The Conservation Science for the Works of Art infiltrates and combines a broad spectrum of modern Natural Science disciplines with Art History and Pathology of Materials. It is this unique foundation amalgam that enables Conservation Science to respond with vigilance and efficiency to the gigantic struggle between decay and beauty. Above all, it is Science with strict ascetic rules of rigorous deductive logic.
Hălmagiu or Concerning the Sadness of a Historical monument” is a study that turns the restorers’ attention a worship place from the 18th century of the western part of the country that lies in an advanced state of decay. Aim of the study is to identify the techniques and materials used in making interior painting of the Halmagiu church and the type of materials used in the construction of the monument. Using techniques such as OM, FTIR, UV / VIS reflectography, stratigraphy was able to identify the nature of collagen binder and pigments and paint technique. The results were able to identify and authenticate the original painting which was kept for small areas. Painting technique oil on canvas applied to wood was executed around 1840. The painting religion is a source of information invaluable for age range in the second half of the XVIII - century and the second half of the XIX-century.
In this paper we will emphasize the physical, chemical and biological investigations and we will detail the process of restoring the wooden icon New Testament Trinity, no. of inventory 781, attributed to Iacov of Răsinari, assigned to the middle of the eighteenth century. The chromatic used: red, blue, ochre, green, white, black, brown, gray, orange, silver foil. Analytical techniques used to identify materials and of repainting were radiography X-ray, OM, microchemical analyzes. Following the results of biological tests to identify the wood essence, it was found that the wood used for the panel and beam is softwood, is fir (Abies alba). These samples were prepared and analyzed in the light microscope by performing cross-sections. The icon was restored within ASTRA Centre for Heritage following the project „MUSEIKON. A new icon museum revives a restored historic building in Alba Iulia”.
Keywords icon, OM, radiography X-ray, microchemical analyzes, cross-sections.
This paper presents information on the discovery and authentication the cross of tomb of the Stan Poetas (b. December 5, 1870, Romania, the village Ulm, jud. Braila - d. January 7, 1919, Calaraseuca, Bessarabia, today Moldova) was a general of the Romanian army during World War I, is often credited for many Romania's wartime victories. He attended primary school, secondary school, then military school, which he graduated in 1889. Stan General Poetas tomb was decorated with a marble monument true. Today it is not known exactly where he was buried General Poetas, but taking into account that in 1919 in Soroca there Church of St. Theodore in the yard which is a cemetery where they are deposited dozens of soldiers Poles and Russians consider General Stan Poetas that was buried in the cemetery of this church. Moreover, the general's tomb was discovered in this cemetery. Administration cemetery testified that these marbles (with dimensions of 74/74/60 cm) is in that place since 1989 or 1945 most likely still have to recognize that they have been preserved until today as a via -a miracle, though a few years ago the gypsies from Soroca tried to vandalize the marbles for use in beautifying other tombs in the cemetery.
Built on the place of an old wooden skete related to the name of Mihai Babeanu, a former secret chancellor, in 1784, Icoanei Church of Bucharest was built and painted in the fresco technique, through the works of Panait Babeanu, a great captain of mercenaries. In the XIX century, the whole interior murals were covered in several stages by repainting in oil technique. The votive painting, a popular theme in Byzantine art depicting portraits of the church founders or of some major donors, sometimes with their families, was repainted in oil also adding portraits of other sponsors of the time. This study presents a historical analysis from the point of view of restorer on both identification of recovery stages and on identification of the old and new founders. Identification of materials from the last character added to the votive painting, respectively child Elena, was obtained from the samples taken by the author, and analyzed by optical microscopy and X-ray fluorescence (PXRF) in the laboratory of the National Museum of History in Bucharest.
Keywords Icoanei Church in Bucharest, votive painting, oil painting, OM, PXRF.
Establishing the authenticity and accurate dating of a work of art is one of the current scientific priorities. The paper presents identification and authentication red pigment of cinnabar (HgS), using optical microscopy (OM), OM in polarized light and X-ray fluorescence (XRF). Accurate knowledge of natural pigments allows the restorer to use materials as the originals belonging objects. The components accompanying the basics of the pigments provide information which contributes to establishing the origin of natural or synthetic pigment. Natural Cinnabar has perfect cleavage, and the particles are uneven. The particles are rectangular or columnar. The synthetic pigment particles are nearly spherical uniform. The color is deep red with no reflections.
Keywords red pigments, OM, OM in polarized light, XRF, dating.
Being part of the collection of the Antim Monastery, the composition represents a unique piece from the point of view of the subject matter, as well as through the manner by which is performed. The icon has the characteristic of recoding in the lower part, at the feet of each saint, the feast date from the Orthodox Calendar, on the new style. Also in lower register of the composition is written a text that mentions the name of the Metropolitan, which is the period in which it was performed.