The consolidation of the support and

paint layer for an iconographic peculiarity in the

portrayal of the Holy Virgin
Diana Iuliana Barbu
Religious Painting Commission, Religious Culture and Heritage Sector, The
Romanian Patriarchate Bucharest
Abstract
The icon from the first half of the XVIII
th
century with a western in-
fluence visible in the aesthetic presentation, presents an extreme degra-
dation status as effects of combined causes: high humidity according to the
limits for the storage, generalized xylophages attac!, careless handling"
#riginary from the zonal warehouse $trehaia monastery, the icon suffered
not only an active xylophages attac! but also a microbial attac!" The
pictorial layer suffered ma%or damages, especially on the icon sides, tending
to detach from the support in the areas where the wands of the frame %oin"
The color coat in the area where the wooden pieces %oin had several areas
covered with steam and adulterations due to the microbial attac!" The whole
frame surface was repainted in tempera"
&ecause of the very complex character of the degradation forms, in
evolutionary process which affected the icon not only aesthetically, but also
%eopardized even the existence of the icon, the restoration wor! too! place
in several, difficult and laborious stages the consolidation of the pictorial
layer, the putting of the areas, where the picture layer had been destroyed,
the cleaning of the whole surface, inclusively the removing of the ancient,
clumsy, repainting from the whole picture, the varnishing and the retouch"
The method chosen was the consolidation through all available means
by combining classic material with the modern ones, ta!ing into conside-
ration the compatibility with the original structure and as much as possible
the reversibility" The methods gave satisfactory results and the 'minimum
intervention( principle was applied"
Key words: post-&rancovanian style, stylistic influences, &anat area,
conservation status, restoration operations
)iana Iuliana &arbu
! Introduction
On the grounds of the Holy Virgins preeminence in the divine plan
of salvation, the most highly venerated, widespread and numerous Orthodox
icons are dedicated to the Most Holy Theotokos. The hyperveneration
addressed to the Mother of od, implicitly to her icons, peaked at
!onstantinople under the "alaiologan dynasty. #rom the capital it spread
throughout the empire, crossing its $oundaries into the %lavic states south
of the &anu$e, then north of it into the 'omanian "rincipalities
(
"! The Holy Virgin #ith the Child sitting in the throne icon
description
The icon to $e discussed $elow ) $elonging to the collection of
%trehaia Monastery, Mehedin*i county ) illustrates the latter variant,
namely The Holy Virgin with the !hild seated on a throne. Our icon
instantiates the iconographic type of the Virgin Hodegetria and +ikopeea
) the ,ady of -ngels, emphasi.ing her capacity as Mistress of -ngelic
Hosts and /ueen of Heaven. The +ikopeea icon was the protectress of
the imperial house in !onstantinople
0
. -n 1
th
century praise hymn,
intoned on the feast of ,ords -scension $eseeches her2 3lead the armies
alongside their commanders
3
. The Holy Virgin, seen frontally, is
holding infant 4esus, who gives His $lessing with widely5open arms. %he
is seated on a throne, and flanked $y -rchangels Michael and a$riel.
The two archangels as well as her crown point to her complementary
attri$utes as /ueen of Heavens and ,ady of the -ngels. This is a festal
icon painted in post56rancovanian style, during the second half of the (1
th
century 7most likely in the (819s:, $y an anonymous icon painter who
worked in the vicinity of 6anat, and was employed $y the %er$ian churches
located in the 'omanian 6anat, the %er$ian 6anat and Vo;vodina
7inha$ited $y 'omanian communities:. -t the time, this was the
iconographic type of choice of the reputa$le 6anat painter +edelcu
1
-rhim. ,uca &iaconu, Icoanabizantin a MaiciiDomnului de la Mnstirea Neam,
&oxologia, <a=i, 09(9, p. (8.
2
>gon%endler, Icoanelebizantine ale MaiciiDomnului, translate from #rench $y
M?riuca =i -drian -lexandrescu, 6ucure=ti, %ofia, 0991, p. (@0.
3
!onstantin V<< "orfirogenetul, De cerimoniisaulaeByzantinae, ".. ((0, cap. V, p. @@.
62
The consolidation of the support and paint layer for an iconographic peculiarity
"opovici, who was commissioned icons for the 'omanian and %er$ian
churches in $oth the 'omanian and %er$ian 6anat. -n iconographic
peculiarity in the portrayal of the Holy Virgin is the lack of the traditional
maphorion, which in this case is replaced $y a short veil 7apparently, a
fragment of the maphorion covering her head, without reaching her
shoulders and clothing the $ody, too:. That part of the maphorion
covering her shoulders has $ecome a cloak 7a kind of a sakkos:. These
iconographic peculiarities are the result of the influence Aestern
76aroBue: painting that reached 6anat in the (1
th
century, and illustrate
the traditionalist painters efforts to assimilate that style. Ae note the
6aroBue medallions containing the initials of the Mother of od. -nother
characteristic trait is the moderate use of gold leaf ) only for auras and
imperial crowns.
$after restoration% $before restoration%
&ig! ! The Holy Virgin #ith the Child sitting in the throne icon
Ae mention that the iconography of seated characters, which entered
the pictorial tradition of Aallachia during the (8
th
century, can $e found
mainly in the works of 'omanian iconographers who were active in the
63
)iana Iuliana &arbu
6anat plain
C
. The popularity of this iconographic pattern peaked $etween
(8@9s5(889s. ,ater on, without completely disappearing from the
repertoire of 6anat painters, it was gradually replaced with the versions
portraying the Virgins full5length figure.
<t is common knowledge that, unlike the other 'omanian provinces,
6anat was largely deprived of medieval art works, $oth with regard to its
monuments and its old liturgical inventory. <n this province, political
authorities included no Orthodox mem$ers, therefore the great
foundations were commissioned either $y no$lemen, or $y an unsta$le,
scarcely documented church hierarchy, at least $y the (8
th
century. The
changes in the political, as well as social5economic climate after (8(1 and
the character of this climate over the following centuries, in their turn had
a disastruous impact on religious art. To a certain extent, this also
concerns documentary sources, therefore information of any kind
regarding the iconographic representations of the enthroned Holy Virgin
and <nfant, is greatly relevant and important.
The choice of icons commissioned in the 6anat plain, evinces a
certain preference for a full5length depiction of characters, rather than
half5length.
The colorful $ackground, traditional iconography and often archaic
stylistic voca$ulary, seem to reveal the options of traditional rural
communities, whose collective memory had retained age5old 6y.antine
motifs. Ae assume that these works, evincing close iconographic and
stylistic similarities, were $ased on a restricted num$er of models. %ome
of them originate from Aallachia, $ut we assume they reached 6anat via
Transylvania, through Transylvanian painters or Aallachian5origin ones
who employed the post56rancovanian style. Our opinion is $ased on the
fact that colourful $ackgrounds are freBuent in the stylistic repertoire of
Aallachian painters working in Transylvania, or Transylvanian painters
who had either direct or indirect contacts 7through Aallachian
iconographers: with Aallachia
@
. -lthough icons never $ear a signature,
the similarities in the rendering of figures, vestments, in the color range,
as well as the presence of the holy archangels flanking the thone, allow us
4
&orina %a$ina "Drvulescu, Icons and Royal Doors from Banat in the
!III"th century# $atalogue% E-nalele6anatuluiF, %+., -rheologie5<storie, GV<,
0991, p. H1I.
5
-lexandru>fremov, Icoanerom&ne'ti, Meridiane, 6ucure=ti, 0990, p. 1(5J@.
64
The consolidation of the support and paint layer for an iconographic peculiarity
to infer that the icons author worked in the 6anat area, having access to
patterns peculiar to the neigh$oring regions, and even to Aestern
76aroBue: models from which he even $orrowed certain elements.
'! (ethods)
The icon discussed $elow ) $elonging to the collection of %trehaia
Monastery, Mehedin*i county, namely the Virgin and <nfant seated on a
throne was su$;ected to the following research methodology2 filling in
certain $asic invenory data, determination of the provenance related
information, relying on historical methods, o$;ect description, image
capturing from the microscope, determination of the trace elements, as
well as provenance atri$uions through caraceristic determination for
every pigment, $y comparison on the presence chart of semi5Buantitative
chemical elements, determination of the specific work tehniBue, drawing
the conclusion on o$;ectKs dating, attri$ution or inventory
I
.
*! Technical description of component materials)
Aooden support2 the icon is made from two panels of linden wood
and is consolidated with two $eams made of the same material.
#eatures of wood2 original color of the heartwood is lightL annual
rings are easily seen on the side of the icon with little differences $etween
them. The texture is smooth and homogenous. Aood is of medium
weight, and its hardness, too. Type of used cutting is tangentialL panel
manufacturing was conducted with saw and ;oined $y gluing. %haping
was done $y hand with a plane. The panel has two $eams em$edded in the
support fixed in EdovetailF system and narrowed at one end. The humidity of
wood 7measured with moisture meter: is of @@M 7seasoned wood:.
Technical features of icons2 front of icon has a primer coat consisting
of inert materials mixed with a protean $inder. The primer of this icon is
made of three elements2 chalk, a $inder ) animal glue and a plastici.er )
and linseed oil. The color film consists of pigments with protean $inders
and natural resin varnish.
6
Vivian &ragomir,$entres of icon painting masters (ithin the Romanian space# )he
specificity of the painting materials and techni*ues, Nniversitaria, !raiova, 09((, p.
09H509C.
65
)iana Iuliana &arbu
+! Report as a result of an e,perience made by means of
Spectroscopy
The device2the specter of vi$ration have $een recorded using the
spectrometer #T5<', class V>'T>G 89 76urcker:, eBuipped $y2 'aman
module, '-M << and $y pro$es 7derrick: M<' and 'aman for the non5
destructive analysis2 a source of laser stimulation +<', (9IC nm 7+d2
O-:, power ( (P@99 mA, detector with semiconductor of ermanium
ultra5pure cooled $y means of nitrogen liBuid.
"arameters of experience2 the acBuisition of specter #T5<' has $een
effected non5destructively, without contact in reflection of the spectral
domain C995C@99 cm5(, spectral resolution of C cm5(, IC5(99 scans for the
su$stance and the test with the M<' pro$e.
The acBuisition of the specters #T5'aman has $een effected non5
destructively in direct reflection on the test, the spectral domain @95H@99
cm5(, spectral resolution of Ccm5(, ad;ustment power (5@99 mA of
,-%>' source 7(9IC nm:, @99 scans.
!onclusionsQinterpretation2 spectroscopy #T<' and spectroscopy
'aman are complementary techniBues. The specter <' offers important
information a$out vi$rations accompanied $y the modification of the
momentRs dipole of the molecule, and the 'aman specters a$out the
vi$ration accompanied $y the modification of the molecular
polari.a$ility. The specter #T<' contains pieces of information a$out the
presence of some functional groupingsQtypes of connections in the
molecules of the studied test. The strong vi$rations form the specter <'
are usually weak in specter 'aman and conversely. #rom a Bualitative
point of view, the anti5symetric modes of vi$ration owed to the polar
connections O5H, !SO have prominent straps 7$elts: in <' while in the
'aman specter appear vi$rations implied in symmetric connections !S!,
!5!.
#T5<'2 the specter recorded $y means of M<' pro$es, non5destructive
and without contact may contain pieces of information a$out the painting
medium 7oil or yolk of egg in the case of using tempera techniBue:,
pigment and varnish or ground color if there are fissures of the pictorial
stratum. <n the first annex are shown the spectral data #T5<' recorded in
order to have a general spectral vision, aiming o$taining the information
a$out the pictorial medium 7in this case the pictorial medium $eing
tempera:. 7fig.0:
66
The consolidation of the support and paint layer for an iconographic peculiarity
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-I4+5I1#-.6+I1#.5.;,<9,.-& =.-&65,>?scans"8 I1#.5.;,<9,.-& =.-&65,>?scans pigmenti
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-I4+5I1#-.6+I1#.5.;,<7,4#$@,>?scans"8 I1#.5.;,<7,4#$@,>?scans pigmenti
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-I4+5I1#-.6+I1#.5.;,<;,=.-&65,>?scans"8 I1#.5.;,<;,=.-&65,>?scans pigmenti
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-I4+5I1#-.6+I1#.5.;,<?,.-&.$T4@,>?scans"8 I1#.5.;,<?,.-&.$T4@,>?scans pigmenti
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Page 1/1
&ig! "! The spectral data &T-IR recorded on.The Holy Virgin #ith the Child seated
on a Throne Icon.- Strehaia - (H
7yellow pigment, $lue pigment, red pigment%
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-I4+5I1#-.6+I1#.5.;,<?,.-&.$T4@,>?scans"8 I1#.5.;,<?,.-&.$T4@,>?scans pigmenti 9>A8:A7897
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Page 1/1
&ig! '! The proteinic component of the pictorial stratum
<n the recorded specters can $e seen the proteinic component of the
pictorial stratum through the straps 7$elts: proper to the amidic groupings
7the straps characteristic to the primary amides $etween (I@9Q(8@9 cmQ(
and those of the secondary amides ((99Q(H99 cmQ(:. 7#ig. H:
<n the first ta$le is shown the assignation of the #T5<' straps from the
recorded specters for the pictorial medium.
-ssignation of the #T5<' straps
+r.
crt.
#recvenTa $en.ilor
#T5<' 7cm
5(
:
<ntensitatea 7m5medium, s5strong,
w5weak: $en.ilor #T5<'
-tri$uirea
67
)iana Iuliana &arbu
( II1 A 5!HH, 5!H05
0 8(( A 5!HH, 5!H05
H 8@0 A 5!HH, 5!H05
C 190 A
5!H05,
U!H0S!H0V
@ (910 A 5!HH, 5!H05
I ((@I A 5!HH, 5!H05
8 ((18 A
!5+ 7$anda amida
<<<:
1 (09I A
!5+ 7$anda amida
<<<:
J (0J8 M !5O
(9 (HJ9 A 5!HH, 5!H05
(( (CIJ A 5!HH, 5!H05
(0 (@1( A U!S!V
(H (@JJ A
+5H 7$anda amida
<<:
(C (ICJ A
!SO 7$anda
amida <:
(@ (8CI %
!5+ 7$anda
amida:
(I 091I A !SO
(8 01I8 A OS!SO
(1 0J8J M 5!HH, 5!H05
(J H0(0 M 5!HH, 5!H05
09 HC0H M +5H
#T5'aman spectroscopy is one the most utili.ed methods of non5
destructive analysis and without contact for the study of pigments,
$ecause it can $e made determinations Ein situF. There were selected (@
points and were recorded specters #T5'aman 7#ig.C:.
<n the 'aman specters presented in fig.C it can $e noticed 'aman
straps characteristics to materials of animal origin applied in tempera and
straps characteristic to the utili.ed pigments. The characteristic 'aman straps
for the painting medium are amide ( 7V 7!O+H:,W (I99 cm5(: and the
straps of amide <<< 7approx. (H99 cm5(:. 6etween these specters it can $e
o$served at approx. (C19 cm5( a 'aman strap proper to the grouping
!H0. -ll these spectres 7less the specters o$tained for the red pigment
utili.ed at a possi$le repainting: presents a 'aman strap sharpened around
the value of (909 cm5(, which was ascri$ed to the aromatic ring of
68
The consolidation of the support and paint layer for an iconographic peculiarity
phenylalanine.
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<B,V6$3.5T 4#$@ 3.I1. )#35@-@I,:88$1.5$,788mD"8 I1#.5.,II$@$,<B,V6$3.5T 4#$@ 3.I1. )#35@-@I,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<98,=4@5),:88$1.5$,788mD"8 I1#.5.,II$@$,<98,=4@5),:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<99,.-& 1.4T6,:88$1.5$,788mD"8 I1#.5.,II$@$,<99,.-& 1.4T6,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5. 9,II$@$,<9,.-& I5$14I<TI6 $T= $@<-:88$1.5$,7:8mD"8 I1#.5. 9,II$@$,<9,.-& I5$14I<TI6 $T= $@<-:88$1.5$,7:8mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5. 9,II$@$,<;,.-&.$T4@ )6$12I$ /#5)-:88$1.5$,7:8mD"8 I1#.5. 9,II$@$,<;,.-&.$T4@ )6$12I$ /#5)-:88$1.5$,7:8mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<9-.-&.$T4@ 14@) /#5),:88$1.5$,988mD"8 I1#.5.,II$@$,<9-.-&.$T4@ 14@) /#5),:88$1.5$,988mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<:-1.45.TI6,:88$1.5$,788mD"8 I1#.5.,II$@$,<:-1.45.TI6,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<:,1.45.TI6 3.5. 3.I1. )#35@-@I,:88$1.5$,788mD"8 I1#.5.,II$@$,<:,1.45.TI6 3.5. 3.I1. )#35@-@I,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<B,V6$3.5T 4#$@ 3.I1. )#35@-@I,:88$1.5$,788mD"8 I1#.5.,II$@$,<B,V6$3.5T 4#$@ 3.I1. )#35@-@I,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<E,V6$3.5T 4#$@ I5T65$,:88$1.5$,788mD"8 I1#.5.,II$@$,<E,V6$3.5T 4#$@ I5T65$,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<C,1265.4 =.-&65,:88$1.5$,788mD"8 I1#.5.,II$@$,<C,1265.4 =.-&65,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<98,=4@5),:88$1.5$,788mD"8 I1#.5.,II$@$,<98,=4@5),:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<99,.-& 1.4T6,:88$1.5$,788mD"8 I1#.5.,II$@$,<99,.-& 1.4T6,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<9?,4#$@ 46<I1T.46,:88$1.5$,788mD"8 I1#.5.,II$@$,<9?,4#$@ 46<I1T.46,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.t tachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<9:,4#$@ 46<I1T.46I/#IT.,:88$1.5$,788mD"8 I1#.5.,II$@$,<9:,4#$@ 46<I1T.46I/#IT.,:88$1.5$,788mD <I=365TI
9EA8:A7897
9EA8:A7897
9EA8:A7897
9BA8:A7897
9BA8:A7897
9BA8:A7897
9EA8:A7897
9EA8:A7897
9EA8:A7897
9EA8:A7897
9EA8:A7897
9EA8:A7897
9EA8:A7897
79A8:A7897
79A8:A7897
788 ?88 >88 E88 9888 9788 9?88 9>88 9E88
Davenumber cm-9
8
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8
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8
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8
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&ig! *! Specters &T-Raman recorded on
.The Holy Virgin #ith the Child seated on a Throne Icon. - Strehaia / (H
The spectral #T5'aman data $ase 7which consist of specters of the
X'>M>' pigments:, reali.ed in the ,a$oratory of "hysico5chemical of the
<'-%M &epartment, <#<+5HH, was used for the identification of the
following pigments 7components:2 The white pigment ) the lead white
8
chemical naming2 $asic car$onate of lead, chemical formula2 0"$!OH.
"$7OH:0L was identified through the presence of the strap characteristic
of lead white around the value of (9@@ cm5( 7#ig.C:.
7
<$idem, p. (C0 E)here is a difference in techni*ue bet(een the time to create the
sediment in the +ast +uropean methodology ,-allachia% .thos/ and the -est +uropean
one ,Dutch land% +ngland/% that is the time in our region is shorter (ith apro0#
t(o(ee1scompared to eight (ee1s or se2eral months# )he difference come from the
2arious sizes of the lead sripes% but also from the fact that in our area the 2inegard made
from (ine (as used% (hile in germane for e0ample% the 2inegard come from sour beer#
More% the manure in (hich the reaction 2essel (as placed (as mi0ed either (ith soil in
+ngland% or (ith oa1 bar1 and remains from leather tanning ,!enice% Netherlands/# )his
mi0ure assured both the carbon dio0ide and a specific reaction temperature# . difference
in (hite lead preparation by the Romanian painters (as that they used more manure in
this mi0ture% and the annual temperatures (ere lo(er than all other cited areas# More%
it seems that in our space% the lead pieces (ere not immersed in the acetic acid% so that
the resulted ceruse had a reduced percentage of lead acetate% that ga2e a better stability
and a good *uality# 3enerally% there (ere fe( impurities ,lead from pieces 1noc1ing%
some soluble salts that e0isted already in he lead and traces of acids/# )o be also noted%
the reaction 2essel% that usually (as a clay pot in our area and .thos% (hile% in +ngland
(as usually a (ooden barrel% or% in 3ermany% e2en a (ooden enclosure#
69
)iana Iuliana &arbu
The lead white is to $e found in natural medium under the form of the
cerussite mineral, $ut it was synthetically prepared from the -ntiBuity. <n
fact it is the only white pigment used in the Aestern art starting from
-ntiBuity till the (J
th
century.
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<99,.-& 1.4T6,:88$1.5$,788mD"8 I1#.5.,II$@$,<99,.-& 1.4T6,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5. 9,II$@$,<9,.-& I5$14I<TI6 $T= $@<-:88$1.5$,7:8mD"8 I1#.5. 9,II$@$,<9,.-& I5$14I<TI6 $T= $@<-:88$1.5$,7:8mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<:-1.45.TI6,:88$1.5$,788mD"8 I1#.5.,II$@$,<:-1.45.TI6,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<:,1.45.TI6 3.5. 3.I1. )#35@-@I,:88$1.5$,788mD"8 I1#.5.,II$@$,<:,1.45.TI6 3.5. 3.I1. )#35@-@I,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<99,.-& 1.4T6,:88$1.5$,788mD"8 I1#.5.,II$@$,<99,.-& 1.4T6,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<E,V6$3.5T 4#$@ I5T65$,:88$1.5$,788mD"8 I1#.5.,II$@$,<E,V6$3.5T 4#$@ I5T65$,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<98,=4@5),:88$1.5$,788mD"8 I1#.5.,II$@$,<98,=4@5),:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5. 9,II$@$,<;,.-&.$T4@ )6$12I$ /#5)-:88$1.5$,7:8mD"8 I1#.5. 9,II$@$,<;,.-&.$T4@ )6$12I$ /#5)-:88$1.5$,7:8mD <I=365TI
9EA8:A7897
9BA8:A7897
9EA8:A7897
9EA8:A7897
9EA8:A7897
9EA8:A7897
9EA8:A7897
9BA8:A7897
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788 ?88 >88 E88 9888 9788 9?88 9>88 9E88
Davenumber cm-9
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&ig! +! Specters &T-Raman recorded on the lead #hite
$paper and face%
The used pigment gives a specter different from the red pigment that
we have in our data $aseL this was identified as $eing a earthen pigment.
7fig. I:
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<9?,4#$@ 46<I1T.46,:88$1.5$,788mD"8 I1#.5.,II$@$,<9?,4#$@ 46<I1T.46,:88$1.5$,788mD <I=365TI
*:+,-.&,/I0,12I3,I4.$3,+1#-.&#4.4I+5I1#-.6+.ttachments,7897,8:,77+5I1#-.6,/T-4aman+5I1#-.6+I1#.5.,II$@$,<9:,4#$@ 46<I1T.46I/#IT.,:88$1.5$,788mD"8 I1#.5.,II$@$,<9:,4#$@ 46<I1T.46I/#IT.,:88$1.5$,788mD <I=365TI
*:+,).T6,$<61T4#$1#<I6,+/T-4.3.5+4.3<4#&6+<)+etapa unica 7899+$et-6arth <igment .ssortment+4#$@,6nglish 4ed )eep-?8:?:-:88$1.5$,9:8mD"8 4#$@,6nglish 4ed )eep-?8:?:-:88$1.5$,9:8mD"8 pigment
79A8:A7897
79A8:A7897
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:88 9888 9:88 7888 7:88 ;888 ;:88
Davenumber cm-9
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&ig! 0! Specters &T-Raman recorded on the used red pigment
and the red pigment from data base
0! Description of painting and support conser1ation status
70
The consolidation of the support and paint layer for an iconographic peculiarity
The support has suffered visi$le cracks, especially $etween the two
tops in the lower register. The panel shows a weak attack of
xylophageous insects with flight holes of (50 mm in diameter. The
insects attack is not active. -lso, on the entire panel surface and on the
edge deposits of various types could $e seen2 superficial, adherent dirt,
traces of wax and organic residues, especially to extremities.
- la$el with inventory num$er was affixed on the left upper corner of
the edge. enerally, the color film is characteri.ed $y a good adhesion to
the support, $ut areas with separation of paint layers appear on the entire
surface, caused $y large variations of temperature and humidity. aps
with different depths could $e noticed especially on the lower and central
side. The area of such degradation takes a$out (95(@M of the total
surface. The metal foil is oxidi.ed and thinned on some areas. There are
traces of dents, scratches and wear in the lower and central register, due
to functionality. The varnish film is yellowed.
2! (ethodological description of conser1ation and resto-
ration operations
On the $ack side of the icon the following restoration works have
$een made2 metal hanger was removed, operations of superficial cleaning
of the entire surface were performed, the la$el and inventory num$er
improperly written were removed, the $eams were restored $y pushing
them into the initial place, the $ack side and its edges were cleaned with
ammoniac water, the gaps and cracks were grouted with putty o$tained
from fine sawdust of pine wood and isinglass of 8M concentration. The
glue was heated in a 6ain Marie. The grout was applied hot every time,
after a prior gap degreasing with fortified water of @M concentration.
There were used the following working tools2 a scarf and a dental spatula.
- treatment with ">'5 G<, (9 against the xylophages attack was applied
$y in;ection and $rushing.
-fter conducting the cleaning tests reali.ed with several types of
solvent mixtures, $oth superficial deposits and deposits clogged in
support were removed from the painted surface. The solution was applied
$y smooth da$$ing or $y rolling with swa$ stick. %electively, there was
performed a mechanical removal, in successive stages, of wax traces or of
organic deposits. The color film has never remained without varnish. <t
was only thinned.
71
)iana Iuliana &arbu
#or grouting of pictorial layer gaps a mixture of purified chalk
powder and isinglass of HM concentration was prepared. The warm grout
was applied $y $rushing, a little $it over the level of color film, knowing
that after drying it decreases in volume. #or grouting polish, cork and egg
emulsions were used.
!hromatic integration of wear and gaps of color layers2 for this
operation pigments mixed with egg emulsion were used. On very small
surfaces ritocco method was used. >rosions of pictorial layer were
integrated $y rigging method. #or grouting areas, the chromatic
integration was achieved $y tratteggio techniBue. #inal varnishing was
performed with matt varnish of damar resin applied on cross directions, in
two phases, with complete intermediate drying $etween them.
3! Conclusions
The interest in learning a$out the painting techniBues has $een known
since the -ntiBuity. The hermeneia are also true treasures of
iconographical and technical information, $ut that stage has $een
overcome. Once the exact sciences $ecame an essential element of
historical research in the 09
th
century, as well as conservation and
restoration, specialists have had the possi$ility to o$tain information they
could not have dreamed of $efore. The scientific approach of the su$;ect,
throught the use of la$oratory analyses, has allowed to esta$lish the
connection $etween material techniBue, painting school or workshop and
the icon painting master, which is a su$stantial contri$ution $rought to he
research on this genre of artistic creation. The results achieved through
the la$oratory analyses have played an exceptional part in acBuiring
knowledge on painting materials and techniBues, as well as the state of
conservation of the studied icon, so necesary in esta$lishing the
restoration steps and techniBues
1
.
8
<dem, p. (85(1.
72