I obtained my first degree in art history from the Courtauld Institute of Art, University of London (1981), where I also obtained a postgraduate diploma (1994) and master’s degree (1997) in the conservation of wall painting, specialising in the technology and conservation of wall paintings on earthen supports. I now work both in the UK and internationally as a freelance wall painting conservator, and I have collaborated for many years with the Courtauld Institute on projects in Bhutan, Cyprus, China, Georgia, Jordan and Malta. I have also worked with the Getty Conservation Institute as a consultant in the Valley of the Queens, Luxor, Egypt, and at the Mogao Grotto site, Dunhuang, China, where I regularly teach conservation at postgraduate level. Since 2013 I have worked on a number of projects in the Amhara and Tigrai regions of Ethiopia with the Ethiopian Heritage Fund, the World Monuments Fund, and the European Union. Address: london
Abstract Visible-Induced Luminescence (VIL) has become a widely accessible investigation tool to ... more Abstract Visible-Induced Luminescence (VIL) has become a widely accessible investigation tool to identify and image the presence of Egyptian blue on in situ wall paintings. Portable microscopy has similarly entered mainstream usage to examine painted surfaces in archaeological settings. A project to investigate the extremely scant remains of decoration of the 7th c. BC Kushite chapel of Osiris Neb-ankh/Pa-wesheb-iad on the north side of Karnak temple demonstrated the effective use of these low-tech, non-invasive procedures. In order to better understand the nature of the highly deteriorated painting, an interdisciplinary approach was adopted that combined these intensely practical in-situ investigations with a process of comparative evaluation and deduction, drawing on expertise from the fields of painting technology and Egyptology. Beyond expected confirmation of the widespread use of Egyptian blue as a pure color, the skilful and selective admixture of this pigment with yellow and white pigments was detected. This appears to have been used to enhance painted subject matter of particular symbolic importance. The study was the basis for recognising a conspicuous absence of green in the decoration, determining where green was once present, and – by evaluating factors of pigment impermanence versus durability – helping to define the likely nature of the missing pigment. Definitive pigment identification was not always possible, nor was it a primary aim, although the evaluative process employed is also the most efficient way of identifying analytical procedures that might still be required. Even without identification, the findings made in relation to the missing green were highly significant, providing important evidence of a technological shift in the use of greens in Late Period wall paintings, which parallels similar developments found on other Egyptian artefacts. A low-tech, iterative approach to painting investigation therefore has great validity.
Abstract The church of Agios Herakleidios, in the monastery of Agios Ioannis Lampadistis, a World... more Abstract The church of Agios Herakleidios, in the monastery of Agios Ioannis Lampadistis, a World Heritage site in the Troodos Mountains, preserves one of Cyprus's very few thirteenth-century wall painting schemes. Stylistically and technically, these paintings are distinct both from earlier, well-known twelfth-century painting schemes as well as from abundant later Cypriot painting. During the recently completed conservation programme, one of the most surprising outcomes of the related technical investigations was the identification of two types of tin foil applications, which had not been previously recorded: flat foil and cast raised work. As these are exceedingly rare in Cypriot painting, and as there are controversies surrounding the dating and origin of this technology, the findings are of particular interest. Indeed, they provide further evidence for the theory that the transmission of these technologies was from west to east, not east to west, as has often been stated.
The Buddhist wall paintings of Asia are at unprecedented risk. In temples and monasteries across ... more The Buddhist wall paintings of Asia are at unprecedented risk. In temples and monasteries across the region, the range of threats is vast and varied: seismicity, structural failure, fire, flooding,...
journal of archaeological science: reports 39, 2021
Visible-Induced Luminescence (VIL) has become a widely accessible investigation tool to identify ... more Visible-Induced Luminescence (VIL) has become a widely accessible investigation tool to identify and image the presence of Egyptian blue on in situ wall paintings. Portable microscopy has similarly entered mainstream usage to examine painted surfaces in archaeological settings. A project to investigate the extremely scant remains of decoration of the 7th c. BC Kushite chapel of Osiris Neb-ankh/Pa-wesheb-iad on the north side of Karnak temple demonstrated the effective use of these low-tech, non-invasive procedures. In order to better understand the nature of the highly deteriorated painting, an interdisciplinary approach was adopted that combined these intensely practical in-situ investigations with a process of comparative evaluation and deduction, drawing on expertise from the fields of painting technology and Egyptology. Beyond expected confirmation of the widespread use of Egyptian blue as a pure color, the skilful and selective admixture of this pigment with yellow and white pi...
Abstract Siq al-Barid preserves one of Petra's few Nabataean wall paintings, and the only in ... more Abstract Siq al-Barid preserves one of Petra's few Nabataean wall paintings, and the only in situ example with figurative subject matter. Given our current very limited knowledge of Nabataean art and customs, the importance of the painting's survival in its original location cannot be underestimated. Since 2006, the Petra National Trust has collaborated with the Courtauld Institute of Art in London to conserve and clean the painting. Emerging from beneath obscuring dirt and graffiti, its extremely high quality and stylistic indebtedness to Hellenistic art is only now coming to be fully recognized, although scientific examination has revealed a surprisingly wide divergence from the Greek technological tradition. This paper will consider the techniques and conservation of the painting, including such issues as the problem of balancing site protection requirements against the demands of tourism, and the potential for integrating the local Bedouin community in these efforts.
The Buddhist wall paintings of Asia are at unprecedented risk. In temples and monasteries across ... more The Buddhist wall paintings of Asia are at unprecedented risk. In temples and monasteries across the region, the range of threats is vast and varied: seismicity, structural failure, fire, flooding,...
The book discusses two rare and important survivals of wall painting schemes at Eton College - th... more The book discusses two rare and important survivals of wall painting schemes at Eton College - the late 15th-century Miracles of the Virgin on the walls of the College Chapel, and an early 16th-century depiction of a school scene, discovered under 18th-century panelling in the Head Master's Chambers in 2005 - each connected with a major early phase of building at the College, and each representing different strands of artistic development in England. Discussions of iconography, context and function, and artistic links and influences are accompanied by detailed analyses of materials and techniques.
The book discusses two rare and important survivals of wall painting schemes at Eton College - th... more The book discusses two rare and important survivals of wall painting schemes at Eton College - the late 15th-century Miracles of the Virgin on the walls of the College Chapel, and an early 16th-century depiction of a school scene, discovered under 18th-century panelling in the Head Master's Chambers in 2005 - each connected with a major early phase of building at the College, and each representing different strands of artistic development in England. Discussions of iconography, context and function, and artistic links and influences are accompanied by detailed analyses of materials and techniques.
Visible-Induced Luminescence (VIL) has become a widely accessible investigation tool to identify ... more Visible-Induced Luminescence (VIL) has become a widely accessible investigation tool to identify and image the presence of Egyptian blue on in situ wall paintings. Portable microscopy has similarly entered mainstream usage to examine painted surfaces in archaeological settings. A project to investigate the extremely scant remains of decoration of the 7th c. BC Kushite chapel of Osiris Neb-ankh/Pa-wesheb-iad on the north side of Karnak temple demonstrated the effective use of these low-tech, non-invasive procedures. In order to better understand the nature of the highly deteriorated painting, an interdisciplinary approach was adopted that combined these intensely practical in-situ investigations with a process of comparative evaluation and deduction, drawing on expertise from the fields of painting technology and Egyptology. Beyond expected confirmation of the widespread use of Egyptian blue as a pure color, the skilful and selective admixture of this pigment with yellow and white pigments was detected. This appears to have been used to enhance painted subject matter of particular symbolic importance. The study was the basis for recognising a conspicuous absence of green in the decoration, determining where green was once present, andby evaluating factors of pigment impermanence versus durabilityhelping to define the likely nature of the missing pigment. Definitive pigment identification was not always possible, nor was it a primary aim, although the evaluative process employed is also the most efficient way of identifying analytical procedures that might still be required. Even without identification, the findings made in relation to the missing green were highly significant, providing important evidence of a technological shift in the use of greens in Late Period wall paintings, which parallels similar developments found on other Egyptian artefacts. A low-tech, iterative approach to painting investigation therefore has great validity.
Tin relief on thirteenth-century Cypriot wall painting: Technology and conservation, 2012
"The church of Agios Herakleidios, in the monastery of Agios Ioannis Lampadistis, a World He... more "The church of Agios Herakleidios, in the monastery of Agios Ioannis Lampadistis, a World Heritage site in the Troodos Mountains, preserves one of Cyprus’s very few thirteenth-century wall painting schemes. Stylistically and technically, these paintings are distinct both from earlier, well-known twelfth-century painting schemes as well as from abundant later Cypriot painting. During the recently completed conservation programme, one of the most surprising outcomes of the related technical investigations was the identification of two types of tin foil applications, which had not been previously recorded: flat foil and cast raised work. As these are exceedingly rare in Cypriot painting, and as there are controversies surrounding the dating and origin of this technology, the findings are of particular interest. Indeed, they provide further evidence for the theory that"
This article provides an overview of the unique and ancient wall painting heritage of Ethiopia's ... more This article provides an overview of the unique and ancient wall painting heritage of Ethiopia's Tigray region and identifies some of the particular susceptibilities and circumstances which compromise them. The work of the Ethiopian Heritage Fund in studying, recording and conserving these paintings is briefly described, together with the charity’s focus on sustainable preservation initiatives.
Abstract Visible-Induced Luminescence (VIL) has become a widely accessible investigation tool to ... more Abstract Visible-Induced Luminescence (VIL) has become a widely accessible investigation tool to identify and image the presence of Egyptian blue on in situ wall paintings. Portable microscopy has similarly entered mainstream usage to examine painted surfaces in archaeological settings. A project to investigate the extremely scant remains of decoration of the 7th c. BC Kushite chapel of Osiris Neb-ankh/Pa-wesheb-iad on the north side of Karnak temple demonstrated the effective use of these low-tech, non-invasive procedures. In order to better understand the nature of the highly deteriorated painting, an interdisciplinary approach was adopted that combined these intensely practical in-situ investigations with a process of comparative evaluation and deduction, drawing on expertise from the fields of painting technology and Egyptology. Beyond expected confirmation of the widespread use of Egyptian blue as a pure color, the skilful and selective admixture of this pigment with yellow and white pigments was detected. This appears to have been used to enhance painted subject matter of particular symbolic importance. The study was the basis for recognising a conspicuous absence of green in the decoration, determining where green was once present, and – by evaluating factors of pigment impermanence versus durability – helping to define the likely nature of the missing pigment. Definitive pigment identification was not always possible, nor was it a primary aim, although the evaluative process employed is also the most efficient way of identifying analytical procedures that might still be required. Even without identification, the findings made in relation to the missing green were highly significant, providing important evidence of a technological shift in the use of greens in Late Period wall paintings, which parallels similar developments found on other Egyptian artefacts. A low-tech, iterative approach to painting investigation therefore has great validity.
Abstract The church of Agios Herakleidios, in the monastery of Agios Ioannis Lampadistis, a World... more Abstract The church of Agios Herakleidios, in the monastery of Agios Ioannis Lampadistis, a World Heritage site in the Troodos Mountains, preserves one of Cyprus's very few thirteenth-century wall painting schemes. Stylistically and technically, these paintings are distinct both from earlier, well-known twelfth-century painting schemes as well as from abundant later Cypriot painting. During the recently completed conservation programme, one of the most surprising outcomes of the related technical investigations was the identification of two types of tin foil applications, which had not been previously recorded: flat foil and cast raised work. As these are exceedingly rare in Cypriot painting, and as there are controversies surrounding the dating and origin of this technology, the findings are of particular interest. Indeed, they provide further evidence for the theory that the transmission of these technologies was from west to east, not east to west, as has often been stated.
The Buddhist wall paintings of Asia are at unprecedented risk. In temples and monasteries across ... more The Buddhist wall paintings of Asia are at unprecedented risk. In temples and monasteries across the region, the range of threats is vast and varied: seismicity, structural failure, fire, flooding,...
journal of archaeological science: reports 39, 2021
Visible-Induced Luminescence (VIL) has become a widely accessible investigation tool to identify ... more Visible-Induced Luminescence (VIL) has become a widely accessible investigation tool to identify and image the presence of Egyptian blue on in situ wall paintings. Portable microscopy has similarly entered mainstream usage to examine painted surfaces in archaeological settings. A project to investigate the extremely scant remains of decoration of the 7th c. BC Kushite chapel of Osiris Neb-ankh/Pa-wesheb-iad on the north side of Karnak temple demonstrated the effective use of these low-tech, non-invasive procedures. In order to better understand the nature of the highly deteriorated painting, an interdisciplinary approach was adopted that combined these intensely practical in-situ investigations with a process of comparative evaluation and deduction, drawing on expertise from the fields of painting technology and Egyptology. Beyond expected confirmation of the widespread use of Egyptian blue as a pure color, the skilful and selective admixture of this pigment with yellow and white pi...
Abstract Siq al-Barid preserves one of Petra's few Nabataean wall paintings, and the only in ... more Abstract Siq al-Barid preserves one of Petra's few Nabataean wall paintings, and the only in situ example with figurative subject matter. Given our current very limited knowledge of Nabataean art and customs, the importance of the painting's survival in its original location cannot be underestimated. Since 2006, the Petra National Trust has collaborated with the Courtauld Institute of Art in London to conserve and clean the painting. Emerging from beneath obscuring dirt and graffiti, its extremely high quality and stylistic indebtedness to Hellenistic art is only now coming to be fully recognized, although scientific examination has revealed a surprisingly wide divergence from the Greek technological tradition. This paper will consider the techniques and conservation of the painting, including such issues as the problem of balancing site protection requirements against the demands of tourism, and the potential for integrating the local Bedouin community in these efforts.
The Buddhist wall paintings of Asia are at unprecedented risk. In temples and monasteries across ... more The Buddhist wall paintings of Asia are at unprecedented risk. In temples and monasteries across the region, the range of threats is vast and varied: seismicity, structural failure, fire, flooding,...
The book discusses two rare and important survivals of wall painting schemes at Eton College - th... more The book discusses two rare and important survivals of wall painting schemes at Eton College - the late 15th-century Miracles of the Virgin on the walls of the College Chapel, and an early 16th-century depiction of a school scene, discovered under 18th-century panelling in the Head Master's Chambers in 2005 - each connected with a major early phase of building at the College, and each representing different strands of artistic development in England. Discussions of iconography, context and function, and artistic links and influences are accompanied by detailed analyses of materials and techniques.
The book discusses two rare and important survivals of wall painting schemes at Eton College - th... more The book discusses two rare and important survivals of wall painting schemes at Eton College - the late 15th-century Miracles of the Virgin on the walls of the College Chapel, and an early 16th-century depiction of a school scene, discovered under 18th-century panelling in the Head Master's Chambers in 2005 - each connected with a major early phase of building at the College, and each representing different strands of artistic development in England. Discussions of iconography, context and function, and artistic links and influences are accompanied by detailed analyses of materials and techniques.
Visible-Induced Luminescence (VIL) has become a widely accessible investigation tool to identify ... more Visible-Induced Luminescence (VIL) has become a widely accessible investigation tool to identify and image the presence of Egyptian blue on in situ wall paintings. Portable microscopy has similarly entered mainstream usage to examine painted surfaces in archaeological settings. A project to investigate the extremely scant remains of decoration of the 7th c. BC Kushite chapel of Osiris Neb-ankh/Pa-wesheb-iad on the north side of Karnak temple demonstrated the effective use of these low-tech, non-invasive procedures. In order to better understand the nature of the highly deteriorated painting, an interdisciplinary approach was adopted that combined these intensely practical in-situ investigations with a process of comparative evaluation and deduction, drawing on expertise from the fields of painting technology and Egyptology. Beyond expected confirmation of the widespread use of Egyptian blue as a pure color, the skilful and selective admixture of this pigment with yellow and white pigments was detected. This appears to have been used to enhance painted subject matter of particular symbolic importance. The study was the basis for recognising a conspicuous absence of green in the decoration, determining where green was once present, andby evaluating factors of pigment impermanence versus durabilityhelping to define the likely nature of the missing pigment. Definitive pigment identification was not always possible, nor was it a primary aim, although the evaluative process employed is also the most efficient way of identifying analytical procedures that might still be required. Even without identification, the findings made in relation to the missing green were highly significant, providing important evidence of a technological shift in the use of greens in Late Period wall paintings, which parallels similar developments found on other Egyptian artefacts. A low-tech, iterative approach to painting investigation therefore has great validity.
Tin relief on thirteenth-century Cypriot wall painting: Technology and conservation, 2012
"The church of Agios Herakleidios, in the monastery of Agios Ioannis Lampadistis, a World He... more "The church of Agios Herakleidios, in the monastery of Agios Ioannis Lampadistis, a World Heritage site in the Troodos Mountains, preserves one of Cyprus’s very few thirteenth-century wall painting schemes. Stylistically and technically, these paintings are distinct both from earlier, well-known twelfth-century painting schemes as well as from abundant later Cypriot painting. During the recently completed conservation programme, one of the most surprising outcomes of the related technical investigations was the identification of two types of tin foil applications, which had not been previously recorded: flat foil and cast raised work. As these are exceedingly rare in Cypriot painting, and as there are controversies surrounding the dating and origin of this technology, the findings are of particular interest. Indeed, they provide further evidence for the theory that"
This article provides an overview of the unique and ancient wall painting heritage of Ethiopia's ... more This article provides an overview of the unique and ancient wall painting heritage of Ethiopia's Tigray region and identifies some of the particular susceptibilities and circumstances which compromise them. The work of the Ethiopian Heritage Fund in studying, recording and conserving these paintings is briefly described, together with the charity’s focus on sustainable preservation initiatives.
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