Subject: Conservation of mural paintings
Patricia Gabriac <patricia.gabriac [at] wanadoo__fr> writes >We are working on frescos of XVII century in a castle in France. The >paintings are very stained and powdery (an effect due to the glue of >wall papers). Does somebody know what we could use instead of >Paraloid B72? Does somebody know about or have any experience with >lime water? Before choosing a consolidant (or any other conservation material for that matter) you should step back and assess the criteria for the treatment procedure involved. In other words, what is the problem and what do you want your material to achieve. Paraloid B72 and limewater are completely different materials.Not only is one organic and the other inorganic but they have different working properties, application techniques, levels of reversibility/re-treatability, effect on original materials and levels of efficaciousness. In order to choose a material for a particular treatment you need to approach the problem in stages. 1. Look at present condition of the mural and identify causes of deterioration. 2. Identify original painting materials and technique with particular reference to vulnerable materials. 3. Assess the requirements of the treatment material you need (i.e. organic/ inorganic, reversible/ irreversible, aqueous based/ non aqueous etc etc) 4. Identify currently acceptable materials which match your criteria 5. Check current literature if you are unfamiliar with particular materials (CHIN database is a good starting point) 6. Test materials. This may seem longwinded, but it need not be. The main point is that one should choose the properties of the material first and then find a material to fit, not the other way around. Tobit Curteis Tobit Curteis Associates 36 Abbey Road Cambridge CB5 8HQ UK +44-1223-501958 Fax: +44-1223-304190 *** Conservation DistList Instance 13:47 Distributed: Tuesday, March 14, 2000 Message Id: cdl-13-47-009 ***Received on Wednesday, 8 March, 2000