Conservation and Restoration of Mural Paintings

Bologna, 12 marzo 2016: tarda mattina. Davanti alla facciata dell'XM24 si è appena arrivati all'apice di un terribile, per taluni, scempio, per altri di un glorioso ultimo atto di "resistenza". Il grande murale che qualche anno prima aveva permesso la salvezza del centro sociale, rendendolo impermeabile alla oliatissima macchina della gen-trification, è stato sacrificato al bene più importante: la libertà. La sua fine è stata decretata dal suo stesso artefice, Blu, che ha deciso di scorticarlo e poi di seppellirlo sotto una valanga di grigio, sorte toccata a quasi tutta la sua produzione felsinea. Il tutto per colpa di una "maledetta" mostra; di quelli che l'hanno promossa, ideata e resa possibile: finanziatori, curatori, conservatori e restauratori che invece di pensare a Vitale, Amico, Annibale o Guido, non solo hanno avuto la bella idea di salvare dal "piccone demolitore" alcuni murales di mano dell'artista di Senigallia, ma anche di musealizzarli a "spregio" del loro contesto originario. È ora giunto il momento di riprendere il filo del discorso, riaprendo il dibattito proprio a partire dalle questioni che Street Art-Banksy & co. L'arte allo stato urbano (Museo della Storia di Bologna, a cura di L. Ciancabilla, C. Omodeo, S. Corcoran) cercò di porre all'attenzione della comunità scientifica. Ovviamente senza rinunciare a fare i conti con le domande che il gesto di Blu ha inevitabilmente portato con sé. A ciò hanno cercato di rispondere storici dell'arte, professionisti del restauro e della conservazione, ma anche studiosi di altre discipline del sapere, chiamati a indagare quei fatti secondo punti di vista inediti e originali. Tutto questo nella consapevolezza che, fra l'11 e il 12 marzo 2016, al catalogo delle pitture murali bolognesi si è aggiunta una nuova opera d'arte: il Grigio di Blu.

Nel crescente dibattito sul restauro delle pitture murali che vide protagonista Firenze a metà del XIX secolo, Stefano Bardini, il "principe" degli antiquari italiani, maturò le sue conoscenze in materia di "stacchi" e "strappi" in veste prima di artista accademico, poi di restauratore e infine, ovviamente, in qualità di mercante. Un percorso professionale che avviò quando oramai in città la prassi estrattista stava conoscendo una inedita fortuna. Con la chiamata in Santa Maria del Fiore del centese Giovanni Riz-zoli, poi con i primi stacchi operati in Santa Maria Novella da Gaetano Bianchi, e infine con l'arrivo del conte Giovanni Secco Suardo, nel 1864 incaricato di tenere il corso di aggior-namento per restauratori alle nuove tecniche di trasporto del colore da lui sviluppate. A quel particolare clima di fiducia verso la prassi estrattista deve perciò essere ricondotto l'interesse di Bardini verso il distacco degli affreschi, tecnica che cominciò a sperimentare con successo allo scoccare dell'ultimo quarto del secolo. E se del suo ruolo di antiquario e collezionista di sculture e dipinti rinascimentali molto si è detto negli scorsi due decenni, ancora poco scandagliata risulta la sua lunga attività di estrat-tista, ma anche quella, ancor più interessante, di mercante di affreschi staccati. Su quella porzione della vita professionale di Bardini prova a fare chiarezza questo volume, grazie al contributo di studiosi ed esperti del settore che hanno indagato un periodo fonda-mentale della sua biografia e delle sue connessioni con la sto-ria del restauro, del gusto, della tutela e del collezionismo, non solo italiano, ma anche europeo e statunitense.

Νέα υποστηρίγματα αποσπασμένων τοιχογραφιών με τη χρήση  σύνθετων υλικών με τρισδιάστατα υαλοϋφάσματα

Γιώργος Κορκόβελος, Συντηρητής Αρχαιοτήτων και Έργων Τέχνης, Β.Χ.Μ.
Μαρία Χατζηδάκη, καθηγήτρια Εφαρμογών, Τμήμα Σ.Α.Ε.Τ., Τ.Ε.Ι. Αθήνας

Η απόσπαση των τοιχογραφιών είναι μια ακραία και αναντίστρεπτη διαδικασία που μεταβάλλει δραματικά την αισθητική και υλική τους αξία.  Η επιλογή του κατάλληλου νέου υποστηρίγματος είναι μείζονος σημασίας για τη διατήρηση και παρουσίασή τους. 
Τα βασικά κριτήρια για την επιλογή του νέου υποστηρίγματος είναι
• Ακαμψία και αντοχή
• Αναστρεψιμότητα μεθόδου
• Βάρος κατασκευής
• Προσαρμογή στις διαστάσεις και το σχήμα του έργου.
• Σταθερότητα διαστάσεων και σχήματος
• Πάχος κατασκευής
• Αντοχή σε διαλύτες
• Αντοχή σε ατμοσφαιρικούς ρύπους
• Αντοχή σε βιολογικές προσβολές
• Βαθμός δυσκολίας κατασκευής
• Κόστος
Παραδοσιακά έχουν χρησιμοποιηθεί διάφορα υλικά για την κατασκευή υποστηριγμάτων, όπως ύφασμα σε ξύλινο πλαίσιο, γύψος, κονιάματα διαφόρων ειδών και τα τελευταία χρόνια, σύνθετα ινοπλισμένα υλικά με τη χρήση κατάλληλου παρεμβαλλόμενου στρώματος, ώστε να καθίσταται η κατασκευή αναστρέψιμη.
Με αφορμή την επανέκθεση των τοιχογραφιών του Β.Χ.Μ. προέκυψε η ανάγκη για την ανασύνθεση ενός συνόλου τοιχογραφιών μεγάλου μεγέθους που αποτελείται από τμήματα ακανόνιστου σχήματος.
Για την επίτευξη αυτού του στόχου έγινε έρευνα μεθόδων και υλικών και σχεδιάστηκε ένα νέο υποστήριγμα από τριασδιάστατο υαλούφασμα σε μήτρα εποξικής ρητίνης, με παρεμβαλλόμενο στρώμα από αφρώδες συνθετικό πολυμερές.
Το αποτέλεσμα ήταν μια ελαφριά και άκαμπτη κατασκευή υψηλής αντοχής που παρείχε τη δυνατότητα δημιουργίας μη ορθογωνισμένων τμημάτων, ώστε να επιτρέπεται η ανασύνθεση του συνόλου.
Αυτού του είδους τα υποστηρίγματα έχουν πλέον ευρεία εφαρμογή τόσο σε περιπτώσεις τοιχογραφιών μεγάλου μεγέθους όσο και σε καμπύλες κατασκευές λόγω της δυνατότητας προσαρμογής τους και του χαμηλού τους κόστους.
Η μέθοδος αυτή εφαρμόζεται τα τελευταία χρόνια και στο Εργαστήριο Συντήρησης Τοιχογραφίας του ΤΕΙ Αθήνας και διερευνάται μέσω πτυχιακών εργασιών και πιλοτικών εφαρμογών.

New support systems for detached wallpaintings using
3D fibre reinforced polymer composites.

Korkovelos, Giorgos, Conservator, Byzantine and Christian Museum, gkorkovelos@yahoo.gr
Chatzidakis, Maria, Lecturer, Department of Conservation of Antiquities & Works of Art, T.E.I. of Athens, mchatz@teiath.gr

The detachment and transferring of wallpaintings is an extreme and irreversible operation that can change dramatically their aesthetic and material characteristics and values.
The selection of an appropriate new support is critical, both for the conservation and for the presentation of the wallpainting.
Basic selection criteria of the new support are the following:
• Stiffness and strength
• Reversibility of the method
• Weight of the construction
• Adaptability of the system to the dimensions and shape of the artwork
• Stability of the dimensions and shape
• Thickness of the construction
• Resistance to solvents
• Resistance to pollutants
• Resistance to biological factors
• Degree of construction difficulty
• Cost
Traditionally, various materials have been used for the construction of the supports, such as textile on a wooden frame, plaster of Paris, various mortars and recently fiber reinforced composite materials.
At the Byzantine museum, in the occasion of the installation of the permanent exhibition, an oversized fragmented wallpainting, comprising various pieces with several shapes and sizes, was reconstructed.
In order to achieve this work, we implemented several tests on materials and methods so as to design and produce a new support made on 3D fibre reinforced polymer composites with a polymer foam intermediate layer.
The created new support is a light and non flexible construction of high resistance that gives the possibility to create non square shape parts, so as to facilitate the recombination of the entire painting surface.
Nowadays, 3D fibre reinforced polymer supports are widely used for large scale wallpaintings, as well as on constructions with curves, because of their adaptation capacity and low cost.
This improved method has been applied for several years at the Conservation of Wallpaintings Laboratory of the Department of Antiquities and Work of Arts of T.E.I. of Athens and its stability is tested throughout academic research and pilot applications.

Entdecke das Tal der Großen Kokel und seine mittelalterlichen Denkmäler in Begleitung dieses Reiseführers, der sowohl deine Schritte zu den Gesamtensembles leiten als auch deine Augen und Gedanken auf die Einzelheiten lenken wird! Bereichere deinen Geist mit der Schönheit von Denkmälern, die dem Land Bekanntheit und Würdigung einbringen! Mittelalterliche Denkmäler im Tal der Großen Kokel-wir setzen die in der Bukowina und in der Kleinen Walachei (Oltenien) begonnene Reise fort! • ein fundierter Text, verfasst von Experten auf den Gebieten der Kunstgeschichte des Mittelalters und der Restaurierung; • über 700 erstmalig publizierte Bilder-Luftaufnahmen, Innen-und Außenaufnahmen, von den Baugerüsten während der Restaurierung aufgenommene Details mittelalterlicher Wandmalerei; • die Landkarte der Denkmäler und Vorschläge für Reiserouten • Grund-und Aufrisse von Denkmälern und Ensembles 15 der repräsentativsten mittelalterlichen Kulturstätten der Gegend werden vorgestellt: die reformierte (calvinistische) Kirche in Almaschken (Alma), die evangelischen (lutherischen) Kirchen der Landgemeinden Birthälm (Biertan), Bogeschdorf (Băgaciu), Durles (Dârlos), Eibesdorf (Ighișu Nou), Hetzeldorf (Ațel), Kirtsch (Curciu), Malmkrog (Mălâncrav), Meschen (Moșna), Nimesch (Nemșa), Pretai (Brateiu), Reichesdorf (Richiș) und Schmiegen (Șmig) sowie die bedeutendsten Beispiele sakraler und profaner Architektur in den Städten Mediasch (Mediaș) und Schäßburg (Sighișoara). Neben Architektur und Skulptur werden auch die mittelalterlichen Wandbilder vorgestellt, die-oftmals-diese Bauten schmücken, sowie die Gegenstände mit künstlerischer oder historischer Bedeutung (Flügelaltäre, Möbelstücke, liturgische Objekte usw.), die in ihrem Inneren bewahrt werden. Der Verein Art Conservation Support verwendet den Erlös aus dem Verkauf dieses Reiseführers für die Durchführung von Publikations-und Konservierungsprojekten sowie von Projekten zur Wiedergewinnung des Kulturerbes Rumäniens.

The aim of this paper is to suggest the accomplishment of an uptodate cataloguing campaign of the ancient decorated façades still visible in the city of Feltre, one of the most renowned "urbes pictae" (i. e. "painted cities") in the Veneto. It is also suggested the development of a web-based catalogue, which can be used both as a research and promotion tool.

El descubrimiento inesperado y excepcional de las pinturas murales del Edificio B15 en Pachacamac ha planteado un caso de conservación complejo debido al estado de conservación precario de la mayoría de los enlucidos de tierra, a las características ambientales del sitio arqueológico y a la urgencia de la intervención. Hemos adoptado
medidas de conservación preventiva durante la excavación para proteger los muros de los agentes ambientales, principal causa de alteración. Las medidas de conservación curativa han consistido en la consolidación de los bordes de los enlucidos y la readhesión de las
capas desprendidas humedeciendo la superficie y aplicando una leve presión. Sin embargo, este caso ha puesto en evidencia que el aporte de agua puede acelerar el deterioro y resultar en una pérdida de la capa pictórica. En estos casos puntuales, hemos vuelto a adherir las capas por presión y hemos procedido al recubrimiento y reentierro. Nos hemos decantado por esta mínima intervención ante las dudas del éxito de una consolidación superficial o del strappo. Esperamos poder evaluar el estado de conservación de los enlucidos pintados durante la próxima temporada de excavaciones.

In this study the surfaces and cross sections of deteriorated Coptic mural paintings were investigated using Computer Tomography (CT) scan images and video, and points (voids) on the surface were analyzed. To our knowledge, it is the first report on the application of CT scan for the investigation of deteriorated Coptic mural painting surfaces in Upper Egypt. The samples tested were collected from two sites: the Monastery of Martyrs (Deir alShuhada-Esna) and the Luxor temple. The selection of these monasteries was due to their historical importance, which is directly related to Egyptian Coptic heritage. The deteriorated surfaces of the selected mural paintings were characterized using new avenues of computed X-ray tomography (CT scan) in order to gather sufficient information about their composition and structure. The obtained results show that CT scan images provided us with detailed information about the sample porosity and structure. In the case of the Martyrs monastery, it was found that the mural paintings consist of one layer which contains clay minerals (kaolinite, montmorillonite, and illite) in the form of coarse plaster. On the other hand, the Martyrs Monastery showed higher porosity than the Roman Fresco in the Luxor Temple.

Saqqara is the main necropolis of Memphis which was the capital of ancient Egypt during the old kingdom. The ancient Egyptians tried to keep their place in the beyond life so they tried to hide their grave away from robbers, in the old kingdom, especially from the time of the fourth dynasty, they buried their bodies in deep shafts and kept them in stone sarcophaguses, however. From the middle of the fifth dynasty, they began to make big burial chambers, deep underground, reached by vertical shafts or sloping corridors, they also began to decorate the burial chambers. the burial chamber of Ra-shepses is considered the most ancient decorated burial chamber that has been discovered till now. Ra-shepses was one of the most important people in the time of the fifth dynasty, he was the first one to have the title of (the responsible for the south), he was a vizier at the time of King Jedkara, the pigments in the burial chamber of Rashepses are unique, the ancient artist used shadows for the first time although it is the most ancient decorated burial chamber. There are more than ten different colors were used in the wildlife scene, that shows how the artist used his skills to create new colors weren't used before, optical digital microscope is used to study those pigments and try to identify the technique was used to create that terrific scene in the burial chamber.

The study of pictorial techniques in ancient mesoamerican murals unveil traditional aspects of the cultures that produced these amazing paintings. After more than two decades of continuos study in the Project "La pintura mural prehispánica en México" (Prehispanic Mural Painting in México) there are still important data to disseminate

The paper deals in detail with the unknown wall paintings in the sacristy of the church of St. Haštal in Prague and the existence of planographic documentation of local paintings, which was made ​​in 1945. Today is stored in archive of the National Heritage Institute. At present, unfortunately, is almost the sole relevant evidence of their iconography and former quality.
Space was in the late Renaissance uniformly painted, part of the mural was partly taken away during the first restoration of the paintings in 1929 in favor of the presentation of medieval paintings. The second time the paintings were restored in 1945 and the last in 2009.
Space sacristy probably originally served as sources substantiated Chapel of All Saints. This is also consistent with the character of medieval paintings with remarkable iconography. Their creation will be placed in the second half of the 70s of the 14th century. Artistic painter basis is to be found in the circuit can draw explicitly from court patterns. Overlooked was undoubtedly the quality of medieval paintings.
Renaissance paintings probably dates from the late 16th century and introduces us to the transformation of decoration and function spaces in Utraquist church.

The paper deals with the unknown wall paintings in the sacristy of the church of St. Haštal in Prague and the existence of planographic documentation of local paintings, which was made ​​in 1945. Today is stored in archive of the National Heritage Institute. At present, unfortunately, is almost the sole relevant evidence of their iconography and former quality.
Space was in the late Renaissance uniformly painted, part of the mural was partly taken away during the first restoration of the paintings in 1929 in favor of the presentation of medieval paintings. The second time the paintings were restored in 1945 and the last in 2009.
Space sacristy probably originally served as sources substantiated Chapel of All Saints. This is also consistent with the character of medieval paintings with remarkable iconography. Their creation will be placed in the second half of the 70s of the 14th century. Artistic painter basis is to be found in the circuit can draw explicitly from court patterns. Overlooked was undoubtedly the quality of medieval paintings.
Renaissance paintings probably dates from the late 16th century and introduces us to the transformation of decoration and function spaces in Utraquist church.


Resumé: Ztracené nástěnné malby v sakristii kostela sv. Haštala na Starém Městě v Praze. Konzervace maleb a jejich plánografická dokumentace v archivu NPÚ

Příspěvek pojednává o objevu a průběhu péče o dosud veskrze neznámé nástěnné malby v sakristii kostela sv. Haštala v Praze a o existenci plánografické dokumentace tamních maleb, zhotovené v roce 1945 a dnes uložené v archívu NPÚ. Ta je dnes bohužel takřka jediným relevantním dokladem jejich ikonografie a někdejší kvality.
Prostora byla v období pozdní renesance jednotně vymalována, přičemž část této výmalby byla zčásti sňata při prvním restaurování maleb v roce 1929 ve prospěch prezentace starší středověké výmalby. Podruhé byly malby restaurovány v roce 1945 a naposledy v roce 2009. V té době bohužel došlo bez viny a vědomí restaurátora k odsekání a nevratné destrukci části středověkých omítek s malbou.
Prostora sakristie pravděpodobně původně sloužila jako pramenně doložená kaple Všech svatých. Tomu odpovídá také charakter středověkých maleb s pozoruhodnou ikonografií. Jejich vznik bude třeba klást do 2. poloviny 70. let 14. století. Umělecké východisko malíře je třeba hledat v okruhu čerpajícím vysloveně z dvorských předloh. Nepřehlédnutelná byla bezesporu i kvalita středověké výmalby.
Renesanční výmalba pochází patrně ze sklonku 16. století a seznamuje nás s proměnou výzdoby a funkce prostory v utrakvistickém kostele.

Resumé: Katalog nástěnných maleb v dnešní sakristii kostela sv. Haštala v Praze a katalog jejich plánografické dokumentace, uložené v archívu NPÚ, ústředního pracoviště v Praze

Stěny sakristie kostela sv. Haštala v Praze jsou pokryté rozličnými a dodnes nepublikovanými malbami z 2. poloviny 70. let 14. století a z ze sklonku 16. století. Středověké malby jsou dnes již prakticky nečitelné a jejich námět dokládá dosud nepublikovaná a pro odbornou veřejnost nesmírně cenná plánografická dokumentace z roku 1945, která je uložená v archívu NPÚ. Příspěvek je pak soupisovým katalogem plánografické dokumentace (pausy, kolorované studie), která doplňuje vlastní katalog všech figurálních maleb na stěnách prostory.
Středověké obrazy dokládají, že prostora sakristie původně sloužila jako kaple a není vyloučené, že jako pramenně doložená kaple Všech svatých. Na západní stěně je totiž pod renesanční malbou Poslední večeře odkryta část světeckých řad, jejichž analogie v rukopisech poukazují, že tam mohly být zobrazeny Nebeské hierarchie. Zvlášť zajímavá je středověká nástěnná malba Kristova rodokmene na severní stěně, která ačkoliv vychází typem z ustáleného zobrazení Stromu Jesse, spíše tematicky koresponduje s rodokmeny Krista ve středověkých korunovačních evangeliářích. V tom smyslu nemusí být od věci, že při kostele měla podací právo česká královna. Významné jsou také malby na opěrném pilíři na jihu prostory, které poukazují k vysloveně devočnímu charakteru někdejší výzdoby.
Renesanční výmalba byla plošná a jednotná. Jedinou vysloveně figurální malbou byla malba Poslední večeře na západní stěně. Zbytek tvořila ornamentální výzdoba a malby měšťanských epitafů s erby.
Příspěvek doplňují krátké medailony autorů plánografické dokumentace akad. malířů Václava Havlíka a Františka Skály st.

V prvním patře opatského domu bývalého cisterciáckého kláštera ve Zlaté Koruně byla po polovině 14. století vybudována na oktogonálním půdorysu výtvarně velmi působivá opatská kaple. Kaple prošla v minulosti několika fázemi stavebních úprav. Nejpozději ve 2. desetiletí 17. století došlo k výraznému zvednutí podlahy a k částečné úpravě klenby (odsekání žebra a sjednocení dvojice klenebních čel do jediného). Další úpravy následovaly v 70. letech 17. století, patrně také v 2. polovině 18. století a ve 2. čtvrtině 19. století. Většina z těchto etap zanechala v interiéru malířské stopy, jejichž souvrství bylo z valné části nenávratně sejmuto při opravách kaple ve 40. letech 20. století. V letech 2012 a 2013 probíhala památková obnova interiéru opatské kaple, soustředěná ve většině na restaurování zbytků nástěnné výmalby, pocházející z období od 60. let 14. století do 2. poloviny 18. století. Koncepce obnovy vycházela ze snahy navrátit kapli v maximální možné míře výtvarně celistvou tvář, aniž by ovšem došlo k potlačení jediné z „historických stop“, které byly při opravách ve 40. letech 20. století analyticky odhaleny. Jednou ze základních koncepčních premis rovněž byla snaha prezentovat původní sakrální interiér s významovým centrem v oltářním výklenku. Velmi zdařilé restaurování, kterého se zhostil Karel Hrubeš, připravilo pro budoucí dotažení koncepce vše potřebné. V průběhu čištění maleb došlo k odkryvům kvalitních středověkých figurálních maleb (sv. Václav, Klanění tří králů), které jsou v cisterciáckém prostředí v dané době spíše výjimkou. Restaurátorský zásah rovněž velmi zdařile rehabilitoval zbytky všech mladších výmaleb a otevřel četné badatelské podněty jak k poznání stavební historie objektu, tak k poznání jeho umělecké výzdoby.


On the first floor of the abbey house of the former Cistercian monastery in Zlatá Koruna, after the middle of the 14th century, a visually very impressive abbey chapel was built on an octagonal floor plan. The chapel has undergone several phases of construction work in the past. No later than the second decade of the 17th century, the floor was significantly elevated, the vaulting was partially modified (the ribs were removed and two vaulting faces were united into one). Further modifications followed in the 1670's, probably also in the second half of the 18th century, and in the 2nd quarter of the 19th century. Most of these stages left traces of painting in the interior, but their layers were mostly irreversibly removed during repairs to the chapel in the 1940's. In 2012 and 2013, conservation and restoration work was carried out in the interior of the abbey chapel that mostly focused on the restoration of the remains of wall paintings dating from the period from the 1360's to the latter part of the 18th century. The concept of the renovation was based on efforts to restore the chapel as much as possible to its artistically integral form, without suppressing a single of its "historical traces" that were analytically detected during the repairs of the 1940's. One of the basic conceptual premises was also the attempt to present the original sacral interior with its semantic center in the altar niche. The very successful restoration, undertaken by Karel Hrubeš, prepared everything necessary for the future finalization of the concept. During the cleaning of the paintings, high-quality medieval figurative paintings were revealed (St. Wenceslas, the Adoration of the Magi), which are more of an exception in the Cistercian environment at this particular period. The restoration work also very successfully rehabilitated remnants of all the younger murals and opened numerous research initiatives to understanding the construction history of the building as well as to understanding its artistic decoration.

Top of Mind by Julie Rose, Broadcast Journalist and Interviewer at National Internet BYURadio interviews internationally renown Art Conservator Scott M. Haskins who tells stories or adventure while restoring murals on Southern California freeways, medieval monasteries and on the side of a dam!

The numerous paintings on the facades of churches, chapels, monuments, castles, town houses and rural houses demonstrate that the custom of decorating exteriors was widespread in Slovenia from the Middle Ages onwards. This segment of open-air artistic heritage is usually badly exposed to harmful natural and human environmental factors and is therefore one of the heritage types most at risk. With a suitably methodologically supported protection strategy it is possible to monitor the extent, state of conservation and risk status of wall paintings and take timely steps to protect them. To this end an experimental project has been designed, within the framework of which a model of an integrated approach to conserving wall paintings has been developed and applied. The result of the collection of data in the field and in historical records is an extensive database on the state of conservation and the risk status of more than 200 medieval wall paintings on the exteriors of more than 130 buildings. Some of the more important data on the condition of this segment of heritage are presented in this paper. The model is sufficiently broad to be applicable to both interior and exterior wall paintings and, with suitable adjustments, to other segments of art heritage. It can be linked to the methodologies of related disciplines (architecture, ethnology, archaeology, etc.) and its results can be incorporated into a corresponding cultural heritage information system.

In 2007 began a conservation project coordinated by the National School of Conservation, Restoration and Museology (ENCRyM-INAH, Mexico). At some point in this project some fragments of wall paintings were found, during the floor consolidation. These fragments belong to the Porch 25, which revealed the dramatic change image; and shown that the black pigment still remains in the design, not as well on the walls.

This poster shows part of the results of the investigation for the project “Planning and establishing an inclusive cultural policy: Uruguayan Contemporary mural Art as a tool for sustainable heritage”. Four mural paintings by artists Eloy Boschi, Miguel Angel Zelayeta, Demetrio Uruchua y Esteban Garino were analyzed by means of Light Microscopy (LM) and Scanning Electron Microscopy (SEM) to obtain more information about the technical and historic influences of these particular works of art.

V minulih dveh študijskih letih so študentje 4. letnika Oddelka za restavratorstvo Akademije za likovno umetnost Univerze v Ljubljani restavrirali pet večjih fragmentov srednjeveških fresk, ki jih že desetletja hrani Oddelek za umetnostno zgodovino Filozofske fakultete v Ljubljani. Fragmenti izvirajo iz p. c. Marijinega oznanjenja v Crngrobu in p. c. sv. Kancijana v Vrzdencu pri Horjulu, kot so pokazale kasnejše raziskave, na Filozofsko fakulteto pa so morali priti za časa Franceta Steleta. Bili so v zelo slabem stanju in hranjeni v neprimernih razmerah, zato je bil skrajni čas za njihovo restavriranje in boljšo prezentacijo, na katero pa še čakajo.

The lining of 30' paintings on canvas (detached murals) is a skill set few art conservators in the world have and is highlighted by the US professional art conservation organization the American Institute for Conservation of Historic and Artistic Works (AIC). Also, some background on an almost forgotten icon and Texas Modernist master, Buck Winn.