Revealing the Archetype: The Journey of a Trecento Madonna and Child at the National Museum of Scotland

The National Museums Scotland Madonna and Child project sought to uncover and document the history of a fine polychrome wood carving attributed to The Master of the Gualino St Catherine and to prepare it for display. A new body of knowledge has been assembled by the interdisciplinary team. The conservation treatment was informed by this work and led to further discoveries: the removal of overpaint exposing a previously hidden underdrawing. The ethics of the treatment decisions, including the removal of the Christ Child’s 1960s’ fingers required team dialogue and was opened up for the public to respond to in a series of blogs. The discovery of a rich polychromy including gold and glazed tin has led to further plans to produce a 3-D colour reconstruction. The collaborations developed during this project will facilitate future joint ventures for polychrome sculpture in Scottish collections

A COMPARATIVE MULTI-TECHNIQUE INVESTIGATION ON MATERIAL IDENTIFICATION OF GILDING LAYERS AND THE CONSERVATION STATE OF 7 PORTUGUESE MANNERIST ALTARPIECES

This paper deals with the multi-analytical comparative characterization of 59 samples of gilded and polychrome layers from 7 altarpieces studied during the Gilt-Teller project (www.gilt-teller.pt). The altarpieces studied here belong to seven churches in the areas of Lisbon, Santarém, Portalegre and Guarda and display stylistic and constructive features characteristic to the Mannerism carved wood decoration in Portugal. The applied protocol of investigation characterized the structure and manufacture technique of gilding; identified the chemical composition of the layers constituting the gilded polychrome decoration; compared the materials and gilding techniques encountered in the 7 altarpieces and assessed the conservation state of each altarpiece. The analytical techniques applied to these purposes were: stereomicroscopy (SM), optical microscopy (OM), scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDX), X-ray diffraction (XRD), MALDI-TOF mass spectrometry, μRaman and μFTIR/imaging μFTIR spectroscopies. This interdisciplinary multi-scale approach was used to elucidate the aspects related to the material and technical aspects of “talha dourada” decoration, answering to these questions: which are the original materials and layers in the making of the polychromy and which are the ones added with posterior interventions; which are the relationships between gilding materials and techniques, regarding the degree of erudition of each case study; which were the main causes of degradation and influence to their conservation condition

Gc/ms and proteomics to unravel the painting history of the lost Giant Buddhas of BÄmiyÄn (Afghanistan)

A chemical investigation of the organic paint binders of the Giant Buddhas of Bāmiyān was performed using an analytical approach based on mass spectrometry, combining traditional gas chromatography/mass spectrometry protocols with advanced proteomics methodologies. The research was carried out on a selection of rescued fragments. The data revealed the use of egg proteins as the paint binders of the original layers, in accordance with the traditional use of this proteinaceous medium in antiquity, spanning from the Mediterranean basin to the Far East, and already in the Bronze Age. Egg tempera was thus known to artists of the region in the first centuries AD, probably also due to the position of the Bāmiyān valley, which was connected to the Silk Road. Milk was found in the first historical overpaintings. A new proteomics approach was used, which was able to identify the source of the milk proteins present in the restoration layers, despite their age and degradation. In particular cow's and goat's milk were both found, in agreement with the documented presence of rich pastures in the Bāmiyān valley when the historical restorations were carried out. Investigating the materials of the Giant Buddhas not only enabled us to obtain isolated data on these invaluable works of art, which are now lost, but contributes to understanding the big apuzzleo of our past and the development of our culture, by implementing and supporting written sources, stylistic and anthropological studies with molecular data