 1790, when the own- ures and symbolic space was extensively Estonia at the applied higher education forts to recognize the cultural heritage national changes at the beginning of the and the Estonian education ministries er of the manor was Hermann Johann restored. (Fig. 3) level. TAC educates restorers in the fields and to preserve the nation’s historical 1990s were accompanied by new devel- provided for the launch of a program to von Benckendorf, the building received of wall paintings and interiors, furni- memory evolved. At the end of the Soviet opments in education. Tartu Art School educate restoration teachers. In the last a noble, early classic look. The unique The result of the restoration work is an ture, sculpture and leather arts. The period, restoration work was mostly car- began to innovate with restoration twenty years, TAC has continued to con- wall paintings found there inspired the outstanding entity: two salons within Painting and Wall Paintings Restoration ried out by Polish and Russian restorers training in the specialty of furniture, tribute to the development of restoration taking of that period as the basis for the the south tower, where the motifs in- curriculum at TAC was developed to working in Estonia. National training in followed by training in the restoration of and conservation education in Estonia, whole interior design. The main aim of spired by the antiquity cover the whole providing much internship that takes the conservation of the wall paintings wall surface. The salon’s wall paintings place in a real working environment. The was to uncover and preserve the original with mythical figures and the south Painting Department’s participation in paintings as much as possible and to tower with its set of motifs, inspired by the restoration of different historically create an aesthetic space of whole. The the Garden of Eden, are among the earli- valuable objects has been an important restoration and conservation works were est examples of their kind in the region. part of the preservation of Estonian complicated because the damage was (Fig. 1, Fig. 2) cultural heritage. The list of restora- rather extensive, as all the surfaces were tion projects includes more than thirty covered with many layers of paint from Conclusion: the best training for conser- objects in Tartu and eighteen different the Soviet period. vators is a course of study which com- manor houses in Estonia. bines theory and skills with practical During the process, the original paint experience. TAC aims to provide courses One stately example is the Kiltsi manor, was revealed mechanically, using a with rich academic and vocational con- where restoration work was carried out scalpel. The damage was removed using tent, which will enable students to fully from 2008 through 2010. The dignified lime plaster. The aim was to use materi- develop their expertise and reach their history of the Kiltsi manor dates back als as similar as possible to the original; full potential. to the fourteenth century. The manor therefore, the colors used were based on house is built on old fortress walls. The the casein glue and pigments. As a re- most famous owner of the manor was sult, an outstanding interior with motifs

1. Mythical figures. Photo: Heli Tuksam. 2. Paintings in the south tower before restoration. Photo: Heli Tuksam. c v’s 276 CV’s CV’s 277

Kim Hou Alberdi Elisabetta Bosetti Christina Danielli Pieta Greaves Anna Henningsson Emma Hocker

Kim Hou Alberdi has been working at Elisabetta Bosetti has a diploma in Christina Danielli has been working as Pieta Greaves trained as a conservator Anna Henningson earned her degree in Emma Hocker studied Archaeological the National Museum of Denmark in the painting and fresco restoration from a freelance conservator since 1996. After at Cardiff University after a career as an conservation from the Cologne Institute Conservation at the Institute of Archae- department of conservation since 2007. the regional School of Conservation earning a degree in Art History she has Archaeologist and became an accredited of Conservation Sciences at the Uni- ology, London, and earned an MSc de- He earned his master’s degree from the ENAIP in Brescia, Italy. She has studied attended a three-year course in painting member of Icon in 2001. Greaves has versity of Applied Science in Cologne, gree in Historic Buildings Preservation Royal Danish Academy of Fine Arts, History of Art at Copenhagen Univer- conservation. Since 2000 she has mostly been the Staffordshire Hoard Conserva- Germany in 2003. Until 2010 she ran a from Texas A&M University, USA. She School of Conservation in 2013. His final sity, Denmark. Elisabetta Bosetti has been working on archaeological conser- tion Coordinator since January 2013. conservation practice in Sweden special- has worked on a number of international thesis concerned strainers from the led restoration projects on important vation in Rome and in the Middle East. Her tasks include overseeing the hoard ising in investigation and conservation shipwreck projects and is currently 18th century: their historical informa- monuments and work of art belonging At present she is the Lead Conservator conservation programme as well as of wall paintings, stucco and stone. In conservator at the Vasa Museum, Stock- tion, degradation and ageing. Kim Hou to the Danish cultural and artistic herit- for the TWLCRM (Temple of the Winged public outreach. Previous to this, she 2010 she founded Disent AB, an interdis- holm, Sweden. Alberdi is also a cabinet maker. age. Her background includes working Lions) Project in Petra and for several worked in Scotland on some of the most ciplinary company working with herit- at major Danish museums as well as at conservation projects in Rome. internationally significant archaeologi- age science. She is currently working as private and public conservation studios. cal material recovered in recent times. a heritage science expert on technical Torben Holst Lotti Benjaminson Her main area of interest is the ethical art examination of immovable art in approach to the preservation of cultural Susanna Eklund historic buildings with a special interest Torben Holst is Cand. Scient. Cons. He Lotti Benjaminson earned her BA degree heritage. Conny Hansen in sacred art. In addition she is Sweden´s has worked at the National Museum of from the University of Gothenburg Susanna Eklund graduated as a building representative for the ICOMOS Interna- Denmark in the department of Con- (Sweden) in 1990, specialising in textile conservator from Seinäjoki Polytechnic Conny Hansen has been working at the tional Committee on Wall Paintings. servation from 1988 to present. He is conservation. She has been working at Fernando Caceres Jara in 2001 and as an archaeologist from the National Museum of Denmark in the specialized in metals conservation such Västarvet-Studio Västsvensk Kon- University of Helsinki in 2008. Her Mas- department of conservation since 1993. as weapons, large scale objects and servering (SVK) since 1992. As a textile Fernando Caceres is a conservator of ea- ter’s Thesis for the University of Helsinki She earned her bachelor’s degree in 1990 Karin Hermerén sculptures. conservator Benjaminson focuses on sel painting and architecture. He gradu- dealt with stone weathering in the Jabal and her master’s degree in 2007 from church textiles, public art and museum ated from Courtauld Institute, London Haroun archaeological site. Susanna the Royal Danish Academy of Fine Arts, Karin Hermerén has BA degrees in Conser- objects. Her experience in preventive and from the Architectural Association Eklund has mostly worked on popularis- School of Conservation Her master’s the- vation and History of Art and is currently Heikki Häyhä conservation includes investigative School of architecture (AA), London. ing cultural heritage via digital media sis concerned alternative paint stripping a PhD student in Conservation at the Uni- work, inspections of individual objects as His areas of expertise are the conser- and local heritage work. At the moment methods regarding work on the altar in versity of Gothenburg. Prior to this she has Heikki Häyhä has been working as a well as entire collections and the devel- vation of large format easel and panel she is working as a Service planner for Keldby church. worked as an expert advisor at the Swedish lecturer in the degree programme in opment of management plans. paintings, conservation of polychrome the Library Network Services at the Public Art Agency, the National Heritage conservation at the Helsinki Metropolia objects, historic painting techniques and National Library of Finland. Board of Sweden, the Maritime Museum University of Applied Sciences since the recreation of historic architectural Elisa Heikkilä and the Vasa Museum. She has worked as 1998, and as a senior lecturer since 2008. Margareta Bergstrand painted schemes. a conservator-restorer at the Museum of He has an MA degree in conservation Chris Fern Elisa Heikkilä studied at the University Helsingborg for nearly two decades and as from the University of Gothenburg and Margareta Bergstrand has an MFA of Gothenburg, Institute of Conservation a teacher at the Universities of Lund and a BA degree in object conservation from degree in Textile Art and Design from Giulia Chiostrini Chris Fern has degrees from the Univer- in Sweden and graduated as a Bachelor Gothenburg since 1986. She has also run a Espoo-Vantaa Polytechnic. Heikki Häyhä the University College of Arts, Crafts sities of Nottingham and York, and he is in 1997 and Master in 2002. Her final studio for painting conservation since 1991, has teaching experience from various and Design in Stockholm. She also has a Giulia Chiostrini graduated from the a research associate of the University of thesis was: Soapstone – use, character- Konserveringsateljé syd AB. institutes abroad. BA degree from Uppsala University and Universita’ degli Studi di Firenze, Italy, York, and a Fellow of the Society of Anti- istics, conservation and Consolidation has studied textile conservation at the in 2001 with a degree in Restoration and quaries of London. Fern has been leading of concrete. Currently she works as a University of Gothenburg. Bergstrand Conservation of Ancient Textiles. She research on the Staffordshire Hoard conservator at the National Board of Hilkka Hiiop does consulting in textiles: art, design, has been Associate Conservator in the since April 2011. He is an expert on the Antiquities in the Department of Monu- conservation and colour. Previously she Department of Textile Conservation at art, artefacts and funerary archaeology ments and Sites in Helsinki. Previously Hilkka Hiiop PhD is conservation specialist held the position of Senior Conservator The Metropolitan Museum of Art since of the early Anglo-Saxon period. Previ- she has worked in various projects and at the Art Museum of Estonia and an as- at the Swedish National Heritage Board. 2010. Prior to this, she held a two-year ously he has published on the famous museums in Finland and abroad. sistant professor at the Estonian Academy Andrew W. Mellon Fellowship, dur- cemetery of Sutton Hoo. of Art, Department of Conservation. Her ing which she focused on conservation PhD thesis regarded the conservation techniques of medieval tapestry. She is management of contemporary art. She has currently the liaison conservator for all worked as a conservator of mural paintings textiles from the Robert Lehman collec- in Rome, supervised a number of conserva- tion. tion and technical investigation projects in Estonia, curated exhibitions on topics of conservation and technical art history. 278 CV’s CV’s 279

Jukka Jokilehto Teemu Kajaste Ulla Knuutinen Daiga Levalde Katja Luoma Matteo Montanari

Jukka Jokilehto graduated as an Teemu Kajaste graduated from the Ulla Knuutinen from Kuustie&Sorri Daiga Levalde has a diploma in architec- Katja Luoma graduated from the EVTEK Matteo Montanari is a PhD biologist architect and a city planner from the EVTEK University of Applied Sciences, Ltd. is a PhD and a docent of Organic ture from Riga Technical University in University of Applied Sciences, Institute specialised in Plant Pathology. He works Polytechnic University of Helsinki and Institute of Art and Design in 2000. He Chemistry at the University of Helsinki. Latvia. She has worked as an architect at of Art and Design in 2001. She worked as as a freelance researcher and leads the later earned his PhD from the University has worked as a freelancer for several She is also a docent of Conservation and the Architectural Investigation Group a freelance conservator for twelve years Biores Srl laboratory for the research on of York (UK). Jokilehto worked in Finland employers. Kajaste started a cooperative Cultural Heritage Material Research at since 1993, and as the chief of the Archi- before starting a cooperative conserva- Biology applied to conservation. In 2011 as an architect and an urban planner conservation and restoration business the University of Jyväskylä, Finland. tectural Investigation Group since 1999. tion and restoration firm with her col- he became the scientific coordinator and before he was employed at ICCROM as with his colleagues in 2012. Kajaste is Levalde has worked in research, fixation, leagues in 2012. Luoma has experience project manager at CESMAR7, Centre for the Director in Architectural Conserva- specialised in lime mortars, clay mortars documentation and preservation in in painted building surfaces but also in the Study of Materials for Conservation, tion in 1972-1998 and as the Assistant and gypsum. He has long experience in Nanna Kymäläinen reconstruction and interior projects as different base materials. She earned her and he teaches at the Academy of Fine Director General in 1995-1998. He has conserving mortar based structures and well as in restoration supervising. Masters degree in Conservation in 2008. Arts in Bologna. Montanari´s main fields been a Special Advisor to Director-Gen- fireplaces. Nanna Kymäläinen is a Bachelor of of research are the study and characteri- eral of ICCROM since 2007. At ICOMOS Culture and Arts (Conservation) zation of biodeteriogens and the devel- Jokilehto was appointed President of In- specialised in historical interiors. She Liisa Lindgren Hanne Mannerheimo opment of materials and methods for the ternational Training Committee, CIF in Susanne Kaun works as a building conservator for the control of biological growth on artworks, 1993-2002 and World Heritage Advisor in Finnish National board of Antiquities at Liisa Lindgren is a specialist in Finnish Hanne Mannerheimo from in particular on paper. 2000-2006 and was appointed Honorary Susanne Kaun is a conservator spe- the Seurasaari Open-Air Museum. She sculpture of the 19th and 20th centuries. Kuustie&Sorri Ltd. and Aalto University Member of ICOMOS in 2014. Jokilehto cialised in murals and architectural has previously worked for the Urajärvi She has published several studies on is a conservator-researcher specialised has also an extensive career as a consult- polychromes. She graduated from the manor museum conservation project modern Finnish sculpture and art criti- in the materials analyses of cultural Lisa Nilsen ant and lecturer in architectural and ur- University of Applied Science Potsdam during 2009–2013 and as a partner at the cism and a broad selection of popular heritage. She is doing her doctoral ban conservation, as well as a professor. (Germany) in the field of conservation co-operative Osuuskunta Konservointi articles on sculpture and contemporary dissertation for Aalto-University in Lisa Nilsen is a preventive conservator At present he is the Honorary Visiting and restoration of wall paintings and ja Restaurointi Kollaasi during 2014. art. Her doctoral dissertation, approved the department of Civil and Structural and a graduate of the Institute of conser- Professor at the University of York (UK) polychrome architectural surfaces in in 1996 at the University of Helsinki, Engineering. Her topic concerns the vation in Gothenburg. She has worked and the Extraordinary Professor at the 2003. She has been working at the Nor- concerned tradition and modernity in preservation and material studies of the at several museums in Oslo, Norway University of Nova Gorica (Slovenia), wegian Institute for Cultural Heritage Birgitte Larsen Finnish sculpture of the 1940s and 1950s. indoor paintings in 19th century build- and later with the National Trust for where he was appointed Full Professor Research (NIKU) since 2009. Before this Lindgren is a docent at Helsinki and ings in Finland. Scotland in Glasgow and in London at in 2015. she worked as a freelancer. Birgitte Larsen has been working at the Turku Universities and has worked as Historic Royal Palaces. She now lives in National Museum of Denmark in the a head curator of collections at the Mu- Stockholm, working part-time for the department of conservation since 1989. seum of Contemporary Art in Helsinki, Liesma Markova National Heritage Board and also as a Elina Järvelä Laura Kauppinen She earned her BA degree in History as a senior researcher and an acting freelancer teaching and giving courses and Art History from the University of director of the Central Art Archives of Liesma Markova has a diploma in archi- in preventive conservation. Elina Järvelä graduated from the EVTEK Laura Kauppinen has been working as Copenhagen in 2004. Birgitte Larsen is a the National Gallery and as an acting tecture from Riga Technical University University of Applied Sciences, Institute a curator of education at the Kerava Art cabinet maker and has done research on director of the Sinebrychoff Art Mu- in Latvia. She has worked as an architect of Art and Design in 2006. She worked as Museum since 2011. Prior to that she has 17th century Danish cabinetry. seum. Since 2005 Lindgren has worked at the Architectural Investigation Group Catharina Nordenstedt a freelance conservator until 2012 when had wide experience in working with the as a senior curator at the Parliament of since 1993. Markova works in research, she started a cooperative conserva- public in museums. For instance in 2003- Finland. fixation, documentation, preservation Catharina Nordenstedt is an architect tion and restoration business with her 2006 she worked as an educator and a Suvi Leukumaavaara and restoration supervising in interior and an interior designer. Having worked colleagues. Järvelä has also completed coordinator for the culture project Gen- projects. Previously she has worked as for 20 years in the private sector, she degrees in restoration and painting. eraattori. Kauppinen has an MA degree Suvi Leukumaavaara is a Finnish inde- Anders Ekstroem Loekkegaard an architect and supervisor e.g. at the joined the Swedish Property Board 14 Järvelä has particular interest in conser- in Art Education from the University of pendent researcher with background in Institute of Restoration. years ago, where she works on the inte- vation of wood, plaster, gypsum marble, Jyväskylä, 2009. conservation-restoration and art history. Anders Ekstroem Loekkegaard is Cand. rior decoration of official residences and wallpapers, ceiling paintings and wall She is specialised in art conservation, medi- Scient. Cons. He has worked at the as project manager for conservation and paintings. eval art and art nouveau architecture, and National Museum of Denmark in the restoration. The projects often deal with Heli Ketomäki has carried out university level postgradu- department of Conservation from 2007 cleaning and restoration of an existing ate studies in Finland, Italy and the UK. She to present. Previously he worked at the interior where modern technology and Heli Ketomäki from Kuustie&Sorri Ltd. has over 15 years’ international experience Museum Kroppedal from 1998 to 2007 as wiring is required. is a conservator-restorer specialised in conservation-restoration from interna- the head of Conservation Department. in building conservation and paint re- tional museums, research and EU projects He is specialised in metals conservation search in buildings and interiors. and as a former committee member of the such as archaeological finds, sculptures European Confederation of Conservators- and fountains. Restorers’ Organisations E.C.C.O. 280 CV’s CV’s 281

Tone Marie Olstad Miia Perkkiö Ieva Rozentale Will Shank Kaori Taguchi Douwtje van der Meulen

Tone Marie Olstad earned her paintings Miia Perkkiö is an architect and a Doctor Ieva Rozentale has studied restoration at Will Shank studied art history and art Kaori Taguchi studied at Kyoto Univer- Douwtje van der Meulen has MA degrees conservator diploma in 1985 and worked of Science, Technology, from the Univer- the Art Academy of Latvia and she has conservation at the Villa Schifanoia in sity and earned her PhD in History of in Museum Studies from the University at the Directorate for Cultural Heritage sity of Oulu. She has studied architec- a Bachelor’s degree in graphic design. Florence and subsequently earned his Arts and Cultural Studies in the Theory of Leicester, England and Mediterranean in Norway (Riksantikvaren) and at the ture at the IUAV University of Venice and She has been working at the building master’s’ degrees from the Institute of Fine of Restoration in 2014. She has also Archaeology from the University of Museum of Cultural History at the Uni- restoration at the La Sapienza University company RERE Meistari since 2013, do- Arts of New York University, and Harvard studied at the Università Internazion- Groningen, Netherlands. She also has a versity of Oslo until 1994. Since then she of Rome. Currently she works as a Chief ing restoration at the Latvian National University Museums. He worked at the ale dell’Arte Firenze in Florence, Italy. BSc in Archaeological Conservation and has worked as a painting conservator/ Intendant of Restoration Services at the Museum of Art and at the Ministry San Francisco Museum of Modern Art Taguchi has worked as a lecturer both Material Science from University College researcher at the Norwegian Institute Finnish National Board of Antiquities. of Culture. Rozentale´s skills include, (SFMOMA) from 1985 to 1999 and was head in Italy and Japan and for instance as a London, England. Currently van der of Cultural Heritage Research, NIKU. Perkkiö has also given many lectures for example, monumental painting of conservation there for a decade. He co- Special fellow at the Tohoku University Meulen works as a Course coordinator Polychrome sculpture, church art and and published several international aca- conservation, restoration and decorative founded Rescue Public Murals, a program of Art and Design/Japan Society for the and as a University Lecturer in Con- interiors, distemper decorative paint- demic papers on architecture, restora- painting. of Heritage Preservation (Washington, Promotion of Science since 2014. Taguchi servation at the Institute for Archaeol- ings and climate in churches are some tion and preservation of monuments and DC) in 2006. Mr. Shank works internation- has published an extensive selection of ogy, Conservation and History, at the of her main work areas. From 2004 to sites. She has had a number of non-exec- ally in collections care, specialising in books, journals and translations in the University of Oslo. From 2009 to 2012 she 2006, on leave from NIKU, she was the utive roles in e.g. ICOMOS Finland. Ilaria Saccani modern and contemporary paintings, from field of preservation. worked as the Leader of the Department. head of the Conservation Department at his base in Barcelona. the Museum of Cultural History at the Ilaria Saccani has a degree in Conserva- University of Oslo. Jani Puhakka tion of canvas paintings and a Master´s Heli Tuksam Marleena Vihakara degree in Science applied to Conserva- Arja Sorri Jani Puhakka has an MA in Culture and tion from the University of Parma. Cur- Heli Tuksam is a painter and a pedagog. Marleena Vihakara studied Paper Erkka Pajula Arts (Conservation). Since 2008 he has rently she works as a researcher at CES- Arja Sorri is a conservator-restorer spe- She earned her MA degree in Cultural Conservation at the Camberwell College been working as a building conserva- MAR7, Centre for the Study of materials cialised in building conservation and paint Research from the Institute of Theology of Arts in London. After graduating in Erkka Pajula is a Bachelor of Culture tor for the Finnish National Board of for Conservation, where one of her main research in buildings and interiors. Sorri is of the Estorian Evangelical Lutheran 2001 she worked as a Preservation As- and Arts, a Building Conservator and a Antiquities at the Seurasaari Open-air fields of research is cleaning materials the co-owner of Kuustie&Sorri Ltd. which Church. She is currently working at sistant at the Library of London School carpenter artisan. He is specialised in museum. and methods. She is deeply interested provides conservation and restoration Tartu Art College as the head of the of Economics and Political Science. Ms the restoration of wood constructions. in chemistry applied to conservation services throughout the whole of Finland. Department of Paintings. Over the years Vihakara has been employed by the Since 2011 he has been working as a con- as a tool for a better comprehension of she has worked as a conservator and a National Library of Finland since 2003 servator for the Finnish National board Ane Marte Ringstad deterioration processes. mentor in numerous conservation and and has also worked for the National of Antiquities at the Seurasaari open Sarah Staniforth restoration projects in a wide selection of Museum of Finland. She is currently an air-museum. Previously he worked as a Ane Marte Ringstad earned her Master’s public buildings and manor houses. MA student in Museology and works as a building restoration entrepreneur. degree in object conservation at the Malin Sahlstedt Sarah Staniforth has degrees in chemistry project conservator at The National Gal- University of Oslo in 2006. Since then, and conservation from Oxford University lery of Finland. she has worked as a conservator for the Malin Sahlstedt studied Conservation and the Courtauld Institute of Art, London. Päivi Ukkonen Juris Pavlovs Norwegian Museum of Science and of Cultural Property at Gothenburg She worked at the scientific department Technology, Vest-Agder-museet and University, and earned a MSc degree in of the National Gallery from 1980-1985 Päivi Ukkonen is a paper conserva- Helen Volber Juris Pavlovs has studied restoration at Studio Västsvensk Konservering. Since Archaeological Science from Stockholm and joined the National Trust in 1985 as an tor with a long career at the Finnish Riga Building College in Latvia. He has 2011, she has been working at KORO/ University. She is currently a conserva- Adviser on Paintings Conservation and National Gallery. Currently she is the Helen Volber, MA, is a conservator at the been working on several restoration Public Art Norway. tor at the Vasa Museum, Stockholm, Environmental Control. From then on she Senior Lecturer of Paper conservation in Art Museum of Estonia. Her interests lie and renovation projects in Latvia and Sweden, having previously worked in has worked as the Head Conservator and the degree programme of conservation mainly in the conservation of contem- also in Norway. Previously, he has done archaeological and research projects at Historic Properties Director, and in 2011- at the Helsinki University of Applied porary art and she has also been actively restoration for example on the hunting Nina Robbins the National Heritage Board, Stockholm. 2014 as the Museums and Collections Direc- Sciences. involved in projects concerning investi- tower at the park of Remte castle. Since tor at the National Trust. She has a number gations of historical interiors. 2015, he has been working on the interior Nina Robbins has Master’s degrees of non-executive roles e.g. in IIC and ICOM. restoration of the A. Nevsky orthodox in Art History and Art Conservation. Sarah Staniforth has written and lectured church in Riga. Pavlovs is also a member She is a PhD candidate in Museology at extensively on preventive conservation of the board of the Latvian Society of the University of Jyväskylä, Faculty of for collections in museums and historic Restorers. Humanities. houses. Staniforth was made a Commander of the Order of the British Empire (CBE) in the Queen’s New Year’s Honours 2015 and received the Plowden Medal in August 2015. 282 Index Index 283

A E J O T

acoustic plaster 252 ecclesiastical art 172 JÄRVELÄ, Elina 154 OLSTAD, Tone Marie 172 TAC 272 index agile 236 education 228 JOKILEHTO, Jukka 16 outdoors sculpture 142 TAGUCHI, Kaori 270 ALBERDI, Kim Hou 94 EDXRF 262 outreach 86 tapestry 250 analytical research methods 192 EKLUND, Susanna 78 tar paint 192 Anglo-Saxon 86 Elmar Kits 118 technical art history 102 architect Johan Sigfrid Sirén (1889-1961) 24 emerald green 228 technical conservation 182 art history 142 epitaph 94 K tendering 162 artificial ageing 46 ethics 32, 112 P tensile tests 46 asbestos 258 european pigments 68 KAJASTE, Teemu 154 textiles 46 excavation 78 KAUN, Susanne 258 paint research 94 theatre sceneries 228 KAUPPINEN, Laura 134 painted areas 68 TUKSAM, Heli 272 Keith Haring 218 PAJULA, Erkka 202 B KETOMÄKI, Heli 262 parliament Building 24 Kiltsi manor 272 participation 134 F KNUUTINEN, Ulla 262 BANNERMAN, Judith 46 PAS-air sampler 228 KYMÄLÄINEN, Nanna 192 patching 154 U barcode 236 FERN, Chris 86 PAVLOVS, Juris 266 baroque altarpiece 102 flame retardants 46 pedagogy 134 UKKONEN, Päivi 210 BENJAMINSSON, Lotti 250 forensic investigation 102 performance art 270 BERGSTRAND, Margareta 46 fresco 258 birch-bark roof 202 L PERKKIÖ, Miia 32 FTIR 192, 262 BOSETTI, Elisabetta 252 polychromy 94 functionalism 258 LAGNESJÖ, Gunilla 46 building protection 24 preservation 32, 126, 182, 270 funerary art 142 large-scale conservation 210 V building-related 112 preventive conservation 182 LARSEN, Birgitte 94 burchard Precht 102 public art 112, 134, 270 legislation 112 value 16, 112 public space 134 value assessment 210 LEUKUMAAVAARA, Suvi 142 PUHAKKA, Jani 182 LEVALDE, Daiga 260 VAN DER MEULEN, Douwtje 228 G LINDGREN, Liisa 24 Vasa 126 C LOEKKEGAARD, Anders Ekstroem 256 VIHAKARA, Marleena 236 Gentleman’s Club 56 LUOMA, Katja 154 R VOLBER, Helen 118 CACERES, Fernando 56 gilt-paper wrapped threads 68 camp facilities 78 glass art 258 grave monuments 142 raman- spectroscopy 262 carving technique 94 Reform Club 56 cemeteries 142 GREAVES, Pieta 86 guidelines 162 M renovation 24 W chinese embroidery for export 68 research 86, 126 CHIOSTRINI, Giulia 68 management 112 restoration 32, 182, 202, 258, 270 wall painting 258 cleaning 154, 162 MANNERHEIMO, Hanna 154, 262 RINGSTAD, Ane Marte 268 wall paintings 272 coccholiths 68 MARKOVA, Liesma 260 risk 112 warship 126 collaboration 86, 228 H material analyse 154 ROBBINS, Nina 210 washing 250 condition survey 236 materials research 262 ROZENTALE, Ieva 266 weighting spar 202 14, 16, 36, 56, 78, 86, 94, 134, 172, conservation HANSEN, Conny 94 modostuc 154 wet vacuuming 250 182, 202 HÄYHÄ, Heikki 134 MONTANARI, Matteo 252 wood construction 94 102 conservation management HEIKKILÄ, Elisa 14 monumental hanging 68 wool 46 32 conservation of historical buildings HENNINGSSON, Anna 102 moving collections 236 workflow 236 272 S conservation teaching heritage 16 mural paintings 118 14, 142 conservation-restoration HERMERÉN, Karin 112 murals 218 270 SACCANI, Ilaria 252 contemporary art HIIOP, Hilkka 118 museology 210 218 SAHLSTEDT, Malin 126 contemporary art conservation historical techniques 142 cultural heritage 112 sampling 126 hoard 86 satin strips 68 HOCKER, Emma 126 scagliola 154 HOLST, Torben 256 N SEM-EDS 262 housekeeping 162 SHANK, Will 218 NILSEN, Lisa 162 significance 16, 36 D NMR 262 sleeve mounting 250 NORDENSTEDT, Catharina 162 DANIELLI, Christina 78 SORRI, Arja 262 decision making 14 I spectrophotometry 46 decorative indoor paintings 262 spirit of place 36 DEGERBLAD, Kathrin Hinrichs 46 interdisciplinary collaboration 78 STANIFORTH, Sarah 36 demounting of murals 118 Inujima, art festival 270 stave church 172 deterioration 142 inventory 94, 236 support 250 distemper paint 172 italianate palazzo 56 documentation 102 Monumental Treasures

The Finnish section of Nordic Association of Conservators, IIC Nordic Group (Nordiska konservatorförbundet rf ­Pohjoismainen konservaattoriliitto ry) organized the XX NKF Congress, Monumental Treasures ­ Preservation and Conservation in Helsinki, Finland at the National Museum of Finland on 21–­23 October 2015.

This publication presents articles that are based upon the presentations at the congress. Texts discuss conservations topics from varying perspectives in the field of conservation of monumental objects and ensembles.