BLANK PAGE Conservation Journal

Contents Part three comprises discussion and New Staff April 1996 o V&A Conservation Journal N 19 conclusions to evaluate and summarise the information which has been presented in the thesis. Chapter In 1990 I joined the conservation 3 Editorial 8 discusses documentary evidence of studio of the Mauritshuis, also in The Jonathan Ashley-Smith, Head of Conservation Department early deterioration of Baroque mural Hague. The Mauritshuis is a picture paintings. Chapter 9 contains gallery housed in a seventeenth century 4 Preparing for Morris – The Treatment of a Philip Webb Painted, Silvered conclusions. building next door to the Parliament. It has a collection of a little over a Chest Part four is composed of eight thousand paintings, many from the John Courtney, Intern, Furniture Conservation, Conservation Department appendices which contain in text, Dutch golden age of the seventeenth tabulated and photographic form, the century. I enjoyed my time there very 6 Conservation Liaison – Stained Glass for the William Morris Exhibition essential detailed information upon POSITION much and am grateful for the many Agnes Holden, Head of Inorganics, Conservation Department which conclusions are based. ONLY opportunities it offered: most recently Appendix 1 contains, in chronological working with colleagues preparing for 8 Digital Imaging and Stained Glass Conservation order, information on each of the the Vermeer exhibition which I was Ariana Makau, Stained Glass Conservation Student, RCA/V&A paintings studied. This generally happy to see installed just before I left. Conservation Course includes artist, date of painting, subject, assistants, patron, site, After seven years in the Netherlands 13 The Restoration of the East Staircase Ceiling and the Leighton Corridor, physical history, bibliography, I wished to return to England and feel Victoria and Albert Museum acknowledgements, a photographic very fortunate to have been offered Lisa Oestreicher, Architectural Paint Studies Student, RCA/V&A illustration of the painting, and a list this position in the Paintings Conservation Course of samples taken, together with a Conservation Section. I look forward to working on the great variety of Editorial Board photomicrograph and table of 15 The “Leighton Project”: Backstage analytical results for each relevant Nicola Costaras paintings at the V&A and collaborating Jonathan Ashley-Smith Olivia Levental, Intern, Paintings Conservation, Conservation Department sample. Appendix 2 provides copies of Paintings Conservator, Paintings with colleagues from different Head of Conservation Department Section, Conservation Department certain spectra obtained from disciplines. Alan Cummings 16 RCA/V&A Conservation Course Abstracts Course Director, RCA/V&A Conservation Course instrumental analysis, labelled to assist the reader with interpretation. After graduating from Gateshead Graham Martin 23 New Staff Appendix 4 also contains a Technical College in 1985 with a Head of Science Group, Conservation Department Nicola Costaras, Organics Group transcription of a number of pages Higher Diploma in Easel Paintings from the “Verrio, Burghley archive” Conservation, I worked as an assistant Helen Shenton 24 Conservation Department Staff Chart for several private restorers. For the Head of Paper and Book Group, which has been an important Conservation Department manuscript source for this project. following three years I was employed Appendix 4 also contains a transcript by Pauline Plummer as one of a team Managing Editor Matthew Smith, Senior Administration Officer, and translation of two pages of working on many different projects. Conservation Department Félibien’s work on painting Projects we worked on included fifteenth and sixteenth century rood Production Editor techniques. Appendix 5 is a short Sarah Jane Clarke, Administration Officer, glossary of terms. Appendix 6 contains screens, seventeenth and eighteenth Conservation Department examples of pro forma sampling and century oil on-plaster wall and ceiling paintings and twentieth century Designed by V&A Printing Section analysis sheets produced in situ and during laboratory work. Appendix 7 painted furniture. Photographs are credited individually contains example printouts from the In 1988 I took up a position as a © 1996, Copyright The Trustees of the database compiled during the paintings conservator dealing with ‘oude Victoria & Albert Museum. ISSN 0967-2273 research project which contains kunst’ (‘old art’) at the Rijksdienst All enquires to: background information on the extant Beeldende Kunst (Netherlands Office Conservation Department, Baroque murals of the period. The for Fine Arts) in The Hague. The ‘old Victoria & Albert Museum, London SW7 2RL, UK information gathered here assisted art’ was comprised of about 4000 pre- Telephone 0171-938 8624 the research project and may also be twentieth century paintings. Many of Fax 0171-938 8661 of use to future research in this area. these are on permanent loan to public Appendix 8 provides further The cover shows Chaucer’s women; institutions, including all the Dutch The God of Love and Alceste, Mus No 776-1864, explanation of the instrumental embassies, and the remainder are kept by Burne-Jones methods of analysis which have been in large stores unless requested for Photography by the V&A Photographic Studio used within this project. long or short term loans.

2 23 Royal College of Art Victoria & Albert Museum Joint Course Conservation

Lynne Humphries sculpture was consolidated with a information given in the appendices. Editorial Sculpture Conservation silane by a method of vacuum Part one contains an introduction and Saint Gregory: An Historical and impregnation, in an attempt to curb chapters 2-4. Documentary, primary Technical Investigation the destruction caused by the salts. and secondary written sources of June 1995 The aim of this project was to piece relevance to the project are viewed in Jonathan Ashley-Smith 15,000 words with illustrations together as much information as chapter 2. The art historical background Head of Conservation Department possible about the figure of Saint to the mural paintings is discussed in In the Victoria & Albert Museum there Gregory in order to attain an chapter 3. The aim of this chapter is to is a life-size polychromed Italian understanding of the sculpture as a provide sufficient background limestone sculpture of a man seated whole. It is hoped to place the figure information to enable the detailed writing at a desk (Figure 7). The figure in a historical perspective from analysis of materials and techniques to is believed to depict Saint Gregory the theories on the figure’s Veronese be understood within an art historical Great and was probably carved and One of the Department’s stated stages in the planning and execution of their final venue. We shall be history as well as its conservation framework. The methodology adopted objectives is to determine a responsible temporary displays. This means giving quantifying and reviewing the painted for the façade of a church in for technical analysis is outlined in history. These were related to the balance between its varied activities, much attention to a small number of Departmental resources that have Verona in the 14th century. chapter 4. condition of the piece today, and this and to allocate resources accordingly. objects and thus less attention to the been dedicated to this one project and in turn, to a specific understanding of Much uncertainty surrounds Part two contains a discussion of the The balance between preventive and bulk of the collections. This might be looking for ways to compare the costs the action of the salts and silane. The all aspects of this figure, information which has been gained interventive conservation has been considered irresponsible. It can be with the benefits. final aim is to suggest a course for from its provenance to its from sample analysis. Chapter 5 discussed in a previous editorial. In made to sound criminally negligent if future conservation treatment. In the light of rapidly diminishing conservation history. discusses the preparation of the addition to these basic responsibilities you choose to see it as giving more funding from central government we However there are two plaster support to receive oil paint. that relate directly to the care of the attention to a small number of shall also be looking at time and factors which are Modification by the artists of the Museum’s collections, the Conservation someone else’s objects and thus less MPhil Theses money dedicated to other activities definite in relation to the surface skim plaster layers was Department of a major national attention to the bulk of our collections. such as research, teaching, and figure. Firstly, that it is identified during analysis; the museum has other obligations and However, if the Museum is to act as a communications. We need to assess suffering from extensive Jane Davies methods and possible rationale for must engage in other activities that responsible borrower it has an obligation the value of our output in these areas. salt damage and has On Gilded Clouds: A these procedures are assessed. involve communication beyond the to ensure that objects we request are Even when we are convinced that what been for a Study of the Materials of Chapter 6 focuses on the ground walls of the museum. in a fit state to travel to us and that we we do is an essential part of the considerable number Oil on Plaster Mural layers found to be present within each can provide a suitable environment for The Museum’s role is both to preserve mission of a national museum, and of years. Secondly, in Paintings in the UK painting. The function of the and utilise the collections. Leaving their protection when they arrive. 1976, the Dating from the Late identified ground layers is discussed. that we can do it well, we still need to collections unused involves a certain The next major exhibition at the V&A, 17th - Early 18th cen- The use of comparatively cheap look for cost savings and opportunities risk, using them increases the risk. celebrating the life and work of William pigments and those possessing One way of determining a responsible for income generation. tury. Morris, involves bringing objects from siccative properties has been balance of resources might be to pay September 1994 environments that are radically This journal is one of the main ways identified. Chapter 7 details the more attention to high-risk areas. different from that provided by the we communicate with the rest of the Words 50,000 pigments and the media which have Another might be to pay more Museum, and from institutions that do world, but there are alternative been identified and contains tabulated attention to high use areas, that is, This thesis presents the not have automatic access to curatorial technologies such as the Internet which information which allows comparison high exposure to the public. result of research into or conservation guidance on suitability might be cheaper and more effective. of the pigments listed in the materials and Temporary exhibitions score well on to travel. The Conservation Department This is why we are asking our readers contemporary writing with those techniques of Baroque both counts. This is why many has a responsibility that starts early in what the value of the Journal is to found within samples from the mural paintings in conservators find themselves heavily the planning and extends physically to them, and whether they value it enough paintings. The techniques employed England, dating from involved in minimising risk at key the source of the objects as well as to pay for it in its present form. 1684 to 1729. It is by Baroque mural artists in painting divided into four parts: drapery are discussed. Very expensive background pigments have been identified in information; the results several of the paintings examined; of microscopic and their use and the implications for the instrumental analysis status of these paintings are contextualised by considered. The use of pigments reference to which appear to be uncommon in the contemporary contemporary English palette has written sources; been noted and two examples are concluding given. The use of oil media is information; discussed as the final section of

Photography by V&A Photographic Studio detailed chapter 7. Figure 7. St Gregory (A34-1913)

22 3 Conservation Journal Royal College of Art Victoria & Albert Museum Joint Course Conservation

Preparing for Morris – The Treatment of a report published in 1890, on the use Marie-Thérèse Weech The second part of the project covers

April 1996 of gold, gold alloys and solders. The Sculpture Conservation the materials and techniques used in Philip Webb Painted, Silvered Chest bábul work itself is described in a A Study of Saint Anne and the Holy the process of making the altarpiece second publication of an earlier date. Kinship, a Polychromed Wood and its conservation. The decorative Sculpture of the Late 15th - Early technique of press brocade (a style of John Courtney The technique is studied using this 16th Century raised decoration) is found on the Intern, Furniture Conservation, written material and by examination – March 1995 object. Owing to the differing types of Conservation Department using light and electron microscopy – press brocade particular interest is of the jewellery itself. These studies are 14,500 with illustrations taken in ascertaining the materials and In preparation for the forthcoming William The simple form and construction of the chest, reinforced by practical experimentation, The project is centred around a techniques used in the making of this Morris exhibition, a small chest (Museum No. the bold geometry of the metal work, and the using silver and gold in an attempt to polychromed wood sculpture of particular one. As well as literary W35-1978) which was acquired by the V&A in silver leaf over a dark grey gesso ground, all reproduce the technique. St Anne and the Holy Kinship (Figure 6). research, analysis of the press brocade 1978 has recently undergone conservation point to this piece being an early example of the One conclusion drawn from the It is divided into two parts. The first through gas chromatography/mass treatment in the Furniture Conservation Studio revival of painted decoration for Gothic microscopic examination of the part sets the historical scene, in which spectrometry was undertaken by the National Gallery to identify the (Figure 1). The chest does not have a well- furniture. There are also several details that seem jewellery was that the bábul work the object was conceived, by to suggest that this was an experimental piece. ingredients and their proportions. documented history, however, it is believed to studied had actually been created using researching the history of St Anne and These include the overall use of silver leaf in Paint sample cross-sections were taken have been exhibited in the Medieval Court at the two different techniques, only one of her rise in popularity. It summarises areas which were later covered with paint, filled at the V&A. With both these types of London International Exhibition in 1862. Though which is described in the available the various iconographic holes in the top rail (horizontal wood support), a analysis, as well as literary research, a it was not listed in the exhibition catalogue, it is literature. Attempts to reproduce the representations of St Anne and focuses lock which does not properly fit the place it was very good idea of the process of mentioned in at least one of the journalistic undocumented technique, although on the catholic incompatibility of the accounts of the exhibition and is also alluded to designed for, and a punch-marked design on the depiction of her with her three making the press brocade on the St top back rail that was abandoned after several enlightening, were not entirely in the account book of Philip Webb, who husbands. Anne altarpiece was gained. inches. conclusive, and scope exists for further designed for Morris, Marshal, Faulkner & Co. (it practical research. However, was not uncommon for some firms participating This chest is important not only because it is reproduction of the documented in the exhibition to display objects not listed in probably one of the earliest pieces of the Morris technique proved very the catalogue while others were unable to ‘Gothic’ painted furniture to survive but also successful, yielding further complete and display objects which were listed). because the stylised painted decoration, which information on this later lead to the use of formalised inlay, is not The decoration used on the chest: a grid of subject. seen on any other furniture from this date. circles and lines, diagonally-striped stiles (vertical wood supports), and stylised daisies on inset Condition panels is comparable to decorative elements in Structurally, the chest was very sound and with the Red House which was designed by Webb for the exception of one end (Figure 2), the finish Morris in 1858. appeared to be intact, although it was covered

POSITION ONLY Figure 6. Saint Anne & The Holy Kinship (1306-1872) before conservation Figure Photography by V&A Photographic Studio

Figure 1. Philip Webb Chest (w35-1978) 4 21 Conservation Journal Royal College of Art Victoria & Albert Museum Joint Course Conservation

with a heavy grime layer of wax and dirt. The stile were also regilt. The petals of the stylised Certain aspects of instrument researcher. The tools which were techniques available to the English tinted varnishes on the damaged end had been daisies and the areas originally coloured on the removed at some point, exposing the silver leaf centre stile were tinted with pigments in a 10% manufacture are more concerned with commonly used are then discussed grainer in the 18th and 19th centuries. April 1996 fine art than the craft of construction. and illustrations are included to give a Finally, illustrations are included of to further degradation. In some places the silver Paraloid B-72 glaze. Their original colours were In the past, instruments have been clearer idea of the range of equipment finished graining examples of the had also been worn away leaving a ghost determined from the fragments which remained adorned with pigments and available. The principle materials used three woods discussed. impression of the painted design on the and from the overall alternating pattern used on decorations in order to embellish their in graining are also examined, remaining grey gesso ground. Cross-sections, the rest of the chest. The outlines of the flowers, appearance. It is commencing with a review of the Final Year Projects examined microscopically, confirmed the extent the striping on the centre stile, and the lines and not intended most commonly applied of the damage. They also confirmed the finish circles were made more clear and discernable by to deal pigments and additives, as Lorna Barnes stratigraphy on sound areas: a grey gesso ground over-painting with a thin glaze of pigment in 10% with well as mediums, Ceramics and Glass Conservation followed by a gold size, then silver leaf coated Paraloid B-72. The entire surface was then coated solvents and coatings. Iron Staining in Porous Ceramics: with several layers of tinted (pigmented) spirit with Lank’s varnish, modified with 5% Methods of Removal varnish, followed finally with painted decoration. microcrystalline wax. After one week the chest In the next section, May 1994 At the base of the chest, the bottom rails and the was buffed lightly with microcrystalline wax. an outline of the edges of the feet were abraded, exposing raw, techniques 10,500 words damaged wood. involved in This project was aimed at finding a Treatment graining is safe viable and effective treatment for provided with The abraded edges on the rails and feet the removal of iron stains from porous were sealed with animal glue and then in- POSITION ONLY an emphasis on ceramics (Figure 4), which could be the more painted with pigments in 10% Paraloid B- used in a ceramics conservation studio 72™(Rohm & Haas Co.), an acrylic resin, developed with relative ease. It reviews the methods to match the mottled grey gesso history of riveting and looks at background. involving the treatments which have been used in manipulation of the recent past for the removal of iron The entire surface of the chest was cleaned translucent glazes stains. It then examines four with cotton swabs and Shellsol A™(Shell), over opaque grounds. A these treatments with a view to finding out if a light aromatic. This cleaning was description of the features to they are safe, viable and effective. The monitored with the aid of a stereo- techniques found in oil findings of the project are preliminary microscope to make sure that no finish

Figure 4. 17th Century Persian Bowl with corroded rivets (1451-1876) 4. 17th Century Persian Figure any great graining is first discussed, followed extent as they have and chapter five contains was removed. The red painted top and by methods which use a distemper POSITION ONLY contributed little towards the recommendations for further work. metal strapwork was then waxed with medium. The final section looks in development or acoustical properties microcrystalline wax and buffed. The rest more detail at the execution of oak, of the instruments. Equally, brass wind of the chest was sealed with Lank’s mahogany and walnut graining in an musical instruments have been Vivienne Farmer brushing varnish (Ketone N attempt to describe more fully the accorded many musical roles Metals Conservation resin™(Picreator) in Stoddard solvent). range of materials, tools and throughout history. They have been Work of Thorns: A Study of the The proper right side of the chest was used to signify leadership, royalty and Indian Technique of Bábul, Khárdár heavily degraded and required special martial endeavour. This is an aspect of or "Work of Thorns" attention. Because of the importance of the history of the instruments which is March 1995 the chest and the fact that it would be on also not covered in this paper. 14,000 with illustrations display in the Morris exhibition, the decision was made to restore the This research project is a technical damaged end to bring back some Lisa Oestreicher study of a particular Indian jewellery coherence to the overall aesthetic of the Architectural Paint studies technique, known as bábul or khárdár chest. The right facing panel and the two Graining in England in the 18th and (Figure 5). The material for this legs on this end were toned using a 19th Centuries research is a group of 1850’s jewellery Photography by V&A Photographic Studio yellow pigment in 10% Paraloid B-72. The October 1995 from Delhi, now a part of the V&A’s left facing panel was toned with an orange Indian Collection, backed up – and 7500 words pigment to follow the original alternating paint Figure 2. Webb Chest showing damaged end compared with – a number of fairly scheme. On the top and bottom rails the silver Note This essay is an investigation of the contemporary pieces of literature. materials and techniques used in the was completely gone and only a ghost image of The Furniture Conservation Section is very decorative imitation of timber finishes The technique is generally applied to the grid and circle decoration remained. A long grateful to John for his expert treatment on this using painting materials. A short gold, although there is one piece of (18 hour) gold size was applied around the lines difficult and demanding project. The completed summary of the history of graining is Figure 5. Gold Bábul work earring (1503-330) jewellery in this group which is silver. and circles and then gilt with silver leaf the chest will be one of the objects on display in the given as well as an outline of the The essay begins with a general following day. The areas which had originally William Morris Exhibition which runs from resource materials available to the discussion, based on a government been silver gilt on the diagonally-striped centre 9 May until 1 September.

20 5 Conservation Journal Royal College of Art Victoria & Albert Museum Joint Course Conservation

Conservation Liaison – Stained Glass for the emphasis is on the major pigments of their original stunning appearance. basic materials and tools used in

April 1996 the time in Western Europe, Careful analysis and microscopic stained glass can be found in the William Morris Exhibition concentrating on basic techniques of examination enable accurate glossary at the end of the essay. production or manufacture of reconstructions to be made which lead individual pigments. Many of these to a greater appreciation of the Agnes Holden Andrew Lamb pigments would have been combined medieval craftsmen. Head of Inorganics, Conservation Department Musical Instruments Conservation with another to produce a greater variety, but unfortunately there was Brass: The Use of Copper/Zinc The William Morris exhibition has not space, at this time, to deal with Ariana Makau Alloys in the Construction of provided a unique opportunity to this aspect of the art. Stained Glass Conservation Historical European Lip-Activated display a large number of stained A Survey of Surface Decoration Instruments (Trumpets) glass panels from the V&A’s Techniques in Stained and Painted October 1995 collection. Despite the scale of the Hannah Eastwood Glass. 7500 words V&A’s collection of stained and Conservation Science October 1995 painted glass, it is not often Materials and Techniques Used by This essay was inspired by work I had 6000 words with illustrations. requested for display in either V&A Southern German Sculptors in the been doing on a trombone made by exhibitions or for loans elsewhere. Late Gothic Period, 1480-1530 The materials of stained glass have Michael Nagel of Nuremberg in 1663. A total of 19 pieces have been October 1995 remained virtually the same since the The instrument is of interest for chosen, making it the largest craft was introduced in the early 13th several reasons. It is part of a large number of panels that the Stained 7000 words with illustrations century (with the exception of silver collection of musical wind instruments Glass Conservation Section has The late Gothic sculptors of Southern stain which was introduced in the 15th and is representative of a particular era dealt with for a temporary Germany were highly talented and century). It is the techniques with of technological development and exhibition. In addition to the V&A skilled craftsmen. The religious which the materials are used that have musical tradition. It has a number of glass there are seven panels from sculptures produced during this fluctuated, following characteristics of problems connected with material other sources also being displayed. period were mainly free-standing art movements, schools of thought, deterioration and its origin and country style and centuries of work Conservation were asked at a very altarpieces and figures carved and provenance have been called into that form the physical canon of stained early stage to inspect the glass decorated in a naturalistic style. The question as a result of an inspection of glass. coming from outside and to materials and techniques used in the its decorative features. As a museum POSITION ONLY object, it provides a window into a prepare reports. This is not production of these objects are This essay is not, nor does it attempt series of issues which concern the common practice for this type of considered, with particular emphasis to be, a complete survey of the diverse Photography by V&A Photographic Studio preservation of historical material and exhibition, but proved invaluable Figure 1. The Legend of St. George by Dante Gabriel Rossetti. (1862) c319-1927 on those made from limewood. art of stained glass. Rather, it evidence. The use of material in (usually reports are written only as the borrowed There are some general misconceptions about Methods by which the highly ornate concentrates on some of the dominant instrumental construction is only one objects arrive at the museum for Government the display of stained glass in an artificial polychrome finish was created are characteristics in the use of its of these. Indemnity). It enabled us not only to assess environment. One such misconception is that discussed. A brief summary of where, materials. It begins with a brief the objects’ conservation needs and make stained glass always requires high levels of and by whom, the sculptures were description of the components of In writing this essay I am seeking to recommendations, but also to identify any artificial light, which would obviously cause made is followed by an account of the stained glass. Three major ways of approach some of the ways in which unusual display requirements. A number of problems for any light-sensitive objects – such as materials and techniques. approaching stained glass technology brass wind instruments were, and still panels were still in situ and therefore would textiles or watercolours – which might be and production are explained and are, being made. This is a large subject Limewood has specific qualities which require specialist removal before any necessary displayed alongside. This is not the case, in that supported by objects in the collection so, out of necessity, I have make it a highly tractable material for conservation work could be carried out. We were high light levels are not required to display at the Victoria and Albert Museum. concentrated on only the most the carvers and the range of tools able to assess these and at the same time were stained glass effectively. In fact stained glass Specifically, the following pieces are common and well reported methods. employed are considered. The able to co-ordinate the display requirements of displayed by artificial light is usually lit too discussed: “The arms of Godfricht This approach has meant that the preparation of the wooden surface for both our own glass and the incoming glass. brightly and by reducing the light levels it can Stomwell and Anna Christina Engels”; subject has tended to ignore non- the polychrome is interesting and the be viewed in a much more realistic way, closer to “Santa Maria ora proa obra” from European fields of development. Although stained glass does not require stringent techniques used for this include displaying it with natural light. This also allays Munich, Germany; fragments of environmental conditions, it is perceived as a gilding, silvering, painting and wax One of the questions I have any misgivings about the effect on other light- roundels from St Denis, France; difficult material to display. It cannot simply be appliqué. Metallic finishes were considered is the use of specific sensitive objects. In the past, Conservation has Guglielmo Marcilla’s “Adoration of the positioned on a shelf or hung directly on a wall. common on the altarpieces as they materials and their possible acoustical not been able to influence the levels of light in a Magi” from Italy and both “Imago Wherever stained glass is displayed, Conservation exploited the flickering candle-light contribution to the sounds of the display box as stained glass is not affected by Bupsiohves Martyris and Medae” and are always involved to some degree in the design prevalent during this period. The instruments. It is a debate which light levels, except where the glass has been “Imago Amoris and Imago Alcestis specification for the display. The glass usually has specific pigments chosen by the constantly exercises the musical repaired with resin or other synthetic materials. Martyris” by Mr Glasby. Support is also to be reframed and requires a specially made box craftsmen are discussed along with drawn from literature contemporary to instrument community and has in which to house and diffuse the artificial A framing system for all the stained glass in the their application. The present-day state these pieces from known stained glass formed the basis of a fertile field of lighting. Museum has been developed by the Stained of the altarpieces does little to reflect artists. A detailed description of the acoustical investigation.

6 19 Conservation Journal Royal College of Art Victoria & Albert Museum Joint Course Conservation

Glass Conservation Section. The need to devise Interventive conservation work on the V&A glass valued. There was often symbolic Sonja Müller textiles can the weaver convincingly such a system became obvious when we has not been extensive. Only one panel has identified problems with the wooden frames that required major conservation work and releading. importance attached to them as they Textile Conservation represent the design. April 1996 are the cloths of rite and ritual, used in European Wall Hangings: The Art of have been used traditionally in the Museum. Other glass required only superficial cleaning To show the extent to which tapestry ceremonies such as marriage or Tapestry Weaving Acids from the wood attack the lead, particularly and some minor repairs. Cleaning glass of this weaving techniques can mimic other initiation. In the case of batiks, certain October 1994 around the edges where the leads are held period is quite difficult as the paint surface is patterns were reserved for the use of art forms, the essay gives examples of underneath the wooden rebates. Painted often quite fragile and so any solvent cleaning is 8000 words with illustrations. royalty; in many other cases the type Southern German and Swiss tapestries kept to a minimum. from the 15th Century, which display of cloth would indicate the wealth and This essay is concerned with one type All the V&A glass was chosen from the primary various degrees of refinement in status of the wearer. of textile: that of woven tapestry displays of stained glass. In order to provide (Figure 3). It looks at European wall representation. As the technical Indigo was the most common dye minimal disruption in the galleries, the glass was hangings from between the 15th and difficulties are overcome, the used, especially when it was the only removed for a short period of time before 18th centuries, and the kinds of decorations become more elaborate colour, but a whole range of dyes was Christmas. Templates were then taken from each equipment and skills involved in their and life-like. useful, even fugitive ones, as garments panel for the new frames. The glass was replaced making. It explores the unique back into the old wooden frames and returned were often dyed for particular festivals In considering specific examples, the techniques and the nature of materials to the galleries. It was removed again closer to and later redyed for general use. essay focuses on the depiction and which enable the tapestry weaver to identification of weaving structures the exhibition date to allow further work to be transform a cartoon into a pictorial used in the representation of garments carried out. Vivienne Farmer textile with depth and vivacity. and furnishing textiles within Metals Conservation The majority of the conservation work required Generally speaking, tapestry is a tabby tapestries. The weaving technique for on the incoming glass was carried out by a firm Metal Casting the identified tapestries is set in September 1993 weave, but it has some special features of private conservators, although some minor that separate it from other tabby contrast with the tapestry weaving work was carried out by the Museum’s 4500 Words weaves. These are discussed in detail technique. This serves to highlight conservators. The work done in the stained glass some of the fundamental technical studio was mainly to provide additional support This essay is mainly specific to two in the course of the essay. differences and confirms tapestry to the glass or to facilitate the positioning of the foundries: AB Fine Art is a foundry weaving as an independent art form. new metal frames. When all the glass was in the casting in bronze by lost wax; and studio, the designers were able to complete their Taylors Foundry, more industrially own measurements and identify for us which biased, casting in sand using various Lynne Humphries Sculpture Conservation panels would be displayed low enough to need alloys of aluminium, bronze and brass. protection on the front of the panels. It was The essay is based on first hand Polychrome Decoration of Stone and Walls in the Medieval Period: important to establish this requirement at that observation and experience, dealing stage because, depending on the thickness of Techniques of Production and with “modern” casting processes – the glass and depth of lead, it is sometimes rather than from secondary sources of Manufacture of Major Pigments. necessary to have the frame made with additional which there are few, and even less October 1994 depth to allow for the extra sheet of Perspex. which are useful. 8617 words It was also at this stage that a decision was made not to reframe the largest piece from outside the The basic principles of casting metal It often comes as a surprise that Museum, Noah’s Ark and Christ and Apostles. It have remained the same since time POSITION ONLY medieval sculpture, like that of the was mounted in a large wooden box, glass-plated immemorial. Developments, many this Greeks, was originally coloured. An at the front and back. As it would be returned in century, in easier-to handle materials idea of the brilliance of the work can Photography by V&A Photographic Studio that frame, it was agreed that the work and the Figure 2. ‘Elaine’ by Burne-Jones (1870) c321-1927 such as air-setting sand and latex be seen by turning to the illuminated risk involved in temporarily removing it and then rubber moulds have speeded up or manuscripts of the period. As soon as aluminium section frames are now being used to replacing it would not be viable. It was also simplified processes but the principles the masons had completed their work, replace these old wooden ones. In addition, a agreed that the King Rene’s Honeymoon series

remain the same. In addition, gelatine Photography by V&A Photographic Studio the whiteners were called upon, these sheet of clear Perspex™(ICI) is mounted from the V&A collection would also remain in its still remains cheaper to use than latex, Figure 3. Detail from “Boar and Bear Hunt” were followed by the painters and behind the glass and provides extra support. It wooden frame, as these panels form part of a (Museum No. T-204 1957) “green sand” than air-set. Therefore, gilders. Frequently, the sculptor was is a specification for loan that glass must be room scheme in the Victorian Primary Galleries the older materials are often used for The investigation also shows how mason, whitener, painter and gilder in mounted in such a way. It also provides, in the and it would not be appropriate to introduce economical reasons. techniques, materials and design are one. case of this exhibition, the designer with a major alterations. Lost wax casting and sand casting blended together to make a tapestry. This essay intends to give a very consistent system from which to design the The involvement of Conservation from the early together cover the most usual and They offer a vast range of possibilities, general introduction to polychrome display. It is also possible with this type of frame stages, especially in the assessment of the incoming many of the oldest methods of realizing and it is the weaver’s responsibility to decoration of both stone and wall to have additional Perspex mounted in front of objects has been of great value. It has allowed us an original form in metal, and in the select and employ the appropriate paintings of the Middle Ages, outlining the glass. This is particularly important if the to plan our input more accurately and assess interests of brevity, the essay deals ones. Only with great expertise, major areas from the ground layers to glass is going to be displayed in a low position resource implications, thus enabling more precise only with these. analytical skill and a sensitivity for mediums and pigments. The main where it might be touched. costings for the Conservation Department.

18 7 Conservation Journal Royal College of Art Victoria & Albert Museum Joint Course Conservation

Digital Imaging and Stained Glass Conservation are so characteristic of Italian Maiolica.

April 1996 The way in which the objects were Ariana Makau made, the type of kilns and fuel used, Stained Glass Conservation Student, RCA/V&A Conservation Course and some examples of the type of object produced in Urbino during this period are also outlined in this essay. The use of computers in conservation documentation is not new, but it has been limited Jenny Potter mainly to word processing and Textile Conservation the text-based database. In the Pattern Dyeing: Techniques of Batik, last year, while developing my Plangi and Clamp Resist. stained glass craft and November 1992 conservation skills, I have also spent time exploring the use of 8500 Words and Illustrations digital imagery as a complement Resist dyeing is perhaps one of the to other visual documentation in earliest methods used by man to stained glass conservation. produce patterns on textiles. At its most The appearance of stained glass basic, the equipment required is depends, as for all artistic media, minimal: plain woven fabric, a dye and on the way it interacts with light. either bast fibre for tying or a wax or The nature of the light is POSITION ONLY paste to paint a pattern. There is a

important (including spectral Photography by V&A Photographic Studio theory that resists may have arisen for distribution and intensity) and so Figure 2. Opus Anglicanum. Detail from Syon Cope (Museum No. 83-1864) reasons of economy, for a plain woven fabric uses less yarn than a complicated is the balance between reflected produced in the Middle Ages, mainly inventories, records of accounts, weave and only needs a simple loom. It and transmitted light. However, during the period 1250 to 1350. It is descriptions in letters or diaries and is a universal technique so examples in contrast with “opaque” media an extraordinarily fine and detailed parallels to other contemporary may be found in most cultures and from such as painting or tapestry, embroidery worked mostly in silk and European work – still leave much most ages. An alpaca plangi cloth, circa where light reflected from the gold thread (Figure 2). Opus anglicanum room for speculation. The essay 200 BC, is one of the oldest known and surface is the main factor, for objects were as highly regarded as attempts to lay out a framework within the same technique is still in use today. stained glass we are primarily jewellery and paintings and were which opus anglicanum was created concerned with the transmission conceived as a form of art fit to be and which at the same time predicted Most of the terms used in the West for of light. In this respect, there is used as diplomatic gifts from and for its fate. resist dyeing procedures derive from compatibility between the kings and other magnates. As such, or those used in Indonesia, because luminous display of the by direct commission, these History of Materials and during the colonial times, European computer screen and the back-lit embroidered textiles found their way Techniques essays interest in this cloth was stimulated. display of a stained glass panel, to Austria, Belgium, France, Germany, Other countries which have a history even though the light that Italy, Sweden and Spain. Lorna Barnes of producing resist dyed textiles have reaches our eyes is manipulated It seems curious that this art form Ceramics and Glass Conservation their own names for this technique. differently. Nonetheless, stained reached its high status almost An Examination of the Materials and glass images “work” on the It is easy to see how accidents in suddenly from so little tradition and Techniques Used in the Production computer screen in a way that dyeing could have led to the lasted only for this relatively short time of Maiolica in Urbino, 1520-1560. many would argue paintings do development of resist dyeing and why span of a hundred years. How was it October 1992 not. the technique is so widespread. able to achieve such perfection and 4000 words with illustrations Grease or mud spots on a garment My plan has been for my what were the historical circumstances which was then redyed – a common computing skills and experience which led to the rise and fall in its This essay is an attempt to examine practice in primitive cultures where to develop in parallel with my popularity? There are barely a hundred the materials used and the techniques fugitive dyes were often used – will conservation work over the three surviving examples of opus employed by the potters of Urbino produce undyed areas. That this was years of the Course. In the first anglicanum. These constitute the during the period 1520-1560. It relies refined to produce beautiful cloth year my aim was to acquire a primary source of research but they heavily on the treatise by Ciprianno using only the simple tools available, is broad overview of how and cannot provide a complete picture. Piccolpasso, written in about 1557, a constant source of amazement. where computer documentation Unfortunately, there is little which tells of the kinds of materials could be implemented and to documentation of production available to the potters and details the It often took months to produce these

familiarise myself with the Photography by V&A Photographic Studio practices and other sources – such as making of the various “colours” which fabrics and as a result they were highly Figure 1 “Adorarion of the Magi” by Gulielmo, 634-1902 8 17 Conservation Journal Royal College of Art Victoria & Albert Museum Joint Course Conservation

software. In my second year, I am glass. The softness of the heelball reluctant as a profession to take the is on the late 1670’s when George Marie-Thérèse Weech concentrating on the documentation means the images may smudge over a work seriously and cannot yet see the of specific objects including the period of time with loss of definition real value to curators, conservators Conservation Ravenscroft formulated the recipe for Sculpture Conservation April 1996 lead glass and a revolution occurred in Gandharan Art: Its Origin and Its Adoration of the Magi by Guglielmo and valuable information. Also, more and the public. However, image Course Abstracts: the British glass industry (Figure 1). Adoption Along the Northern Silk de Marcillat from the V&A Collection than one copy is often needed so that manipulation does offer several Routes. (Museum No. 634-1902, Figure 1). One various aspects of condition and the appealing possibilities. Aspects of Update January 1993 of my main concerns has been the use conservation process can be recorded stained glass conservation treatment of CD and removable Syquest disks to separately. Although rubbing is a such as deconstruction, reconstruction 4000 words with illustrations store the many images scanned from reasonably safe practice, there is and retouching of a panel can be It is some time now since we have had The similarities of style between the slides taken during conservation. The always an element of risk. Fragile leads simulated on screen. Alternative the opportunity in this Journal to art of Gandhara and that found along report that I am helping to create can become distorted and unfired treatments can be applied to the publish abstracts of the written work the northern silk routes of Tibet and includes straightforward images and loose paint can be detached. Copies “digital object” and the results presented by students on the China are explored using literary others that have been manipulated or compared side by side without the real RCA/V&A Conservation Course. As should therefore be kept to a sources and observations of exhibits generated using the computer. All can object ever being touched. This can explained previously, MA students minimum. This is where the computer found in the V&A and the British be displayed on the computer and provide valuable information for the submit four pieces of written work can be very useful. Instead of making Museum. The question of origin and made available as “hard copy”. In my conservator and curator assessing the (besides their conservation multiple copies by hand, I scanned the inspirational source is addressed using final year, I hope to achieve a high possibilities for real treatments. It also documentation) for assessment master rubbing into the computer the principle theories that have been level of dexterity with the software and offers a way of visualising the results of towards their degree. These include a (Figure 2a). Some of the advantages proposed by both art historians and make the use of computer imaging a treatments which would be unethical, History of Art or Design Essay, a are obvious. Exact copies can be archaeologists of the present and past. more standard practice in the impracticable, too expensive or too Science Essay, a History of Materials produced and manipulated in any conservation studio. A more specific time-consuming to carry out in reality. and Techniques Essay and a report ambition is to explore the possibility of quantity from the master file. After the based on the Final Year Project. MPhil Merete Winness applying 3D imaging software to rubbing has been scanned in at actual students, by contrast, are obliged to Furniture Conservation stained glass images. This would allow size, it can be scaled down to a submit only two documents. The first Norwegian Furniture Design in the me to set a window from a museum minimum size for economic digital is a formal Research Proposal, Industrial Age. collection in an appropriate storage. The original dimensions are prepared early in the studentship, January 1994 architectural environment and stored with the image so when a copy which sets out in detail the work they simulate the effects of different is required it is simple to scale it back 8500 words with illustrations propose to do. The second is the lighting. The viewer could “see” the up for printing. No information is lost POSITION ONLY Research Thesis which sets out the This essay focuses on the development window as it might look in situ at during this process. Also, the rubbings work they have done by the end of of Norwegian furniture design in the different times of the day or during are made on medium brown paper their period of research. Industrial Age. It deals with the different seasons. This would be a very with black heelball. By altering the Photography by V&A Photographic Studio Most students answer set questions for transformation from a craft using hand different and complementary image’s contrast after the rubbing has Figure 1. English Wine Goblet (c530-1936), skills to a rational, mechanized experience to seeing the window on been scanned into the computer, the their Science Essays and so there is Ravenscroft. little point in presenting abstracts. industry for mass-production, and how display in a museum environment with lead lines appear in more detail. This Hopefully, by presenting abstracts for Lead glass was much heavier than soda this has determined the influence of “static” lighting. aids in the document’s accuracy as the other written and research glass and had a much higher refractive designers on product development Having outlined my computing well as reducing the time needed to and design as a profession. Figure 2a “Susanna & the Elders” Original rubbing exercises, we can illustrate the index, making it a great deal clearer activities and aspirations, the following lead up the panel (Figure 2b). scanned into the computer. Comparisons with other Scandinavian diversity of the Course and the and more luminous than either soda paragraphs show in a little more detail countries are made throughout, firstly Another advantage is that the digital interests of its students. or potash glass. It also had certain how I have used digital imaging for to put Norwegian furniture design into record is easy to maintain in “perfect other qualities which allowed British stained glass documentation. Art and Design History Essays glass makers to create vessels with a a historical context, and secondly to condition”. By contrast, the paper on distinctively English style, concerned evaluate how Norway has broken with One area of concern in stained glass which the rubbings are made is fragile; more with form than decoration. The Scandinavian design in recent decades. conservation is the vast amount of it may become embrittled and in need Lorna Barnes of conservation itself in time. Ceramics and Glass Conservation development of lead glass and the large paper cartoons and rubbings subsequent effect on glass design is which are done directly from the POSITION ONLY The Influences of Lead Glass on Sonja Müller Another aspect I have investigated is examined. windows and are therefore of a one-to- British Glass Designs, 1685 - 1745. Textile Conservation the use of the computer for “virtual January 1992 This period of creativity came to an Opus Anglicanum one scale. These form an essential part conservation”. Given the widespread of the documentation process prior to availability and popularity of the 4500 words end in 1745. Its demise was caused by January 1994 various factors including government re-leading. They are made by placing imaging software, no doubt other 6500 words and illustrations Before the creation of lead glass, soda taxation and the accession of King brown paper over the window or conservators are experimenting with and potash glass were used in Britain George I. These are described in this Opus anglicanum is Latin and literally panel and rubbing with a heelball (the images of the objects on which they by glass makers. A brief history of glass essay and a final assessment of the translated it means English work. In same waxy, graphite substance used in work in the way I have done, but little Figure 2b Rubbing after being digitally altered to manufacture in Britain and in Italy is state of British glass making at the end art history this term is specifically brass rubbings) to make an impression information seems to be in circulation. highlight lead lines. given in this essay but the main focus of the 18th century is given. applied to English embroidery of the lead lines and cracks in the Perhaps this is because we are

16 9 Conservation Journal Conservation Journal

As an example, I worked on a low-cost bubble-jet printer, which I occurred over the decade. fractured piece of a 19th century could use conveniently and without The work on the Marcillat window is The “Leighton Project”: Backstage border for a 16th century roundel excessive costs per print, has too little April 1996 still in progress (Fig 4). When it is April 1996 Susanna and the Elders from resolution and inadequate print quality complete a 44Mb disk carrying the Olivia Levental Germany, circa 1530-1550 (Museum to produce high quality images or images will accompany the written Intern, Paintings Conservation, No. 5636-1859). A slide of the whole illustrated written reports. report (which in turn will include hard Conservation Department panel was first scanned into the Nonetheless, I did produce hard copy copy acetates of the computer computer, then the relevant piece was reports using Aldus PageMaker™4.2, images). This will make it the first selected and enlarged. Various which allows easy and effective digital documentation in the Stained techniques were then tried out on the incorporation of images into text. The I worked at the V&A as an intern in Paintings Glass Section. A writable CD carrying image. Lead was removed to leave illustrations certainly are not of the Conservation for 24 weeks, of which 20 were 143 slide images that correlate with spaces corresponding to missing areas same quality as the photographic dedicated to the Leighton project or more numbers in the written documentation of glass (Figure 3a). Similarly, a image but the freedom to select, scale precisely to the restoration of the half-size will also be stored with the report. “foreign” piece of glass was removed and manipulate images throughout the cartoon Industrial Arts as applied to War These images are intended to be to leave the space occupied by the document is very useful alongside the (195.6cm x 450cm). viewed on screen as a complement to original glass (Figure 3b). This foreign set of slides and photographs which the written report. As such they are It was the first time I had carried out a full piece was enlarged, “paint samples” accompany the report. For image stored at quite a low resolution, 72 dpi conservation treatment on such a large painting, were selected from the areas of processing, I was using Adobe (dots per inch) which is the highest of such quality and which was part of an damage and the colours intensified Photoshop™2.5 which had some noticable resolution on the computer exhibition involving other objects (frescoes, full- using brightness and contrast tools. major limitations for the kind of work I screen. Where the aim is to produce size and half-size cartoons, sketches, drawings These colours were loaded onto brush wished to do. For example, I was slides or high quality printed images and the gallery itself). Working on this large-scale tools and used to paint over the unable to superimpose images freely from CD, much higher resolutions object did not only broaden my technical damaged section (Figures 3c, 3d, and to illustrate change without losing (1000 dpi and more) can be used knowledge, but also made me aware of a whole 3e). This would not be ethical in information in the “lower” image. This practice, but it provided useful instead. range of new parameters, such as the need for was resolved in the second year when accurate planning and organisation of each information on how the roundel we upgraded to Photoshop™3.0. One Another useful feature of Photoshop would have looked when the repair intervention, the limitations and results to be of the major improvements is the 3.0 is its “define pattern” or stamp expected. was first made, before the availability of the “layers” tools. This tool. With this, any design can be deterioration occurred. enables the user to superimpose a sampled and then replicated at will. The first obvious constraint was having to work The panel is one of a pair and its number of independent image layers Some readers will be aware of the within a public area of the Museum – the Ironwork Gallery – which was temporarily partner is undamaged. This enabled over a basic image. In combination work of Corpus Vitrarum, an with the drawing tools, it is very useful international body established in the transformed into a conservation studio. This was me to use the computer to help with Figure 1. Olivia working on the Leighton Cartoon in documentation where the need is to early 1950’s which set out to necessitated by the impossibility of transporting the real treatment. First, it was decided The conservation treatment of the painting itself, annotate an image with several document all the medieval stained the painting, due to its size, to the usual painting that the foreign element had suffered with all its tears and losses made me consider different types of information without glass in the world. This body has studio. Owing to the reduced space, the size and too much paint loss, was visually more closely the delicate and controversial actually altering the original image. An established a set of “markings”: the weight of the cartoon, each move had to be unacceptable and too fragile to remain problem of tear-mends. Not being totally example of this is the documentation geometric patterns including stripes planned a long time in advance in order to call with the panel. It was therefore satisfied with methods using adhesives, I started of Marcillat’s Adoration of the Magi and dots which can be used to label on three or four additional “helpers” from removed and stored with the investigating the relatively little-known field of which underwent major conservation areas of stained glass panels. Each various departments (a special thanks to documentation for the panel, while sewing techniques. With my skills being limited treatments in 1985 and again in 1995. pattern has a specific meaning: Furniture Conservation). Photographing the the missing area was filled with to sewing on a button, I greatly appreciated the It proved very useful to be able to horizontal lines define pieces replaced object also was a complicated procedure. In suitably coloured Hxtal NYL-1™ resin help and advice of the textile conservators when place transparent image layers carrying in the 19th century. Having scanned addition to the limitations described above, the (a two part epoxy resin). The choosing types of thread, needle and stitches. At information over the basic image of the whole set of these patterns into gallery was never entirely dark, making it the beginning of my research, one of the first corresponding area on the intact the computer, it is a simple matter to impossible to take raking and uv light the panel. These layers showed areas obstacles was to find the right needle (extremely partner panel was selected from a use Photoshop to create a “stamp” for photographs. of change or repair of different kinds thin and curved). The ideal one for my purpose scanned image, enlarged exactly to each pattern. The Corpus Vitrarum occurring at the different dates, Working in a gallery within the Museum raised not being available commercially, I was able to life-size, and printed out onto a markings can then be used to label represented by different transparent another fundamental issue, the necessity to take advantage of the knowledge, the technical transparent acetate sheet. This was appropriate areas of an image layer, colours. A key explains what each observe strict Health and Safety measures, skill and the equipment in Metalwork then placed on the light box, which can be seen superimposed on colour means. The layers can be especially as a gallery does not have all the safety Conservation to have my own tool created. This underneath the filled area on the the image of the panel or viewed superimposed on the image or devices a conservation studio has. This is not a collaboration with other sections has been a very damaged panel and served as a very separately as before. removed from view at will, as well as complaint about working conditions, on the useful template for inpainting. stimulating experience, reinforcing my viewed and printed separately. In this Essentially, this is the same process as contrary, dealing with unusual sizes, in unusual conviction that communication between people The main limitations on my work format, it is easy to visualise and discussed for recording conservation places, can be a challenging experience requiring from different backgrounds is essential for taking during the first year stemmed from the compare the work done at each date, and condition information but using organisation, flexibility, some ingenuity and a lot the best decisions, making the best choices and hardware and software available. The as well as view the changes that an internationally agreed “key”. The of patience. creating improvements.

10 15 Conservation Journal April 1996 11 Figure 3e. Figure Figure 3b. Figure Figure 3a. Figure Figure 3d. Figure POSITION ONLY Conservation During Treatment: 5636-1859 Treatment: During Conservation

Original

Figure 3c. Figure Photography by Lisa Oestreicher Lisa by Photography original decoration on the soffits consisted of an original decoration on and gilded decoration, intricate scheme of stencilled and the decoration of, indicated by the specification found The plain walls were in, the adjoining gallery. in two contrasting shades of to have been painted on-site investigations included brown. Further layers to confirmscraping back later paint the existence and patterndecoration and of stencilled the original paint colours. Although the stencilled in Gallerytreatment differed in some respects to that 102, there were a number of striking similarities. Samples of the original colours were then placed under an ultra-violet lamp to reverse the yellowing which had occurredthen colour over time and on matched. Continual site visits to monitor work site and advise on the decoration of non-original surfaces assisted in ensuring the successful completion of this project. further to work was undertaken As indicated earlier, the Leighton Corridor as part of the preparations for the Leighton Centenary While the fresco Exhibition. itself was cleaned by students of the Courtauld Course, members of Painting Institute of Art’s Wall the Museum’s Conservation Department were involved in both the conservation and hanging of the original Leighton Cartoons for the fresco within the corridor as well as the cleaning of the inset soffit additional lighting was paintings. Most importantly, incorporated into the gallery to ensure that the fresco and cartoons clearly. could be seen more original The redecoration of these galleries to their sense of the fresco more appearance not only makes and its setting but it also increases the viewing pleasure of the public and allows for a more coherent link to other galleries through the use of of the The regilding decorative motifs and colour. East Staircase ceiling restored this space to the architectural importance it previously held within the building and now heralds the visitor’s arrival at Leighton’s important work and the galleries beyond. This project underlines the benefits which can result from a thorough investigation of the decorative surfaces interiors. In this instance it of architectural not only forged a greater understanding of the development of the Leighton Corridor and the East Staircase but it also assisted in reproducing a historic interior of architectural and visual importance. restored to its original appearance. Figure 1. Lunette soffit within the Leighton Corridor 1. Lunette soffit within (GalleryFigure 109) was finished Peace Peace Industrial Arts as Applied to was completed in 1880 when James was completed in 1880 but unfortunately alterations undertaken War War Industrial Arts as Applied to Peace and Ward was recorded as having painted an enclosing was recorded as having painted Ward coloured moulding frame brown with a gold paint. executed in bronze metal After the successes of the East Staircase ceiling, the ceiling, Staircase of the East the successes After Leighton Corridor (Gallery next room 109) was the The South Courtto be examined. built was originally eighteen lunettes measuring with two semicircular at the northfeet in radius the end. In 1869 when Court south to create Gallery was extended to the recesses were constructed.109, similar the Although was to decorate all four intention at this time achieved on two, the north-lunettes, this was only where Lord Leighton east and south-east walls, painted the frescoes War respectively. respectively. in August 1886. The frescoes were originally 1886. The frescoes in August from the ground floor of the intended to be viewed South Court in 1950 resulted in both frescoes being contained within darkly lit passageways. was The decorative appearance of these lunettes enhanced by paintings set into the arched soffits above. The inset paintings found in Gallery 102 were before his death in decorated by Godfrey Sykes 1866. It is assumed that the surrounding stencilled paint work and gilding currently visible were also carried out at this time. Similar inset paintings were on the soffits of partially executed, a few years later, Moody. Gallery 109 under the direction of Frank a dispute over payment in 1880 meant that However, four panels on this soffit remained uncompleted. Britten. They were subsequently finished by W.E.F. the beginning of the examination, it was unknown At whether the inset paintings in Gallery 109 had received the same stencilled and gilded embellishment as Gallery the soffit and 102 since adjacent walls had at some point been overpainted with a dull brown paint. Determining this became the the brief for the investigations. In order for restoration of the Leighton Corridor to proceed it was also necessary to determine the original colour of the paint work on the surrounding walls. Once again historical research into the development and decoration of the Leighton Corridor was assisted by the discovery of the original specification dated 5 December 1870. It outlined the decorating work required for the completion of the South Court extension and gave a positive indication that the search for a matching decorative treatment would be successful. A similar investigative approach to that described for in the the East Staircase ceiling was undertaken period of an initial After Leighton Corridor. documentary research, work commenced on site. The 20 samples retrieved were examined microscopically and staining and microchemical tests confirmed Analysis were undertaken. that the 14

Conservation Journal April 1996 Conservation Journal April 1996 13 elements were highlighted in an imitation gold elements were highlighted colour using modern The architect in bronze paints. was interested to know charge of the project whether the harsh modern of gold rendering of an earlier more decoration was indicative curiosity led to some elaborate scheme. Her interesting discoveries. was helped, to a large extent, The historical research the by the vast collection of records still held by museum. As a result of the search for contemporary in the documentation, an exciting find was made form original estimate for the of Kershaw’s decoration of the ceiling. Dated 15 January 1866, it outlined the decorator’s intention to gild the sum of mouldings and the central decoration for the that £126. A note on the back of this estimate states the invoice was ordered on 30 January 1866. This was the first clue that a more intricate gilding The scheme had existed in the nineteenth century. Science & Art Department’s report for the year 1866 notes that the construction of the East Staircase was of completed by this date except for the decoration on the the walls. This minute, along with the note was original estimate, would indicate that the ceiling decorated in this year. Investigations commenced on site shortly after the place. As part of the historical research had taken were initial examination, drawings of the ceiling the done and these illustrations were used to plot from location of the 58 samples which were retrieved were a variety of plaster mouldings. These samples then removed to the laboratory they were where mounted in polyester resin and cross-sections prepared. They were then examined microscopically and subjected to staining and microchemical tests to identify materials and media used. the pigments, Although nine schemes were identified in total, the original decoration was found to comprise of a white lead-based paint layer and a complex and wide subsequent ranging scheme of gilding. Interestingly, schemes saw a gradual recession of the amount of gold leaf used on the decorative elements of the ceiling, eventually culminating in its abandonment in favour of gold coloured paint which was used on a practical work limited number of mouldings. Further involved marking out on site, with the project mouldings which had been the individual manager, gilded and offering technical advice on materials to be used. fresco. to the Industrial War Peace Peace Industrial Arts as Applied and Gallery (Gallerythe 102) and the restoration of the East Staircase and the The Restoration of the East Staircase East Staircase of the Restoration The Corridor, Leighton and the Ceiling Museum & Albert Victoria Lisa Oestreicher Studies Student, RCA/V&A Conservation Course Architectural Paint Arts as Applied to War Arts to War as Applied to Peace, The splendid results of this work Leighton Corridor. can be seen in Galleries 102, 107 and 109. The East Staircase (Gallerywell as serving 107), as as important is an point circulation a textile gallery, first within the V&A, connecting the ground and floor at the entrance to the South Court. A landing at the top of the staircase terminates the ascent into in the Museum and positions the visitor immediately front of the entrance to the Leighton Corridor (Gallery 109) with the Leighton fresco In February of this year, the Victoria & Albert the of this year, In February exhibition commemorating the Museum unveiled an painter centenary death of the high-Victorian of the exciting Leighton. A number of Lord Frederic to fulfil this commitment projects were initiated including the conservation Leighton of the original cartoons, the cleaning of the two frescoes: left. A short journey through the Textiles Gallery left. A short journey through the Textiles (Gallery 101) and the viewer arrives at the Costume Jewellery It is generally accepted that unsympathetic in the past, alterations to the Museum undertaken had combined with a lack of regular maintenance, resulted in an unacceptable viewing environment within the galleries. The refurbishment and redecoration of the East Staircase and the Leighton Corridor to their original appearance was considered an essential requirement for displaying Leighton’s work to its best advantage. The Conservation Department’s Science Group undertook the necessary analysis to historical research and paint discover the original colour scheme, gilding and the stencilled decoration which lay hidden beneath layers of modern paint. The East Staircase was originally designed by Captain prior to 1864 as part of the extension Fowke Francis of the South Court to provide access to what was at that time the enlarged Oriental Courts and National as well as the new Secretarial Competition Gallery, know from documentary to the south. We Wing evidence that the intricate plasterwork ceiling was and the decoration was designed by Godfrey Sykes and Sons. executed by the firm of Thomas Kershaw Before the restoration the ceiling was predominately painted a brilliant white. Against this plain background, a limited number of decorative 634-1902 o Object N Marcillat, middle section middle Marcillat, as we would wish. Unfortunately, we as we would wish. Unfortunately, are not yet in a position to supply a and trust the reader will “cover-disk” understand our limitations. Corpus Vitrarum, National Committee can be contacted care of: British Cornwall 20-21 Terrace, Academy, London, NW1. Equipment List Hardware: Macintosh Quadra 840 AV 16/1000; Apple Colorone Scanner (and other scanning, CD wring equipment supplied at the RCA); d2 88Mb Syquest disk-drive. Software: 2.5 and Adobe Photoshop 4.2; Ofoto 2.0. 3.0; Aldus PageMaker Hxtal is an epoxy resin system used in Stained Glass Conservationat the V&A. more information, contact Stained For Glass Conservation 938-8588. on 0171 encourage wide use of computer documentation. As stained glass conservation is still very much tied to the craft tradition, this will not be easy. It does help that the software available even now is easy to understand, manually oriented and clearly fills a gap in documentation needs that cannot be filled by traditional means. Once the basic skills have been learned, limitless. the possibilities are Note: This article the use of is about computer imaging in conservation documentation. The point of the article us to is that computers allow manipulate, store, superimpose and generally use full-colour images in a way which is impossible with printed images. In a journal is which restricted to small, monochrome illustrations, it is clearly impossible to convey the message as convincingly Finally, the most important task is to Finally, transferable in digital information. must be standardised, or at least most complex objects. Image formats and in a way that works well for the approach to the labelling of images very important to standardise our digital methods widespread. It will be issues if we are to make the use of issues if we are to make paragraph illustrates one of the key many advantages, the previous While computer documentation offers obscuring it. information rather than to the viewer patterns should clearly convey the transparent layers carrying these and colours. Superimposing a system of carefully designed patterns superimposed. What is really needed is can become very confused when patterns adopted by Corpus Vitrarum problem is that the geometrical Figure 4 Preliminary layers for Marcillat documentation. Figure 12 Conservation Journal April 1996