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The Conservation of Wall Paintings

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The Conservation of Wall Paintings The Conservation of Wall Paintings The Conservation of Wall Paintings Proceedings of a symposium organized by the Courtauld Institute of Art and the Getty Conservation Institute, London, July 13-16, 1987 Sharon Cather, Editor THE GETTY CONSERVATION INSTITUTE Cover: Masaccio and Filippino Lippi. Detail of The Raising of the Son of Theophilus and The Chairing of Saint Peter, after conservation. Brancacci Chapel, Santa Maria del Carmine, Florence. (Photo: A. Quattrone) Note: Manufacturers' materials data and safety sheets should be consulted and any necessary precautions applied in the use of any materials referred to in this volume. Publication Coordinator: Irina Averkieff, GCI Editing: Andrea Belloli and Irina Averkieff Technical Drawing: Janet Spehar Enriquez Cover Design: Marquita Takei, Los Angeles, California Text Design: Marquita Takei and Jacki Gallagher (GCI) Typography: Adobe Garamond Printing: Tien Wah Press, Ltd. © 1991 The J. Paul Getty Trust All rights reserved Printed in Singapore Library of Congress Cataloguing-in-Publication Data The Conservation of wall paintings: proceedings of a symposium organized by the Courtauld Institute of Art and the Getty Conservation Institute, London, July 13-16, 1987 / Sharon Cather, editor. p. cm. Includes bibliographical references. ISBN 0-89236-162-X (pbk.) 1. Mural painting and decoration--Conservation and restoration- -Congresses. I. Cather, Sharon. II. Courtauld Institute of Art. III. Getty Conservation Institute. ND2552.C64 1991 751.6'2--dc20 91-16526 CIP Second printing 1996. THE GETTY CONSERVATION INSTITUTE The Getty Conservation Institute, an operating organization of the J. Paul Getty Trust, was created in 1982 to address the con- servation needs of our cultural heritage. The Institute conducts world-wide, interdisciplinary, professional programs in scientific research, training, and documentation. This is accomplished through a combination of in-house projects and collaborative ventures with other organizations in the USA and abroad. Special activities such as field projects, international conferences, and publications strengthen the role of the Institute. Contents Miguel Angel Corzo Foreword viii David Park and Frank Preusser Preface ix Frank Preusser Scientific and Technical Examination of the Tomb of 1 Queen Nefertari at Thebes Ornella Casazza and Preliminary Research for the Conservation of the 13 Sabino Giovannoni Brancacci Chapel, Florence Karl Ludwig Dasser Pretreatment Examination and Documentation: 21 The Wall Paintings of Schloß Seehof, Bamberg Claus Arendt The Role of the Architectural Fabric in the 29 Preservation of Wall Paintings Ivo Hammer The Conservation in Situ of the Romanesque 43 Wall Paintings of Lambach Fabrizio Mancinelli The Frescoes of Michelangelo on the Vault of the Sistine Chapel: 57 Conservation Methodology, Problems, and Results Gianluigi Colalucci The Frescoes of Michelangelo on the Vault of the Sistine Chapel: 67 Original Technique and Conservation S. B. Hanna and Conservation of Central Asian Wall Painting Fragments 77 J. K. Dinsmore from the Stein Collection in the British Museum Eric M. Moormann Destruction and Restoration of Campanian Mural Paintings 87 in the Eighteenth and Nineteenth Centuries Andreas Arnold and Monitoring Wall Paintings Affected by Soluble Salts 103 Konrad Zehnder Mauro Matteini In Review: An Assessment of Florentine Methods of Wall Painting 137 Conservation Based on the Use of Mineral Treatments Foreword he Getty Conservation Institute has devoted particular attention to the Tproblems of wall paintings conservation. Collectively, wall paintings form a record of artistic, cultural, and intellectual developments of historical significance. The wall paintings of the tomb of Nefertari, in Egypt, have been the subject of an on-going effort for the past six years that is coming soon to a close. Projects in Dunhuang and Yungang, in China, are just now underway to system- atically study the causes of deterioration in the sites and to investigate strategies for their long-term protection. The Courtauld Institute of Art and the Getty Conservation Institute have been collaborating for six years in a wall painting conservation course, a unique three-year postgraduate-level training program. To facilitate an international dialogue and exchange of information among conservators, scientists, and historians involved in major wall paintings conservation projects, the GCI and the Courtauld Institute of Art organized a symposium on the subject in London in 1987. This symposium was part of the GCI's ongoing efforts to promote a multidisciplinary approach to conservation, to examine issues related to conserving cultural property in situ, and to provide specialized training in conservation. By publishing the symposium's edited papers, we hope to provide a current report on significant projects and develop- ments underway in the field of wall paintings conservation. Miguel Angel Corzo Director Getty Conservation Institute Preface n recent decades there has been an increasing focus in all areas of conserva- I tion on an interdisciplinary approach. This has been especially true for wall paintings, where indeed a number of special factors make it essential: their phys- ical and aesthetic unity with the architecture; their particular vulnerability, in that they constitute an extremely thin layer which is itself the interface between the support and the environment; the limitations on controlling potential agents of deterioration; and the scale and expense not only of intervention, but also of study and monitoring. The symposium was planned to reflect this and was organized as part of the postgraduate Course in the Conservation of Wall Painting established in 1985 as a joint venture of the Courtauld Institute of Art and the Getty Conser- vation Institute. The curriculum of the training program is based on the philos- ophy shared by the two sponsoring institutions that conservation should be interdisciplinary and involve minimal intervention, requiring that causes of deterioration are adequately understood and monitored. There is, therefore, a consequent emphasis on these aspects both in the training and in the contribu- tions to the symposium. The organizers invited papers that would represent major programs of wall painting conservation—such as the Tomb of Nefertari, the Brancacci Chapel, and the Sistine Chapel—and would address the issues of diagnosis, documenta- tion, and monitoring, which often tend to be overshadowed by treatment results. Thus the symposium was divided into three general categories: Planning and Diagnosis, Treatment, and Monitoring. Four papers were presented on each of the three days, leaving a considerable amount of time for discussion led by invited specialists—architects, art historians, conservators, and conservation scientists. For Planning and Diagnosis the preliminary investigations carried out for the Tomb of Nefertari (Frank Preusser) and the Brancacci Chapel (Ornella Casazza and Sabino Giovannoni) were presented, together with the general problems of the architectural support (Claus Arendt) and documentation (Karl Ludwig Dasser). The session was chaired by Frank Preusser, and the discussants were Dr. Eve Bor- sook (Villa I Tatti, Florence), Mr. Martin Caroe (Caroe & Martin Architects, Lon- don), and Mr. Théo-Antoine Hermanès (Ateliers Crephart, Geneva). Treatment was represented by papers on Central Asian paintings in the British Museum (Seamus Hanna and Jennifer Dinsmore), on the Romanesque paintings of Lambach (Ivo Hammer) and two contributions on Michelangelo's frescoes on the Sistine Chapel vault (Fabrizio Mancinelli and Gianluigi Colalucci). Mr. Paul Schwartzbaum (ICCROM) chaired the session, and Dr. Karl Ludwig Dasser, Dr. Caroline Elam (The Burlington Magazine), and Dr. Lorenzo Lazzari- ni (University of Rome) led the discussion. The final session, devoted to Monitoring, was chaired by David Park and included a diverse selection of papers: the effects of soluble salts (Andreas Arnold); a historical survey of the discovery and early treatment of Roman paint- ings (Eric Moormann); an investigation into the effects of recent treatments of wall paintings in France (Marcel Stefanaggi and Isabelle Dangas, though not included in the present volume); and an assessment of Florentine conservation methods (Mauro Matteini). Dr. Claus Arendt, Mr. Théo-Antoine Hermanès, and Mr. John Mitchell (University of East Anglia) participated as discussants. Although specific aspects of individual contributions were debated, much of the discussion also focused on broad issues related to the structure, administration, and funding of conservation. There was general agreement that the paradigm of a comprehensive, interdisciplinary approach tended to be real- ized only in a few select cases. Moreover, it was observed that monitoring wall paintings after treatment—and, perhaps more importantly, as a routine surveil- lance practice—rarely occurs. This was seen to be due not only to the low prior- ity and consequent lack of funding it is given, but also to the absence of adequate parameters and guidelines for such monitoring. In a few papers references to the literature published since 1987-88 have been added, but in general the reader is referred to the recent comprehen- sive bibliography by Anna Miele Pacifici in Pitture murali: tecniche, problemi, conservazione (eds. C. Danti, M. Matteini, and A. Moles; Opificio delle Pietre Dure, Florence, Centro Di; 1990:329-371). We would like to thank those who have contributed both to
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