Article from e_conservation, the online magazine No. 6, September 2008, pp. 37-54/84 www.e-conservationline.

com

CONSERVATION OF A GREEK ICON

Technological and Methodological Aspects
by Maria Avillez and Chryssa Vourvopoulou

This work describes the study and conservation of an icon from the eighteenth century provenient from the private Valadorou collection, now belonging to the Benaki Museum of Athens. The icon studied will be presented with a group of other icons from the same collection in an itinerary route of exhibitions foreseen to start in Romania in October 2008. In this paper, the major concern was to understand the construction of the icon and to identify the various materials used by analytical techniques. The identification of pigments was made by analytical methods such as the observation of cross sections by optical microscopy, X-Ray Fluorescence spectroscopy (XRF) and Infrared (IR) false-colour images. Micro Fourier Transform Infrared spectroscopy (-FTIR) was used to identify the varnish and the green glaze. This study combines art history, production techniques, iconography, scientific research and conservation of this work of art.

MARIA AVILLEZ and CHRYSSA VOURVOPOULOU

Introduction In the field of conservation and restoration, this is a research study that shows the importance of interdisciplinarity to a successful approach to the work of art. The exchange of experience between institutions - the Benaki Museum in Athens and the Faculty of Sciences and Technology of the New University of Lisbon (FCT-UNL), the exchange of opinions between museum conservators, art historians and chemical engineers, and the use of analytical techniques for a correct identification of the original materials allowed for a reliable study and safe intervention on the work of art described in this paper. In this case, consulting literature proved to be as important as science since the answers to our doubts lay many times in the extensive experience of others. This entire experience enabled a profound knowledge of the particular technology of icon painting. At first sight, icons may look the same as other panel paintings but in fact they are different, as this research and work has proved. Icons require a careful interpretation, thus attention must be paid to all aspects involved, such as the period they were made, the iconography of the representation, the materials and techniques used by the artist, and their function and future role in the society, meaning whether they were meant for private collections or churches. Due to the influence of the Orthodox Church and extensive historical background, Greece is an excellent place to acquire knowledge on the icon painting and restoration techniques. The Benaki Museum is one of the most important museums in Athens. It has four buildings and several conservation departments: paper, textiles, photography, metals, ceramics, icons, canvas painting, wood and laboratory. The Museum also works with the University of Athens, other museums as the Byzantine and Christian Museum in Athens and with the Ormylia Art Diagnosis Center.
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The Faculty of Sciences and Technology of the New University of Lisbon has a Conservation and Restoration Department that, along with the Chemistry Department, offers students the possibility to perform research in conservation. Many facilities are available, such as XRF, -FTIR, GC-MS, GC-FID, SEM an -Raman, from which some having been used to complete this study. 1. Historical Context An icon (from Greek, eikn, lit., "image") is a representation depicting holy beings or objects. According to Espinola [1] "an icon [is] in its broadest definition any image or portrait figure". After the iconoclastic1 controversy, the Eastern Orthodox Church established a code of beliefs and a set of rules for the artistic production of icons. In Byzantine and Post-Byzantine periods, creating an icon required thorough team-work as the skills of several specialists such as carpenters, gesso2 workers, gilders, draughtsman and painters were required to perform the tasks involved. In recent times, however, the production of icons decreased, so that late icons are normally made by a single artist [2]. Greek icons can be organized in three periods [3]: - Byzantine - from the 10th century to the Fall of Constantinople in 1453, when icons were produced in the Byzantine territory.
1 The Byzantine Iconoclasm (72687 and 81543) was a

controversy for the religious veneration of images that resulted in the deliberate destruction of icons, monuments and other religious symbols. Most of the Byzantine icons were destroyed or plastered over during this period [2].
2 Gesso (from Italian, lit. 'board chalk') is a powder of

calcium carbonate used in combination with animal glue (usually rabbit-skin glue) in the preparation of the ground of panel paintings.
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Figure 1. "Presentation of Jesus at the Temple, icon from the Benaki Museum.
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MARIA AVILLEZ and CHRYSSA VOURVOPOULOU

- Post-Byzantine - from the second half of the 15th century to the 17th century, when the artistic centres moved from Constantinople to Crete, Ionian Islands, Mount Athos and the Balkans. - Late icons - after the 17th century up to nowadays, where the icon studied in this paper belongs. 2. Iconographic Theme The icon studied (Figure 1) represents the biblical scene of the 'Presentation of Jesus at the Temple' (in Greek, Hypapant, lit., 'Meeting') described by the evangelist Luke3: "When the time of their purification according to the Law of Moses had been completed, Joseph and Mary took him to Jerusalem to present him to the Lord and also to offer in sacrifice a pair of doves or two pigeons. Now there was a man in Jerusalem called Simeon, who was righteous and devout. He was waiting for the consolation of Israel, and the Holy Spirit was upon him. It had been revealed to him by the Holy Spirit that he would not die before he had seen the Lord's Christ. Moved by the Spirit, he went into the temple courts. When the parents brought in the child Jesus to do for him what the custom of the Law required, Simeon took him in his arms. There was also a prophetess, Anna. She was very old. She never left the temple but worshiped night and day, fasting and praying. Coming up to them at that very moment, she gave thanks to God and spoke about the child to all who were looking forward to the redemption of Jerusalem." [4]. The biblical description is useful to recognise the figures depicted in the icon and their intentions, but in order to understand the iconographic theme, it is necessary to know not only the origin of the
3 This episode appears only in the gospel of Luke, the

Scriptures, but also to be familiar with the rites of Purification in the Christian cult. Rau [5] explains that this scene has origins in the ritual described in the Leviticus4, being said that the women that gave birth to a boy were considered unclean during the seven days after the birth, which is why their entrance in the temple was refused. It is presumed by theologians that the Virgin submitted herself to this law to show example of humility and obedience. In fact, she did not need to be purified as she gave birth without sin. 3. Technological Aspects 3.1. The Wooden Panel The support of this icon is made up of a single wooden board obtained by radial cut. In one side of the panel marks made by the saw used to work the timber can be seen. The back and the side of the icon were plastered with a thin layer of gesso ground, which was intended to protect the wood from humidity, to reduce the risk of cracking and also to cover the imperfections of the surface. The type of wood used for this panel was identified as belonging to resinous trees. The exhibited colour and smell indicate pine, a wood commonly used in this time. To help this identification, a small tangential sample of the wood panel was taken and observed by optical microscopy. Under the microscope it was possible to observe the typical veins of resinous trees (Figure 2). Two horizontal battens were glued and nailed in the reverse of the panel. The role of the battens was to stop the retraction of the wood but in this case they had a negative effect because they restricted its natural movement, originating a severe crack along the panel. The battens are
4 Leviticus is a book from the Old Testament of the Holy

other gospels never mentioning it.

Bible.
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CONSERVATION OF A GREEK ICON

Figure 2. Sample of the wooden panel, amplified 20x (OLYMPUS AX 70 PROVIS Microscope).

rectangular, cut to the width of the support and nailed from the back to the front with four nails each. The nails were aligned and placed at regular intervals. It is known from literature [3] that the support and paint layer use to deteriorate due to the swelling caused by the nails rust. In this case, the heads of the nails also caused part of the paint loss in the surface. These were the main problems of the wooden support. 3.2. The Canvas

Figure 3. Sample of the canvas linen fiber, amplified 20x (OLYMPUS AX 70 PROVIS Microscope).

In some areas, a craquelure network with perpendicular cracks was formed due to the presence of the canvas. In the upper area of the icon, a particular type of craquelure with diagonal marks can be noticed. This may be due to the intentional incisions that were made in the wood to enhance the adhesion of the ground layer. 3.4. The Design

The wooden panel is covered by a glued canvas of medium density. The canvas was normally placed between the panel and the ground to increase the cohesion and to enhance the resistance of the paint layer to the retraction of the wood [3]. The canvas fibber was identified by optical microscopy as being linen (Figure 3). 3.3. The Ground The technique of the ground layer in icons is the same as the one described by Cenninni [6] regarding the preparation of wooden supports for temperas paintings. A mixture of glue and gesso was applied in layers of decreasing thickness and perpendicular to each other. In cross section one can see that the ground layer contains small amounts of carbon black pigment which must have been added deliberately to decrease the white colour of pure gypsum.
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In Greece, from the late 17th through 19th centuries, model designs drawn and coloured in paper were reproduced by artists and their apprentices and circulated among all schools [7]. Many of these designs, mostly the ones of the Greek icon maker Athanasios, can be seen today at the Benaki Museum. The drawing was normally transferred to the ground layer by covering the verso with carbon and marking the outlines with a sharp instrument. The black, slightly engraved lines can be seen with the naked eye through the transparent paint layers such as lakes and ochres or when these layers are very thin. In this icon, the outlines of the figures, the architectonic elements and the margins of the icon were engraved. Some details were then drawn with a fine brush, namely the faces, hair and flesh. In some areas, the black underdrawing can be seen due to the thinness of the paint layers above.
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3.5. The Gold Leaf The icon is gilded with gold leaf only in the background of the architectural elements and in the region of the halos. The gold leaf was applied over a layer of reddish bole, according to the traditional gilding technique. Gold powder was also used, probably applied with a brush in the decorated surfaces with floral and geometric motives (ceiling area and altar). The circular areas - the halos and the semi-circle dividing the figurative area from the decorative one - were all engraved with a sharp tool. 3.6. The Paint Layer Concerning their artistic qualities, icons are particular works of art due to their different convention of painting. The frontality of the figures, the deliberate disregarding of the illusion of threedimensionality (known as 'reversed' or 'inverted' perspective), the representation of several moments of the same action at the same time (known as the 'continuous style' [8]) are not accidental.

In icons, the use of colours and shapes is based on a completely different artistic language. Most common icon painting technique is egg tempera, the medium being egg-yolk mixed with water. Vinegar was often added to conserve the egg longer and to reduce the greasiness of the emulsion [9]. The traditional Byzantine technique of painting consists in the application of dark tones as background colour. This first layer, called proplasmos in Greek iconography, is maintained at the edges and in the shadow areas [10]. Over this layer, several mid-tones are superimposed until the final highlights. The brushstrokes are characterised by freehand and fluid paint, varying in width and direction. Different types of brushstrokes can be seen in the recorded infrared image in the background of the architectural elements (Figure 4). In the areas of faces and flesh, impressive brushstrokes are recognisable with the naked eye (ex., detail of the contour of Simeons hair in Figure 5). The application of pictorial layers in a certain order, beginning with dark tones and progressing to

Figure 4. Column detail, type of brushstrokes in visible (left) and infrared photography (right).

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Figure 5. Simeons hair detail, type of brushstroke and design in visible (left) and infrared photography (right).

highlights, is particularly obvious in the region of faces and visible flesh. These are the areas where artists gave more attention to details. Most of the colours used in icons were the result of pigments availability and price, but in this icon some standard colours were respected for each figure. The following tones were used: red, yellow, white, black and possible blue or green. The proplasmos ranges from light brown to dark brown and is the result of combinations of yellow ochre, cinnabar, carbon black, lead white and copper blue or green (undistinguishable in the cross sections, Table 3 and 4). In "The Painters Manual" of Dionysius of Fourna (a Greek monk and icon painter from Mount Athos), the making of the flesh colour is explained: "Take
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drams of terraverte, drams of dark ochre, drams of lime-white for working on walls, and drams of black; grind them up well and use as underpaint when you paint flesh colour" [11]. Two mid-tones made up of lead white, cinnabar and yellow ochre can be distinguished. They are applied in different hues in a way as to soften the transition between the underpaint and the lighter layer and also to differentiate flat areas such as the foreheads or the back of the hands. It is interesting to notice the difference of brushstrokes between the painting of a young face (Joseph and Mary) and an old face (Anna and Simeon). Iconography indicates that Anna and Simeon are very old, thus the painter represented their faces wrinkled (Figure 6).
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Figure 6. Virgins Mary and Annas faces, comparison between the painting technique of a young and an old face.

4. Methods for examination and analysis The methods for examination and analysis used in this work can be divided in non-destructive and destructive methods. Both types of exams allow an interpretation of the work of art based on the results obtained regarding the characterisation of the materials used and the painters technique. The non-destructive methods used for diagnosis were visible (Vis), ultraviolet (UV) and infrared (IR) photography. For pigment identification XRF (Table 1) and false-colour infrared photography (Table 2, Figure 8) were used. The destructive methods of analysis for material identification were sampling of cross sections (Table 3 and 4) and -FTIR.
Figure 7. Virgin Marys portrait, details of painting technique.

The white highlights are the only areas painted in impasto. Different shapes are obtained with a very thin brush by rapid and repeated movements (Figure 7). In the areas where the artist intended to give more volume, he applied a dilute red paint, like for example for the cheeks, neck and near the mouth. This layer is called glyklasmos. Finally, the eyes, ears, noses, chins and mouths as well as the hands are delineated by thin brown brush-strokes (Figure 7).

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No. Colour 1 Annas green garment Marys red garment (light shade) Marys red garment (deep shade) Josephs brown garment Red frame (lower left side) Marys green garment Grey ceiling

Detected elements
Ca, Cu, Pb S, Fe, Sr K, Ti, Zn Hg, Ca, Pb S, Fe, K, Sr Al, Cu, P, Cl Hg, Pb S, Ca, Ti, Fe,Sr Al, Cu, P, Cl, Si Fe, Pb, Ca Hg, S, Mn, Cl, Sr Si, Ti, Cu Pb, Hg, S, Ca, Cl, Sr Si Cu, Pb, Sr, Ca, Fe, Zn, S, Cl, Sr Pb, Ca, S, Cl Sr Hg Pb, S, Ca, K Cl

Characterisation - Identified pigments

Major pigment based on copper. Major amounts of calcium and lead. Minor amounts of iron based pigments. - Copper Green (malachite or verdigris), ochre, lead white, gypsum Major amounts of mercury based pigment. Main constituent based on calcium and lead. Minor amounts of iron based pigments. - Cinnabar, ochre, lead white, gypsum Major amounts of mercury and lead based pigments. Minor amounts of iron based pigments, calcium and sulphur. - Cinnabar, ochre, lead white, gypsum Main constituents based on lead and calcium. Major amounts of iron based pigment. Minor amounts of mercury based pigment, manganese and sulphur. - Umber, ochre, cinnabar, lead white, gypsum Main constituents based on lead, and mercury. Minor amounts of sulphur and calcium. - Cinnabar, lead white, gypsum Major pigment based on copper. Major amounts of calcium and lead. - Copper Green (malachite or verdigris),ochre, lead white, gypsum Major constituent based on lead. Minor amounts of calcium, sulphur and chlorine. - Organic black (?), lead white, gypsum Main pigment based on mercury. Minor amounts of calcium, lead and sulphur. - Cinnabar, lead white, gypsum Major constituents based on lead and copper. Minor amounts of calcium, iron and chlorine. - Copper Green (malachite or verdigris),ochre, lead white, gypsum Major amounts of lead and calcium. Minor amounts of strontium and sulphur. Traces of iron. - Red lake (?), ochre, lead white, gypsum Main constituent based on lead. Main pigment based on copper. Minor amounts of iron, calcium and strontium. - Azurite, lead white, gypsum Main pigments based on iron, lead and mercury. Presence of calcium and sulphur. Traces of copper. - Cinnabar, lead white, ochre, gypsum Arsenic-based main pigment. Major amounts of lead. Minor amounts of cobalt and nickel. Traces of iron. - Orpiment or realgar, lead white, ochre gypsum

Red frame (upper left side)

Green column Pb, Cu, Cl, Ca, Fe base

Zn, Sr, Ti Pb, Ca Sr, S Cu, Fe

10

Annas red garment

11

Josephs blue Cu, Pb, Ca, Fe, Cl, Sr garment

S, K, Si, P

12

Josephs flesh (left foot) Yellow decoration (upper left side)

Fe, Hg, Pb Ca, S, Cl Cu, Sr Pb, As Co, Ni, Sr Fe, Zn

13

Table 1. Data from spot X-Ray Fluorescence spectroscopy for the characterisation of the materials used. Detected elements are arranged in three rows following a semi-quantitative hierarchy for major (first row), minor (second row) and trace (third row).
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Prophetess Anna, portrait detail

Simeon, portrait detail

Virgin Mary, portrait detail

Ornament detail, right side of the icon

Figure 8. Detailed visible, false-colour infrared and infrared recorded images. Application of falsecolour IR photography in identification of pigments (Digital camera Nikon D50).

Column detail, left side of the icon

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False-colour infrared photography was used as a complementary technique to obtain information that could help to the pigments' identification. The equipment used was a digital camera Nikon D50 with capacity to record photographs in the infrared spectrum at a wavelength range between 900-950nm. To capture the IR image, a filter (Kodak Wratten, No.87 C) was applied and the images recorded with an exposure time of +1,00 seconds, aperture of 22 and white balance (WB) defined for day light. The images in visible light were recorded with an exposure time of +0,3 seconds, an aperture of 16 and WB defined for interior light. The results were helpful to the study but this technique is never conclusive.

True colour
Black White Cinnabar Azurite Ultramarine Indigo Cobalt Yellow with Fe Other yellows Copper greens Green earth Umber

False-colour IR
Black White Yellow Blue Reddish purple or dark blue Red or dark brown Reddish Greenish White Blue Blue, light Black

Table 2. Correspondence between true and false-colour IR of the pigments.

Table 3. Cross sections of the samples in polarized (left) and UV light (right).

Blue

Blue backround

1. Wood 2. Ground layer 3. Underpaint lead white, carbon black, smalt. 4. Varnish

Red

Ceiling

1. Ground layer gesso and glue 2. Underpaint - cinnabar, lead white and carbon black 3. Mid-tone cinnabar and lead white 4. Varnish natural resin

Red

Red border

1. Ground layer with dark pigments 2. Underpaint cinnabar and lead white 3. Mid-tone cinnabar with lead white and carbon black

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MARIA AVILLEZ and CHRYSSA VOURVOPOULOU

Table 4. Cross sections of the samples in polarized light.

Grey

Green

Column 1. and 2. Ground layer 3. Underpaint carbon black and lead white 4. Mid-tone lead white and carbon black

Virgins green garment (20x) 1. Ground layer 2. Underpaint (floor tile) cinnabar, lead white 3. Paint layer malachite, azurite, lead white

Yellow

Green

Yellow tile from the floor 1. Mid-tone lead white and cinnabar 2. Underpaint cinnabar and lead white

Annas mantle (20x) 1.Ground layer 2.Underpaint malachite, lead white 3.Glaze - verdigris

Blue

Flesh

Josephs blue garment (50x) 1. Paint layer azurite, malachite, lead white, ochre

Josephs left foot 1. Ground layer gesso and glue 2. Underpaint yellow ochre, cinnabar, carbon black, lead white 3. Mid-tone lead white and cinnabar

Red

Red

Annas red garment 1. Ground layer 2. Paint layer red lake, ochre, lead white

Virgins red garment 1. Ground layer with red pigments 2. Underpaint cinnabar, ochres 3. Mid-tone cinnabar and lead white

4.1. Pigments 4.1.1. Reds The red pigments are used in a range of tones from light to dark red. The major pigment found in red areas is cinnabar mixed with lead white, more or less according to the tone required.
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An exception to this technique can be found on Anna and Simeons red garments. Here, as suspected and then confirmed with XRF and falsecolour IR, a red lake mixed with lead white was used. In cross section (Table 3, 4) the sample presented a pink tone and a rather different aspect from the other red samples. The underpaint in this area is of a dark pink tone, the mid-tone is
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light pink and the highlights are white. In the cinnabar red areas, the underpaint has a dark red tone (cinnabar with black particles), the mid-tone is strong red (cinnabar with lead white) and the highlights are light red in the Virgins mantle and yellow ochre in the curtains. The red colour is also used to delineate the yellow floral motifs and the mouths of all figures. 4.1.2. Blues In figures using green-blue garments, one can distinguish blue, green and white particles in cross sections through the optical microscope (Table 3, 4). By XRF it was possible to see that these cross sections contain copper, which indicates the pigments possibly used: azurite, malachite, verdigris or copper resinate. We can state that azurite is the copper pigment mixed with the green pigment in this areas by observation and comparison to the literature [12]. The particles distribution, the colour in the paint film and the confirmation of the presence of copper helps to this identification. The blue underpaint from the upper part of the icon presents a greyish tone and its false-colour is reddish, different from the other blue tones present in the garments. In cross section (Table 3, 4) one can see that the blue particles were slightly mixed with white and what seemed at first, black particles. From the falsecolour IR recorded image, the emitted reddish tone could be ultramarine, cobalt or smalt blue. Ultramarine and cobalt were expensive pigments so it is more likely that smalt was the chosen pigment. Through XRF the presence of cobalt, arsenic and nickel was detected and according to the literature [13] it was concluded that the blue pigment used in this area was smalt. According to Mhlethaler and Thissen, since the Middle Ages, the main cobalt source used in the preparation of smalt
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was smaltite (Co,Fe,Ni)As2 but in the 17th and 18th centuries erythrite (Co3(AsO4)28H2O) and cobaltite (Co,Fe)AsS, associated cobalt minerals were also used. The same authors also mention that smalt is considered an inferior pigment relatively to azurite and ultramarine, but as in the 17th century these pigments were difficult to find, they were substituted by smalt, "particularly in the skies and backgrounds of paintings where intense blue was not needed". In cross section the blue sample shows few blue particles and much more greyish and dark ones. This can be explained as an increased content in potassium oxide (K2O) decreases the stability of smalt to atmospheric conditions, the pigment becoming pale and greyish. 4.1.3. Greens The green copper pigments are more difficult to distinguish. More techniques besides XRF identification are needed to identify which copper pigments are present in the painting. Azurite and malachite were frequently mixed together due to their close mineral nature (both copper carbonates) but the use of verdigris and copper resinate must also be considered. Comparing the optical characteristics (colour, shape size and appearance) of the green particles in the sample to the literature [12, 14], we presumed that the pigment could be malachite. The presence of copper identified by XRF and the history of the pigment confirmed us to the same fact. However, when we observed the sample from Annas mantle consisting of a green type of glaze, new doubts arose. Most particles are very similar to malachite but others similar to verdigris regarding their optical properties were also present. XRF does not allow this distinction since it only detects copper, but it does not give any information on whether the sample
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MARIA AVILLEZ and CHRYSSA VOURVOPOULOU

contains copper acetate (verdigris) or copper carbonate (malachite). In order to identify the green pigment, further exams were needed and we chose to analyse the green glaze with -FTIR. By comparing standard -FTIR spectra of malachite and verdigris we concluded that the glaze was actually made with verdigris. We can assume further that the pigment is copper resinate, and not a transparent layer of resinate applied over a layer of green pigment, by stereoscope and optical microscope observation and confirm this by comparing the -FTIR spectra showed in Figure 9.

tone. The front columns have three tones: the underpaint is grey, the mid-tone is light grey and the highlights are white. All the lines are delineated with fine brush and black paint. The grey tone is a mixture of organic black with lead white. 4.1.6. Browns The browns are a mixture of umber, ochre, cinnabar and lead white. The altar has a brown-reddish tone due to the reddish highlights, which are probably constituted of the same pigments mixture but with higher cinnabar content. Josephs mantle has three tones: dark brown underpaint, brown mid-tone and light brown highlights. 4.2. The varnish A sample of varnish removed from the icons surface was analysed by contact with a diamond cell in -FTIR. The spectrum obtained was compared with several standard natural resins spectra. The sample contains the main peaks relating to these resins but it seems to be a mixture with other components, possibly oils (C-H band), or perhaps these other peaks correspond to degradation products of the aged resin (Figure 10). For a more accurate result we need further exams as, for example, the use of Gas Chromatography / Mass Spectroscopy (GC-MS).

Figure 9. -FTIR spectrum of the green glaze of Annas mantle in comparison with a -FTIR spectrum of a copper resinate made of an old recipe.

4.1.4. Yellows The floral motifs have been filled with transparent yellow paint. This thin paint layer was applied over the blue underpaint. XRF analysis detected iron and lead white but the major compounds in this area were the ones related to the blue layer due to the thinness of the yellow layer. Due to the presence of iron it was concluded the yellow paint must be yellow ochre. 4.1.5. Greys A range of grey tones have been used to paint the columns of the temple following the principle of superimposing layers. The back columns have only two layers: a dark grey underpaint and a grey mid50

Figure 10. -FTIR spectrum of the varnish in comparison with -FTIR spectra of alphacopal and shellac standard resins.
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5. Conservation treatment The conservation intervention on the icon followed the basic methodology principles and phases: consolidation, cleaning, stabilization of the wooden support and cracks, filling and retouching. The consolidation was done using Primal acrylic polymer. At first, ethanol was injected to turn the surface more absorbent and to help the penetration of the consolidator and its adhesion, weights were placed in areas of higher losses. Cleaning was performed in a selective manner depending on the pigments sensitivity to solvents. The thick layer of varnish darkened during time obscuring the colours used by the artist (Figure 11). According to the literature [2, 10], most varnishes used in icon paintings are natural resins or mixtures of natural resins with oil. In UV light it was possible to assess that the varnish layer suffered no previous interventions as no fluorescent areas were visible. Chemical cleaning was performed by cotton swab and cotton patches combining solvents such as acetone, white spirit and ethanol according to Teas' diagram [15]. Mechanical cleaning was done only in some areas, using the scalpel with the assistance of the stereoscope, which allows a better control of the cleaning method and its interference with the icons surface. Mechanical cleaning was only used as a comple-

mentary method, in areas such as Annas garment, where the green glaze is very sensitive to cleaning solvents because the medium is more similar to the varnish than with the tempera. In such cases, the cotton swab impregnated with solvent was strictly used to partially dissolve the varnish layer which was then carefully removed with the scalpel. Although it may seem more aggressive, the use of the scalpel in this area was safer because there is a better control of the layer we wish to remove. If we were to apply a cotton patch with solvent or insist with the cotton swab, the solvent would have penetrate deeper and start to dissolve the glaze layer as well. After cleaning, the icon was reconsolidated where needed and a facing was applied. The main conservation problem was the consolidation of the wooden support. Five of the eight nails of the battens were creating tension between the canvas and the paint layer, starting to show on the surface of the painting while one of them (together with the battens tension) destroyed the surface and originated a crack along the wood panel. In order to proceed to the consolidation of the support, it was decided to remove all nails because of their negative effect on the condition of the painting. Regarding the battens, as under certain circumstances their use is not mandatory [3], it was assessed that it would be best to remove them in order to stop the restraining forces they

Figure 11. Details of cleaning procedure, visible thick layer of varnish.

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were inducing. In this case, the reinforcement of the wood support was achieved by the treatment of the cracks, considering to remove part of the wood along the crack and to fill the gaps with small laths safer than to follow the principle of minor intervention. This way, the tension forces that the progression of the crack was creating on the layers above (canvas, ground and paint film) were reduced, the surface of the icon could be flattened creating a better adherence of all layers to the support and the stability and resistance of the structure was ensured (Figure 12). Being in a museum controlled environment and being a highly itinerant work of art, it was decided that this structure will render it more stable. In conclusion, although part of the wooden support is ruined and its original form is altered we considered this system successful in repairing

the existing cracks and more importantly, in the stabilization of the wooden support, making it suitable for its current and future function. The intervention was finalised by filling the lacunas and retouching the colour layer and applying a final varnish (Paraloid B72 in toluene) (Figure 13). 5. Conclusions This work describes the technological study and the intervention performed on a Greek icon at the Benaki Museum in Athens. The analysis performed on the painting and the quality of the materials used in this icon revealed that the artist mastered the basic technique of the icon painting although he was not an expert icon maker. The low quality of the materials indicates that the icon was probably made as a low price order.

Figure 12. Backside of the icon, before and after conservation treatment.

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Figure 13. Icon before treatment, after treatment and UV light photography after treatment where the retouching is visible.

Museums aim to promote education and research, having the responsibility to ensure the preservation of art collections. The technological study and conservation treatment of the icon from the Benaki Museum have shown that in conservation an interdisciplinary approach is required, that should include the comprehensive research of art materials, production technologies and history, condition and use of the art object. References
[1] V. B.-B. Espinola, "Russian Icons: Spiritual and Material Aspects", Journal of the American Institute for Conservation, 31(1), 1992, pp. 17-22 [2] J. Stuart, Ikons, Faber and Faber, London, 1975 [3] A. Papadopoulou, "Traditional wood technology and problems relating to wooden supports" in The Conservation of Late Icons, The Valamo Art Conservation Institute, Finland, 1998, pp. 31-40 [4] Luke 2:22-40, The New Testament, Burns Oates and Washbourne Ltd, London, 1948 [5] L. Rau, Iconografa del Arte Cristiano, Iconografia de la Bblia Nuevo Testamento, Tomo 1, Vol. 2, Ediciones del Serbal, Barcelona, 1996 [6] D. V. Thompson, Jr., The Craftsmans Handbook Il Libro dell Arte by Cennino dA. Cennini, Yale University Press, New Haven, 1933 [7] S. Stassinopoulos, "The constructions of wooden panels of icons. Defects, problems of such structures and their
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treatments in previous years and today" in The Conservation of Late Icons, The Valamo Art Conservation Institute, Finland, 1998, 41-52. [8] C.D. Kalokyris, The Essence of Orthodox Iconography, Holy Cross Orthodox Press, Brookline, Massachusetts, n.d. [9] D.V. Thompson, The materials and techniques of medieval painting, Dover Publications, New York, 1956 [10] A.N. Ovchinnikov, "Introduction to the underpainting of faces and flesh called sankir in Russian and proplasmos in Greek icon painting" in http://naturalpigments.com/ education/article.asp?ArticleID=15 (accessed on 20th April 2008) [11] Dionysius of Fourna, The Painter's Manual, translated by P. Hetherington, Oakwood Publications, 1989 [12] N. Eastaugh, V. Walsh, T. Chaplin and R. Siddall, Pigment Compendium: A Dictionary of Historical Pigments, Elsevier Butterworth-Heinemann, Oxford, 2004 [13] B. Mhlethaler and J.Thissen, "Smalt", in R. Ashok (ed.), Artists' Pigments: A Handbook of their History and Characteristics, vol. 2, National Gallery of Art, Washington D.C., 1993, pp. 113-30 [14] R. Wounhuysen-Keller, P. Wounhuysen, "Thoughts on the use of the green glaze called copper resinate and its colour-changes" in E. Hermens (ed.), Looking through Paintings: The Study of painting Techniques and materials in Support of Art Historical research, De Prom and Archetype, London, 1998 [15] A. Phenix, "Some observations on the safe use of solvents in the cleaning of painted and decorated surfaces" in: http://www.buildingconservation.com/ articles/solvent/diagrams.htm (accessed on 26th April 2008)
53

MARIA AVILLEZ and CHRYSSA VOURVOPOULOU

Acknowledgements This study wouldnt be possible without the assistance of my coordinator Chryssa Vourvopoulou to whom I give my warmest thanks. Thanks are extended to Mr. Stergios Stassinopoulos, head of the Conservation Department of the Benaki Museum, for his hospitality and knowledge and to all the museum conservators that have helped me with this work. I also thank Ana Claro (FCT-UNL, Portugal) for her assistance during the -FTIR analysis and to Professor Maria Joo Melo (FCT-UNL) for helping with the data interpretation. Finally, I would like to thank to Eleni Katsadouri for her hospitality and care and to Maria Cardim for her permanent support.

CALL FOR SUBMISSIONS

e_conservation magazine is open to articles submission on a wide range of relevant topics for the cultural heritage sector. Next deadlines for article submission are: for Issue 8, December 2008 submissions due 1st November 2008 for Issue 9, February 2009 submissions due 1st January 2008 Nevertheless, you can always submit your manuscript when it is ready. Between the receival of the manuscript until the final publication may pass up to 3 months according with: - the number of the manuscripts on hold, submitted earlier by other authors - the release date of the upcoming issue - the pre-allocated space in the magazine to each section Please check our publication guidelines for more information.

MARIA AVILLEZ
Contact: mavillez@gmail.com Following her graduate studies in Conservation and Restoration by the New University of Lisbon (Portugal), Maria Avillez completed a Master in Conservation in 2008 at the same university. In the context of her degree, she carried out an intership in conservation of icons at the Benaki Museum in Athens (Greece).

CHRYSSA VOURVOPOULOU
Chryssa Vourvopoulou, conservator at the Benaki Museum, coordinated Maria's Master study. Chryssa holds a degree in Conser-vation by the University of Athens (Greece). Since 1998 she is working in the Museums Conservation Laboratory of Icons, Oil Painting and Wood Carving.

54

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