Special convention between the “Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale Veneziano” (Cultural Heritage Ministry rappresentative) and the IVBC.
The students of the third year of studies, paintings on canvas and wood specialization, completing the work within the canva’s deposit of the Museums Centre of Venice at the Doge’s Palace.
The work was executed by Francesco Bergamin, Sara Grinzato and Camille Meslay and coordinated by tutors Elisa Galante (restorer), during the training period from 21 June 2011 to September 12, 2011. For some operations have been necessary the intervention of the biology’s teacher Robert Gasperini and the graphic and photographic documentation’s teacher Dino Chinellato.
The aims was to document, inventory through an appropriate index card, to map the biological degradation and finally run the disinfection on the canvas. Each operation was followed by teachers of the IVBC with the general supervision of the Museums Centre of Venice.
The pieces of art contained within the depositorio did not have a progressive numbering relative to their position in the deposit and presented on the front surface a layer of dust, fungal colonization and, in some points, an accumulation of rosume, on the floor, fallen spontaneously by the pieces of art above (frames). To affect the conservation status of the paintings has been certainly the bad climatic conditions inside the deposit (stagnant air, high humidity level and direct entrance of sun rays on the canvas).
First steps were taken to identify, measure, and number the paintings within the deposit. This first step allowed the students to set up a classification methodology and then create a preliminary map of the biological degradation, particularly the paintings that had a more advanced biodeterioration.
The deplacement of the canvas began by those that showed an high biological colonization level to work then on the one in better conservation condition.
For each painting has been done on photographic survey of the front and rear. Where present, the fungus attack was photographed, is in the details (in ‘micro’ and ‘macro’) and in a general way. With regard to the abiotic decay were produced images which show the peculiar conservative situation or those particularly significant. It has been also mapped the active attacks of the wood-boring insects.
Following the photographic investigation, the dinsinfestazione work were organized so as to avoid the possible spread of fungal spores. The intervention was divided into multiple phases starting with the fungal growths treatment, by vacuum, and then treating with different biocide solutions to inactivate heterotrophic’s microflora still present within the paintings constituent materials of paintings that act as a residual protection from possible short-term re-colonization. The last phase of dinsinfestazione concerned xylophagous insects and dermestes.