ig L e sai sa N Jo s é , sa N Ju a N , pu e r t o i C o · 2017-04-25 · La Ca p i L L a d e Nu e...
Transcript of ig L e sai sa N Jo s é , sa N Ju a N , pu e r t o i C o · 2017-04-25 · La Ca p i L L a d e Nu e...
La CapiLLa de Nuestra señora deL rosario
igLesia saN José, saN JuaN, puerto riCo
iNterior FiNishes iNvestigatioN aNd
CoNservatioN treatmeNt pLaN
appeNdium:
Strappo removaL aNd storage oF paiNtiNg FragmeNts
_____________________________________
prepared By:
the arChiteCturaL CoNservatioN LaBoratory
sChooL oF desigN
uNiversity oF peNNsyLvaNia
proJeCt CoNservators:
Kerry L. JohNstoN
CyNthia L. siLva
proJeCt supervisor:
FraNK g. matero
deCemBer 2008
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Table of ConTenTs
list of figures.....................................................................................................iiilist of Tables.......................................................................................................iii
1.0 InTRoDUCTIon ...........................................................................................1
2.0 TReaTMenT PRoCeDURe ........................................................................ 1
3.0 sToRaGe .....................................................................................................5
4.0 fUTURe ConseRVaTIon .......................................................................... 6
5.0 of InTeResT.................................................................................................6
aPPenDICes.........................................................................................................8 Appendix A: Locations of Removed Design Details....................................8 Appendix B: Inventory of Removed Painting Fragments...........................13 Appendix C: Design Detail Photographs....................................................17
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lIsT of fIGURes
Figure 1: Biological growth on drying coletta..........................................................2Figure 2: Biological growth treated with alcohol.....................................................2Figure 3: Measuring and cutting coroplast boxes for storing fragments.................3Figure 4: Gluing box corners with epoxy.................................................................3Figure 5: Custom sized boxes were built to store the larger fragments.................4Figure 6: Painting fragments placed in storage boxes...........................................4Figure 7: Equipment used for thymol treatment.....................................................5Figure 8: Boxes laid flat and off the floor prior to being moved to storage loca-tion.........................................................................................................................6Figure 9: NW sirena being revealed.......................................................................7Figure 10: Removing the strappo from the NW pendentive...................................7Figure 11: The fourth and final sirena.....................................................................7
Figure C-1: B1_CS.B7, before consolidation.......................................................18Figure C-2a: C1_D.H5-6, before consolidation....................................................19Figure C-2b: C1_D.H5-6, after consolidation.......................................................20Figure C-3a: C1_D.H5-6, coffer 1, before consolidation......................................21Figure C-3b: C1_D.H5-6, coffer 1, after consolidation.........................................22Figure C-4a: C1_D.H5-6, coffer 2, before consolidation......................................23Figure C-4b: C1_D.H5-6, coffer 2, after consolidation.........................................24Figure C-5a: C1_D.H5-6, coffer 3, before consolidation......................................25Figure C-5b: C1_D.H5-6, coffer 3, after consolidation.........................................26Figure C-6a: C3_SW.B8, before consolidation.....................................................27Figure C-6b: C3_SW.B8, after consolidation........................................................28Figure C-7a: C5_NWPEND, before consolidation................................................29Figure C-7b: C5_NWPEND, after consolidation...................................................30Figure C-8a: D1_CE.B8, before consolidation.....................................................31Figure C-8b: D1_CE.B8, after consolidation.........................................................32Figure C-9a: D2_D.C4, before consolidation........................................................33Figure C-9b: D2_D.C4, after consolidation...........................................................34Figure C-10a: D3_D.C4, before consolidation......................................................35Figure C-10b: D3_D.C4, after consolidation.........................................................36Figure C-11a: D4_D.D2-3, before consolidation...................................................37Figure C-11b: D4_D.D2-3, after consolidation......................................................38Figure C-12a: D4_D.D2-3, boat bottom half detail, before consolidation.............39Figure C-12b: D4_D.D2-3, boat bottom half detail, after consolidation................40Figure C-13a: D6_D.E1, before consolidation......................................................41Figure C-13b: D6_D.E1, after consolidation.........................................................42Figure C-14a: D7.Mariner5, before consolidation.................................................43Figure C-14b: D7.Mariner5, after consolidation....................................................44
lIsT of TablesTable B-1: Inventory of Removed Painting Fragments.........................................14
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INTRODUCTION1.0
As per the recommendations outlined in the September 2008 Interior Finishes
Investigation and Conservation Treatment Plan, a total of eleven painting fragments
were removed from the Rosario Chapel dome and walls and prepared for storage.
A team of conservators worked on site to complete this work between November
13th and 23rd, 2008.
Refer to Appendix A: Locations of Removed Design Details for the in situ locations of
those painting fragments prior to removal. For photographic details and dimensions
of those painting fragments that were removed, see Table B-1 in Appendix B:
Inventory of Removed Painting Fragments.
TREATMENT PROCEDURE2.0
Prior to removal, each painting was documented in situ. Digital photographs were
taken and a Kodak color scale was included in each image for color management.
Each fragment was also measured so that custom-built storage boxes could be
fabricated. After being documented, the fragments were then consolidated with
a 5% solution of Acryloid B72 in acetone (w/v). This was brush-applied through
a barrier of Japanese tissue. See Appendix C: Design Detail Photographs for in
situ images of the fragments with color scale both before and after consolidation
treatment. Due to the powdering and chalky nature of the matte paint, the B72
penetrated very effectively, which resulted in sharper and more saturated images.
Following the strappo procedures as described in the previous report, a colletta
recipe of bone glue, water, and vinegar was prepared in a 3: 2.5: 2 (w/v/v) ratio.
The glue was pre-soaked in water and then warmed in a double boiler with the
vinegar. Once the glue was prepared, a thin layer was brushed directly to the
painting’s surface and covered with a layer of cotton gauze. Another layer of glue
was then applied followed by a layer of muslin. A final glue layer was then brushed
over this covering. The process took two days for eleven painting fragments.
Fans and lights were directed towards each painting in order to aid the drying
process. After five days, the glue had dried enough so that removals could begin.
Due to high humidity and temperatures, some biological growth had begun to
grow on a few areas of the glue (Figure 1). These areas were treated with alcohol
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(Figure 2).
Figure 1: Biological growth on drying colletta (KLJ, 2008)
Figure 2: Biological growth treated with alcohol (KLJ, 2008)
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In order to begin the removal process, the perimeter of the painting was first
scoured with a sharp utility blade. Thin spatulas were then used to release the
paintings from the plaster substrate. Foam boards wrapped in muslin were held
beneath the painting as it was removed which provided a supportive surface for
the painting. The paintings were then carried down off the scaffolding and placed
in custom-built coroplast boxes and stored in the nave of the church. The boxes
were labeled with each painting’s identification number and a color photograph
(Figures 3, 4, 5 & 6).
Figure 3: Measuring and cutting coroplast boxes for storing painting fragments (KLJ, 2008)
Figure 4: Gluing box corners with epoxy (KLJ, 2008)
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Figure 5: Custom sized boxes were built to store the large painting fragments (CLS, 2008)
Figure 6: Painting fragments placed in storage boxes (KLJ, 2008)
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A solution of 10% thymol in denatured alcohol (w/v) was prepared and spray-
applied to the glue side of each painting to discourage biological growth during
long-term storage. Cotton batting was also saturated with the thymol solution and
placed in each box (Figure 7).
3.0 STORAGE
The paintings require climate-controlled storage in order to prevent the glue from
re-hydrating and biological attack. The ideal storage conditions would maintain
relative humidity (RH) at 55% (not to exceed 65% RH) and temperature around
65°F (not to exceed 68°F). The combination of these two factors—the control
of temperature and relative humidity—provide the best chance for discouraging
biological growth. Certainly any effort to reduce temperature and humidity will
greatly help if the ideal range is logistically impossible to achieve.
The storage boxes should be kept flat. If handling of the paintings is required, skin
should be protected with disposable gloves to reduce contact with the thymol. The
boxes should not be placed directly on the floor in case of flooding (Figure 8).
Figure 7: Equipment used for thymol treatment (CLS, 2008)
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4.0 FUTURE CONSERvATION
Further conservation treatment of the removed fragments should be planned for
in the near future. Conservation treatment will include mounting the paintings on
display supports and removing the glue facings prior to treating the paintings.
The glue facing is susceptible to biological attack, which may include mold and
fungi that can be harmful to the painting. The anti-microbial treatment should help
but it is recommended that the next treatment phase be implemented as soon as
possible.
5.0 OF INTEREST
One last item of interest from this visit should also be noted for documentation
purposes: strappo of the angel from the northwest pendentive revealed the fourth
and final sirena (Figures 9, 10, 11). Due to the presence of breasts (most likely as
part of an armored breastplate), it can now definitely be concluded that the four
sirena, are, in fact female.
Figure 8: Boxes laid flat and off the floor prior to being moved to storage location (KLJ, 2008)
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Figure 9: NW sirena being revealed (CLS, 2008)
Figure 9: Removing the strappo from the NW pendentive (CLS, 2008)
Figure 10: The fourth and final sirena (KLJ, 2008)
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appeNdix aLoCatioNs oF removed desigN detaiLs
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10
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12
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appeNdix BiNveNtory oF removed paiNtiNg FragmeNts
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Paintings removed from Rosario Chapel, Iglesia San Jose November 13-23, 2008
ID No. Description Dimensions Photograph
1 B1_CS.B7Campaign B, red faux marbling H 23" x W 13'
2 C1_D.H5-6Campaign C, neoclassical coffers H 33' x W 72'
3 C3_SW.B8Campaign C, neoclassical medallion H 43" x W 47"
4 C4_NWPEND S H 51" x W 66"
5 D1_CE.B8Campaign D, decorative guilloche H 41" x W 24"
6 D2_D.C4Campaign D, battle of Lepanto mariner H 29" x W 33"
Johnston/Silva 1
Table B-1: Inventory of Removed Painting Fragments
Campaign C,
neoclassical angel
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Paintings removed from Rosario Chapel, Iglesia San Jose November 13-23, 2008
7 D3_D.C4A
Campaign D, battle of Lepanto mariner, part A = top figure H 50" x W 34"
8 D4_D.D2-3
Campaign D, battle of Lepanto mariner, Part B= bottom of figure and boat H 39" x W 53"
9 D4_D.D2-3Campaign D, battle of Lepanto mariner H 53" x W 55"
10 D6_D.D.E1Campaign D, battle of Lepanto mariner H 36" x W 26"
Johnston/Silva 2
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Paintings removed from Rosario Chapel, Iglesia San Jose November 13-23, 2008
11 D7.Mariner5Campaign D, battle of Lepanto mariner H43 x W 43"
Boxes are all 3 inches in depth.
Johnston/Silva 3
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appeNdix CdesigN detaiL photographs
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Figure C-1: B1_CS.B7, before consolidation
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Figure C-2a: C1_D.H5-6, before consolidation
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Figure C-2b: C1_D.H5-6, after consolidation
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Figure C-3a: C1_D.H5-6, coffer 1, before consolidation
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Figure C-3b: C1_D.H5-6, coffer 1, after consolidation
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Figure C-4a: C1_D.H5-6, coffer 2, before consolidation
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Figure C-4b: C1_D.H5-6, coffer 2, after consolidation
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Figure C-5a: C1_D.H5-6, coffer 3, before consolidation
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Figure C-5b: C1_D.H5-6, coffer 3, after consolidation
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Figure C-6a: C3_SW.B8, before consolidation
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Figure C-6b: C3_SW.B8, after consolidation
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Figure C-7a: C4_NWPEND, before consolidation
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Figure C-7b: C4_NWPEND, after consolidation
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Figure C-8a: D1_CE.B8, before consolidation
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Figure C-8b: D1_CE.B8, after consolidation
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Figure C-9a: D2_D.C4, before consolidation
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Figure C-9b: D2_D.C4, after consolidation
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Figure C-10a: D3_D.C4, before consolidation
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Figure C-10b: D3_D.C4, after consolidation
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Figure C-11a: D4_D.D2-3, before consolidation
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Figure C-11b: D4_D.D2-3, after consolidation
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Figure C-12a: D4_D.D2-3, boat bottom half detail, before consolidation
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Figure C-12b: D4_D.D2-3, boat bottom half detail, after consolidation
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Figure C-13a: D6_D.E1, before consolidation
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Figure C-13b: D6_D.E1, after consolidation
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Figure C-14a: D7.Mariner5, before consolidation
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Figure C-14b: D7.Mariner5, after consolidation