Program: the course has been organised with the aim of training students to organise and carry out correctly the various phases of a project of conservation and restoration of wall paintings. During the course the student is introduced to all the different phases of a restoration treatment.
While maintaining a balance between theory and practice, the first module initially concentrates on the basic theory underpinning much of the rest of course: historical wall painting techniques and materials (backed up by practical work where with students create their own mural paintings), documentation, basic deterioration mechanisms and methods of treatment. This is followed by starting practical work on fragments of wall paintings in the specially equipped conservation studios of the university.
The second module of the course concentrates more on the practical aspects of treatment including more specialised lessons on conservation techniques and deterioration phenomena and means of prevention.
The last part of the course is a training work site, where the students conduct a treatment on wall paintings on site from start to finish.
One of the aims for the courses to encourage the students to work together.
During the course the students are also taken on visits to monuments and conservation work sites

Detailed breakdown of the course
First module - 150 hours (Mark Gittins)
Theory lessons
• techniques of wall paintings: original materials, methods of design, the various layers of a wall painting
• fresco paintings and secco paintings
• studying and documenting an artwork: registering condition and treatment, technical glossaries and methods of graphic documentation
• introduction to the deterioration of works
• treatment methods and materials

Methodology and practical work
Simultaneously with the theoretical lessons the students construct a model of a wall painting in order to gain familiarity with traditional materials and methods. Other practical training is given on basic design, photography, and how to layout and write reports and presentations of treatments as well as introducing conservation materials and their technical and safety data sheets. The students are frequently called upon to describe and discuss their work in order to develop confidence with the language and the ideas involved.
During this module the students also begin work on fragments of wall paintings in the university’s wall paintings conservation studio, starting with close observation of the work and it's graphic and photographic documentation leading to the initial phases of planning a treatment and testing various methods.

Second module - 150 hours (Mark Gittins Valeria Valentini)

Theory Lessons
• a detailed look at deterioration mechanisms and systems of prevention
• examination of more specialised treatment strategies and methods

Methodology and practical work
Practical work is undertaken in the university's specialized wall painting studio. During this work the students will experiment with and apply practically the theoretical notions they have studied in their earlier lessons in order to construct a complete cycle of restoration treatment: from historical and technical study to treatment hypotheses and testing, then the treatment itself and the writing of a final report.
At the same time as these treatments are undergoing, there will be further lessons involving more detailed discussions on deterioration factors, systems of prevention and more specialised treatment methods and materials.
In particular, one part of the course will be dedicated to the theory and practice of various systems of retouching and reintegration , including the toning of losses and the tratteggio system of pictorial reconstruction.
Work would be carried out on fragments of wall paintings from the 15th and 16th century from the old city of Castro (VT).
The module will conclude with the writing of a detailed report on the treatment carried out by the student on their fragments. This will include the art historical context, evaluation of the condition of the paintings and a critical assessment of the treatment methods adopted.
During the module students will have the opportunity present their work both formally and informally to their colleagues so is to gain familiarity with the correct technical language for the field.

Di base sono, ovviamente, le fonti storiche: Vitruvio, Plinio, Cenino Cennini, Vasari, ecc. in varie edizioni
AA.VV. Dimos Parte I Modulo I. Tecniche di esecuzione Materiali Costitutivi. ICR, 1978
AA.VV. Dimos Parte I Modulo II. Fattori di deterioramento. ICR, 1978
P. Mora, L. Mora, P. Philippot La Conservazione dei dipinti murali. (Rev. Bresciani). 2 ed. Editrice Compositori 2001
S. Rinaldi, Storia tecnica dell’arte. Materiali e metodi della pittura e della scultura (secc. V-XIX) Carocci editore, 2011
Materiali e tecniche della pittura murale del Quattrocento, Atti del convegno, ENEA, febbraio 2002
Bollettini ICR e OPD per gli argomenti di pertinenza.
Lo stato dell’arte atti dei Convegni IGIIC italiano
Kermes: La rivista di restauro