Part I : March-May 2020 (6 CFU : 150 hours)

. Introduction to the study of constituent materials and techniques of execution of
wooden paintings. Ancient sources and treatises (C.Cennini , G.Vasari) . Stage on reproduction of
copy

. introduction of reading on techniques of execution: visit of museums and churches.

. Introduction of reading on morphology of decay. Interpretation of causes of
alteration.

. Examination of paintings in the laboratory: introduction to documentation.
Direct analysis in diffuse and raking light.
Collecting technical data and assessment of state of conservation ( The Doria Pamphilj-ICR form).

. Introduction to graphic mapping processing for data transfer.
From manual records to Autocad program.




Part II: July 2020 (6 CFU : 150 hours)

. Introduction to the diagnostic investigation activities, in coordination with the scientific
Laboratories. UV ; IR ; photo shooting sessions ; XRF ; microchemical analyses addressed to the
analysis of constituent materials and products of alteration.

. General theoretical introduction and practical applications to the phases of:

a) Preliminary biocide treatment

b) Re-establishment of adhesion and cohesion of pictorial film and preparatory layers
. infiltration of acrylic microemulsions
. achievement of planarity through controlled thermal spatula

c) Surface cleaning:
. critical principles: the dialectic between original, patina and overpainted layers
. orientation on parameters of toxicity,
. solvents (evaporation, penetration, solvent power), solvent parameters,
solvent triangle, solubility testing, solubility
. concept of polar/apolar,
. acids and bases,
. tensioactive and chelates,
. watery environment,
. thickening solutions, gels,

d) fillings of gaps (lacuna)
. application and texture

(e) Aesthetic presentation
. theoretical principles of pictorial reintegration with topic of history of restoration
. Lacuna and theory of visual perception (Gestalt psychologies),
. reintegrable lacuna and non-reintegrable lacuna: tratteggio technique and sublevel.
. reintegrative treatments in comparison: lowering of tone with ‘dirty-water’ technique and
mimetic intervention

(f) Intermediate and final varnishing.

The lab activities will be organized under the constant supervision of the professor. Any material used in the practice of the intervention will be introduced in total safety through the awareness of technical sheet.

Miscellaneous articles provided by the professor from catalogs and periodical
. Cennini C. “Il libro dell’arte”,; (chapter related to panel paintings), Neri Pozza, 1985
. Vasari G. “ Le vite de’ più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino
a’ nostri tempi,; (chapter related to panel paintings), ), Newton Compton, 2009
. Cremonesi P. "Un approccio alla pulitura dei dipinti mobili” , Il Prato - I Talenti, 2012 ;
. Mora P.e L. – Philippot P. “Conservazione di dipinti murali”, Ed. Compositori, Bologna 1992
(chapter related to cleaning and aesthetical presentation)
. Capriotti G. e al. – in “Una ritrovata Madonna della Fabbrica di San Pietro”,Cat. Mostra
Palazzo Madama Torino 2018, a cura di S.Turriziani e P.Zander, pp. 65-9 , Il Formichiere Ed.,
2018

THEORETICAL PART:
1. Short recall of wood technology
• Macroscopic characteristics of wood
• Wood – water report
• Retreats and deformations of the sawn pieces
2. Construction techniques of wooden supports paintings
• Assembly systems and nailing crossbars
• close historical examination of constructive types from '200 to' 500
3. Causes and phenomenology of the degradation of the wooden supports
Causes of degradation:
• Executive technical
• Environmental and biological factors
• Previous interventions
Forms of degradation:
• Weakness of the support: the fragility and losses
• Interruptions of the planking: disconnections and cracks
• Constriction elements: original and restoration
• Plank - containment structures report. Original and restoration
4. structural consolidation intervention
• Consolidation: synthetic resins
• Integration of matter: fillers and tessellation
• Conjunction of disconnections and cracks: the wedge
5. plank of Control Structures
• Historical review of the boarding control systems
• Renovation of the previous structures
• Crossbeam systems: sliding beams and frames, elastic anchor
• Environmental protection and control of the support: protective and backing boarding


APPLICATIVE PART:
The applicative part will take place in the laboratory and will include lectures and practical activities:
• Knowledge, selection and maintenance of the tools
• Introduction to the joinery techniques: sawing, use the chisel, planing
• Implementation of joint models
• Creation of a support model according to the medieval assembly techniques
• Simulation of restoration: tessellation, incuneatura.
The conservation treatment on the art works in the laboratory will be conducted by the student under the control and guidance of the teacher.
The products used in the intervention will be introduced shared analysis of the technical and safety data sheet.

BIBLIOGRAPHY:
• Ciatti, M., Castelli C., Santacesaria A., (a cura di) Dipinti su tavola. La tecnica e la conservazione dei supporti, Edifir, 2012, Firenze
• Walker P., The making of panels. Of relevant woodworking tools and techniques. In “The structural conservation of panel paintings” proceeding of the symposium at the J.P.Getty Museum, 1995, The Getty Conservation Institute
• Lecture notes provided by the teacher

DEPTH:
• Uzielli L., Historical overview of panel-making . techniques in central Italy. In “The structural conservation of panel paintings” proceeding of the symposium at the J.P.Getty Museum, 1995, The Getty Conservation Institute
• Verougstraete H., Frames and supports in 15th- and 16th-century southern netherlandish painting, Royal Institute for curtural Heritage, Brussels, 2015. http://org.kikirpa.be/frames/
• http://www.getty.edu/conservation/our_projects/education/panelpaintings/panelpaintings_publications.html