SECTION 2.1 Benedetta Fazi

FRONTAL LESSONS The course will allow the student to acquire the main notions inherent to the artefacts painted on textile support through the knowledge of executive techniques and constituent materials on the basis of the study of the sources.

LABORATORY ACTIVITIES Realization of models (support structure, textile support, preparations, primers, preparatory drawing, pictorial drawing) Realization of traditional linings on models

SECTION 2.2 Alessandra Zampa

Provide the student with a methodology for the study, observation and documentation of information relating to the execution technique, the state of conservation and previous interventions. Based on this, develop a type of intervention. Furthermore the restoration will be documented with the technical data sheet of the work and a written report.

SECTION 2.3 Luisa Landi

FRONTAL LESSONS

 Students will be shown how to clean polychrome surfaces. The cleaning operation will be presented as one of the most risky restoration operations because it is irreversible and will change the perception of the image of the work. For this reason, in order to proceed with the cleaning operation, as well as a careful analysis of the constituent materials and of the degradation, attention will be drawn to the necessary knowledge of the materials that can be used for the selective removal of dirt from the deposit, of the altered paints and repainting respecting the original material.

LABORATORY ACTIVITIES  Cleaning operations will be performed on the works present in the laboratory and made available for the course. Possibly they will be offered facsimile to put into practice the knowledge acquired.

SECTION 2.4 Franco Del Zotto

Give students the tools necessary to tackle the design of a restoration intervention, know how to intervene on a work of art on canvas from the structural point of view, and give the necessary tools to know and manage new technologies for restoration

SECTION 2.1 Benedetta Fazi

A. FRONTAL LESSONS (27 HOURS)

1. Executive Techniques (15 HOURS) 1.1 The stratigraphy of a painting on canvas (5 HOURS) 1.2 Support structure (3 HOURS) 1.3 Support (3 HOURS) 1.4 Preparatory layers (3 HOURS) 1.5 Preparatory design (1 HOUR) 2. History of the evolution of painting on canvas (8 HOURS) 2.1 Historical sources (1 HOUR) 2.2 Antiquity (1 HOUR) 2.3 1300 (1 HOUR) 2.4 1400 (1 HOUR) 2.5 1500 (1 HOUR) 2.6   1600 (1 HOUR) 2.7 1700 (1 HOUR) 2.8 1800 (1 HOUR) 3. History and traditional methods of lining (4 HOURS)

B. LABORATORY LESSONS (98 HOURS)

1.1 preparation of the canvas (12 HOURS) 1.2 preparation and preparation of the preparatory layers (30 HOURS) 1.3 transposition of the preparatory drawing (dusting, direct and indirect engraving, stroke with a pen and a brush, the method of liming with cardboard, etc.) (8 HOURS) 1.4 pictorial layouts (16 HOURS) 1.5 realization of traditional linings on models (32 HOURS)

SECTION 2.2 Alessandra Zampa

Degraded phenomenology and interventions on textile support 
content:

Study of the rheological behavior of the material constituting the paintings from its fabric from the technical-technical point of view;
Analysis of the cause of the different degrees: environment (microclimatic variance), material cost and process technology;
Phenomenology of the support for degradation, of the preparatory layers and of the pictorial layers: chemical alterations (oxidation and depolymerization), crimping;
Study of the types of crimping;
Varnishing of the pictorial film and pre-consolidation techniques;
Tissue consolidation and re-adhesion of the preparatory layers and lifts of the pictorial film;
Study of the executive technique and the state of conservation of the work by meter at the restoration connection; laboratory activities and exercises on models.

SECTION 2.3 Luisa Landi

THEORETICAL PART 01. Watery environment, acids and bases, materials for the realization of buffer solutions and their differences, solubility tests (6 hours) 02. Thickeners and Gelling agents, Chelants, Surfactants and O / W emulsions, W / O, gelled emulsions; artificial saliva (6 HOURS) 03. Organic solvents, solubility triangle, solubility test, solvent / gels, stearic emulsion. Dry cleaning of painted and unpainted surfaces (6 HOURS)

PRACTICAL PART 04. Use of pH meter and conductivity meter (6 HOURS) 05. Preparation of solubility tests with aqueous solutions and with organic solvents. Tests and use. (24 HOURS) 06. Preparation of thickened or supported solvent mixtures on the basis of cleaning tests performed on the works (or models) present in the Laboratory (15 HOURS) 07.Using the microscope during cleaning operations. Interventions on the artifacts according to the works available for teaching, with particular attention to cleaning and removal of the substances mentioned above found on the artifacts. Chemical and physical knowledge of the materials used. (62 HOURS)

SECTION 2.4 Franco Del Zotto

Course contents:
Analytical study of the rheological behavior of constituent materials

mechanical characteristics of wood, canvas, preparation, pictorial layers, physical-mechanical behavior of materials, external factors of influence in behavior

The tension of paintings on canvas - theoretical part -

The constant tension and the canvas-frame relationship with analysis and variations in the distribution of tensions within a painting in relation to the types of frames we use.

Traditional methods and history of the tension of paintings on canvas

The importance of creating a floating system favoring the narrowing of the support frame. Models and mechanisms for self-adapting floating frames.

Measures to give uniformity to the forces applied to the textile painting.

The frame as a preventive conservation tool: recent solutions for the balance of forces.

Low impact solutions for reusing the original frames.

Project and intervention report on a work - The importance of pre-tensioning and practical analysis of the applied forces

The tension of paintings on canvas - theoretical part -

Realization of sample frames with different types with self adaptive floating systems.

Creation of different sample systems for sliding edges.

Implementation of different floating systems with the use of external tensioners.

Consolidation of the pictorial layers structural consolidation

the use of traditional materials: animal glues

the use of synthetic materials

Physical and mechanical interference of the consolidants in a painting on canvas Protection and veiling theory and practice
Physical mechanical interference of the finishes

Hints to:

The use of the hot table
The use of the low pressure table

practical example for the realization of a vacuum system

leveling of textile support: application characteristics and identification of application cases

identification of application cases

consolidate with the low pressure table

The lining
Mechanical analysis on total, partial and strip lining, lining

Evaluations of the need to perform a lining and application case studies, strip lining method, Nap Bond System method

Use of traditional and synthetic materials

The concept of minimum intervention and the concept of non-lining where possible
Illustration of case studies and exemplary restorations

illustration of case studies and exemplary restorations

Canvas on a curved frame "Santa Tecla intercedes for the city of Este Hit by the plague", 1759

by Gian Battista Tiepolo, Cathedral of Este (PD)

Eight large format canvases by Pieretto Bianco in Puos d'Alpago: adaptive and folding car systems

application to models and / or artefacts to the true through sample models

Each section can be attended having followed the previous one with at least 75% presence and in the following order:

Section 2.1

Section 2.2

Section 2.3

Section 2.4

D.1 The student must demonstrate knowledge and understanding of executive techniques, degradation phenomenology, cleaning techniques, structural interventions on the support and preparatory and pictorial layers of a canvas painting

D.2 The student will have to practically apply the acquired knowledge, demonstrating aptitude to solve problems also in reference to new and interdisciplinary situations

D.3 The student must demonstrate independent evaluation and ability to find and assimilate information and data useful for the correct formulation of an intervention hypothesis

D.4 The student must demonstrate the ability to draw up a precise technical report of the interventions performed with relative justification of methodologies and materials chosen using an adequate specialist terminology

D.5 The student must demonstrate the aptitude for study and independent learning

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

The teaching material prepared by the teacher in addition to the recommended texts (such as slides, lecture notes, exercises, bibliography) and the teacher's specific communications for teaching can be found on the Moodle platform ›blended.uniurb.it

Teaching

FRONTAL LESSONS AND LABORATORY LESSONS

Attendance

Compulsory 75% attendance on each section of the laboratory

Course books

The teaching material prepared by the teacher in addition to the recommended texts (such as slides, lecture notes, exercises, bibliography) and the teacher's specific communications for teaching can be found on the Moodle platform ›blended.uniurb.it

SECTION 2.1 Benedetta Fazi

BIBLIOGRAPHY TO SUPPORT THE EXAM

HISTORICAL SOURCES

• CENNINI C., Il Libro dell'Arte, a cura di F. Brunello, Neri Pozza Editore, Vicenza 1971, cap. CXIII- CXXI; cap. CLXII – CLXV
• DE MAYERNE T.T., Pittura, scultura e delle arti minori (1620-1646), a cura di Simona Rinaldi, De Rubeis, Anzio 1995, pp. VII-XI; 27-31; 77-78; 91-93; 196-197; 208-211; 221-229.
• ARMENINI G. B. (ed.1586), De’ veri precetti della pittura, a cura di M. Gorreri, Einaudi, Torino 1988, pp. 119, 138-145
• VASARI G. (ed. 1550),  Le Vitae dei più eccellenti pittori, scultori e architetti, a cura di L. Bellosi e A. Rossi, Einaudi, Torino 1986, cap. XXI, XXIII.
• VOLPATO G.B., Modo da tener nel dipingere, in M.P.Merrifield, The original treatises on the art of painting, New York 1967, pp.727-755.
• PACHECO FRANCISCO, Arte de la pintura, Siviglia 1649, pp.480-482.
• DOERNER M., The materials of the artist and their use in painting, Harcourt Brace and World, New York 1962, pp. 3-44.
• DE CHIRICO G., Piccolo trattato di tecnica pittorica, Scheiwiller, Milano 1928, pp. 9-61      

STUDY TEXTS

• COLDAGELLI M.C., TORRIOLI N., Introduzione ai supporti tessili in C. Maltese (a cura di), I supporti nelle arti pittoriche. Storia, tecnica, restauro. Parte seconda. Mursia, Milano 1990, pp. 15-19, 26-38, 49-111.
•  MARCONI S., Preparazioni e imprimiture dei dipinti su tavola e tela: materiali, metodi e storia in C. Maltese (a cura di), Preparazione e finitura delle opere pittoriche, Mursia, Milano 1993, pp.11-  18, 27- 34, 71-116, 163-178.
•  MATTEINI M., MOLES A., Tecnica della pittura antica: le preparazioni del supporto in Kermes, anno II, n°4. gennaio/aprile 1989.
•  M.CIATTI, E. SIGNORINI, a cura di, Dipinti su tela problemi e prospettive per la conservazione, Il Prato, Padova, 2006 pp. 9-48, 85-93.

FURTHER TEXTS

• AA.VV., La fabbrica dei colori, Il Bagatto, Roma 1986 pp. 19-32, 36-45, 89-91, 125-126, 147-153, 174-176, 197-200, 208-209, 220-224, .
• DE LUCA D., I manufatti dipinti su supporto tessile, Il Prato, Padova 2015, pp. 125-134.
• G. PIVA  La tecnica della pittura ad olio e del disegno artistico, Hoepli, Milano 1985 pp. 146-147.
•  LICYA GIOIA PAVIA, ALESSANDRO PAVIA, a cura di, Nella profondità del dipinti. Le ricette di Giorgio De Chirico, in Metafisica, quaderni della fondazione Giorgio e Isa De Chirico, n.9/10, Roma, 2010, pp- 312-376.
• RINALDI S.,  Storia tecnica dell’arte, Carocci editore, Roma 2011, pp.169-205.
• VAN HOUT N. , Meaning and development of the ground layer in seventeenth century painting in  AA.VV. Looking through paintings. The study of painting techniques and materials in support of art historical research, Leids Kunsthistorisch Jaarboek XI, Archetype Pubblication. London 1998, pp.199-225.

SECTION 2.2  Alessandra Zampa

STUDY TEXTS

• C. BRANDI, Teoria del Restauro, cap. 1, 2, 3, 4, 5, 6. Appendice 1 -2- Einaudi, 1977, Torino;
• C. BRANDI, Il trattamento delle lacune e la Gestaltpsycologie, XX International Congresso of the History of Arts, New York, 7-12 sett. 1961;
• O. CASAZZA, Il restauro pittorico nell’unità di metodologia, Nardini, 2007, Firenze;
• D. DE LUCA, I manufatti dipinti su supporto tessile, vademecum per allievi restauratori, Il prato, Padova, 2012;
• A. IACCARINO IDELSON, Dipinti su tela, una proposta per conservare i telai originali, in “Materiali e strutture”, anno VI, 2, 1996;
• C. SERINO, M. SERINO, Un nuovo telaio elastico per i dipinti su tela, in “Kermes”, 45, 2002, pp. 45-48;
• AA.VV., Lavori in corso in Galleria, Restauri Iscr per le opere della collezione Doria Pamphilj, a cura di F. Capanna, A.M. Marcone, F.R. Sinagra, Roma Ist. Poligrafico e Zecca dello Stato s.p.a. 2012;
• P. CREMONESI, L’uso dei solventi organici nella pulitura di opere policrome, Il prato, Padova, 2004 (prima edizione 2000);
• P. CREMONESI, L’ambiente acquoso per il trattamento di opere policrome, Il prato ed., Padova, 2012;
• M. MATTEINI- A. MOLES- P. TIANO, L’infrarosso colore nell’indagine dei dipinti, in “Le Scienze”, 142, 1980;
• M. MATTEINI- A. MOLES- P. TIANO, L’infrarosso a colori e altre tecniche fotografiche del tipo “remote sensing” per l’indagine delle opere d’arte, in Metodo e Scienza. Operatività e ricerca nel restauro, Firenze 1982;
• CAPRIOTTI G., IACCARINO IDELSON A., Tensionamento dei dipinti su tela, Quaderno del Laboratorio di Restauro della Provincia di Viterbo, Nardini editore, 2004;
• YOUNG C., Biaxial properties of sized cotton duck, ICOM-CC, 1996, pp. 322-331
• BILSON T., Canvas shrinkage: a preliminary investigation into the response of a woven structure, ICOM-CC, 1996, pp. 245-252;
• GANGHOFFER J. F., MAGNO M., La mécanique des tissus, in “Pour La Science”, n. 266, décembre 1999;
• A. RAVA, C. SERINO, A. IACCARINO IDELSON, Restauro del grande dipinto di J. Miel nel soffitto della Sala del Trono della Regina del Palazzo Reale di Torino, Atti del Congresso dell’International Institute for Conservation Italian group, Genova Palazzo Reale, 27-29 settembre 2004;
• P. CREMONESI, B. FERRIANI, A. IACCARINO IDELSON, C. SERINO, M. PUGLIESE, De-restoration and mechanical conservation of a canvas painting by Boccioni, IIC Congress preprints 2004;
• CAPRIOTTI G., IACCARINO IDELSON A. (a cura di), Tensionamento dei dipinti su tela, Nardini 2004).
• G.G. SCICOLONE, La cinetica di degrado della cellulosa in funzione della progettazione degli interventi conservativi sui supporti cellulosici tessili, in Seminario Internacional de conservacion de pintura, Valencia 9-11 marzo 2005, Atti Interim Meeting : International Conference on Painting conservation.

HISTORICAL SOURCES

• C. CENNINI, Il libro dell’arte, a cura di F. Brunello, Vicenza 1971, prima edizione, ed. Neri Pozza, pp. 117-127/ pp. 148-150;
• ANONIMO, Il libro dei colori – segreti del secolo XV, a cura di O. Guerrini Ec. Ricci, Bologna 1969;
• L.B. ALBERTI, De Pictura, a cura di C. Grayson, reprint, Bari 1975;
• G. VASARI, Le opere di Giorgio Vasari, a cura di G. Milanesi, reprint, Firenze 1981;
• G. P. ARMENINI, Dé veri precetti della pittura, in Ammaestramenti per la pittura tratti da vari scrittori, Venezia 1839;
• G.P. LOMAZZO, Scritti sulle arti, a cura di R. P. Ciardi, Firenze 1974.

SECTION 2.3  Luisa Landi

STUDY TEXT

• P. CREMONESI, E. SIGNORINI,Un approccio alla pulitura dei dipinti mobili, Il Prato Padova, 2012

FURTHER TEXTS

• M. CIATTI, Appunti per un manuale di storia e teoria del restauro, Edifir Firenze, 2009
• UMBERTO BALDINI, Teoria del restauro e unità di metodologia, Nardini Editore, 1994
• L. BELLOSI, A. ROSSI (a cura di), Giorgio Vasari. Le vite de’ più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino a’ tempi nostri (Firenze 1550), Torino Einaudi,1986
• C. MALTESE, Preparazione e finitura delle opere pittoriche: materiali e metodi; preparazioni e imprimiture
• CENINNO CENNINI, Il libro dell’Arte leganti, vernici, cornici, Milano  Mursia, 1993
• M. MATTEINI, A. MOLES, La chimica nel restauro. I materiali dell’arte pittorica, Nardini Editore, 1999
• M. CIATTI, Per la conservazione dei dipinti Esperienze e progetti del laboratorio dell’OPD (2002-2012), Edifir Firenze, 2013
• P. CREMONESI, L’uso dei solventi organici nella pulitura di opere policrome, I Talenti, Il Prato Padova , 2004
• P. CREMONESI, L’ambiente acquoso per la pulitura di opere policrome, I Talenti  Il Prato Padova, 2011
• R. WOLBERS, Un approccio acquoso alla pulitura dei dipinti. Nota dal workshop “Aqueous cleaning methods” a cura di P. Cremonesi, Quaderni del CESMAR7, n.1, Il Prato Padova, 2004
• P. CREMONESI, La sicurezza nell’utilizzo dei solventi organici, in Atti del convegno “Salute e sicurezza nel laboratorio di restauro”, 30 novembre 1999, Villa Angeli-Ferretti, Dolo (VE), Quaderni di Progetto restauro 3, Il Prato Padova, 2001
• R. WOLBERS, La pulitura di superfici dipinte. Metodi acquosi , Collana Maestri del restauro 1 Il Prato Padova, 2005
• L BORGIOLI, P. CREMONESI, Le resine sintetiche usate nel trattamento di opere policrome, Il Prato Padova, 2005
• A. ALDOVRANDI, M. PICOLLO, Metodo di documentazione e indagini non invasive sui dipinti, Collana i Telenti, Il Prato Padova
• R. C. WOLBERS, Cleaning Painted Surfaces. Aqueous Methods, Archetype Publications, London 2000. Traduzione italiana: La Pulitura di Superfici Dipinte. Metodi Acquosi, Collana Maestri del Restauro 1, Il Prato, Padova, 2005
• P. CREMONESI, L'Uso di Tensiaottivi e Chelanti nella Pulitura di Opere Policrome, I Talenti 10 Seconda Edizione, Il Prato, Padova, 2004
• E. CAMPANI - A. CASOLI - P. CREMONESI - I. SACCANI - E. SIGNORINI, L’uso di Agarosio e Agar per la preparazione di “Gel Rigidi” – Use of Agarose and Agar for preparing “Rigid Gels”, Quaderni del Cesmar7, 4, Il Prato, Padova, 2007
• A.A. V.V., Gel rigidi di Agar per il trattamento di pulitura di manufatti in gesso -Use of Rigid Agar Gels for Cleaning Plaster Objects, Quaderni del CESMAR7, 6, Il Prato, Padova, 2008
• E. SIGNORINI - P. CREMONESI, L’uso dei solventi organici neutri nella pulitura dei dipinti: un nuovo Test di Solubilità, Progetto Restauro, Il Prato Padova 2004, 31, pp. 2-15
• P. CREMONESI Parola d’ordine: Ligroina! ... Vale ancora?, Progetto Restauro, Il Prato, Padova,2009, 51, pp. 39-48.
• P. CREMONESI, L'uso dei solventi organici nella pulitura di opere policrome, I Talenti, 7, Seconda Edizione, Il Prato, Padova, 2004

SECTION 2.4 Franco Del Zotto

a dossier of texts and images will be provided in the form of notes and / or technical articles

STUDY TEXT

• Carità R., Considerazioni sui telai per affreschi trasportati su tela, in “Bollettino dell’istituto centrale del restauro”, n.19, 1955.
• G. A. Berger, The role of tension in the preservation of canvas paintings: a study of panoramas, in ICOM Committee for Conservation 6th Triennal Meeting, Preprints, Ottawa, 25-27 September 1981, Paris, 1981, pp.1-12.
• W. H. Russel-G. A. Berger, The behavior of canvas as a structural support for painting: preliminary report, IIC Preprints Science and Technology, Washington D.C. 1982.
• F. Del Zotto, Preservation of canvas paintings. Structural solutions in relation to environmental changes. Preliminary report, in Science Technology and European Cultural heritage, (Proceedings of European Symposium, Bologna,13-16 June 1989), Brussels-Luxembourg 1991, pp. 717-721.
• F. Del Zotto, Preservation of canvas paintings. Structural solutions in relation to environmental changes, in ICOM Preprints, Dresda 1990, pp.113-118;
• F. Del Zotto,  Self-expansion stretcher for two-sided paintings: floating auto-adapting suspension system, in ICOM-CC Preprints, Rio de Janeiro 2002, pp. 338-345.
• F. Del Zotto, Il telaio come strumento di conservazione preventiva: recenti soluzioni per l’equilibrio delle forze e il mantenimento delle strutture di supporto originali, in Lo stato dell’arte, (Atti del primo congresso nazionale dell’IGIIC), Torino 2003, pp. 396-408.
• F. Del Zotto, Bastidores y pinturassobrelienzo. Equilibrio de lastensiones y propuestasoperativas (secunda parte), in “PH57 - Boletin del Instituto Andaluz del Patrimonio Historico”, 57, (Febrero 2006), pp. 82-96.
• F. Del Zotto, Separazione e recupero di una pellicola pittorica superficiale stesa come rifacimento sulla policromia originale di un dipinto tessile, Atti del nono congresso nazionale dell’IGIIC, Venezia 2010, pp. 291-298.
• F.Del Zotto, Tensionamento dei dipinti su tela. Contributo per una ricerca metodologica applicata in relazione ai fattori ambiente e microclima, sta in Kermes n°9, Firenze 1990, pp. 3-10.
• F. Del Zotto, Telaio-cornice con sistema di sospensione flottante autoadattivo per dipinti su tela recto-verso, sta in “Kermes” n. 69, Trimestrale, Nardini Editore, 2008, pp.61-73.
• E. Francescutti, F. Del Zotto, A noi tutti sarebbe obbligo sacrosanto di tramandare quest’opera che tanto ci onora intatta ai più tardi nepoti”. Conservazione e conservatori della Pala di Este dall’Ottocento ai giorni nostri, in Gianbattista Tiepolo “il miglior pittore di Venezia”, a cura di Giuseppe Bergamini, Alberto Craievich, Filippo Pedrocco, catalogo della Mostra Gian Battista Tiepolo 15 Dicembre 2012 – 7 Aprile 2013, Villa Manin, Passariano-Codroipo, 2012.
• Franco Del Zotto, Il delicato equilibrio strutturale dei dipinti su tela: la storia e le soluzioni attuali verso l’autosufficienza progettuale e realizzativa per il restauratore, sta in Tensionamento e telai a cura di Roberto Bestetti e Lorenzo Marchet, Cesmar 7, Il Prato editore, 2016, pp. 60-74.
• M.F. Mecklenburg, Meccanismi di Cedimento nei dipinti su tela: approcci per lo sviluppo di protocolli di consolidamento, Collana I Talenti, Il Prato, Padova 2007.
• Daphne De Luca, I Manufatti dipinti su supporto tessile, Vademecum per allievi restauratori, Collana Lineamenti di Restauro e Conservazione dei Beni Culturali; Il Prato, Padova, 2012
• W. Heiber, Tear repair on cotton canvas: a variation of the HeiberTecnique, WAAC Newsletter, Volume 28 numer 2, May 2006 (on line).
• V. R. Mehra, Pensando ad alta voce …Thinking out loud…,Quaderni del Cesmar7, n. 0, Il Prato,Padova 2003.
• V. R. Mehra, Foderatura a freddo. I testi fondamentali per la metodologia e la pratica, Firenze, Nardini Editore,2004.
• G. Secco Suardo, Manuale ragionato per la parte meccanica dell'arte del restauratore dei dipinti, Milano, 1866.

Assessment

After attending at least 75% of each laboratory section, the student will be able to take the relative part during the official exam sessions. After taking the partial exams of each of the 4 sections, the exam will be recorded during the official exam sessions with a single evaluation resulting from the average of the 4 partial assessments

ORAL EXAMINATION AND WRITTEN REPORT

1) To take any partial exam, the student must present a Technical Report on the activity performed in the laboratory. The paper must be sent via e-mail at least two weeks before the exam to the teachers on computer support. The partial examination consists of an oral interview to be held with the teacher who is in charge of the section. The oral exam will focus on: - operations carried out in the laboratory; - bibliography provided by the teachers.

SECTION 1.4

The exam is divided into:

During the course of the module will be periodically performed tests.

To take the exam the student will have to present a Technical Report of the interview project and / or of the restoration phases carried out on the works present in the laboratory, drawn up in a group or individually.

During the examination the result of the written and practical assessment tests performed during the course will be considered.

The report must be drafted according to the model provided by the teachers during the modules and will include:

graphic documentation;

photographic documentation;

survey and documentation card.

The paper will be filled in and corrected during the course of the module and delivered, on computer and paper support, at the time of the exam.

The photographic images must be correctly numbered and accompanied by the relative caption.

The exam consists of an oral interview to be supported with the professors belonging to the modules followed. The oral exam will focus on:

laboratory operations;

bibliography provided by the teachers.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.

Teaching

Students who have not attended at least 75% of each laboratory section will not be allowed to take partial exams.