Instituto Politécnico de Tomar
Escola Superior de Tecnologia de Tomar - Conservação e Restauro
The objective was to divulge an unusual cultural object by reporting an intervention to which it was submitted, and explain some of its historical and material aspects. Historically speaking, accoutrements in Portugal are undervalued when... more
The objective was to divulge an unusual cultural object by reporting an
intervention to which it was submitted, and explain some of its historical and
material aspects.
Historically speaking, accoutrements in Portugal are undervalued when
compared with weaponry and uniforms. For that reason there are no studies about
them. Because a set of six objects from the model 1859 personal equipment were
treated, a study about it was carried out.
The model 1859 clothes backpack, manufactured in leather and canvas
treated with black wax, was meant to carry the soldier's spare clothing (Aragão,
1886, p. 547) and the small equipment, with the total weight of its contents
overcoming 8 kg (M., 1894, p. 357) . This specimen, from the Lisbon Military
Museum collection, might have been used in campaign in Mozambique in 1894-95.
Its wax coating had a network of cracks, flaking, and losses. The canvas had
rips, losses and tenting. The marking on the verse of the flap had little cohesion.
The leather had fissures. The metal parts were corroded.
A conservation and restoration treatment was carried out. The wax coating
was consolidated with BEVA® 371 (Ploeger, McGlinchey, & Rie, 2015) . The canvas
was stretched, its rips and losses treated with textile polyamide, BEVA® 371 film,
Reemay® and new canvas was inserted in the losses, which were inpainted. The
marking was consolidated with BEVA® 371. The leather was cleaned mechanically
and with non polar solvents. The metal parts were deoxidized with tannic acid. At
last microcrystalline wax was applied over the original wax, making it shine in a
similar way to the time when it was regulatory.
intervention to which it was submitted, and explain some of its historical and
material aspects.
Historically speaking, accoutrements in Portugal are undervalued when
compared with weaponry and uniforms. For that reason there are no studies about
them. Because a set of six objects from the model 1859 personal equipment were
treated, a study about it was carried out.
The model 1859 clothes backpack, manufactured in leather and canvas
treated with black wax, was meant to carry the soldier's spare clothing (Aragão,
1886, p. 547) and the small equipment, with the total weight of its contents
overcoming 8 kg (M., 1894, p. 357) . This specimen, from the Lisbon Military
Museum collection, might have been used in campaign in Mozambique in 1894-95.
Its wax coating had a network of cracks, flaking, and losses. The canvas had
rips, losses and tenting. The marking on the verse of the flap had little cohesion.
The leather had fissures. The metal parts were corroded.
A conservation and restoration treatment was carried out. The wax coating
was consolidated with BEVA® 371 (Ploeger, McGlinchey, & Rie, 2015) . The canvas
was stretched, its rips and losses treated with textile polyamide, BEVA® 371 film,
Reemay® and new canvas was inserted in the losses, which were inpainted. The
marking was consolidated with BEVA® 371. The leather was cleaned mechanically
and with non polar solvents. The metal parts were deoxidized with tannic acid. At
last microcrystalline wax was applied over the original wax, making it shine in a
similar way to the time when it was regulatory.
In 2016 a group of several objects was removed from the Lisbon Military Museum collection storage in order to be inventoried on the recent inventory system database. Three of these objects were backpacks which were later identified as... more
In 2016 a group of several objects was removed from the Lisbon Military Museum collection storage in
order to be inventoried on the recent inventory system database. Three of these objects were backpacks
which were later identified as being the model 1859 clothes backpack. According to old museum catalogues
these backpacks were utilized in campaign in Mozambique in 1895 and were present in the combats of
Marracuene and Coolella, and in the actions of Manjacase and Chaimite.
This re-discovery aroused attention and interest to place at least one of these backpacks in permanent
exhibition. These cultural objects are witnesses of past events and studying them allows us to learn more
about the past; therefore, they must be preserved in order to maintain certain aspects that are true to their
time. In 2017 one of these backpacks underwent a conservation and restoration treatment within a
curricular unit of the Conservation and Restoration Degree of the Polytechnic Institute of Tomar, in order to
be exhibited. Now, 2019, a second backpack is being treated within the C.R. Master thesis on the same
institute.
This model was manufactured in leather and canvas, and the exterior has a black coating. According to
period instructions the canvas parts were waxed “the same way as footwear”, and the leather parts “after
being painted” were waxed “according to the 1856 instructions”. An 1855 article is dedicated to the
introduction of the same wax mentioned in the 1856 instructions; this article gives a glimpse of the
importance attributed to the appearance of the equipment, and a polished shiny surface was mandatory.
This aspect was important in the 2017 intervention. The treatment of the canvas losses and tears was
deemed a necessary step in achieving the goal of treatment, as well as being important in maintaining the
structural integrity of the backpack. After consolidation of the black coating, the recipe of black wax was
reproduced in order to be analysed with FTIR, and ended up being used as both a filler and inpainting
material for the losses, since it provided the ideal consistency, texture and colour. The final step consisted in
applying a protective layer of microcrystalline wax, which was buffed with a brush in order to provide the
mandatory polished surface.
On the ongoing intervention, the use of a similar method for filling/inpainting which uses stabler materials is
being studied for application on the second backpack.
order to be inventoried on the recent inventory system database. Three of these objects were backpacks
which were later identified as being the model 1859 clothes backpack. According to old museum catalogues
these backpacks were utilized in campaign in Mozambique in 1895 and were present in the combats of
Marracuene and Coolella, and in the actions of Manjacase and Chaimite.
This re-discovery aroused attention and interest to place at least one of these backpacks in permanent
exhibition. These cultural objects are witnesses of past events and studying them allows us to learn more
about the past; therefore, they must be preserved in order to maintain certain aspects that are true to their
time. In 2017 one of these backpacks underwent a conservation and restoration treatment within a
curricular unit of the Conservation and Restoration Degree of the Polytechnic Institute of Tomar, in order to
be exhibited. Now, 2019, a second backpack is being treated within the C.R. Master thesis on the same
institute.
This model was manufactured in leather and canvas, and the exterior has a black coating. According to
period instructions the canvas parts were waxed “the same way as footwear”, and the leather parts “after
being painted” were waxed “according to the 1856 instructions”. An 1855 article is dedicated to the
introduction of the same wax mentioned in the 1856 instructions; this article gives a glimpse of the
importance attributed to the appearance of the equipment, and a polished shiny surface was mandatory.
This aspect was important in the 2017 intervention. The treatment of the canvas losses and tears was
deemed a necessary step in achieving the goal of treatment, as well as being important in maintaining the
structural integrity of the backpack. After consolidation of the black coating, the recipe of black wax was
reproduced in order to be analysed with FTIR, and ended up being used as both a filler and inpainting
material for the losses, since it provided the ideal consistency, texture and colour. The final step consisted in
applying a protective layer of microcrystalline wax, which was buffed with a brush in order to provide the
mandatory polished surface.
On the ongoing intervention, the use of a similar method for filling/inpainting which uses stabler materials is
being studied for application on the second backpack.
The model 1859 clothes backpack was used to carry soldier's spare clothing and necessaries. It was strictly made according to a pattern and was constructed in a box shape from leather and canvas, painted black on the exterior. An example... more
The model 1859 clothes backpack was used to carry soldier's spare clothing and necessaries. It was strictly made according to a pattern and was constructed in a box shape from leather and canvas, painted black on the exterior. An example of this model, which belongs to the Lisbon Military Museum collection (MML02048), was removed from the storage in 2016 in order to be inventoried. It was subsequently restored within the curricular unit “conservation and restoration project” of the Conservation and Restoration Bachelor so it could be placed on permanent exhibition. This object was likely used in campaign in Mozambique in 1894-95 by the bugler António Moura, taking part on the combat of Marracuene. Areas of deterioration, such as flaking paint and canvas losses, were caused mainly by storage conditions and improper care over the course of more than a century. The treatment was guided towards its ideal state, enhancing mostly historical and aesthetical values which were obtained through investigation. This included restoration of the regulatory polished surface, but maintained the signs of use, such as the mended tears. This paper contributed to the divulgation of detailed information about an unusual type of object within the conservation field and military history.
ENG Two identical backpacks were treated on two occasions to be exhibited alongside at the Lisbon Military Museum. Although both backpacks are the model 1859, the treatment procedures related to the painted canvas were approached... more
ENG
Two identical backpacks were treated on two occasions to be exhibited alongside at the Lisbon Military Museum. Although both backpacks are the model 1859, the treatment procedures related to the painted canvas were approached differently. The distortions and losses of canvas on the first treated backpack were easily addressed with an ultrasonic humidifier and the insertion of new canvas. Regarding the surface coating, it was consolidated with BEVA® 371, and the inserted canvas was filled with a pigmented wax paste described in a book from the late 19th century. The second backpack was in far worse condition, which, when compared with archive record, seemed likely that it was exhibited for a long period in a damp environment. There were also traces of an organic coating distinct from the original coating. These conditions resulted in a stiffer backpack, with more losses of canvas and surface coating. As a result, the distortions could not be removed, new fabric could not be properly inserted, and the consolidation of the surface coating had to be addressed in a different way. For these motives, the goal of treatment of the second treated backpack was cut short for a more realistic goal, but resulted in a good outcome, nonetheles.
ESP
Relleno y reintegración de lagunas en mochilas de ropa del Ejército Portugués modelo 1859 Resumen: Dos mochilas idénticas fueron tratadas en diferentes ocasiones para exhibirse juntas en el Museo Militar de Lisboa. Aunque ambas mochilas son del modelo 1859, los procedimientos de tratamiento relacionados con el lienzo pintado se abordaron de manera diferente. Las distorsiones y pérdidas de lienzo en la primera mochila tratada se abordaron fácilmente con un humidificador ultrasónico y la inserción de un nuevo lienzo. El revestimiento de la superficie se consolidó con BEVA® 371, y el lienzo insertado se rellenó con una pasta de cera pigmentada, descrita en un libro del final del siglo XIX. La segunda mochila estaba en condiciones mucho peores, lo que, en comparación con la evidencia de archivo, parecía probable que se exhibiera durante un largo período en un ambiente húmedo. También había rastros de un revestimiento orgánico distinto del revestimiento original. Estas dos condiciones dieron como resultado una mochila más rígida, con más pérdidas de lienzo y revestimiento superficial. Como resultado, las distorsiones no se pudieron eliminar, el nuevo lienzo no se pudo insertar correctamente y la consolidación del revestimiento de la superficie tuvo que abordarse de una manera diferente. Por estos motivos, el objetivo del tratamiento de la segunda mochila tratada se truncó para un objetivo más realista, sin embargo resultó en un buen término.
PT
Duas mochilas idênticas foram tratadas em ocasiões diferentes para serem expostas em conjunto no Museu Militar de Lisboa. Embora ambas as mochilas sejam do modelo 1859, os procedimentos de tratamento relacionados com a tela pintada foram abordados de forma diferente. As distorções e as perdas de tela na primeira mochila tratada foram facilmente resolvidas com um humidificador ultrassónico e a inserção de nova tela. O revestimento da superfície foi consolidado com BEVA® 371, e a nova tela inserida foi preenchida com uma pasta de cera pigmentada, descrita num livro do final do século XIX. A segunda mochila estava em muito pior estado, o que, quando comparada com evidências de arquivo, parecia provável que tenha sido exibida por um longo período num ambiente húmido. Também havia vestígios de uma camada orgânica distinta do revestimento original. Essas duas condições resultaram numa mochila mais rígida, com mais perdas de tela e do revestimento da superfície. Como resultado, as distorções não puderam ser eliminadas, a nova tela não pôde ser devidamente inserida, e a consolidação do revestimento da superfície teve de ser abordada de outra forma. Por essas razões, o objetivo do tratamento da segunda mochila tratada foi reduzido para um objetivo mais realista, porém resultou num bom termo.
Two identical backpacks were treated on two occasions to be exhibited alongside at the Lisbon Military Museum. Although both backpacks are the model 1859, the treatment procedures related to the painted canvas were approached differently. The distortions and losses of canvas on the first treated backpack were easily addressed with an ultrasonic humidifier and the insertion of new canvas. Regarding the surface coating, it was consolidated with BEVA® 371, and the inserted canvas was filled with a pigmented wax paste described in a book from the late 19th century. The second backpack was in far worse condition, which, when compared with archive record, seemed likely that it was exhibited for a long period in a damp environment. There were also traces of an organic coating distinct from the original coating. These conditions resulted in a stiffer backpack, with more losses of canvas and surface coating. As a result, the distortions could not be removed, new fabric could not be properly inserted, and the consolidation of the surface coating had to be addressed in a different way. For these motives, the goal of treatment of the second treated backpack was cut short for a more realistic goal, but resulted in a good outcome, nonetheles.
ESP
Relleno y reintegración de lagunas en mochilas de ropa del Ejército Portugués modelo 1859 Resumen: Dos mochilas idénticas fueron tratadas en diferentes ocasiones para exhibirse juntas en el Museo Militar de Lisboa. Aunque ambas mochilas son del modelo 1859, los procedimientos de tratamiento relacionados con el lienzo pintado se abordaron de manera diferente. Las distorsiones y pérdidas de lienzo en la primera mochila tratada se abordaron fácilmente con un humidificador ultrasónico y la inserción de un nuevo lienzo. El revestimiento de la superficie se consolidó con BEVA® 371, y el lienzo insertado se rellenó con una pasta de cera pigmentada, descrita en un libro del final del siglo XIX. La segunda mochila estaba en condiciones mucho peores, lo que, en comparación con la evidencia de archivo, parecía probable que se exhibiera durante un largo período en un ambiente húmedo. También había rastros de un revestimiento orgánico distinto del revestimiento original. Estas dos condiciones dieron como resultado una mochila más rígida, con más pérdidas de lienzo y revestimiento superficial. Como resultado, las distorsiones no se pudieron eliminar, el nuevo lienzo no se pudo insertar correctamente y la consolidación del revestimiento de la superficie tuvo que abordarse de una manera diferente. Por estos motivos, el objetivo del tratamiento de la segunda mochila tratada se truncó para un objetivo más realista, sin embargo resultó en un buen término.
PT
Duas mochilas idênticas foram tratadas em ocasiões diferentes para serem expostas em conjunto no Museu Militar de Lisboa. Embora ambas as mochilas sejam do modelo 1859, os procedimentos de tratamento relacionados com a tela pintada foram abordados de forma diferente. As distorções e as perdas de tela na primeira mochila tratada foram facilmente resolvidas com um humidificador ultrassónico e a inserção de nova tela. O revestimento da superfície foi consolidado com BEVA® 371, e a nova tela inserida foi preenchida com uma pasta de cera pigmentada, descrita num livro do final do século XIX. A segunda mochila estava em muito pior estado, o que, quando comparada com evidências de arquivo, parecia provável que tenha sido exibida por um longo período num ambiente húmido. Também havia vestígios de uma camada orgânica distinta do revestimento original. Essas duas condições resultaram numa mochila mais rígida, com mais perdas de tela e do revestimento da superfície. Como resultado, as distorções não puderam ser eliminadas, a nova tela não pôde ser devidamente inserida, e a consolidação do revestimento da superfície teve de ser abordada de outra forma. Por essas razões, o objetivo do tratamento da segunda mochila tratada foi reduzido para um objetivo mais realista, porém resultou num bom termo.
- by André Fernandes
- 1 comment
- 1 participant
Lacunae infill in tile panels is an issue that raises numerous approaches. The type of lacunae, their extent and location and the condition of the panels are determining factors in what concerns conservation choices, specially in cases of... more
Lacunae infill in tile panels is an issue that raises numerous approaches. The type of lacunae, their extent and location and the condition of the panels are determining factors in what concerns conservation choices, specially in cases of displaced tile panels. When missing tiles occupy an extensive area, or when the degradation of the panels is severe, going from theory to practice is more challenging. Any given solution should consider not only the materiality of the panels, but also their context and their potential concerning the recovery of their meaning as an image.
One of the most common solutions is the use of “cold” restoration techniques, using a filler cured at room temperature and chromatic reintegration with acrylic paints. In the case of missing tiles the use of "replicas" is a possibility, but can have very different visual outcomes.
Two interventions were used as case studies, in order to define a treatment model for this type of situations. It was possible to determine an integrated solution that considered a "hot" restoration - filling the gap with firing clay and apllying glaze, after performing color tests - and the production of new tiles. This proved to be an effective solution, compatible, reversible and distinguishable, also allowing for optimal visual interpretation of the panels.
Keywords: Conservation, Restoration, Tile Panels, Lacunae infill.
One of the most common solutions is the use of “cold” restoration techniques, using a filler cured at room temperature and chromatic reintegration with acrylic paints. In the case of missing tiles the use of "replicas" is a possibility, but can have very different visual outcomes.
Two interventions were used as case studies, in order to define a treatment model for this type of situations. It was possible to determine an integrated solution that considered a "hot" restoration - filling the gap with firing clay and apllying glaze, after performing color tests - and the production of new tiles. This proved to be an effective solution, compatible, reversible and distinguishable, also allowing for optimal visual interpretation of the panels.
Keywords: Conservation, Restoration, Tile Panels, Lacunae infill.
- by Catarina Melo
- •
No âmbito da intervenção de conservação e restauro, foi feito o estudo material de um biombo, com recurso a métodos de exame e análise, que pretendeu esclarecer o seu estado de conservação, as alterações a que foi sujeito e a sua origem e... more
No âmbito da intervenção de conservação e restauro, foi feito o estudo material de um biombo, com recurso a métodos de exame e análise, que pretendeu esclarecer o seu estado de conservação, as alterações a que foi sujeito e a sua origem e data de execução. Constatou-se a existência de extensas e profundas modificações estéticas e iconográficas e o uso de técnicas e materiais que apontam para uma origem oriental, particularmente chinesa, em combinação com técnicas e materiais que não eram comuns no Oriente, mas sim no Ocidente. A mistura de azul da Prússia e auripigmento usada nas zonas de cor verde permitiu concluir que, se for oriental, é pouco provável que o biombo tenha sido pintado antes do século XIX. Abstract As part of a conservation and restoration intervention, a material study of a folding screen was made, with methods of examination and analysis that aims to clarify its condition, the changes that has undergone and its origin and date of manufacture. Extensive and profound aesthetic and iconographic modifications were found and were identified techniques and materials that point to an Eastern origin, particularly Chinese, in combination with techniques and materials that were not common in the East, but in the West. The mixture of Prussian blue and orpiment used in green areas allowed us to conclude that it is unlikely that the screen was painted before the nineteenth century.
Durante uma intervenção de conservação e restauro, foi verificado que um biombo com características orientais em madeira policromada apresentava extensos repintes que, como se apurou através de imagens de infravermelho, pretenderam... more
Durante uma intervenção de conservação e restauro, foi verificado que um biombo com características orientais em madeira policromada apresentava extensos repintes que, como se apurou através de imagens de infravermelho, pretenderam ocultar, nas pinturas de 12 cartelas, a origem ocidental das figuras e os símbolos cristãos. Originalmente estavam representados actos da vida de São Domingos de Gusmão e os repintes visaram a dessacralização do objecto, provavelmente durante o período em que o cristianismo foi proibido na China (de 1724 até à década de 1840). Esta dessacralização corresponde a um particular tipo de iconoclastia não intencional que não pretendeu atacar o que as imagens representavam, mas preservar a comunidade a que pertencia o biombo, a qual manteve as suas crenças religiosas, e o próprio objecto. A ponderação dos diversos aspectos relevantes levou à decisão de não remoção desses repintes, não obstante a sua natureza grosseira, devido ao seu valor histórico e documental.
During a conservation-restoration intervention, it was verified that 12 cartouches of a polychrome wooden folding screen with Oriental features had extensive repainting which, as was shown by infrared images, tried to conceal the western origin of the painted figures and the Christian symbols. Originally, acts of the life of St. Dominic of Guzman were depicted and the repaints, probably made in a period of time during which Christianity was banned in China (from 1724 until the 1840s), aimed the desacralization of the object. This desacralization corresponds to a particular type of unintentional iconoclasm which did not intend to attack what the images represented, but to preserve the community, which kept its religious beliefs, and the object itself. The detailed analysis of the issues posed by these repaints led to a decision that contemplates their maintenance, despite the crude nature of these additions, due to their historical and documental value.
During a conservation-restoration intervention, it was verified that 12 cartouches of a polychrome wooden folding screen with Oriental features had extensive repainting which, as was shown by infrared images, tried to conceal the western origin of the painted figures and the Christian symbols. Originally, acts of the life of St. Dominic of Guzman were depicted and the repaints, probably made in a period of time during which Christianity was banned in China (from 1724 until the 1840s), aimed the desacralization of the object. This desacralization corresponds to a particular type of unintentional iconoclasm which did not intend to attack what the images represented, but to preserve the community, which kept its religious beliefs, and the object itself. The detailed analysis of the issues posed by these repaints led to a decision that contemplates their maintenance, despite the crude nature of these additions, due to their historical and documental value.
- by Ana Cristina Morais and +1
- •
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