ig l e sai sa n jo s é , sa n ju a n , pu e r t o i c o · 2017-04-25 · la ca p i l l a d e nu e...

La CapiLLa de Nuestra señora deL rosario

igLesia saN José, saN JuaN, puerto riCo

iNterior FiNishes iNvestigatioN aNd

CoNservatioN treatmeNt pLaN

appeNdium:

Strappo removaL aNd storage oF paiNtiNg FragmeNts

_____________________________________

prepared By:

the arChiteCturaL CoNservatioN LaBoratory

sChooL oF desigN

uNiversity oF peNNsyLvaNia

proJeCt CoNservators:

Kerry L. JohNstoN

CyNthia L. siLva

proJeCt supervisor:

FraNK g. matero

deCemBer 2008

ii

Table of ConTenTs

list of figures.....................................................................................................iiilist of Tables.......................................................................................................iii

1.0 InTRoDUCTIon ...........................................................................................1

2.0 TReaTMenT PRoCeDURe ........................................................................ 1

3.0 sToRaGe .....................................................................................................5

4.0 fUTURe ConseRVaTIon .......................................................................... 6

5.0 of InTeResT.................................................................................................6

aPPenDICes.........................................................................................................8 Appendix A: Locations of Removed Design Details....................................8 Appendix B: Inventory of Removed Painting Fragments...........................13 Appendix C: Design Detail Photographs....................................................17

iii

lIsT of fIGURes

Figure 1: Biological growth on drying coletta..........................................................2Figure 2: Biological growth treated with alcohol.....................................................2Figure 3: Measuring and cutting coroplast boxes for storing fragments.................3Figure 4: Gluing box corners with epoxy.................................................................3Figure 5: Custom sized boxes were built to store the larger fragments.................4Figure 6: Painting fragments placed in storage boxes...........................................4Figure 7: Equipment used for thymol treatment.....................................................5Figure 8: Boxes laid flat and off the floor prior to being moved to storage loca-tion.........................................................................................................................6Figure 9: NW sirena being revealed.......................................................................7Figure 10: Removing the strappo from the NW pendentive...................................7Figure 11: The fourth and final sirena.....................................................................7

Figure C-1: B1_CS.B7, before consolidation.......................................................18Figure C-2a: C1_D.H5-6, before consolidation....................................................19Figure C-2b: C1_D.H5-6, after consolidation.......................................................20Figure C-3a: C1_D.H5-6, coffer 1, before consolidation......................................21Figure C-3b: C1_D.H5-6, coffer 1, after consolidation.........................................22Figure C-4a: C1_D.H5-6, coffer 2, before consolidation......................................23Figure C-4b: C1_D.H5-6, coffer 2, after consolidation.........................................24Figure C-5a: C1_D.H5-6, coffer 3, before consolidation......................................25Figure C-5b: C1_D.H5-6, coffer 3, after consolidation.........................................26Figure C-6a: C3_SW.B8, before consolidation.....................................................27Figure C-6b: C3_SW.B8, after consolidation........................................................28Figure C-7a: C5_NWPEND, before consolidation................................................29Figure C-7b: C5_NWPEND, after consolidation...................................................30Figure C-8a: D1_CE.B8, before consolidation.....................................................31Figure C-8b: D1_CE.B8, after consolidation.........................................................32Figure C-9a: D2_D.C4, before consolidation........................................................33Figure C-9b: D2_D.C4, after consolidation...........................................................34Figure C-10a: D3_D.C4, before consolidation......................................................35Figure C-10b: D3_D.C4, after consolidation.........................................................36Figure C-11a: D4_D.D2-3, before consolidation...................................................37Figure C-11b: D4_D.D2-3, after consolidation......................................................38Figure C-12a: D4_D.D2-3, boat bottom half detail, before consolidation.............39Figure C-12b: D4_D.D2-3, boat bottom half detail, after consolidation................40Figure C-13a: D6_D.E1, before consolidation......................................................41Figure C-13b: D6_D.E1, after consolidation.........................................................42Figure C-14a: D7.Mariner5, before consolidation.................................................43Figure C-14b: D7.Mariner5, after consolidation....................................................44

lIsT of TablesTable B-1: Inventory of Removed Painting Fragments.........................................14

1

INTRODUCTION1.0

As per the recommendations outlined in the September 2008 Interior Finishes

Investigation and Conservation Treatment Plan, a total of eleven painting fragments

were removed from the Rosario Chapel dome and walls and prepared for storage.

A team of conservators worked on site to complete this work between November

13th and 23rd, 2008.

Refer to Appendix A: Locations of Removed Design Details for the in situ locations of

those painting fragments prior to removal. For photographic details and dimensions

of those painting fragments that were removed, see Table B-1 in Appendix B:

Inventory of Removed Painting Fragments.

TREATMENT PROCEDURE2.0

Prior to removal, each painting was documented in situ. Digital photographs were

taken and a Kodak color scale was included in each image for color management.

Each fragment was also measured so that custom-built storage boxes could be

fabricated. After being documented, the fragments were then consolidated with

a 5% solution of Acryloid B72 in acetone (w/v). This was brush-applied through

a barrier of Japanese tissue. See Appendix C: Design Detail Photographs for in

situ images of the fragments with color scale both before and after consolidation

treatment. Due to the powdering and chalky nature of the matte paint, the B72

penetrated very effectively, which resulted in sharper and more saturated images.

Following the strappo procedures as described in the previous report, a colletta

recipe of bone glue, water, and vinegar was prepared in a 3: 2.5: 2 (w/v/v) ratio.

The glue was pre-soaked in water and then warmed in a double boiler with the

vinegar. Once the glue was prepared, a thin layer was brushed directly to the

painting’s surface and covered with a layer of cotton gauze. Another layer of glue

was then applied followed by a layer of muslin. A final glue layer was then brushed

over this covering. The process took two days for eleven painting fragments.

Fans and lights were directed towards each painting in order to aid the drying

process. After five days, the glue had dried enough so that removals could begin.

Due to high humidity and temperatures, some biological growth had begun to

grow on a few areas of the glue (Figure 1). These areas were treated with alcohol

2

(Figure 2).

Figure 1: Biological growth on drying colletta (KLJ, 2008)

Figure 2: Biological growth treated with alcohol (KLJ, 2008)

3

In order to begin the removal process, the perimeter of the painting was first

scoured with a sharp utility blade. Thin spatulas were then used to release the

paintings from the plaster substrate. Foam boards wrapped in muslin were held

beneath the painting as it was removed which provided a supportive surface for

the painting. The paintings were then carried down off the scaffolding and placed

in custom-built coroplast boxes and stored in the nave of the church. The boxes

were labeled with each painting’s identification number and a color photograph

(Figures 3, 4, 5 & 6).

Figure 3: Measuring and cutting coroplast boxes for storing painting fragments (KLJ, 2008)

Figure 4: Gluing box corners with epoxy (KLJ, 2008)

4

Figure 5: Custom sized boxes were built to store the large painting fragments (CLS, 2008)

Figure 6: Painting fragments placed in storage boxes (KLJ, 2008)

5

A solution of 10% thymol in denatured alcohol (w/v) was prepared and spray-

applied to the glue side of each painting to discourage biological growth during

long-term storage. Cotton batting was also saturated with the thymol solution and

placed in each box (Figure 7).

3.0 STORAGE

The paintings require climate-controlled storage in order to prevent the glue from

re-hydrating and biological attack. The ideal storage conditions would maintain

relative humidity (RH) at 55% (not to exceed 65% RH) and temperature around

65°F (not to exceed 68°F). The combination of these two factors—the control

of temperature and relative humidity—provide the best chance for discouraging

biological growth. Certainly any effort to reduce temperature and humidity will

greatly help if the ideal range is logistically impossible to achieve.

The storage boxes should be kept flat. If handling of the paintings is required, skin

should be protected with disposable gloves to reduce contact with the thymol. The

boxes should not be placed directly on the floor in case of flooding (Figure 8).

Figure 7: Equipment used for thymol treatment (CLS, 2008)

6

4.0 FUTURE CONSERvATION

Further conservation treatment of the removed fragments should be planned for

in the near future. Conservation treatment will include mounting the paintings on

display supports and removing the glue facings prior to treating the paintings.

The glue facing is susceptible to biological attack, which may include mold and

fungi that can be harmful to the painting. The anti-microbial treatment should help

but it is recommended that the next treatment phase be implemented as soon as

possible.

5.0 OF INTEREST

One last item of interest from this visit should also be noted for documentation

purposes: strappo of the angel from the northwest pendentive revealed the fourth

and final sirena (Figures 9, 10, 11). Due to the presence of breasts (most likely as

part of an armored breastplate), it can now definitely be concluded that the four

sirena, are, in fact female.

Figure 8: Boxes laid flat and off the floor prior to being moved to storage location (KLJ, 2008)

7

Figure 9: NW sirena being revealed (CLS, 2008)

Figure 9: Removing the strappo from the NW pendentive (CLS, 2008)

Figure 10: The fourth and final sirena (KLJ, 2008)

8

appeNdix aLoCatioNs oF removed desigN detaiLs

9

10

11

12

13

appeNdix BiNveNtory oF removed paiNtiNg FragmeNts

14

Paintings removed from Rosario Chapel, Iglesia San Jose November 13-23, 2008

ID No. Description Dimensions Photograph

1 B1_CS.B7Campaign B, red faux marbling H 23" x W 13'

2 C1_D.H5-6Campaign C, neoclassical coffers H 33' x W 72'

3 C3_SW.B8Campaign C, neoclassical medallion H 43" x W 47"

4 C4_NWPEND S H 51" x W 66"

5 D1_CE.B8Campaign D, decorative guilloche H 41" x W 24"

6 D2_D.C4Campaign D, battle of Lepanto mariner H 29" x W 33"

Johnston/Silva 1

Table B-1: Inventory of Removed Painting Fragments

Campaign C,

neoclassical angel

15

Paintings removed from Rosario Chapel, Iglesia San Jose November 13-23, 2008

7 D3_D.C4A

Campaign D, battle of Lepanto mariner, part A = top figure H 50" x W 34"

8 D4_D.D2-3

Campaign D, battle of Lepanto mariner, Part B= bottom of figure and boat H 39" x W 53"

9 D4_D.D2-3Campaign D, battle of Lepanto mariner H 53" x W 55"

10 D6_D.D.E1Campaign D, battle of Lepanto mariner H 36" x W 26"

Johnston/Silva 2

16

Paintings removed from Rosario Chapel, Iglesia San Jose November 13-23, 2008

11 D7.Mariner5Campaign D, battle of Lepanto mariner H43 x W 43"

Boxes are all 3 inches in depth.

Johnston/Silva 3

17

appeNdix CdesigN detaiL photographs

18

Figure C-1: B1_CS.B7, before consolidation

19

Figure C-2a: C1_D.H5-6, before consolidation

20

Figure C-2b: C1_D.H5-6, after consolidation

21

Figure C-3a: C1_D.H5-6, coffer 1, before consolidation

22

Figure C-3b: C1_D.H5-6, coffer 1, after consolidation

23

Figure C-4a: C1_D.H5-6, coffer 2, before consolidation

24

Figure C-4b: C1_D.H5-6, coffer 2, after consolidation

25

Figure C-5a: C1_D.H5-6, coffer 3, before consolidation

26

Figure C-5b: C1_D.H5-6, coffer 3, after consolidation

27

Figure C-6a: C3_SW.B8, before consolidation

28

Figure C-6b: C3_SW.B8, after consolidation

29

Figure C-7a: C4_NWPEND, before consolidation

30

Figure C-7b: C4_NWPEND, after consolidation

31

Figure C-8a: D1_CE.B8, before consolidation

32

Figure C-8b: D1_CE.B8, after consolidation

33

Figure C-9a: D2_D.C4, before consolidation

34

Figure C-9b: D2_D.C4, after consolidation

35

Figure C-10a: D3_D.C4, before consolidation

36

Figure C-10b: D3_D.C4, after consolidation

37

Figure C-11a: D4_D.D2-3, before consolidation

38

Figure C-11b: D4_D.D2-3, after consolidation

39

Figure C-12a: D4_D.D2-3, boat bottom half detail, before consolidation

40

Figure C-12b: D4_D.D2-3, boat bottom half detail, after consolidation

41

Figure C-13a: D6_D.E1, before consolidation

42

Figure C-13b: D6_D.E1, after consolidation

43

Figure C-14a: D7.Mariner5, before consolidation

44

Figure C-14b: D7.Mariner5, after consolidation