3.1 PROF.SSA DAPHNE DE LUCA

Knowledge and understanding of the causes and appearance of the deterioration of artefacts painted on canvas. Ability to read the state of conservation of the artefacts. Acquisition of the notions inherent to the restoration and conservation interventions to be carried out in case of need (traditional and innovative techniques)

3.2 PROF.SSA LUISA LANDI

Learning of advanced cleaning techniques and methodologies. Appropriate use of the tools provided in the laboratory. Deepening of the chemical and physical knowledge of the proposed materials. Development of autonomy in designing an adequate cleaning methodology with respect to polychrome surfaces. Development of manual skills related to the removal of substances above the painted surfaces.

3.3 PROF.SSA PETRA FARIOLI

The course aims to learn the different phases of the aesthetic presentation of polychrome artefacts. Specifically, the grouting phase will be addressed by experimenting with different fillers with both natural and synthetic materials. The main pictorial integration techniques used for the pictorial restoration of paintings will be illustrated, and numerous case studies will be shown.  The different pictorial integration techniques will be taught through exercises on sample panels created by the students. Finally, the painting phase will be addressed and some modern paints currently used in the restoration will be prepared. The aim of the course is to provide students with all the tools for a critical reading of the gaps present in the works and to be able to implement the best methodological choices; as well as having mastery of the most innovative materials used in the final stages of the restoration.

3.4 PROF.SSA PETRA FARIOLI

The course aims to learn the different phases of the aesthetic presentation of polychrome artefacts. Specifically, the main pictorial integration techniques used in the restoration of wooden works, panel paintings and sculpture will be illustrated, and numerous case studies will be shown.  The techniques of stippling and color selection will be taught, used in the pictorial reintegration of gaps in three-dimensional works. 

The techniques of pictorial reintegration of the gaps present on the gilding and gold backgrounds will be taught. The glazing techniques for the pictorial reintegration of abrasions will be illustrated, through the use of varnish colours.

Finally, the painting phase will be addressed and various paints will be prepared using resins of natural and synthetic origin.

The aim of the course is to provide students with all the tools for a critical reading of the gaps present in the works and to be able to implement the best methodological choices; as well as having mastery of the most innovative materials used in the final stages of the restoration.

MODULO INTEGRATIVO. MICROSCOPIA DEI BENI CULTURALI

DOTT.SSA SABINA BURATTINI

The course aims to provide useful information for the appropriate use of instrumentation and an acquisition of knowledge for the recognition of wood species. In addition to laboratory activities, power point lectures are planned.

3.1 PROF.SSA DAPHNE DE LUCA

3.2 PROF.SSA LUISA LANDI

3.3 PROF.SSA PETRA FARIOLI

Module I: Introduction (5 hours)

History and theory of the treatment of the gap: from Vasari to Brandi and the experience of Umberto Baldini's Opificio delle Pietre Dure. (5 hours)

Module II: Grouting (20 hours)

Methodological introduction of the grouting concept. Comparison between the Florentine and Roman methods in the treatment of the gap. Case studies. (3 hours)

Presentation of the characteristics required of stucco. Preparation of both traditional (Bologna plaster and animal glue) and innovative (Aquazol) stuccos. (5 hours)

Preparation of tablets with different types of stucco; shaving and surface material processing. (2 hours)

Plastering of paintings on canvas (10 hours)

Module III: Pictorial integration (95 hours)

Methodological introduction of hatching (ICR method) and color selection (OPD method). Comparison between the Florentine and Roman methods in the treatment of the gap in different case studies: from the Annunciation by Antonello da Messina to the Madonna and Saints by Guercino; from the Crucifix by Cimabue to the Altarpiece of San Marco by Beato Angelico. (5 hours)

Exercises: techniques for pictorial integration with the method of color selection and hatching on a sheet of paper and tablets created in grouting module II (50 hours)

Pictorial hatching integration of paintings on canvas present in the laboratory. (35 hours)

Module IV: Painting (5 hours)

Methodological introduction to painting. History and theory of the main paints used in the restoration of works of art. (2 hours)

Preparations of tablets with black tempera for the application and visual comparison of different synthetic paints prepared with variable percentages of resin, solubilized in different solvents and with the addition of microcrystalline wax. (3 hours)

3.4 PROF.SSA PETRA FARIOLI

Module I: Pictorial integration of three-dimensional wooden works (41 hours)

Theory: The integration of gaps in three-dimensional wooden works. The different types of works, the materials for pictorial integration and the stippling and color selection techniques. (3 hours)

Theory: The integration of the gaps in the gilding. The different types of gilding, the materials for pictorial integration and the stippling and color selection techniques. (3 hours)

Exercises: pictorial integration techniques with dotted or gold selection method on sheets of paper and tablets. The stippling and/or color selection pictorial integration technique will be used in the restoration of wooden works or gilded frames present in the laboratory (35 hours)

Module II: Pictorial integration of panel paintings (64 hours)

Theory: The pictorial integration of abrasions, techniques and materials. The materials: paint colors. Case studies.  (2 hours)

Exercises: Tests of using the paint colors on the sample tablets prepared by the students during the previous section 3.3. Color insertion tests on the tablets, carried out with the hatching technique. (2 hours )

Pictorial integration by glazing with paint colors of the works present in the laboratory. (60 hours)

Module III: Painting (20 hours)

Methodological introduction to painting. History and theory of the main paints used in the restoration of works of art. (2 hours)

Paint preparations with resins of natural and synthetic origin. Preparation of tablets with black tempera for the application and visual comparison of different synthetic paints prepared with variable percentages of resin, solubilized in different solvents and with the addition of microcrystalline wax. (18 hours)

DOTT.SSA SABRINA BURATTINI

1. Use of the optical microscope used? Application of optical microscope to the study and recognition of wood species.

2. Scanning electron microscopy: theory and preparative of wood samples and recognition

3. Transmission electron microscopy: theory and preparation of wood samples. Possible applications

4. Confocal microscopy in the study of wood species. When to use it?

5. Bibliographic material.

THE STUDENT MUST HAVE FOLLOWED THE PREVIOUS MODULES

The course aims to train the restorer student on the detection of the state of conservation of a work of art through the analysis of the executive technique, the reading of the degradation of its constituent materials and the understanding of the causes triggering this degradation. The student will acquire the appropriate skills to properly design the restoration intervention based on the real needs of the building. Thanks to a solid knowledge of restoration techniques and materials on the market, the student will be able to intervene on the work by choosing the most suitable method and the most innovative techniques using suitable materials.

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 will be provided at the beginning of the lessons and can be consulted and downloaded from the Blended platform.

Teaching

Lectures and practical laboratory activities.

Attendance

Mandatory attendance

Course books

Sezione 3.1 Tele

DOTT.SSA DAPHNE DE LUCA

D. DE LUCA, I manufatti dipinti su supporto tessile. Vademecum per allievi restauratori, 3° edizione ampliata e aggiornata, Il Prato, Padova 2021, pp. 93-101, 107-124, 129-145, 151-163.

D. DE LUCA, Sistemi di tensionamento elastico per dipinti su tela: proposta di rielaborazione di alcuni prototipi, in Progetto restauro”, Il Prato, Padova 2022, in stampa

DE LUCA, A. PISCICELLI, L. ROBINO, Il restauro della Madonna con Bambino e Santi proveniente dalla chiesa di San Pietro Apostolo di Vaccarile: mantenimento di tensione costante tramite l’impiego di calamite e applicazione di un nuovo sistema di tensionamento elastico, in “Progetto Restauro”, Il Prato, Padova, in corso di stampa.

R. BESTETTI, L. MARCHET (a cura di), Tensionamento e telai dei dipinti su tela fra tradizione e innovazione, Atti del convegno organizzato dal Cesmar7, Piazzola sul Brenta (PD), 1 gennaio-31 gennaio 2015, Il Prato, pp. 5-40, 61-74.

A. FINOZZI, Esperienze recenti di non foderatura, in: Dipinti su tela problemi e prospettive per la conservazione, Giornata di studio, Ferrara 1 Aprile 2006, Il Prato Editore, pp. 85-93.

M.F. MECKLENBURG, Meccanismi di cedimento nei dipinti su tela: approcci per lo sviluppo di protocolli di consolidamento, Il Prato, Padova, 2007, pp. 11-36

M. ROSSI DORIA, I trattamenti di consolidamento strutturale dei dipinti su tela fra sperimentazione e tradizione: aggiornamenti a partire dalla tradizione romana, in: Dipinti su tela problemi e prospettive per la conservazione, Giornata di studio, Ferrara 1 Aprile 2006. Il Prato Editore, pp. 107-118.

Sezione 3.2 Legno

DOTT.SSA LUISA LANDI

Testi da Studiare:

A.A. VV. Proprietà ed esempi di utilizzo di materiali siliconici nel restauro di manufatti artistici Parte Prima. A cura di P. Cremonesi. Il Prato, Padova 2016

A.A. VV. L’uso di Agarosio e Agar Quaderno n. 4 C7 Il Prato, Padova 2007

M. DAUDIN-SCHOTTE, K. J. VAN DEN BERG, H. VAN KEULEN Analisi e applicazione di materiali per la pittura secco di superfici dipinte non verniciate Quaderno Cesmar Il Prato, Padova 2010

P. CREMONESI L’uso degli enzimi nella pulitura di opere policrome Il Prato, Padova 2002

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

Testi Consigliati:

 PIERO BAGLIONI, DAVID CHELAZZI E RODORICO GIORGI,  Nanotechnologies in the Conservation of Cultural Heritage: A Compendium of Materials and Techniques, Springer,2014

PIERO BAGLIONI E DAVID CHELAZZI Nanoscience for the Conservation of Works of Art, Royal Society of Chemistry,2013

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

ANNA BRUNETTO L'utilizzo della strumentazione laser per la pulitura delle superfici nei manufatti artistici I Talenti Il Prato Padova 2004

AA. VV. Dall’olio all’acrilico, dall’Impressionismo all’arte contemporanea. A cura di V.E Selva Bonino. Atti del 7° Congresso Internazionale COLORE E CONSERVAZIONE, Politecnico di Milano, 13-14 Novembre 2015 Il Prato, Padova 2016

ANTHONY LAGALANTE, RICHARD WOLBERS “The Cleaning of Acrylic Paintings: New Particle-based water-in-oil Emulsifiers” e Chris STAVROUDIS;"Silicone-Based Solvents in Conservation. As free solvents and components of gel systems and microemulsions" Atti del VII Congresso internazionale colore e conservazione “dall’olio all’acrilico, dall’impressionismo all’arte contemporanea Milano, 13-14 Novembre 2015

Sezione 3.3 Tele- Legno

DOTT.SSA PETRA FARIOLI

H. Althöfer, La questione del ritocco nel restauro pittorico, Il Prato, I Talenti 11, (1974) Padova, 2002.

U. Baldini, Teoria del restauro e unità di metodologia, vol. I, Nardini, Firenze, 1978.

R. Bestetti, La verniciatura dei manufatti policromi: dalle vernici tradizionali alle resine a basso peso molecolare, Il Prato, Padova 2020.

C. Brandi, Teoria del restauro, Einaudi, Torino, 1977, pp. 29-47, 71-76.

R. Calore, L. Frizza, M. Jaxa-Chamiec, L. Rizzonelli, N. Stevanato, F. Tisato, AQUAZOL 500. Una possibile alternativa ecocompatibile alla colla animale nella preparazione degli stucchi per il restauro dei dipinti. Test preliminari per la stabilità, lavorabilità e comportamenti, in Le fasi finali del restauro nelle opere policrome mobili: atti del convegno, Trento (TN), 19-20 novembre 2010: Quinto congresso internazionale, colore e conservazione, materiali e metodi nel restauro delle opere policrome mobili, a cura del Cesmar7, Padova, Il prato, 2011, p. 79-86.

O. Casazza, Il restauro pittorico nell’unità di metodologia, Nardini Editore, Firenze, 1981, pp.5-84.

M. Ciatti, Appunti sulla storia del restauro pittorico in Italia, in Lacuna, Atti dei Convegni 2002-2003, Edifir, Firenze 2004, pp. 15-31.

D. De Luca, L. Borgioli, L. Sabatini, V. Viti, Manufatti dipinti su supporto tessile. Reintegrazione delle lacune: proposte di materiali alternativi, in ‘Kermes’ n. 88, Nardini, 2012, p. 42-54.

D. De Luca, L. Borgioli, S. Orsini, S. Burattini, Manufatti dipinti su supporto tessile: proposte di materiali alternativi per la stuccatura delle lacune. Comportamento all'invecchiamento, in ‘Kermes’ n. 90, Nardini, 2013, p. 67-70.

D. De Luca, I manufatti dipinti su supporto tessile. Vademecum per gli allievi restauratori, Il Prato, Padova 2020, pp.169-212.

C. Gaetani, La reintegrazione delle lacune attraverso la tecnica del tratteggio: considerazioni sul metodo, in M. Andaloro. (a cura di), La teoria del restauro nel Novecento da Riegl a Brandi, Atti del Convegno Internazionale di Studi 12-15 novembre 2003, Nardini Editore, Firenze 2006, pp. 277-284.

C. Rossi Scarzanella, T. Cianfanelli, La percezione visiva nel restauro dei dipinti. L'intervento pittorico, in Problemi di restauro. Riflessioni e ricerche. I sessanta anni del laboratorio di restauro dei dipinti (1932-1992), Edifir, Firenze, 1999, pp. 185-211.

Sezione 3.4 Tele- Legno

DOTT.SSA PETRA FARIOLI

H. Althöfer, La questione del ritocco nel restauro pittorico, (1974), Il Prato, Padova, 2002. 

U. Baldini, Teoria del restauro e unità di metodologia, vol. I, Nardini, Firenze, 1978.

R. Bestetti, La verniciatura dei manufatti policromi: dalle vernici tradizionali alle resine a basso peso molecolare, Il Prato, Padova 2020.

C. Brandi, Teoria del restauro, Einaudi, Torino, 1977, pp. 29-47, 71-76. 

L. Borgioli, P. Cremonesi, Le resine sintetiche usate nel trattamento di opera policrome, Il Prato, Padova 2005.

R. Calore, L. Frizza, M. Jaxa-Chamiec, L. Rizzonelli, N. Stevanato, F. Tisato, AQUAZOL 500. Una possibile alternativa ecocompatibile alla colla animale nella preparazione degli stucchi per il restauro dei dipinti. Test preliminari per la stabilità, lavorabilità e comportamenti, in Le fasi finali del restauro nelle opere policrome mobili, Atti del convegno, Trento, 9-20 novembre 2010, a cura di Cesmar7, Padova, Il prato, Padova, 2011, pp. 79-86. 

G. Canocchi, M.C. Gigli, M.D. Mazzoni, P. Stiberc, La lacuna nella scultura lignea. Problemi di intervento in Lacuna. Riflessioni sulle esperienze dell’Opificio delle Pietre Dure, Edifir, Firenze, 2009, pp. 131-135.

O. Casazza, Il restauro pittorico nell’unità di metodologia, Nardini Editore, Firenze, 1981, pp. 5-84. 

M. Ciatti, Appunti sulla storia del restauro pittorico in Italia, in Lacuna. Riflessioni sulle esperienze dell’Opificio delle Pietre Dure, Edifir, Firenze, 2009, pp. 15-31. 

D. De Luca, I manufatti dipinti su supporto tessile. Vademecum per gli allievi restauratori, Il Prato, Padova 2020, pp.169-212. 

C. Gaetani, La reintegrazione delle lacune attraverso la tecnica del tratteggio: considerazioni sul metodo, in M. Andaloro. (a cura di), La teoria del restauro nel Novecento da Riegl a Brandi, Atti del Convegno Internazionale di Studi 12-15 novembre 2003, Nardini, Firenze, 2006, pp. 277-284.

P. Mora, L. Mora, P. Philippot, La conservazione delle pitture murali, Compositori, Bologna, 1999.

S. Rinaldi, Il punteggiato di Pietro Palmaroli. Genesi tecnica e teoria cromatica, in “Studi di Storia dell'Arte”, n. 15, 2004, pp. 255-274.

C. Rossi Scarzanella, T. Cianfanelli, La percezione visiva nel restauro dei dipinti. L'intervento pittorico, in Problemi di restauro. Riflessioni e ricerche. I sessanta anni del laboratorio di restauro dei dipinti (1932-1992), Edifir, Firenze, 1999, pp. 185-211. 

F. Tonini, La scultura lignea, tecniche e restauro. Manuale per allievi restauratori, Il prato, 2015. 

C. Toso, C. Modesti, Il restauro dell’Angelo portacero della Collezione Alberti di Prato: un’occasione per ripensare l’integrazione di una superficie abrasa. Ideazione, studio e applicazione di colori a impasto formulati con Aquazol®️ 500, in “OPD Restauro”, n. 32, Centro Di, Firenze, 2020, pp. 201-215.

MODULO INTEGRATIVO_ MICROSCOPIA DEI BC

DOTT.SA SABRINA BURATTINI

1. Peter Kitin, Steven L. Voelker, Frederick C. Meinzer, Hans Beeckman, Steven H. Strauss, and Barbara Lachenbruch.
Tyloses and Phenolic Deposits in Xylem Vessels Impede Water Transport in Low-Lignin Transgenic Poplars: A Study by Cryo-Fluorescence Microscopy.
Plant Physiol. Vol. 154, 2010
 
2.Robert A. Blanchette. A review of microbial deterioration found in archaeological wood from different environments.
International Biodeterioration & Biodegradation, 46 189-204, 2000.

3.Rosemary G. White and Deborah A. Barton. The cytoskeleton in plasmodesmata: a role in intercellular transport? Journal of Experimental Botany, 62, 15, 5249-5266, 2011.

4.Carl J. Houtman, Peter Kitin, Jon C. D. Houtman, Kenneth E. Hammel, Christopher
G. Hunt. Acridine Orange Indicates Early Oxidation of Wood Cell Walls by Fungi. PLOS ONE 25, 2016.
 
5.Yoon Soo Kim & Adya P. Singh. Micromorphological characteristics of Wood biodegradation in wet environments: a review. IAWA Journal, Vol. 21 (2), 2000: 135-155.
 
6.J Bond, L Donaldson, S Hill, K Hitchcock. Safranine fluorescent staining of wood cell walls. Biotechnic & Histochemistry 2008, 83(3-4): 161-171.
 
7.N. Macchioni, B.Pizzo, C. Capretti, G. Giachi. How an integrated diagnostic approach can help in a correct evaluation of the state of preservation of waterlogged archaeological wooden artefacts. Journal of Archaeological Science xxx (2012) 1e9.
 

Assessment

After attending at least 75% of each individual laboratory section, students can take the corresponding partial exam during official exam sessions.

Once students have completed the partial exams for all four sections and the integrative module, the final exam will be recorded during the official exam sessions with a single evaluation resulting from the average of the partial grades. The final grade calculation is as follows:

• Average of partial grades: 95%
• Integrative module grade: 5%

PARTIAL EXAM:

To take each partial exam, students must submit a Technical Report agreed upon with the relevant instructor at the end of the laboratory activities. The report should be sent via email at least two weeks before the exam to the instructors in digital format.

The final grade for the partial exam will be the percentage sum of three components: Laboratory, Written Report, and Oral Exam. The evaluation criteria are as follows:

• Laboratory (40%):

  • 18 if the student meets the minimum attendance requirement
  • 19 to 28 for good manual skills
  • 28 to 30 if the student actively participates and interacts with the group

• Written Report (20%):

  • 18 to 25 if the report covers all the topics discussed
  • 25 to 28 if the report demonstrates appropriate technical language and relevant examples
  • 28 to 30 if all elements of the report are fully and comprehensively illustrated

• Oral Exam (40%):

  • 18 to 23 for incomplete answers lacking appropriate language
  • 24 to 28 for complete answers with suitable language
  • 28 to 30 if the student demonstrates the ability to process and interpret acquired knowledge

The oral exam will cover:

• Laboratory procedures
• Bibliography provided by the instructors
• Discussion of the presented report

Integrative Module Exam:

For the integrative module, students are required to submit a Written Report agreed upon with the instructor.

Disabilities and Learning Disabilities (DSA): Students who have registered disability certification or DSA certification with the Office of Inclusion and Student Rights can request to use concept maps (for keywords) during the exam. To do so, they must send the maps to the course instructor two weeks before the exam, ensuring alignment with university guidelines

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

Teaching

Mandatory attendance

Attendance

Mandatory attendance

Course books

-

Assessment

-

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.