https://www.cordaconservation.com/projects daily 0.75 2016-04-25 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/571eac63e3214003e95f91ee/1461289584809/ Projects https://www.cordaconservation.com/beast daily 0.75 2017-10-29 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/59f636c59140b70add83934b/1503525855932/ Nagaur Fort and Palace General view of the view of the Ahhichattragarh Fort and Palace Complex at Nagaur in Rajasthan, India. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bee859fd064f642722c/1503525855932/NAG09-00-029.jpg Nagaur Fort and Palace General view of the view of the Ahhichattragarh Fort and Palace Complex at Nagaur in Rajasthan, India. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b1d10ff7c502eb4ab417f/1503525863581/Nagaur+satellite+2.jpg Nagaur Fort and Palace Satellite view of the Ahhichattragarh Fort and Palace Complex surrounded by the city of Nagaur in Rajasthan, India. Image © Digitalglobe https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192be9859fd064f64271f6/1509306051330/NAG09-00_DP_216.jpg Nagaur Fort and Palace Elevated view of an arcaded walkway, behind which lies the Sheesh Mahal and surrounding gardens. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192be9b654f9dd5cbb5212/1503525878630/NAG09-00_DP_228.jpg Nagaur Fort and Palace Arcaded walkway though which lies the Sheesh Mahal building and garden. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192be5b654f9dd5cbb51e5/1509306078685/NAG09-00_006+ed01+%282%29.jpg Nagaur Fort and Palace The beautiful Ahhichattragarh Fort and Palace Complex at night. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bf1859fd064f642723d/1509306192178/NAG09-32-E_037_C.jpg Nagaur Fort and Palace Exterior view of the Sheesh Mahal or "Palace of Mirrors". The building comprises a single vaulted hall with encircling veranda and garden courtyard. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57191b1f2fe1312b43925f05/1461263182428/NAG09-00-029.JPG Nagaur Fort and Palace https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bd0b654f9dd5cbb5136/1503525901860/04_NAG09-32_002.jpg Nagaur Fort and Palace Interior view of the Sheesh Mahal facing east, before conservation. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bd027d4bd85045b5027/1503525909068/05_NAG09-32_006.jpg Nagaur Fort and Palace Interior view of the Sheesh Mahal facing west, before conservation. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b535af7e0abf40099fdae/1503525917400/NAG09-32-E-N_031_C.jpg Nagaur Fort and Palace The plastered and painted exterior walls of the Sheesh Mahal. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bda27d4bd85045b5094/1509306826043/NAG06-00-037.jpg Nagaur Fort and Palace Both interior and exterior palace surfaces are covered in "araish" plaster. It is historically composed of three layers, the uppermost of which is bright white in color and highly polished. Both technique and materials are remarkably similar to those employed by local masons today. Image © Courtauld CWPD   https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b52dce45a7c1d5ba767ca/1509307105660/NAG08_368wb.jpg Nagaur Fort and Palace Once completely dry, the araish was decorated with paintings. In the vault, women are represented sharing drinks and playing musical instruments amidst swirling clouds during monsoon. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b52fc197aea9c75cdff3e/1509307122632/NAG08-32_026_1.jpg Nagaur Fort and Palace In the vault, women are represented sharing drinks and playing musical instruments amidst swirling clouds during monsoon. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b5288f5e231c230949b12/1509307131883/NAG06-32-062-A3-2.jpg Nagaur Fort and Palace In the vault, women are represented sharing drinks and playing musical instruments amidst swirling clouds during monsoon. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/5984c8506a4963c478cecc39/1509307186571/09_NAG.jpg Nagaur Fort and Palace Detail of the painting in the vault in visible (left) and ultraviolet (right) light. Ultraviolet fluorescence exposes the faded organic materials originally used to depict the clouds and rain of the monsoon. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bd3b654f9dd5cbb513e/1509307319643/06_NAG08-32-_123wb.jpg Nagaur Fort and Palace Environmental monitoring indicated that fluctuations in the internal microclimate were promoting the efflorescence of salts and causing deterioration of the painting. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bd627d4bd85045b5061/1509307351358/17+NAG08-32-_285wb+copy.jpg Nagaur Fort and Palace Environmental monitoring indicated that fluctuations in the internal microclimate were promoting the efflorescence of salts and causing deterioration of the painting. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b51ec2994caa4578e5a5c/1509307378705/06_NAG07-32-186-Drwb.JPG Nagaur Fort and Palace Salt crystals were pushing layers of paint off the wall. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b5313a803bba60d43f5f1/1509307392269/NAG08-32-_115wb.jpg Nagaur Fort and Palace Salt crystals were pushing layers of paint off the wall. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b51a7bebafb01de6f767d/1509307430096/16+NAG07-32-285-Bwb.jpg Nagaur Fort and Palace Salt efflorescences were removed by gentle brushing where possible. Poultices were then used to extract salt ions from within the plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b5ebd3e00befe04e20fe5/1503526021534/13_NAG.jpg Nagaur Fort and Palace Before (left) and after (right) removal of salts from the wall paintings. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bfe27d4bd85045b51da/1509307483750/NAG11-32-I-EV_2420.jpg Nagaur Fort and Palace An extremely glossy and discoloring non-original coating was removed from the surface of the painting with poultices. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c008a65e2cccb58775a/1509307550461/NAG11-32-I-NV_3003.jpg Nagaur Fort and Palace Detail of the vault during coating removal. The coating is clearly visible in the upper portion of the image, giving the paintings a glossy and discolored appearance. Where it has been removed in the bottom portion of the image, the originally matte appearance of the surface is visible. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bdc27d4bd85045b50b6/1509307609005/NAG07-32-109-Bwb.jpg Nagaur Fort and Palace Example of the inlaid mirror work from which the palace derives its name. The image shows the araish during cleaning. A thick brownish-yellow dirt layer has been removed from the left side of the plaster but remains on the right side. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c1b859fd064f64273f9/1509307624493/NAG12-32-I-WW_6100_C.jpg Nagaur Fort and Palace Tthe mirrored surfaces were similarly cleaned and polished. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599c60162994caf792aac23e/1509307677673/19.jpg Nagaur Fort and Palace Some of the mirrored work had been covered over by non-original repair material during a previous intervention. This was removed to expose the mirror beneath. The image shows a concealed area before (left) and after (right) cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599c601bb8a79bbe6db7042c/1503526091190/18.jpg Nagaur Fort and Palace Detail of the mirrored dado level before (left) and after (right) cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/5984c863a803bbd121c6aac5/1503526099381/19_NAG.jpg Nagaur Fort and Palace Detail of the mirrored dado level before (left) and after (right) cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c03f8baf3a0548b8c3d/1509307735407/NAG12-32-I-EW_6001_T.jpg Nagaur Fort and Palace A thick brownish-yellow dirt layer was also removed from the upper walls. A multi-step process was used to protect the water-sensitive pigments during cleaning of the araish. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c0627d4bd85045b5256/1509307822818/NAG12-32-I-EW_6003_T.jpg Nagaur Fort and Palace Paint layers were first covered with a naturally subliming material as protection during cleaning of the surrounding plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c06f8baf3a0548b8c5f/1503526123645/NAG12-32-I-EW_6004_T.jpg Nagaur Fort and Palace An intervention layer of tissue paper was then applied to the area. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c0b859fd064f6427344/1509307895261/NAG12-32-I-EW_6005_T.jpg Nagaur Fort and Palace A gel-based system was applied over the tissue layer until the dirt layer beneath began to swell. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/571910f34d088e0fae324990/1461260534506/DSCN6861.JPG Nagaur Fort and Palace https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c0b27d4bd85045b5286/1509307921266/NAG12-32-I-EW_6006_T.jpg Nagaur Fort and Palace The tissue was then peeled off, removing the gel poultice with it. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c0ef8baf3a0548b8c8d/1509307950778/NAG12-32-I-EW_6007_T.jpg Nagaur Fort and Palace Sponges were used to clear the loosened dirt layer from the surface of the wall, leaving the painted surfaces unaffected. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c0e859fd064f6427358/1509307960802/NAG12-32-I-EW_6008_T.jpg Nagaur Fort and Palace Sponges were used to clear the loosened dirt layer from the surface of the wall, leaving the painted surfaces unaffected. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c12f8baf3a0548b8cc5/1509307978323/NAG12-32-I-EW_6009_T.jpg Nagaur Fort and Palace Example of a painted niche partially cleaned. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/5984c86b15d5dbb2e6479695/1503526212612/31_NAG.jpg Nagaur Fort and Palace Example of a painted niche before (left) and after (right) cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c18859fd064f64273bb/1509308005972/NAG12-32-I-NV_7016_D-R.jpg Nagaur Fort and Palace Multiple small and large areas of detached and displaced plaster were readhered to the wall support through injection grouting. A custom grout compatible with the original materials was developed for the purpose. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c1227d4bd85045b52be/1503526232762/NAG12-32-I-NV_7013_C.jpg Nagaur Fort and Palace Cotton wool was used to block holes where the grout could potentially leak out prior to setting. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c18a3360c45a6fb5b36/1509308076883/NAG12-32-I-NV_7013_T3.jpg Nagaur Fort and Palace Pipettes, syringes, needles and catheters were used as required to inject the custom grout, stabilizing areas of detached plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b53aab8a79b98c401e75f/1509308063689/NAG11B-32-I-SV_401.JPG Nagaur Fort and Palace Pipettes, syringes, needles and catheters were used as required to inject the custom grout, stabilizing areas of detached plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599c8177d482e9f0054202a5/1503526260308/39.jpg Nagaur Fort and Palace Detail of the south wall before (left) and after (right) completion of conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/5984c888893fc0dc4b31dae2/1503526268952/38_NAG.jpg Nagaur Fort and Palace General view of the west wall before (left) and after (right) completion of conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/5984c87ed482e94a17ed8691/1509308101608/37_NAG09-32-I-WW_069_C.jpg Nagaur Fort and Palace Detail of the west wall after conservation treatment. Image © Courtauld CWPD https://www.cordaconservation.com/water daily 0.75 2017-10-29 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/59f6522e10952624f5662da6/1503582459691/ Crypt of St. John’s Co-Cathedral St. John's Co-Cathedral is located within the fortified city of Valletta, the capital city of Malta. Image © Katey Corda, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/598c8f07f14aa1822c1e4944/1503582459691/01_CIMG0396.JPG Crypt of St. John’s Co-Cathedral St. John's Co-Cathedral is located within the fortified city of Valletta, the capital city of Malta. Image © Katey Corda, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/598c8f2e9f7456493d115eef/1503512281941/03_exterior-of-st-johns.jpg Crypt of St. John’s Co-Cathedral Facade of St John’s Co-Cathedral in Valletta, Malta. https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5719849986db4323751f9083/1503582479735/Crypt+looking+west.jpg Crypt of St. John’s Co-Cathedral Interior of the Grand Masters’ Crypt of St John’s Co-Cathedral before conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5719849aab48de0f879c88b7/1509314775128/Fig+04+VCC11-09_021.jpg Crypt of St. John’s Co-Cathedral A large loss of painted plaster from the Crypt vault exposed the construction technique of keyed ashlar masonry, cut from the local globigerina limestone. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5719849ae707ebffdeba8419/1503582493291/Fig+05+VCC-East-CIA-2003-05-248-e.jpg Crypt of St. John’s Co-Cathedral large areas of the wall paintings were detaching and at imminent risk of collapse. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984bac2ea51227a094684/1503582500187/VCC11-06_605-ed.jpg Crypt of St. John’s Co-Cathedral large areas of the wall paintings were detaching and at imminent risk of collapse. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984a986db4323751f90e8/1503582507755/VCC-West-CIA-2003-05-134-e.jpg Crypt of St. John’s Co-Cathedral Salt efflorescence, biofilms and dirt were hindering appreciation of the paintings and diminishing recognition of the Crypt’s significance. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5719849b86db4323751f90a2/1503582514632/Flower+VCC-West-CIA-2003-05-039-e.jpg Crypt of St. John’s Co-Cathedral Salt-related deterioration was causing powdering and loss from both the wall paintings and limestone tomb monuments. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599c83bd914e6b1cdb350f4f/1503582520948/St.JCRYPT03-197-c.JPG Crypt of St. John’s Co-Cathedral Salt-related deterioration was causing powdering and loss from both the wall paintings and limestone tomb monuments. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984aac2ea51227a094601/1503582527714/VCC07_031.jpg Crypt of St. John’s Co-Cathedral Salt-related deterioration was causing powdering and loss from both the wall paintings and limestone tomb monuments. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984beab48de0f879c899f/1503582533708/VCC11-10_016.jpg Crypt of St. John’s Co-Cathedral Beginning conservation treatment in the Crypt. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd32959cc68c69d2fd23b/1503582540411/VCC11-06_613.JPG Crypt of St. John’s Co-Cathedral Consolidation of powdering wall paintings. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5719849e555986d708577e9c/1509314867286/IMG_8324.jpg Crypt of St. John’s Co-Cathedral Testing the strength of a custom grout for stabilization of the detached plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd1e8d2b857ae58c31cfb/1503582555333/IMG_8578.JPG Crypt of St. John’s Co-Cathedral Syringes, catheters, needles and pipettes were used to inject a custom grout into voids behind detached areas of decorated plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd21649fc2bd29696b171/1503582562119/VCC10-05_122.JPG Crypt of St. John’s Co-Cathedral Syringes, catheters, needles and pipettes were used to inject a custom grout into voids behind detached areas of decorated plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd2259f7456b0c9f677ce/1503582568474/VCC10-05_137.JPG Crypt of St. John’s Co-Cathedral Losses in the wall paintings were filled with a lime and sand mortar, compatible with the original materials. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984a5c2ea51227a0945e3/1503582575050/IMG_8615.jpg Crypt of St. John’s Co-Cathedral Salt efflorescence, loose dirt, and microbiological growth were cleaned from the wall paintings by dry dusting with paint brushes and carefully wiping with damp sponges. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/598c8faa15d5db7e6056df8f/1503582581179/17_VCC11-06_598.jpg Crypt of St. John’s Co-Cathedral Salt efflorescence, loose dirt, and microbiological growth were cleaned from the wall paintings by dry dusting with paint brushes and carefully wiping with damp sponges. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dcd09b8a79ba9c1912787/1509315038598/IMG_8530.JPG Crypt of St. John’s Co-Cathedral The wall paintings partially cleaned in the western apsidal area. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984bfab48de0f879c89a3/1505403268017/VCC11-10_121.jpg Crypt of St. John’s Co-Cathedral The wall paintings during cleaning. A layer of salt efflorescence, loose dirt, and microbiological growth has been cleaned from the left side of the image but remains on the right. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5984d37ccd0f685f369bd2e4/1503582601902/24_VCC.jpg Crypt of St. John’s Co-Cathedral Detail of the wall paintings before (left) and after (right) cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5984d36959cc687d5ac05ca1/1503582608400/18_VCC.jpg Crypt of St. John’s Co-Cathedral Detail of the wall paintings before (left) and after (right) cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984af86db4323751f911d/1503582615049/VCC10-05_071.jpg Crypt of St. John’s Co-Cathedral A consolidant was applied to the powdering limestone tomb monuments by syringe and needle. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984b1ab48de0f879c893e/1503582625516/VCC10-05_097.jpg Crypt of St. John’s Co-Cathedral A consolidant was applied to the powdering limestone tomb monuments by syringe and needle. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd201f7e0abbcaa71a975/1503582634719/VCC09_Nov_004.JPG Crypt of St. John’s Co-Cathedral A consolidant was applied to the powdering limestone tomb monuments by syringe and needle. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/598c8fd26f4ca3565b3d5981/1503582641062/20_CIMG0385.jpg Crypt of St. John’s Co-Cathedral A consolidant was applied to the powdering limestone tomb monuments by syringe and needle. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5984d374b8a79b354113672a/1503582647819/21_VCC.jpg Crypt of St. John’s Co-Cathedral Detail of the limestone tomb monuments before (left) and after (right) consolidation and cleaning. Image © Courtauld CWPD   https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599c8c617131a535171e0c31/1503582654173/19.jpg Crypt of St. John’s Co-Cathedral Detail of the limestone tomb monuments before (left) and after (right) consolidation and cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd209f7e0abbcaa71a9d0/1509315118894/VCC10-05_060.JPG Crypt of St. John’s Co-Cathedral During consolidation of the powdering limestone monuments. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5984d377f14aa175c76b19e1/1503582668950/22_VCC.jpg Crypt of St. John’s Co-Cathedral Detail of the limestone tomb monuments before (left) and after (right) consolidation and cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd2fd3e00bef256ae0590/1503582677012/VCC10-08__287.JPG Crypt of St. John’s Co-Cathedral A thick layer of dirt and microbiological growth was cleaned from the stone floor of the Crypt. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd4c2f7e0abbcaa71e0f6/1503582684564/floor.jpg Crypt of St. John’s Co-Cathedral Detail of the Crypt stone floor before (left) and during (right) removal of a thick layer of dirt and microbiological growth. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd2d5be6594a2d0df33e5/1503582691743/VCC10-08__318.JPG Crypt of St. John’s Co-Cathedral A thick layer of dirt was cleaned from the inscribed marble plaques set into the floor of the Crypt. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5984d38fbe6594bb037ef9c0/1503582703145/28_VCC.jpg Crypt of St. John’s Co-Cathedral Image of the inscribed marble plaques set into the floor of the Crypt before (left) and during (right) removal of a thick layer of dirt. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd1d34c0dbfec6135ef38/1503582710636/IMG_8539.JPG Crypt of St. John’s Co-Cathedral A section of wall painting obscured by layers of limewash was uncovered. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd1df893fc0c629ce4bab/1503582718697/IMG_8546.JPG Crypt of St. John’s Co-Cathedral Uncovering a section of wall painting obscured by layers of limewash. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5984d37f1e5b6c1be8adc48a/1503582727589/25_VCC.jpg Crypt of St. John’s Co-Cathedral Detail of the Crypt before (left) and after (right) conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599c8c779f8dce119c6524b2/1503582735383/26.jpg Crypt of St. John’s Co-Cathedral Detail of the Crypt before (left) and after (right) conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599c8d1ebe42d69ea77d667a/1503582743290/27.jpg Crypt of St. John’s Co-Cathedral Detail of the Crypt before (left) and after (right) conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984c286db4323751f9176/1503582750778/VCC12_372.jpg Crypt of St. John’s Co-Cathedral The Crypt after conservation treatment. Image © Courtauld CWPD https://www.cordaconservation.com/tomb-of-king-tutankhamun daily 0.75 2017-10-29 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/59f64f364192022154af2019/1503527457945/ Tomb of King Tut Part of the conservation team inside the painted burial chamber. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f1643a0411d182f4a08e/1503527457945/TUT_BC_Ww_287_KC_20160227.jpg Tomb of King Tut Part of the conservation team inside the painted burial chamber. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988ab3b6a49632b1ccc2ca1/1503527469790/B9CB6515-635E-462F-9B72-60DEFD77FD81.JPG Tomb of King Tut Hot air balloons landing in the desert south of the sacred mountain, El Qurn, where the Valleys of the Nobles, Queens and Kings are located. Image © Katey Corda, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988a921893fc04d56bbdbb2/1503581470455/01_0FD406FB-3087-4959-BD59-FB7A74B0E7B0.JPG Tomb of King Tut Daybreak in the Valley of the Kings. The entrance to King Tut's tomb is located just to the right of the captured frame. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988ab37d7bdcee306c69c38/1503581478330/BEF4B23B-12ED-47B9-893C-B4BED45CC437.JPG Tomb of King Tut The entrance to KV 62, showing a group of tourists reviewing signage with a member of the conservation team. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598895b7b8a79b2766581bb2/1503581486092/TUT_AC_Nw_0887_KC_20170308.jpg Tomb of King Tut Inside the antechamber of the tomb showing the new visitor platform constructed as part of the project initiative and the painted burial chamber beyond. Conservation team leader, Lorinda Wong, is pictured giving a video interview. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598896f3db29d60e9d4320e3/1509308548671/03_TUT_Team_0074_LW_20161126.jpg Tomb of King Tut Visitors to the tomb observing the burial chamber from the viewing platform. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988a95f3e00be429f4a0375/1503581502919/07EB3E9B-04D5-4032-907D-A69A33089731.JPG Tomb of King Tut Iconography painted on the north wall of the burial chamber. Large figures in a style recalling the Amarna period are painted against a bright yellow background. Image © J. Paul Getty Trust, 2017   https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988a92c37c581d599d3872e/1503581510586/01EC5655-6093-41BF-B0BA-6D062C5F22DD.JPG Tomb of King Tut Tutankhamun, depicted in the form of a living king, being welcomed into the realm of the gods by the goddess Nut. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988a968a803bbf89ae9ebc0/1503581518059/6D7A905B-A4BE-4DB6-B572-819ADA4B6CAE.JPG Tomb of King Tut The original, carved and painted stone sarcophagus sits in its original position in the center of the burial chamber. It houses Tut's original, carved and gilded outermost wooden coffin. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988ab5ccf81e0992904a308/1503581526841/A395C0FA-3DB6-4812-A218-97AF7E10539E.JPG Tomb of King Tut Painted depiction of King Tutankhamun. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988ab3386e6c0ff76843113/1503581535667/DA2C9167-8A2B-451F-AE68-0917F090C2E2.JPG Tomb of King Tut The west wall of the burial chamber depicts an extract from the Book of Amduat or “What is in the Underworld”, including twelve baboon-deities, representing the twelve hours of the night. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c88dd197aea3c27fd7a34/1503581542932/12.jpg Tomb of King Tut The rock walls of the tomb were cut and carved with chisels and other hand tools. Unpainted areas of the wall surface were chiseled to a smoother finish while the rock in the burial chamber was left in a rougher state in preparation for plaster and painting. In some parts of this tomb, therefore, finely cut but undecorated walls were originally regarded as a finished treatment as much as those with painting. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f130bebafb164ed6f36f/1503581550678/TUT_BC_Sw_0509_KC_20170307.jpg Tomb of King Tut Plasters were applied to the rock-cut walls of Egyptian tombs to provide a suitable substrate for painting among other reasons. The rough finish of the plaster in Tut's tomb is unusual. Trowel and hand marks indicate that plasters were applied quickly and roughly. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f184bebafb164ed6f789/1503581565109/TUT_BC_Ww_324_LW_20160302.jpg Tomb of King Tut The team set up for conservation treatment of the wall paintings. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598894f1579fb35d42d20861/1503581574496/TUT_BC_team_0019_LW_20161112.jpg Tomb of King Tut Environmental monitoring of conditions both inside and outside the tomb was established early in the project with data collected through the duration. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598894f8893fc0cfbc5f6310/1503581589842/TUT_BC_team_0021_LW_20161112.jpg Tomb of King Tut Environmental monitoring of conditions both inside and outside the tomb was established early in the project with data collected through the duration. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984efa646c3c4bd443cba44/1503581599870/TUT_BC_Nw_089_KG_20160214.jpg Tomb of King Tut Preparing for removal of dust from the wall paintings. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984efc26b8f5b9163420474/1509308871140/TUT_BC_Nw_098_KG_20160214.jpg Tomb of King Tut Dust deposition has been a pervasive within the tomb. Fine dust settled on the painted surface in a thick layer, obscuring the imagery. Attempts to dust the paintings outside of the conservation project have led to loss in areas of paint layer instability. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984efbae3df285a35b59350/1503581615054/TUT_BC_Nw_093_KC_20160214.jpg Tomb of King Tut Dust reduction was a two-step process. An air brush was first used in conjunction with a mechanical brush to carefully lift dust from the paint surface and prevent it from resettling in small cracks and fissures. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f134f7e0ab1cb6f890c8/1503581623099/TUT_BC_team_0026_LW_20161112.jpg Tomb of King Tut Dust reduction was a two-step process. An air brush was first used in conjunction with a mechanical brush to carefully lift dust from the paint surface and prevent it from resettling in small cracks and fissures. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f14d414fb5ac543eb002/1503581695282/TUT_BC_Ww_195_LW_20160221.jpg Tomb of King Tut In a second step, a damp sponge was tamped over a thin layer of tissue to absorb remaining dust and lift it from the surface. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c88f0be6594815d7d7bde/1503581703822/23.jpg Tomb of King Tut The wall painting before (left) and after (right) dust reduction. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c88ddc534a55657b8c7b5/1503581712313/21.jpg Tomb of King Tut The wall painting before (left) and after (right) dust reduction. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c88f017bffcb6e624df6c/1503581719042/22.jpg Tomb of King Tut The wall painting before (left) and after (right) dust reduction, shown in raking light. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c8901f9a61e84459126e4/1503581726497/24.jpg Tomb of King Tut The wall painting before (left) and after (right) dust reduction. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f0d54c0dbf146053a3d8/1503581733565/TUT_BC_Sar_0503_KC_20170306.jpg Tomb of King Tut A thick layer of dust was also removed from the carved and decorated stone sarcophagus. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f0eea5790a7d30c00857/1503581740679/TUT_BC_Sar_0573_KC_20170308.jpg Tomb of King Tut Traces of the organic pigment, orpiment, were found on the stone sarcophagus. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988aedad482e9a75ffe51d5/1509309028141/TUT_BC_Nw_108_KC_20160216.jpg Tomb of King Tut Multiple layers of non-original coatings and drips from previous interventions covered the surface of the wall paintings prior to treatment. The coatings were extremely glossy in some areas while some drips had blanched. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988af28db29d66c1508665e/1509309075332/TUT_BC_Nw_226_KG_20160223.jpg Tomb of King Tut Blanched, non-original surface coatings covering the surface of the wall paintings prior to treatment. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f049579fb35d42abd021/1503582217513/TUT_BC_Nw_221_KC_20160222.jpg Tomb of King Tut Non-original coatings and drips from previous interventions were reduced as far as possible by using an appropriate solvent to solublize and absorb them into tissue. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f14ed482e9f06c66fead/1503582196305/TUT_BC_Ww_231_LW_20160223.jpg Tomb of King Tut Non-original coatings and drips from previous interventions were reduced as far as possible by using an appropriate solvent to solublize and absorb them into tissue. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f017a5790a7d30bffc92/1503582225170/TUT_BC_Nw_0183_KC_20161128.jpg Tomb of King Tut A small square of glossy coating is shown remaining on the figure's arm following reduction from the surrounding area. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f02bf9a61e3bd675e045/1509309266664/TUT_BC_Nw_194_KG_20160221.jpg Tomb of King Tut The non-original coatings had begun to deteriorate and yellow, discoloring the paintings. A yellowing coating is visible where it remains on the left side of the image as compared to where it has been removed from the right. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ecc96a4963b1c4dce03c/1503582242005/TUT_BC_Ew_216_KC_20160222.jpg Tomb of King Tut The stabilization of curling and flaking paint was a key component of the project, particularly on the east wall, as it was at great risk of loss from mechanical damage. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ed856a4963b1c4dceb02/1503582256189/TUT_BC_Ew_320_LW_20160302.jpg Tomb of King Tut A syringe and needle was used to apply an appropriate adhesive behind each flake, readhering them to the substrate. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ed9b6f4ca31b72535b6e/1503582264434/TUT_BC_Ew_329_LW_20160302.jpg Tomb of King Tut A syringe and needle was used to apply an appropriate adhesive behind each flake, readhering them to the substrate. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c8904bf629a6017f479bf/1503582273286/37.jpg Tomb of King Tut Area of flaking paint before (left) and after (right) readhesion, shown in raking light. Image © J. Paul Getty Trust, 2016   https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c890c6a49636f7040d8dd/1503582282327/38.jpg Tomb of King Tut Area of flaking paint before (left) and after (right) readhesion, shown in raking light. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f1c586e6c09a29e192e1/1509314217670/TUT_Team_0485_YC_20161205.jpg Tomb of King Tut To stabilize larger, thicker flakes of paint and plaster, a custom bulking adhesive was applied by pipette behind and around the edges of each flake. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f0763e00bec843b835ba/1509314210578/TUT_BC_Nw_315_LW_20160302.jpg Tomb of King Tut To stabilize larger, thicker flakes of paint and plaster, a custom bulking adhesive was applied by pipette behind and around the edges of each flake. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ec2ad2b857274d0604e8/1502122742767/File051.jpg Tomb of King Tut https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c8910e4fcb5d2ad640f69/1509314201047/41.jpg Tomb of King Tut An area of thick flaking is pictured before (left) and after (right) stabilization with a custom bulking adhesive. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c891bbe42d6f7f8e2e541/1509314228205/42.jpg Tomb of King Tut An area of thick flaking is pictured before (left) and after (right) stabilization with a custom bulking adhesive. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ec8717bffc6a27062505/1503582319819/TUT_AC_Ww_0868_KC_20170308.jpg Tomb of King Tut For areas where the bulking adhesive was insufficient - for example, to stabilize patches of original plaster - a repair material was applied around the edges to readhere it to the substrate. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ec9c893fc0cfbc38d63a/1503582326034/TUT_AC_Ww_0881_KC_20170308.jpg Tomb of King Tut For areas where the bulking adhesive was insufficient - for example, to stabilize patches of original plaster - a repair material was applied around the edges to readhere it to the substrate. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f187a5790a7d30c010a6/1503582332754/TUT_BC_Ww_0661_KC_20170309.jpg Tomb of King Tut Area of original plaster, stabilized with an edge repair. Image © J. Paul Getty Trust, 2017   https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c8923e58c62a9c00a0758/1503582343490/46.jpg Tomb of King Tut Area of original plaster shown before (left) and after (right) stabilization with an edge repair. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f14417bffc6a27066a1b/1509314358667/TUT_BC_team_0062_YC_20161114.jpg Tomb of King Tut The unpainted rock-cut walls in the antechamber and entrance corridor had become extremely dirty over the years as a result of tourists touching them, leaving a greasy, black surface appearance. The dirt was reduced with poultices. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c892637c581174292155b/1503582358081/48.jpg Tomb of King Tut Greasy, black hand-marks in the entrance corridor shown before (left) and after (right) poultice reduction. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ec42cf81e0278ea71467/1503582365004/TUT_AC_Ww_0442_KC_20161205.jpg Tomb of King Tut A small square of greasy dirt deposited by tourist's handprints, is shown remaining on the rock-cut surface of the antechamber following its reduction from the surrounding areas. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5995bd1f2994ca428521897d/1503582371788/50_TUT_Team_0373_YC_20170215.jpg Tomb of King Tut Members of the 2017 conservation team. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988a9a6bf629a7373203021/1503582378626/0722FE55-D413-4A5B-BA20-EA6834C9D3D1.JPG Tomb of King Tut Sugar cane fields in the agricultural lands that extend across Luxor's west bank. Image © Katey Corda, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988ab676a49632b1ccc304b/1503582386730/6131335A-7BF1-454C-BC90-7CF39B0FF725.JPG Tomb of King Tut Village life on Luxor's west bank. Image © Katey Corda, 2017 https://www.cordaconservation.com/the-berlin-wall daily 0.75 2017-11-15 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/5a0bb47224a6944522bdf742/1509297125262/ The Berlin Wall The mural after installation in the courtyard of 520 Madison Avenue in Manhattan, NY. Image © Tishman Speyer, 1991 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f81c01d07c088bf6ab408/1509297125262/imagewall3265.jpg The Berlin Wall The mural after installation in the courtyard of 520 Madison Avenue in Manhattan, NY. Image © Tishman Speyer, 1991 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eacdd45bf21e7d878fdd8/1509297162963/BW_Overall_2011.JPG The Berlin Wall Mural imagery prior to the 2014 graffiti vandalism. Image © Tishman Speyer, 2010 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f80d28a65e2444c131b97/1509297306483/IMG_2558.jpg The Berlin Wall Rear of the mural showing its position in front of an urban waterfall. Water fell directly on the base and sprayed the rear. Image © Kiernan Graves, 2013 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f80918a65e2444c131a3f/1503524571363/BW_S.3_20150414_Rebar_001_C.jpg The Berlin Wall Corrosion of the internal rebar. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f806e8a65e2444c131980/1503524576658/BW_S.1_20150407_Grouting_AT_001_Dr.jpg The Berlin Wall Cracking and delamination of the concrete support. Image © Kiernan Graves, 2013 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f80d78a65e2444c131bc7/1503524581880/IMG_3799.JPG The Berlin Wall Flaking and loss of the paint layers. Image © Kiernan Graves, 2013 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eb757d210b8548ed68f37/1503524588723/IMG_3755.JPG The Berlin Wall (Detail) Flaking and loss of the paint layers. Image © Kiernan Graves, 2013 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f80cd8a65e2444c131b6c/1509297453107/IMG_1457.JPG The Berlin Wall The mural after the 2014 graffiti vandalism. The words “IT’S LIKE TALKIN TO A WALL” were spray painted across the surface in three different languages and colors: Arabic in red, English in gray, and Hebrew in blue. Image © Tishman Speyer, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eacdd37013bf73c999e36/1510716480608/BW_S.1_20141228_BT_001_C.jpg The Berlin Wall The segments were moved to a warehouse for conservation treatment. Image © Kiernan Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598328875fd63b11a5144a2c/1461628701304/BW_Overall_2011.JPG The Berlin Wall https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f88b22b8dde9e10b56f62/1510716482271/BW_S.1_20150414_Dating_001_D.jpg The Berlin Wall Transferred ink from a newspaper with the date August 1975 is visible in the concrete of segment 96, confirming a construction date of 1975 or later. (Image inverted for legibility). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7608ff7c5027e56a5099/1510716483758/10_IMG_3124.JPG The Berlin Wall A shovel with corroded blade is buried in the substrate of Segment 92. It is interesting evidence of the physical history and hasty construction of the wall. Image © Nicole Huter, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eb23db09f959babbe0067/1510716483098/BW_S.3_20150310_Pub+cleaning_002.jpg The Berlin Wall As a result of its outdoor, urban environment, the painted surface was covered by a layer of superficial dirt and dust. It was removed with soft, damp sponges. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eb256cf80a13b08895309/1510716484450/BW_S.3_20150310_Pub+cleaning_013.jpg The Berlin Wall Depressions in the concrete held thicker deposits of dirt and remains of insects. Insect remains were first removed with a sharpe tool to prevent their decay within the Wall and the dirt then removed with cotton swabs. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b74cff14aa165920b54a2/1510716484304/13_BW.jpg The Berlin Wall Results of surface cleaning. Before (left), After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b74e046c3c4abb16a4c11/1510716484302/16_BW.jpg The Berlin Wall Before cleaning (left), After cleaning (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b74f103596e8aae22efb0/1510716483755/17_BW.jpg The Berlin Wall (Detail). Before cleaning (left), After cleaning (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eaeeed51cd40b93b03b97/1510716484327/BW_S.1_20150411_Pub+cleaning+edge_002.jpg The Berlin Wall Cleaning of a two-inch boarder surrounding the painted edge was necessary to integrate the work of the concrete conservation team (EquipCon) with that of the painting conservation team. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eaef44c2f858e510636e6/1510716484658/BW_S.1_20150411_Pub+cleaning+edge_005.jpg The Berlin Wall Cleaning of the concrete boarder. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eaf184c2f858e510637f0/1510716484706/BW_S.1_20150411_Pub+cleaning+edge_006.jpg The Berlin Wall Cleaning of the concrete boarder. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b74faf14aa165920b5909/1510716488988/21_BW.jpg The Berlin Wall Results of the concrete cleaning. Before (left), After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7503bebafb9c49bc020e/1510716488976/22_BW.jpg The Berlin Wall (Detail). Before cleaning (left), After cleaning (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b750dbe42d6fe8e648716/1510716530807/23_BW.jpg The Berlin Wall Removal of the 2014 graffiti was extremely successful. Results of removal: Before (left), After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7527c534a55f0dd6d121/1510716490843/25_BW.jpg The Berlin Wall Detail of graffiti removal: Before (left) and After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eb67e22482efd0620cdd8/1510716491037/BW_S.5_20150203_Pub+fixing_003.jpg The Berlin Wall Flaking paint was stabilized by feeding a small amount of adhesive beneath the lifting paint layer with a syringe and needle. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eb6d4d210b8548ed68b6b/1510716490781/BW_S.5_20150203_Pub+fixing_008.jpg The Berlin Wall A heated spatula was used to relax and readhere the flakes. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7529f43b55f3c613339f/1510716491048/29_BW.jpg The Berlin Wall Results of readhesion shown in raking light. Before (left), After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7541ebbd1a0fc655432c/1510716491038/30_BW.jpg The Berlin Wall Results of readhesion shown in raking light. Before (left), After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b74e017bffc79a0ceb73c/1510716492711/15_BW.jpg The Berlin Wall Results of readhesion shown in raking light. Before (left), After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b754837c581cb56c3b668/1510716492671/31_BW.jpg The Berlin Wall Injection grouting was used to treat areas of delamination and to reattach fragments. Image © Kiernan Graves and Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f80438a65e2444c13188d/1510716492818/BW_20150319_Pub+grout+tests_007.jpg The Berlin Wall Standard field tests were used to identify an appropriate grout. Characteristics such as water-vapor permeability, shrinkage, rheology, hardness and strength were assessed. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eb286b09f959babbe0258/1510716492562/BW_S.3_20150322_Grouting_DT_006_C.jpg The Berlin Wall Grout was injected into voids using a syringe and needle. Two fully detached fragments were replaced in their original positions on segments 94 and 92. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7555f43b55f3c61336cf/1510716493425/34_BW.jpg The Berlin Wall Results of injection grouting. Before (left), After (right) Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b755a9f745655815e1956/1510716493734/35.jpg The Berlin Wall Segment 96. Before (left) and After conservation treatment (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b75686b8f5b013eeb171c/1510716493992/36.jpg The Berlin Wall Segment 95. Before (left) and After conservation treatment (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b75693e00beb6bacb1fb5/1510716494216/37.jpg The Berlin Wall Segment 94. Before (left) and After conservation treatment (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7574579fb349a4736fa6/1510716494240/38.jpg The Berlin Wall Segment 93. Before (left) and After conservation treatment (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7579e3df28c8a48bd453/1510716494511/39.jpg The Berlin Wall Segment 92. Before (left) and After conservation treatment (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f8b5501dbae26ddaaa320/1510716494704/L1001672.jpg The Berlin Wall Sections 92-96 of the Berlin Wall were reinstalled indoors upon their return to 520 Madison Avenue rather than to their previous, outdoor location. Indoor protection, with the correct care, will greatly mitigate further deterioration and damage. Image © Meghan McCandless, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f8b552fe131e2fe8a6683/1510716494927/L1001674+copy.jpg The Berlin Wall Segments 92-96 in their new permanent location after conservation treatment. Image © Meghan McCandless, 2015 https://www.cordaconservation.com/dier daily 0.75 2017-10-29 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/59f62e070d9297f9ed69aff3/1509302531186/ Deir el Shelwit The temple of Deir el Shelwit sits at the interface of the desert and cultivated agricultural lands, 5 kilometers south of better-known sites such as the Valleys of the Kings and Queens. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984bfcce3df2867773a2a2a/1509302531186/01_Shelwit.jpg Deir el Shelwit The temple of Deir el Shelwit sits at the interface of the desert and cultivated agricultural lands, 5 kilometers south of better-known sites such as the Valleys of the Kings and Queens. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a553e07eaa0d56f75df06/1461343559872/1+Shelwit_Overview_2012-05-23_pho_APS_arce-lux__ANE_ANE2010.jpg Deir el Shelwit https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a554286db43237523d9a0/1503857323395/1+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_ANE1546.jpg Deir el Shelwit Deir el Shelwit temple exterior. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a554307eaa0d56f75df46/1503857323709/2+Floor+plan.jpg Deir el Shelwit Temple floorplan (diagram is not to scale). https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/59934110bf629a6a7695e360/1503857323405/05_Shelwit_NaosEwall-N1-N2_2012-05-01_pho_APS_arce-lux+small.jpg Deir el Shelwit Reliefs on the east interior wall of the naos. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55d659827ebe075ab6e5/1503857323446/21+Pub+Shelwit_BatDocumentation_2012-04-23_pho_APS_arce-lux_OMM0560.jpg Deir el Shelwit Inspection of the painted relief. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55d959827ebe075ab719/1503857323857/21+Pub+Shelwit_BatDocumentation_2012-04-23_pho_APS_arce-lux_OMM0568.jpg Deir el Shelwit Inspection of the painted relief. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55d286db43237523dea7/1503857323451/20+Shelwit_Temple_N04_S155b_016_O_C_2012-05-22_APS_Arce-lux_KC.jpg Deir el Shelwit The interior walls of the temple are carved in high-relief and intricately painted. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55d686db43237523defa/1509302638244/20+Shelwit_Temple_N04_S155b_018_O_M_2012-05-22_APS_Arce-lux_KC.jpg Deir el Shelwit Detail of vibrant pigment remains on the interior walls. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55db86db43237523df31/1503857323459/21+Pub+Shelwit_BatDocumentation_2012-04-23_pho_APS_arce-lux_OMM0586.jpg Deir el Shelwit Jennifer Porter and Katey Corda assessing the interior of the temple. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a554686db43237523d9ca/1509302904020/5+Shelwit_BatDocumentation_2012-04-23_pho_APS_arce-lux_OMM0429.jpg Deir el Shelwit A bat colony was habituating in the side chapels, corridor and stairwell of the temple. Bats are a cause of mechanical damage to original surfaces, while their excrement causes staining and chemical deterioration of stone and paint layers and can host fungus and bacteria harmful to humans. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b7f5e4fcb5fed2c8fef2/1509303001114/12_Shelwit.jpg Deir el Shelwit Bats roosting in one of the four side chambers in the temple. A small skylight in the ceiling was one of multiple egress points allowing the bats to enter and exit the temple. The skylight is shown both from inside looking up (left) and outside, looking down (right). Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/598b791ecd39c355dc8bd34b/1509303110423/13_Shelwit_BatDocumentation_2012-04-23_pho_APS_arce-lux_OMM0332.jpg Deir el Shelwit Dr Christian Dietz, a bat biologist in the Department of Animal Physiology at the University of Tübingen, identified the species as Asellia tridens. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a555407eaa0d56f75dff0/1503857323647/6+Shelwit_Temple_C4_002_Tb_2012-04-25_APS_ARCE-Lux_JHP.jpg Deir el Shelwit Egyptian monuments are often streaked with bat and bird excreta. While historic sites are frequently sealed to prevent infestations, the closure systems are rarely made of durable materials and are poorly maintained. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55a759827ebe075ab52a/1509303615445/15+Shelwit_Temple_P3%2B10_001_Tb_2012-04-25_APS_ARCE-Lux_JP.jpg Deir el Shelwit Guano deposits proved the best indicator of roost locations and aided in estimating colony size between three to five hundred mature bats. No flightless young were observed. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55bb86db43237523ddb1/1509303688991/17+Shelwit_Temple_P5_004_S009-012_2012-04-25_APS_ARCE-Lux_JP.jpg Deir el Shelwit Guano deposits were collected and tested in a Cairo laboratory for the presence of harmful fungal and bacterial growths, principally Histoplasma capsulatum. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a555d07eaa0d56f75e046/1503857323646/6Pub+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_ANE1561.jpg Deir el Shelwit Planning for sealing of the temple openings. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a557407eaa0d56f75e105/1509303884777/8+Shelwit_Temple_D_002%C2%AD_Td_2012-06-20_APS_Arce-lux_JP.jpg Deir el Shelwit A team of local carpenters sealed the temple openings with wooden frames and a double layer of heavy duty, stainless steel screening with a mesh size of 1 cm2. The design was intended to minimally alter the original light levels and airflow within the temple. Taking into account the historic fabric, screens were fitted tightly in place without the use of screws, adhesives, or other invasive means. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a557907eaa0d56f75e12e/1503857323680/8+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_ANE1421.jpg Deir el Shelwit Construction of screens on the temple's roof terrace. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984bd4459cc687d5abecb6b/1509303993500/20_Shelwit.jpg Deir el Shelwit Window openings on the temple's south facade, shown before (left) and after (right) closure with screens. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a554907eaa0d56f75dfad/1509304027732/6+after+detail+Shelwit_Temple_S_003_Ta_2012-06-27_APS_Arce-lux_JP.jpg Deir el Shelwit Detail of window closures on the temple's south facade after completion. The wooden frames were painted to match the color of the surrounding stone. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b800f7e0ab6f61e1f59f/1509304077102/22_Shelwit.jpg Deir el Shelwit Detail of a window closure on the temple's south facade after completion. The frames were individually cut to precisely fit the contours of the original openings. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55847da24ff4cded48af/1509304173456/9+closure+DSC_0455.jpg Deir el Shelwit Detail of a window closure on the temple's interior south wall after completion. A double screening system was implemented wherever possible to act as a backup. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a557b86db43237523dba5/1503857323778/9+closure+DSC_0444.jpg Deir el Shelwit Closure of temple openings with wood and mesh screening. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a557c7da24ff4cded485c/1503857323804/9+closure+DSC_0445.jpg Deir el Shelwit Closure of temple openings with wood and mesh screening. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a558659827ebe075ab3e9/1503857323931/9+closure+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_MMS5360.jpg Deir el Shelwit Closure of temple openings with wood and mesh screening. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b7fd17bffcc4feb0d961/1509304291405/14_Shelwit.jpg Deir el Shelwit A bat shown exiting the temple through one of two major egress points just after sunset. The most successful means of eradicating a bat infestation is through exclusion, allowing the bats to exit the roost naturally for nighttime feeding and then sealing points of egress to prevent their re-entry. Exclusion must be repeated on a nightly basis until all individuals have departed. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a555e86db43237523da9d/1509304651611/6Pub+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_MMS5301+crop.jpg Deir el Shelwit Planning for repointing the exterior building fabric. Bats have the agility to crawl through very small openings including cracks. As a result, repointing was necessary. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a557386db43237523db41/1503857324048/7+Shelwit_Workshot_2012-05-07_pho_APS_arce-lux_MMS5053.jpg Deir el Shelwit Asellia tridens bat taking refuge in one of the many thin cracks running though the building fabric. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a558a07eaa0d56f75e1e5/1509304758136/10+Shelwit_Temple_Ext_002_C_2012-05-13_APS_Arce-lux_JP.jpg Deir el Shelwit Preparation of lime mortar for repointing of the temple’s fabric. Fired bricks were crushed to provide a portion of filler for the mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a558c59827ebe075ab419/1509304780245/10+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_MMS5289.jpg Deir el Shelwit Preparation of lime mortar for repointing of the temple’s fabric. Brick dust and local sand were sieved and washed to provide filler for the mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55877da24ff4cded48ca/1503857324086/10+Shelwit_Overview_2012-05-13_APS_arce-lux_AMD0330.jpg Deir el Shelwit Multiple field tests were carried out to establish the ideal lime to fillers ratio for the mortar mix. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a558f86db43237523dc4a/1503857324198/11+Shelwit_Workshot_2012-05-07_pho_APS_arce-lux_ANE1140.jpg Deir el Shelwit Repointing and filling of the temple’s exterior cracks with a tailor-made lime mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a559359827ebe075ab46b/1503857324220/11+Shelwit_Workshot_2012-05-07_pho_APS_arce-lux_MMS5035.jpg Deir el Shelwit Repointing and filling of the temple’s exterior cracks with a tailor-made lime mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55917da24ff4cded490b/1503857324227/11+Shelwit_Workshot_2012-05-07_pho_APS_arce-lux_ANE1145.jpg Deir el Shelwit Repointing and filling of the temple’s exterior cracks with a tailor-made lime mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b807197aea356cd9c754/1503857324287/37_Shelwit.jpg Deir el Shelwit Repointing and filling of the temple’s exterior cracks with a tailor-made lime mortar. The north facade is pictured before (left) and after (right) repointing. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b80b579fb366729fd8f4/1509304906085/39_Shelwit.jpg Deir el Shelwit Detail of a large crack in the north facade before (left) and after (right) repointing. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b811f9a61e76c6f323c2/1509304915060/40_Shelwit.jpg Deir el Shelwit Detail of a large crack in the north facade before (left) and after (right) repointing. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b818893fc0dc4b30acc6/1509304927877/41_Shelwit.jpg Deir el Shelwit Detail of a large crack in the north facade before (left) and after (right) repointing. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a559959827ebe075ab49f/1509305182963/12+roof+DSC_0435.jpg Deir el Shelwit The original plaster on the temple roof had largely weathered away, resulting in exposed joins and depressions where water could pool. Previous water infiltration had resulted in visible damage to the building interior. These joint were also filled with lime mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a559a7da24ff4cded4931/1503857324427/12+roof+DSC_0436.jpg Deir el Shelwit Detail of roof joint after filling and repointing with lime mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984bebd8419c27e05642486/1509305358398/44_Shelwit_Temple_General_008_2012-04-25_APS_ARCE-Lux_JP.jpg Deir el Shelwit Once the bats had been permanently excluded, thick deposits of dust and guano were removed from the floors of the temple. All debris was reviewed for archaeological material before disposal. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b81fcd0f685f3699dd5c/1509305709699/45_Shelwit.jpg Deir el Shelwit Removal of thick dust and guano deposits from the floor of the temple. Dust movement was kept to a minimum by collection with trowels rather than brooms and was regular removal from the temple as it accumulated. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55cd7da24ff4cded4ae5/1509305741705/19+Shelwit_Overview_2012-05-13_APS_arce-lux_AMD0340.jpg Deir el Shelwit Following cleanup, preparations for work on the interior painted reliefs could begin. An initial step included the erection of a custom wooden scaffold, constructed by a team of local carpenters. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55d207eaa0d56f75e4a7/1503857324585/19+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_ANE1438.jpg Deir el Shelwit The custom-built wooden scaffold, providing access to the painted reliefs on the interior walls of the naos. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55dc59827ebe075ab71d/1503857324667/21+Pub+Shelwit_Workshot_2012-05-17_pho_APS_arce-lux_MMS5473.jpg Deir el Shelwit Upon the completion of preventive interventions, work was initiated within the naos, beginning with a condition survey and documentation of the painted reliefs. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984be57f5e23143b025cf98/1509305842242/50_Shelwit_Temple_N1_001_Td_C_2012-06-03_APS_Arce-lux_KC.JPG Deir el Shelwit A condition assessment within the naos demonstrated that the decorative relief was generally in stable condition. The limited time remaining in the work season was dedicated to cleaning trials. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55de86db43237523df38/1509305863052/22+Pub+DSC_0462.jpg Deir el Shelwit The team. Image © ARCE, 2012 https://www.cordaconservation.com/diego-rivera-sugar-cane daily 0.75 2017-10-29 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/59f61fc3e31d1928924c551c/1509300994987/ Diego Rivera, Sugar Cane A purpose-built metal frame, contains the painting's internal armature and supporting plaster layers. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/5994af29197aea0c96b4012c/1509300994987/2014-06-22-IMG_3708.jpg Diego Rivera, Sugar Cane A purpose-built metal frame, contains the painting's internal armature and supporting plaster layers. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7fa415d5db8c666512dd/1509301031587/1_56_20140818_AT_DET17_RL-EF_1943-46-2.jpg Diego Rivera, Sugar Cane Following the buon fresco tradition, Rivera painted Sugar Cane in a series of giornata. A seam where one giornata abuts another is shown in raking light. Image © Kiernan Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/572fb2007c65e4a1135b9099/1462743587771/IMG_3535.jpg Diego Rivera, Sugar Cane https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7bb8be65949102c44e0a/1509301092704/2.jpg Diego Rivera, Sugar Cane Rivera used a cartoon to transfer an outline of his composition to the wet plaster surface before beginning to paint. An incision made during the transfer process is visible in raking light. Note the slight alteration in composition made during the painting phase. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7bc4b8a79b10134c4b8e/1509301112639/3.jpg Diego Rivera, Sugar Cane Rivera used a cartoon to transfer an outline of his composition to the wet plaster surface before beginning to paint. An incision made during the transfer process is visible in raking light. Note the slight alteration in composition made during the painting phase. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7bd8db29d6084ceb937c/1509301279902/4.jpg Diego Rivera, Sugar Cane The most significant losses were located along the bottom edge of the fresco. The lower left corner is shown in normal (left) and raking (right) light prior to treatment. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7be303596e8aae23766b/1509301349488/5.jpg Diego Rivera, Sugar Cane Areas of concentric, semi-circular cracking and loss were also noted along the bottom, indicating previous stressing or flexing of the plaster. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7bea9f745655815e9c54/1509301386201/6_2014-07-15-IMG_3483.jpg Diego Rivera, Sugar Cane Scratches and abrasions in the paint and upper plaster layers were noted across the fresco's surface. Some had been previously in-painted and were discoloring. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c0837c581cb56c43cef/1509301417487/9_2014-06-22-IMG_3697.jpg Diego Rivera, Sugar Cane Cracks transversed the painting diagonally, ranging in length from a few inches to multiple feet. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7becf43b55f3c613ba49/1509301434918/7_2014-06-22-IMG_3682.jpg Diego Rivera, Sugar Cane Areas of most severe detachment were associated with the intersection of cracks towards the center of the painting. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/5994baf615d5db8435865ffe/1509301457602/2014-06-22-IMG_3683.jpg Diego Rivera, Sugar Cane Detail showing the intersection of multiple cracks. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7bfee4fcb5dc0603befd/1503527092175/8_2014-06-19-IMG_3592.jpg Diego Rivera, Sugar Cane Bulging or deformation of the most severely detached areas was visible in raking light. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/59f618ab27ef2d09a23697b2/1509300967710/10_GraDoc_Grout+Locations.jpg Diego Rivera, Sugar Cane Cracks (indicated by pink lines) and areas of detachment (indicated by blue) were graphically mapped to help understand their correlation. Due to the vast area of detachment and lack of access to the substrate from edges or central losses, holes had to be drilled though the surface of the painting to facilitate injection grouting. Drilling locations were strategically planned along existing damages and kept to an absolute minimum. The planned drilling locations are indicated by the yellow dots. (*Note: Dots are not to scale. Actual size of holes was far smaller than shown). https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c1e6a49631e85db8063/1509301551323/11_2014-06-23-IMG_3725.jpg Diego Rivera, Sugar Cane In preparation for drilling, the strategically identified locations were faced with a double layer of Japanese tissue paper to protect the surrounding paint and plaster. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c20d482e97953d46d98/1509301722579/12_2014-06-23-IMG_3732.jpg Diego Rivera, Sugar Cane A dremmel drill was used to carefully drill though the lime plaster layers, down to the cement support. Holes were placed over existing losses or cracks and were a maximum of 1cm in diameter. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c5d49fc2bfd47bc6710/1509301905830/17_2014-07-09-IMG_3395.jpg Diego Rivera, Sugar Cane A grout, composed of materials compatible with the original, was customized for stabilization of the plaster support. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c3617bffc79a0cf46b2/1503527150091/13_DC_0056.jpg Diego Rivera, Sugar Cane Area prepared for consolidation and injection grouting. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c382994ca7f7011306b/1503527157724/14_50_2014-07-09-IMG_3397.jpg Diego Rivera, Sugar Cane Cotton wool was used to block holes where the liquid consolidant and grout could potentially leak out prior to setting. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c38be42d6fe8e651332/1509301951987/15_2014-07-09-IMG_3391.jpg Diego Rivera, Sugar Cane Injection of a consolidating agent with a syringe and needle. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/5994c48a49fc2b3ca8756cfb/1503527142876/2014-07-15-IMG_3448.jpg Diego Rivera, Sugar Cane Injection of the custom grout with a syringe and catheter. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c70914e6b9c88137c0e/1503527172797/19_IMG_3246.jpg Diego Rivera, Sugar Cane Infrared thermography was used to track and monitor the dispersal of grout beneath the surface of the fresco. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c817131a56e0536350f/1509302015749/20.jpg Diego Rivera, Sugar Cane Because injection grouting is a "blind" treatment, infrared thermographs helped to visualize the amount and movement of grout through voids behind the surface of the fresco. Image © K.Corda/K.Graves, 2014   https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/599585a63e00be6a7ba6cab0/1509302083361/21.jpg Diego Rivera, Sugar Cane In preparation for injection grouting, catheter tubes were inserted through the drilled holes into voids behind the painted surface. Infrared thermographs helped to visualize the amount and movement of grout after injection. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c8a6b8f5b013eeb9fd3/1509302139611/25_2014-07-10-IMG_3406.jpg Diego Rivera, Sugar Cane Upon completion of grouting, presses were used to help maintain contact between the detached layers of plaster until the grout had set sufficiently. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7cab1e5b6cbabcac21f2/1503527206117/27_2014-07-18-IMG_3508.jpg Diego Rivera, Sugar Cane Holes and losses in the fresco were filled with a lime mortar and reintegrated to the painting, creating a unified surface. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7cadcd39c355dc8c1afd/1509302182306/28_2014-07-22-IMG_3514.jpg Diego Rivera, Sugar Cane Holes and losses in the fresco were filled with a lime mortar and reintegrated, creating a unified surface. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7cd1ebbd1a0fc655d722/1509302193310/29_IMG_3562.jpg Diego Rivera, Sugar Cane Holes and losses in the fresco were filled with a lime mortar and reintegrated, creating a unified surface. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7cd36b8f5b013eeba620/1509302202528/30_2014-07-22-IMG_3544.jpg Diego Rivera, Sugar Cane Holes and losses in the fresco were filled with a lime mortar and reintegrated, creating a unified surface. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7cfca5790a2392f57c74/1509302211359/31.jpg Diego Rivera, Sugar Cane Detail of the fresco before (left) and after (right) treatment. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7cfd579fb349a4740719/1503527246753/32.jpg Diego Rivera, Sugar Cane Detail of the fresco before (left) and after (right) treatment. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7d0646c3c4abb16ad5ca/1503527255481/33.jpg Diego Rivera, Sugar Cane Detail of the fresco before (left) and after (right) treatment. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/59958c9ed482e90a1ff03dc2/1503527265701/36_20140818_AT_OA_EF-LIGHTS+ABOVE+PAINTING_1943-46-2.jpg Diego Rivera, Sugar Cane Sugar Cane, after treatment. Image © Philidelphia Museum of Art, 2014 https://www.cordaconservation.com/work daily 0.75 2017-11-15 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/59f618ab27ef2d09a23697b2/1509300967710/10_GraDoc_Grout+Locations.jpg Projects Cracks (indicated by pink lines) and areas of detachment (indicated by blue) were graphically mapped to help understand their correlation. Due to the vast area of detachment and lack of access to the substrate from edges or central losses, holes had to be drilled though the surface of the painting to facilitate injection grouting. Drilling locations were strategically planned along existing damages and kept to an absolute minimum. The planned drilling locations are indicated by the yellow dots. (*Note: Dots are not to scale. Actual size of holes was far smaller than shown). https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/59958c9ed482e90a1ff03dc2/1503527265701/36_20140818_AT_OA_EF-LIGHTS+ABOVE+PAINTING_1943-46-2.jpg Projects Sugar Cane, after treatment. Image © Philidelphia Museum of Art, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/599585a63e00be6a7ba6cab0/1509302083361/21.jpg Projects In preparation for injection grouting, catheter tubes were inserted through the drilled holes into voids behind the painted surface. Infrared thermographs helped to visualize the amount and movement of grout after injection. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/5994c48a49fc2b3ca8756cfb/1503527142876/2014-07-15-IMG_3448.jpg Projects Injection of the custom grout with a syringe and catheter. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/5994baf615d5db8435865ffe/1509301457602/2014-06-22-IMG_3683.jpg Projects Detail showing the intersection of multiple cracks. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/5994af29197aea0c96b4012c/1509300994987/2014-06-22-IMG_3708.jpg Projects A purpose-built metal frame, contains the painting's internal armature and supporting plaster layers. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7fa415d5db8c666512dd/1509301031587/1_56_20140818_AT_DET17_RL-EF_1943-46-2.jpg Projects Following the buon fresco tradition, Rivera painted Sugar Cane in a series of giornata. A seam where one giornata abuts another is shown in raking light. Image © Kiernan Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7d0646c3c4abb16ad5ca/1503527255481/33.jpg Projects Detail of the fresco before (left) and after (right) treatment. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7cfd579fb349a4740719/1503527246753/32.jpg Projects Detail of the fresco before (left) and after (right) treatment. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7cfca5790a2392f57c74/1509302211359/31.jpg Projects Detail of the fresco before (left) and after (right) treatment. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7cd36b8f5b013eeba620/1509302202528/30_2014-07-22-IMG_3544.jpg Projects Holes and losses in the fresco were filled with a lime mortar and reintegrated, creating a unified surface. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7cd1ebbd1a0fc655d722/1509302193310/29_IMG_3562.jpg Projects Holes and losses in the fresco were filled with a lime mortar and reintegrated, creating a unified surface. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7cadcd39c355dc8c1afd/1509302182306/28_2014-07-22-IMG_3514.jpg Projects Holes and losses in the fresco were filled with a lime mortar and reintegrated, creating a unified surface. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7cab1e5b6cbabcac21f2/1503527206117/27_2014-07-18-IMG_3508.jpg Projects Holes and losses in the fresco were filled with a lime mortar and reintegrated to the painting, creating a unified surface. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c8a6b8f5b013eeb9fd3/1509302139611/25_2014-07-10-IMG_3406.jpg Projects Upon completion of grouting, presses were used to help maintain contact between the detached layers of plaster until the grout had set sufficiently. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c817131a56e0536350f/1509302015749/20.jpg Projects Because injection grouting is a "blind" treatment, infrared thermographs helped to visualize the amount and movement of grout through voids behind the surface of the fresco. Image © K.Corda/K.Graves, 2014   https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c70914e6b9c88137c0e/1503527172797/19_IMG_3246.jpg Projects Infrared thermography was used to track and monitor the dispersal of grout beneath the surface of the fresco. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c5d49fc2bfd47bc6710/1509301905830/17_2014-07-09-IMG_3395.jpg Projects A grout, composed of materials compatible with the original, was customized for stabilization of the plaster support. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c38be42d6fe8e651332/1509301951987/15_2014-07-09-IMG_3391.jpg Projects Injection of a consolidating agent with a syringe and needle. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c382994ca7f7011306b/1503527157724/14_50_2014-07-09-IMG_3397.jpg Projects Cotton wool was used to block holes where the liquid consolidant and grout could potentially leak out prior to setting. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c3617bffc79a0cf46b2/1503527150091/13_DC_0056.jpg Projects Area prepared for consolidation and injection grouting. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c20d482e97953d46d98/1509301722579/12_2014-06-23-IMG_3732.jpg Projects A dremmel drill was used to carefully drill though the lime plaster layers, down to the cement support. Holes were placed over existing losses or cracks and were a maximum of 1cm in diameter. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c1e6a49631e85db8063/1509301551323/11_2014-06-23-IMG_3725.jpg Projects In preparation for drilling, the strategically identified locations were faced with a double layer of Japanese tissue paper to protect the surrounding paint and plaster. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7c0837c581cb56c43cef/1509301417487/9_2014-06-22-IMG_3697.jpg Projects Cracks transversed the painting diagonally, ranging in length from a few inches to multiple feet. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7bfee4fcb5dc0603befd/1503527092175/8_2014-06-19-IMG_3592.jpg Projects Bulging or deformation of the most severely detached areas was visible in raking light. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7becf43b55f3c613ba49/1509301434918/7_2014-06-22-IMG_3682.jpg Projects Areas of most severe detachment were associated with the intersection of cracks towards the center of the painting. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7be303596e8aae23766b/1509301349488/5.jpg Projects Areas of concentric, semi-circular cracking and loss were also noted along the bottom, indicating previous stressing or flexing of the plaster. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7bd8db29d6084ceb937c/1509301279902/4.jpg Projects The most significant losses were located along the bottom edge of the fresco. The lower left corner is shown in normal (left) and raking (right) light prior to treatment. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7bea9f745655815e9c54/1509301386201/6_2014-07-15-IMG_3483.jpg Projects Scratches and abrasions in the paint and upper plaster layers were noted across the fresco's surface. Some had been previously in-painted and were discoloring. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7bc4b8a79b10134c4b8e/1509301112639/3.jpg Projects Rivera used a cartoon to transfer an outline of his composition to the wet plaster surface before beginning to paint. An incision made during the transfer process is visible in raking light. Note the slight alteration in composition made during the painting phase. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/598b7bb8be65949102c44e0a/1509301092704/2.jpg Projects Rivera used a cartoon to transfer an outline of his composition to the wet plaster surface before beginning to paint. An incision made during the transfer process is visible in raking light. Note the slight alteration in composition made during the painting phase. Image © K.Corda/K.Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a50dff8baf3a054922a60/572fb2007c65e4a1135b9099/1462743587771/IMG_3535.jpg Projects https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599c8177d482e9f0054202a5/1503526260308/39.jpg Projects Detail of the south wall before (left) and after (right) completion of conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599c601bb8a79bbe6db7042c/1503526091190/18.jpg Projects Detail of the mirrored dado level before (left) and after (right) cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599c60162994caf792aac23e/1509307677673/19.jpg Projects Some of the mirrored work had been covered over by non-original repair material during a previous intervention. This was removed to expose the mirror beneath. The image shows a concealed area before (left) and after (right) cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b5ebd3e00befe04e20fe5/1503526021534/13_NAG.jpg Projects Before (left) and after (right) removal of salts from the wall paintings. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b53aab8a79b98c401e75f/1509308063689/NAG11B-32-I-SV_401.JPG Projects Pipettes, syringes, needles and catheters were used as required to inject the custom grout, stabilizing areas of detached plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b535af7e0abf40099fdae/1503525917400/NAG09-32-E-N_031_C.jpg Projects The plastered and painted exterior walls of the Sheesh Mahal. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b5313a803bba60d43f5f1/1509307392269/NAG08-32-_115wb.jpg Projects Salt crystals were pushing layers of paint off the wall. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b52fc197aea9c75cdff3e/1509307122632/NAG08-32_026_1.jpg Projects In the vault, women are represented sharing drinks and playing musical instruments amidst swirling clouds during monsoon. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b52dce45a7c1d5ba767ca/1509307105660/NAG08_368wb.jpg Projects Once completely dry, the araish was decorated with paintings. In the vault, women are represented sharing drinks and playing musical instruments amidst swirling clouds during monsoon. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b5288f5e231c230949b12/1509307131883/NAG06-32-062-A3-2.jpg Projects In the vault, women are represented sharing drinks and playing musical instruments amidst swirling clouds during monsoon. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b51ec2994caa4578e5a5c/1509307378705/06_NAG07-32-186-Drwb.JPG Projects Salt crystals were pushing layers of paint off the wall. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b51a7bebafb01de6f767d/1509307430096/16+NAG07-32-285-Bwb.jpg Projects Salt efflorescences were removed by gentle brushing where possible. Poultices were then used to extract salt ions from within the plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/599b1d10ff7c502eb4ab417f/1503525863581/Nagaur+satellite+2.jpg Projects Satellite view of the Ahhichattragarh Fort and Palace Complex surrounded by the city of Nagaur in Rajasthan, India. Image © Digitalglobe https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/5984c888893fc0dc4b31dae2/1503526268952/38_NAG.jpg Projects General view of the west wall before (left) and after (right) completion of conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/5984c87ed482e94a17ed8691/1509308101608/37_NAG09-32-I-WW_069_C.jpg Projects Detail of the west wall after conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/5984c86b15d5dbb2e6479695/1503526212612/31_NAG.jpg Projects Example of a painted niche before (left) and after (right) cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/5984c863a803bbd121c6aac5/1503526099381/19_NAG.jpg Projects Detail of the mirrored dado level before (left) and after (right) cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/5984c8506a4963c478cecc39/1509307186571/09_NAG.jpg Projects Detail of the painting in the vault in visible (left) and ultraviolet (right) light. Ultraviolet fluorescence exposes the faded organic materials originally used to depict the clouds and rain of the monsoon. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c1b859fd064f64273f9/1509307624493/NAG12-32-I-WW_6100_C.jpg Projects Tthe mirrored surfaces were similarly cleaned and polished. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c18859fd064f64273bb/1509308005972/NAG12-32-I-NV_7016_D-R.jpg Projects Multiple small and large areas of detached and displaced plaster were readhered to the wall support through injection grouting. A custom grout compatible with the original materials was developed for the purpose. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c18a3360c45a6fb5b36/1509308076883/NAG12-32-I-NV_7013_T3.jpg Projects Pipettes, syringes, needles and catheters were used as required to inject the custom grout, stabilizing areas of detached plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c1227d4bd85045b52be/1503526232762/NAG12-32-I-NV_7013_C.jpg Projects Cotton wool was used to block holes where the grout could potentially leak out prior to setting. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c12f8baf3a0548b8cc5/1509307978323/NAG12-32-I-EW_6009_T.jpg Projects Example of a painted niche partially cleaned. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c0e859fd064f6427358/1509307960802/NAG12-32-I-EW_6008_T.jpg Projects Sponges were used to clear the loosened dirt layer from the surface of the wall, leaving the painted surfaces unaffected. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c0ef8baf3a0548b8c8d/1509307950778/NAG12-32-I-EW_6007_T.jpg Projects Sponges were used to clear the loosened dirt layer from the surface of the wall, leaving the painted surfaces unaffected. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c0b27d4bd85045b5286/1509307921266/NAG12-32-I-EW_6006_T.jpg Projects The tissue was then peeled off, removing the gel poultice with it. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c0b859fd064f6427344/1509307895261/NAG12-32-I-EW_6005_T.jpg Projects A gel-based system was applied over the tissue layer until the dirt layer beneath began to swell. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c06f8baf3a0548b8c5f/1503526123645/NAG12-32-I-EW_6004_T.jpg Projects An intervention layer of tissue paper was then applied to the area. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c0627d4bd85045b5256/1509307822818/NAG12-32-I-EW_6003_T.jpg Projects Paint layers were first covered with a naturally subliming material as protection during cleaning of the surrounding plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c03f8baf3a0548b8c3d/1509307735407/NAG12-32-I-EW_6001_T.jpg Projects A thick brownish-yellow dirt layer was also removed from the upper walls. A multi-step process was used to protect the water-sensitive pigments during cleaning of the araish. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192c008a65e2cccb58775a/1509307550461/NAG11-32-I-NV_3003.jpg Projects Detail of the vault during coating removal. The coating is clearly visible in the upper portion of the image, giving the paintings a glossy and discolored appearance. Where it has been removed in the bottom portion of the image, the originally matte appearance of the surface is visible. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bfe27d4bd85045b51da/1509307483750/NAG11-32-I-EV_2420.jpg Projects An extremely glossy and discoloring non-original coating was removed from the surface of the painting with poultices. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bf1859fd064f642723d/1509306192178/NAG09-32-E_037_C.jpg Projects Exterior view of the Sheesh Mahal or "Palace of Mirrors". The building comprises a single vaulted hall with encircling veranda and garden courtyard. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bee859fd064f642722c/1503525855932/NAG09-00-029.jpg Projects General view of the view of the Ahhichattragarh Fort and Palace Complex at Nagaur in Rajasthan, India. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192be9b654f9dd5cbb5212/1503525878630/NAG09-00_DP_228.jpg Projects Arcaded walkway though which lies the Sheesh Mahal building and garden. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192be9859fd064f64271f6/1509306051330/NAG09-00_DP_216.jpg Projects Elevated view of an arcaded walkway, behind which lies the Sheesh Mahal and surrounding gardens. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192be5b654f9dd5cbb51e5/1509306078685/NAG09-00_006+ed01+%282%29.jpg Projects The beautiful Ahhichattragarh Fort and Palace Complex at night. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bdc27d4bd85045b50b6/1509307609005/NAG07-32-109-Bwb.jpg Projects Example of the inlaid mirror work from which the palace derives its name. The image shows the araish during cleaning. A thick brownish-yellow dirt layer has been removed from the left side of the plaster but remains on the right side. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bda27d4bd85045b5094/1509306826043/NAG06-00-037.jpg Projects Both interior and exterior palace surfaces are covered in "araish" plaster. It is historically composed of three layers, the uppermost of which is bright white in color and highly polished. Both technique and materials are remarkably similar to those employed by local masons today. Image © Courtauld CWPD   https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bd627d4bd85045b5061/1509307351358/17+NAG08-32-_285wb+copy.jpg Projects Environmental monitoring indicated that fluctuations in the internal microclimate were promoting the efflorescence of salts and causing deterioration of the painting. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bd3b654f9dd5cbb513e/1509307319643/06_NAG08-32-_123wb.jpg Projects Environmental monitoring indicated that fluctuations in the internal microclimate were promoting the efflorescence of salts and causing deterioration of the painting. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bd027d4bd85045b5027/1503525909068/05_NAG09-32_006.jpg Projects Interior view of the Sheesh Mahal facing west, before conservation. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57192bd0b654f9dd5cbb5136/1503525901860/04_NAG09-32_002.jpg Projects Interior view of the Sheesh Mahal facing east, before conservation. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/57191b1f2fe1312b43925f05/1461263182428/NAG09-00-029.JPG Projects https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571910c137013b52b589514e/571910f34d088e0fae324990/1461260534506/DSCN6861.JPG Projects https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5995bd1f2994ca428521897d/1503582371788/50_TUT_Team_0373_YC_20170215.jpg Projects Members of the 2017 conservation team. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c892637c581174292155b/1503582358081/48.jpg Projects Greasy, black hand-marks in the entrance corridor shown before (left) and after (right) poultice reduction. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c8923e58c62a9c00a0758/1503582343490/46.jpg Projects Area of original plaster shown before (left) and after (right) stabilization with an edge repair. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c891bbe42d6f7f8e2e541/1509314228205/42.jpg Projects An area of thick flaking is pictured before (left) and after (right) stabilization with a custom bulking adhesive. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c8910e4fcb5d2ad640f69/1509314201047/41.jpg Projects An area of thick flaking is pictured before (left) and after (right) stabilization with a custom bulking adhesive. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c890c6a49636f7040d8dd/1503582282327/38.jpg Projects Area of flaking paint before (left) and after (right) readhesion, shown in raking light. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c8904bf629a6017f479bf/1503582273286/37.jpg Projects Area of flaking paint before (left) and after (right) readhesion, shown in raking light. Image © J. Paul Getty Trust, 2016   https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c8901f9a61e84459126e4/1503581726497/24.jpg Projects The wall painting before (left) and after (right) dust reduction. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c88f0be6594815d7d7bde/1503581703822/23.jpg Projects The wall painting before (left) and after (right) dust reduction. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c88f017bffcb6e624df6c/1503581719042/22.jpg Projects The wall painting before (left) and after (right) dust reduction, shown in raking light. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c88ddc534a55657b8c7b5/1503581712313/21.jpg Projects The wall painting before (left) and after (right) dust reduction. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598c88dd197aea3c27fd7a34/1503581542932/12.jpg Projects The rock walls of the tomb were cut and carved with chisels and other hand tools. Unpainted areas of the wall surface were chiseled to a smoother finish while the rock in the burial chamber was left in a rougher state in preparation for plaster and painting. In some parts of this tomb, therefore, finely cut but undecorated walls were originally regarded as a finished treatment as much as those with painting. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988af28db29d66c1508665e/1509309075332/TUT_BC_Nw_226_KG_20160223.jpg Projects Blanched, non-original surface coatings covering the surface of the wall paintings prior to treatment. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988aedad482e9a75ffe51d5/1509309028141/TUT_BC_Nw_108_KC_20160216.jpg Projects Multiple layers of non-original coatings and drips from previous interventions covered the surface of the wall paintings prior to treatment. The coatings were extremely glossy in some areas while some drips had blanched. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988ab676a49632b1ccc304b/1503582386730/6131335A-7BF1-454C-BC90-7CF39B0FF725.JPG Projects Village life on Luxor's west bank. Image © Katey Corda, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988ab5ccf81e0992904a308/1503581526841/A395C0FA-3DB6-4812-A218-97AF7E10539E.JPG Projects Painted depiction of King Tutankhamun. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988ab3b6a49632b1ccc2ca1/1503527469790/B9CB6515-635E-462F-9B72-60DEFD77FD81.JPG Projects Hot air balloons landing in the desert south of the sacred mountain, El Qurn, where the Valleys of the Nobles, Queens and Kings are located. Image © Katey Corda, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988ab37d7bdcee306c69c38/1503581478330/BEF4B23B-12ED-47B9-893C-B4BED45CC437.JPG Projects The entrance to KV 62, showing a group of tourists reviewing signage with a member of the conservation team. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988ab3386e6c0ff76843113/1503581535667/DA2C9167-8A2B-451F-AE68-0917F090C2E2.JPG Projects The west wall of the burial chamber depicts an extract from the Book of Amduat or “What is in the Underworld”, including twelve baboon-deities, representing the twelve hours of the night. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988a9a6bf629a7373203021/1503582378626/0722FE55-D413-4A5B-BA20-EA6834C9D3D1.JPG Projects Sugar cane fields in the agricultural lands that extend across Luxor's west bank. Image © Katey Corda, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988a968a803bbf89ae9ebc0/1503581518059/6D7A905B-A4BE-4DB6-B572-819ADA4B6CAE.JPG Projects The original, carved and painted stone sarcophagus sits in its original position in the center of the burial chamber. It houses Tut's original, carved and gilded outermost wooden coffin. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988a95f3e00be429f4a0375/1503581502919/07EB3E9B-04D5-4032-907D-A69A33089731.JPG Projects Iconography painted on the north wall of the burial chamber. Large figures in a style recalling the Amarna period are painted against a bright yellow background. Image © J. Paul Getty Trust, 2017   https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988a92c37c581d599d3872e/1503581510586/01EC5655-6093-41BF-B0BA-6D062C5F22DD.JPG Projects Tutankhamun, depicted in the form of a living king, being welcomed into the realm of the gods by the goddess Nut. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5988a921893fc04d56bbdbb2/1503581470455/01_0FD406FB-3087-4959-BD59-FB7A74B0E7B0.JPG Projects Daybreak in the Valley of the Kings. The entrance to King Tut's tomb is located just to the right of the captured frame. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598896f3db29d60e9d4320e3/1509308548671/03_TUT_Team_0074_LW_20161126.jpg Projects Visitors to the tomb observing the burial chamber from the viewing platform. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598895b7b8a79b2766581bb2/1503581486092/TUT_AC_Nw_0887_KC_20170308.jpg Projects Inside the antechamber of the tomb showing the new visitor platform constructed as part of the project initiative and the painted burial chamber beyond. Conservation team leader, Lorinda Wong, is pictured giving a video interview. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598894f8893fc0cfbc5f6310/1503581589842/TUT_BC_team_0021_LW_20161112.jpg Projects Environmental monitoring of conditions both inside and outside the tomb was established early in the project with data collected through the duration. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/598894f1579fb35d42d20861/1503581574496/TUT_BC_team_0019_LW_20161112.jpg Projects Environmental monitoring of conditions both inside and outside the tomb was established early in the project with data collected through the duration. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f1c586e6c09a29e192e1/1509314217670/TUT_Team_0485_YC_20161205.jpg Projects To stabilize larger, thicker flakes of paint and plaster, a custom bulking adhesive was applied by pipette behind and around the edges of each flake. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f187a5790a7d30c010a6/1503582332754/TUT_BC_Ww_0661_KC_20170309.jpg Projects Area of original plaster, stabilized with an edge repair. Image © J. Paul Getty Trust, 2017   https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f184bebafb164ed6f789/1503581565109/TUT_BC_Ww_324_LW_20160302.jpg Projects The team set up for conservation treatment of the wall paintings. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f1643a0411d182f4a08e/1503527457945/TUT_BC_Ww_287_KC_20160227.jpg Projects Part of the conservation team inside the painted burial chamber. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f14ed482e9f06c66fead/1503582196305/TUT_BC_Ww_231_LW_20160223.jpg Projects Non-original coatings and drips from previous interventions were reduced as far as possible by using an appropriate solvent to solublize and absorb them into tissue. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f14d414fb5ac543eb002/1503581695282/TUT_BC_Ww_195_LW_20160221.jpg Projects In a second step, a damp sponge was tamped over a thin layer of tissue to absorb remaining dust and lift it from the surface. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f14417bffc6a27066a1b/1509314358667/TUT_BC_team_0062_YC_20161114.jpg Projects The unpainted rock-cut walls in the antechamber and entrance corridor had become extremely dirty over the years as a result of tourists touching them, leaving a greasy, black surface appearance. The dirt was reduced with poultices. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f134f7e0ab1cb6f890c8/1503581623099/TUT_BC_team_0026_LW_20161112.jpg Projects Dust reduction was a two-step process. An air brush was first used in conjunction with a mechanical brush to carefully lift dust from the paint surface and prevent it from resettling in small cracks and fissures. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f130bebafb164ed6f36f/1503581550678/TUT_BC_Sw_0509_KC_20170307.jpg Projects Plasters were applied to the rock-cut walls of Egyptian tombs to provide a suitable substrate for painting among other reasons. The rough finish of the plaster in Tut's tomb is unusual. Trowel and hand marks indicate that plasters were applied quickly and roughly. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f0eea5790a7d30c00857/1503581740679/TUT_BC_Sar_0573_KC_20170308.jpg Projects Traces of the organic pigment, orpiment, were found on the stone sarcophagus. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f0d54c0dbf146053a3d8/1503581733565/TUT_BC_Sar_0503_KC_20170306.jpg Projects A thick layer of dust was also removed from the carved and decorated stone sarcophagus. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f0763e00bec843b835ba/1509314210578/TUT_BC_Nw_315_LW_20160302.jpg Projects To stabilize larger, thicker flakes of paint and plaster, a custom bulking adhesive was applied by pipette behind and around the edges of each flake. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f049579fb35d42abd021/1503582217513/TUT_BC_Nw_221_KC_20160222.jpg Projects Non-original coatings and drips from previous interventions were reduced as far as possible by using an appropriate solvent to solublize and absorb them into tissue. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f02bf9a61e3bd675e045/1509309266664/TUT_BC_Nw_194_KG_20160221.jpg Projects The non-original coatings had begun to deteriorate and yellow, discoloring the paintings. A yellowing coating is visible where it remains on the left side of the image as compared to where it has been removed from the right. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984f017a5790a7d30bffc92/1503582225170/TUT_BC_Nw_0183_KC_20161128.jpg Projects A small square of glossy coating is shown remaining on the figure's arm following reduction from the surrounding area. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984efc26b8f5b9163420474/1509308871140/TUT_BC_Nw_098_KG_20160214.jpg Projects Dust deposition has been a pervasive within the tomb. Fine dust settled on the painted surface in a thick layer, obscuring the imagery. Attempts to dust the paintings outside of the conservation project have led to loss in areas of paint layer instability. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984efbae3df285a35b59350/1503581615054/TUT_BC_Nw_093_KC_20160214.jpg Projects Dust reduction was a two-step process. An air brush was first used in conjunction with a mechanical brush to carefully lift dust from the paint surface and prevent it from resettling in small cracks and fissures. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984efa646c3c4bd443cba44/1503581599870/TUT_BC_Nw_089_KG_20160214.jpg Projects Preparing for removal of dust from the wall paintings. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ed9b6f4ca31b72535b6e/1503582264434/TUT_BC_Ew_329_LW_20160302.jpg Projects A syringe and needle was used to apply an appropriate adhesive behind each flake, readhering them to the substrate. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ed856a4963b1c4dceb02/1503582256189/TUT_BC_Ew_320_LW_20160302.jpg Projects A syringe and needle was used to apply an appropriate adhesive behind each flake, readhering them to the substrate. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ecc96a4963b1c4dce03c/1503582242005/TUT_BC_Ew_216_KC_20160222.jpg Projects The stabilization of curling and flaking paint was a key component of the project, particularly on the east wall, as it was at great risk of loss from mechanical damage. Image © J. Paul Getty Trust, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ec9c893fc0cfbc38d63a/1503582326034/TUT_AC_Ww_0881_KC_20170308.jpg Projects For areas where the bulking adhesive was insufficient - for example, to stabilize patches of original plaster - a repair material was applied around the edges to readhere it to the substrate. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ec8717bffc6a27062505/1503582319819/TUT_AC_Ww_0868_KC_20170308.jpg Projects For areas where the bulking adhesive was insufficient - for example, to stabilize patches of original plaster - a repair material was applied around the edges to readhere it to the substrate. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ec42cf81e0278ea71467/1503582365004/TUT_AC_Ww_0442_KC_20161205.jpg Projects A small square of greasy dirt deposited by tourist's handprints, is shown remaining on the rock-cut surface of the antechamber following its reduction from the surrounding areas. Image © J. Paul Getty Trust, 2017 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5023b09f958c693a9995/5984ec2ad2b857274d0604e8/1502122742767/File051.jpg Projects https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd4c2f7e0abbcaa71e0f6/1503582684564/floor.jpg Projects Detail of the Crypt stone floor before (left) and during (right) removal of a thick layer of dirt and microbiological growth. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd32959cc68c69d2fd23b/1503582540411/VCC11-06_613.JPG Projects Consolidation of powdering wall paintings. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd2fd3e00bef256ae0590/1503582677012/VCC10-08__287.JPG Projects A thick layer of dirt and microbiological growth was cleaned from the stone floor of the Crypt. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd2d5be6594a2d0df33e5/1503582691743/VCC10-08__318.JPG Projects A thick layer of dirt was cleaned from the inscribed marble plaques set into the floor of the Crypt. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd2259f7456b0c9f677ce/1503582568474/VCC10-05_137.JPG Projects Losses in the wall paintings were filled with a lime and sand mortar, compatible with the original materials. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd21649fc2bd29696b171/1503582562119/VCC10-05_122.JPG Projects Syringes, catheters, needles and pipettes were used to inject a custom grout into voids behind detached areas of decorated plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd209f7e0abbcaa71a9d0/1509315118894/VCC10-05_060.JPG Projects During consolidation of the powdering limestone monuments. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd201f7e0abbcaa71a975/1503582634719/VCC09_Nov_004.JPG Projects A consolidant was applied to the powdering limestone tomb monuments by syringe and needle. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd1e8d2b857ae58c31cfb/1503582555333/IMG_8578.JPG Projects Syringes, catheters, needles and pipettes were used to inject a custom grout into voids behind detached areas of decorated plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd1df893fc0c629ce4bab/1503582718697/IMG_8546.JPG Projects Uncovering a section of wall painting obscured by layers of limewash. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dd1d34c0dbfec6135ef38/1503582710636/IMG_8539.JPG Projects A section of wall painting obscured by layers of limewash was uncovered. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599dcd09b8a79ba9c1912787/1509315038598/IMG_8530.JPG Projects The wall paintings partially cleaned in the western apsidal area. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599c8d1ebe42d69ea77d667a/1503582743290/27.jpg Projects Detail of the Crypt before (left) and after (right) conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599c8c779f8dce119c6524b2/1503582735383/26.jpg Projects Detail of the Crypt before (left) and after (right) conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599c8c617131a535171e0c31/1503582654173/19.jpg Projects Detail of the limestone tomb monuments before (left) and after (right) consolidation and cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/599c83bd914e6b1cdb350f4f/1503582520948/St.JCRYPT03-197-c.JPG Projects Salt-related deterioration was causing powdering and loss from both the wall paintings and limestone tomb monuments. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/598c8fd26f4ca3565b3d5981/1503582641062/20_CIMG0385.jpg Projects A consolidant was applied to the powdering limestone tomb monuments by syringe and needle. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/598c8faa15d5db7e6056df8f/1503582581179/17_VCC11-06_598.jpg Projects Salt efflorescence, loose dirt, and microbiological growth were cleaned from the wall paintings by dry dusting with paint brushes and carefully wiping with damp sponges. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/598c8f2e9f7456493d115eef/1503512281941/03_exterior-of-st-johns.jpg Projects Facade of St John’s Co-Cathedral in Valletta, Malta. https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/598c8f07f14aa1822c1e4944/1503582459691/01_CIMG0396.JPG Projects St. John's Co-Cathedral is located within the fortified city of Valletta, the capital city of Malta. Image © Katey Corda, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5984d38fbe6594bb037ef9c0/1503582703145/28_VCC.jpg Projects Image of the inscribed marble plaques set into the floor of the Crypt before (left) and during (right) removal of a thick layer of dirt. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5984d37f1e5b6c1be8adc48a/1503582727589/25_VCC.jpg Projects Detail of the Crypt before (left) and after (right) conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5984d37ccd0f685f369bd2e4/1503582601902/24_VCC.jpg Projects Detail of the wall paintings before (left) and after (right) cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5984d377f14aa175c76b19e1/1503582668950/22_VCC.jpg Projects Detail of the limestone tomb monuments before (left) and after (right) consolidation and cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5984d374b8a79b354113672a/1503582647819/21_VCC.jpg Projects Detail of the limestone tomb monuments before (left) and after (right) consolidation and cleaning. Image © Courtauld CWPD   https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5984d36959cc687d5ac05ca1/1503582608400/18_VCC.jpg Projects Detail of the wall paintings before (left) and after (right) cleaning. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984c286db4323751f9176/1503582750778/VCC12_372.jpg Projects The Crypt after conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984bfab48de0f879c89a3/1505403268017/VCC11-10_121.jpg Projects The wall paintings during cleaning. A layer of salt efflorescence, loose dirt, and microbiological growth has been cleaned from the left side of the image but remains on the right. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984beab48de0f879c899f/1503582533708/VCC11-10_016.jpg Projects Beginning conservation treatment in the Crypt. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984bac2ea51227a094684/1503582500187/VCC11-06_605-ed.jpg Projects large areas of the wall paintings were detaching and at imminent risk of collapse. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984b1ab48de0f879c893e/1503582625516/VCC10-05_097.jpg Projects A consolidant was applied to the powdering limestone tomb monuments by syringe and needle. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984af86db4323751f911d/1503582615049/VCC10-05_071.jpg Projects A consolidant was applied to the powdering limestone tomb monuments by syringe and needle. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984aac2ea51227a094601/1503582527714/VCC07_031.jpg Projects Salt-related deterioration was causing powdering and loss from both the wall paintings and limestone tomb monuments. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984a986db4323751f90e8/1503582507755/VCC-West-CIA-2003-05-134-e.jpg Projects Salt efflorescence, biofilms and dirt were hindering appreciation of the paintings and diminishing recognition of the Crypt’s significance. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/571984a5c2ea51227a0945e3/1503582575050/IMG_8615.jpg Projects Salt efflorescence, loose dirt, and microbiological growth were cleaned from the wall paintings by dry dusting with paint brushes and carefully wiping with damp sponges. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5719849e555986d708577e9c/1509314867286/IMG_8324.jpg Projects Testing the strength of a custom grout for stabilization of the detached plaster. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5719849b86db4323751f90a2/1503582514632/Flower+VCC-West-CIA-2003-05-039-e.jpg Projects Salt-related deterioration was causing powdering and loss from both the wall paintings and limestone tomb monuments. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5719849ae707ebffdeba8419/1503582493291/Fig+05+VCC-East-CIA-2003-05-248-e.jpg Projects large areas of the wall paintings were detaching and at imminent risk of collapse. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5719849aab48de0f879c88b7/1509314775128/Fig+04+VCC11-09_021.jpg Projects A large loss of painted plaster from the Crypt vault exposed the construction technique of keyed ashlar masonry, cut from the local globigerina limestone. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/57192debe707ebffdeb7dc52/5719849986db4323751f9083/1503582479735/Crypt+looking+west.jpg Projects Interior of the Grand Masters’ Crypt of St John’s Co-Cathedral before conservation treatment. Image © Courtauld CWPD https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7608ff7c5027e56a5099/1510716483758/10_IMG_3124.JPG Projects A shovel with corroded blade is buried in the substrate of Segment 92. It is interesting evidence of the physical history and hasty construction of the wall. Image © Nicole Huter, 2016 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7579e3df28c8a48bd453/1510716494511/39.jpg Projects Segment 92. Before (left) and After conservation treatment (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7574579fb349a4736fa6/1510716494240/38.jpg Projects Segment 93. Before (left) and After conservation treatment (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b75693e00beb6bacb1fb5/1510716494216/37.jpg Projects Segment 94. Before (left) and After conservation treatment (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b75686b8f5b013eeb171c/1510716493992/36.jpg Projects Segment 95. Before (left) and After conservation treatment (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b755a9f745655815e1956/1510716493734/35.jpg Projects Segment 96. Before (left) and After conservation treatment (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7555f43b55f3c61336cf/1510716493425/34_BW.jpg Projects Results of injection grouting. Before (left), After (right) Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b754837c581cb56c3b668/1510716492671/31_BW.jpg Projects Injection grouting was used to treat areas of delamination and to reattach fragments. Image © Kiernan Graves and Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7541ebbd1a0fc655432c/1510716491038/30_BW.jpg Projects Results of readhesion shown in raking light. Before (left), After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7529f43b55f3c613339f/1510716491048/29_BW.jpg Projects Results of readhesion shown in raking light. Before (left), After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7527c534a55f0dd6d121/1510716490843/25_BW.jpg Projects Detail of graffiti removal: Before (left) and After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b750dbe42d6fe8e648716/1510716530807/23_BW.jpg Projects Removal of the 2014 graffiti was extremely successful. Results of removal: Before (left), After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b7503bebafb9c49bc020e/1510716488976/22_BW.jpg Projects (Detail). Before cleaning (left), After cleaning (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b74faf14aa165920b5909/1510716488988/21_BW.jpg Projects Results of the concrete cleaning. Before (left), After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b74f103596e8aae22efb0/1510716483755/17_BW.jpg Projects (Detail). Before cleaning (left), After cleaning (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b74e046c3c4abb16a4c11/1510716484302/16_BW.jpg Projects Before cleaning (left), After cleaning (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b74e017bffc79a0ceb73c/1510716492711/15_BW.jpg Projects Results of readhesion shown in raking light. Before (left), After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598b74cff14aa165920b54a2/1510716484304/13_BW.jpg Projects Results of surface cleaning. Before (left), After (right). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f8b552fe131e2fe8a6683/1510716494927/L1001674+copy.jpg Projects Segments 92-96 in their new permanent location after conservation treatment. Image © Meghan McCandless, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f8b5501dbae26ddaaa320/1510716494704/L1001672.jpg Projects Sections 92-96 of the Berlin Wall were reinstalled indoors upon their return to 520 Madison Avenue rather than to their previous, outdoor location. Indoor protection, with the correct care, will greatly mitigate further deterioration and damage. Image © Meghan McCandless, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f88b22b8dde9e10b56f62/1510716482271/BW_S.1_20150414_Dating_001_D.jpg Projects Transferred ink from a newspaper with the date August 1975 is visible in the concrete of segment 96, confirming a construction date of 1975 or later. (Image inverted for legibility). Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f81c01d07c088bf6ab408/1509297125262/imagewall3265.jpg Projects The mural after installation in the courtyard of 520 Madison Avenue in Manhattan, NY. Image © Tishman Speyer, 1991 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f80d78a65e2444c131bc7/1503524581880/IMG_3799.JPG Projects Flaking and loss of the paint layers. Image © Kiernan Graves, 2013 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f80d28a65e2444c131b97/1509297306483/IMG_2558.jpg Projects Rear of the mural showing its position in front of an urban waterfall. Water fell directly on the base and sprayed the rear. Image © Kiernan Graves, 2013 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f80cd8a65e2444c131b6c/1509297453107/IMG_1457.JPG Projects The mural after the 2014 graffiti vandalism. The words “IT’S LIKE TALKIN TO A WALL” were spray painted across the surface in three different languages and colors: Arabic in red, English in gray, and Hebrew in blue. Image © Tishman Speyer, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f80918a65e2444c131a3f/1503524571363/BW_S.3_20150414_Rebar_001_C.jpg Projects Corrosion of the internal rebar. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f806e8a65e2444c131980/1503524576658/BW_S.1_20150407_Grouting_AT_001_Dr.jpg Projects Cracking and delamination of the concrete support. Image © Kiernan Graves, 2013 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/572f80438a65e2444c13188d/1510716492818/BW_20150319_Pub+grout+tests_007.jpg Projects Standard field tests were used to identify an appropriate grout. Characteristics such as water-vapor permeability, shrinkage, rheology, hardness and strength were assessed. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eb757d210b8548ed68f37/1503524588723/IMG_3755.JPG Projects (Detail) Flaking and loss of the paint layers. Image © Kiernan Graves, 2013 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eb6d4d210b8548ed68b6b/1510716490781/BW_S.5_20150203_Pub+fixing_008.jpg Projects A heated spatula was used to relax and readhere the flakes. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eb67e22482efd0620cdd8/1510716491037/BW_S.5_20150203_Pub+fixing_003.jpg Projects Flaking paint was stabilized by feeding a small amount of adhesive beneath the lifting paint layer with a syringe and needle. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eb286b09f959babbe0258/1510716492562/BW_S.3_20150322_Grouting_DT_006_C.jpg Projects Grout was injected into voids using a syringe and needle. Two fully detached fragments were replaced in their original positions on segments 94 and 92. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eb256cf80a13b08895309/1510716484450/BW_S.3_20150310_Pub+cleaning_013.jpg Projects Depressions in the concrete held thicker deposits of dirt and remains of insects. Insect remains were first removed with a sharpe tool to prevent their decay within the Wall and the dirt then removed with cotton swabs. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eb23db09f959babbe0067/1510716483098/BW_S.3_20150310_Pub+cleaning_002.jpg Projects As a result of its outdoor, urban environment, the painted surface was covered by a layer of superficial dirt and dust. It was removed with soft, damp sponges. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eaf184c2f858e510637f0/1510716484706/BW_S.1_20150411_Pub+cleaning+edge_006.jpg Projects Cleaning of the concrete boarder. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eaef44c2f858e510636e6/1510716484658/BW_S.1_20150411_Pub+cleaning+edge_005.jpg Projects Cleaning of the concrete boarder. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eaeeed51cd40b93b03b97/1510716484327/BW_S.1_20150411_Pub+cleaning+edge_002.jpg Projects Cleaning of a two-inch boarder surrounding the painted edge was necessary to integrate the work of the concrete conservation team (EquipCon) with that of the painting conservation team. Image © Katey Corda, 2015 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eacdd37013bf73c999e36/1510716480608/BW_S.1_20141228_BT_001_C.jpg Projects The segments were moved to a warehouse for conservation treatment. Image © Kiernan Graves, 2014 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/571eacdd45bf21e7d878fdd8/1509297162963/BW_Overall_2011.JPG Projects Mural imagery prior to the 2014 graffiti vandalism. Image © Tishman Speyer, 2010 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a5048b09f958c693a9ae5/598328875fd63b11a5144a2c/1461628701304/BW_Overall_2011.JPG Projects https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/59934110bf629a6a7695e360/1503857323405/05_Shelwit_NaosEwall-N1-N2_2012-05-01_pho_APS_arce-lux+small.jpg Projects Reliefs on the east interior wall of the naos. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/598b791ecd39c355dc8bd34b/1509303110423/13_Shelwit_BatDocumentation_2012-04-23_pho_APS_arce-lux_OMM0332.jpg Projects Dr Christian Dietz, a bat biologist in the Department of Animal Physiology at the University of Tübingen, identified the species as Asellia tridens. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984bfcce3df2867773a2a2a/1509302531186/01_Shelwit.jpg Projects The temple of Deir el Shelwit sits at the interface of the desert and cultivated agricultural lands, 5 kilometers south of better-known sites such as the Valleys of the Kings and Queens. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984bebd8419c27e05642486/1509305358398/44_Shelwit_Temple_General_008_2012-04-25_APS_ARCE-Lux_JP.jpg Projects Once the bats had been permanently excluded, thick deposits of dust and guano were removed from the floors of the temple. All debris was reviewed for archaeological material before disposal. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984be57f5e23143b025cf98/1509305842242/50_Shelwit_Temple_N1_001_Td_C_2012-06-03_APS_Arce-lux_KC.JPG Projects A condition assessment within the naos demonstrated that the decorative relief was generally in stable condition. The limited time remaining in the work season was dedicated to cleaning trials. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984bd4459cc687d5abecb6b/1509303993500/20_Shelwit.jpg Projects Window openings on the temple's south facade, shown before (left) and after (right) closure with screens. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b81fcd0f685f3699dd5c/1509305709699/45_Shelwit.jpg Projects Removal of thick dust and guano deposits from the floor of the temple. Dust movement was kept to a minimum by collection with trowels rather than brooms and was regular removal from the temple as it accumulated. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b818893fc0dc4b30acc6/1509304927877/41_Shelwit.jpg Projects Detail of a large crack in the north facade before (left) and after (right) repointing. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b811f9a61e76c6f323c2/1509304915060/40_Shelwit.jpg Projects Detail of a large crack in the north facade before (left) and after (right) repointing. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b80b579fb366729fd8f4/1509304906085/39_Shelwit.jpg Projects Detail of a large crack in the north facade before (left) and after (right) repointing. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b807197aea356cd9c754/1503857324287/37_Shelwit.jpg Projects Repointing and filling of the temple’s exterior cracks with a tailor-made lime mortar. The north facade is pictured before (left) and after (right) repointing. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b800f7e0ab6f61e1f59f/1509304077102/22_Shelwit.jpg Projects Detail of a window closure on the temple's south facade after completion. The frames were individually cut to precisely fit the contours of the original openings. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b7fd17bffcc4feb0d961/1509304291405/14_Shelwit.jpg Projects A bat shown exiting the temple through one of two major egress points just after sunset. The most successful means of eradicating a bat infestation is through exclusion, allowing the bats to exit the roost naturally for nighttime feeding and then sealing points of egress to prevent their re-entry. Exclusion must be repeated on a nightly basis until all individuals have departed. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/5984b7f5e4fcb5fed2c8fef2/1509303001114/12_Shelwit.jpg Projects Bats roosting in one of the four side chambers in the temple. A small skylight in the ceiling was one of multiple egress points allowing the bats to enter and exit the temple. The skylight is shown both from inside looking up (left) and outside, looking down (right). Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55de86db43237523df38/1509305863052/22+Pub+DSC_0462.jpg Projects The team. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55dc59827ebe075ab71d/1503857324667/21+Pub+Shelwit_Workshot_2012-05-17_pho_APS_arce-lux_MMS5473.jpg Projects Upon the completion of preventive interventions, work was initiated within the naos, beginning with a condition survey and documentation of the painted reliefs. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55db86db43237523df31/1503857323459/21+Pub+Shelwit_BatDocumentation_2012-04-23_pho_APS_arce-lux_OMM0586.jpg Projects Jennifer Porter and Katey Corda assessing the interior of the temple. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55d959827ebe075ab719/1503857323857/21+Pub+Shelwit_BatDocumentation_2012-04-23_pho_APS_arce-lux_OMM0568.jpg Projects Inspection of the painted relief. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55d659827ebe075ab6e5/1503857323446/21+Pub+Shelwit_BatDocumentation_2012-04-23_pho_APS_arce-lux_OMM0560.jpg Projects Inspection of the painted relief. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55d686db43237523defa/1509302638244/20+Shelwit_Temple_N04_S155b_018_O_M_2012-05-22_APS_Arce-lux_KC.jpg Projects Detail of vibrant pigment remains on the interior walls. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55d286db43237523dea7/1503857323451/20+Shelwit_Temple_N04_S155b_016_O_C_2012-05-22_APS_Arce-lux_KC.jpg Projects The interior walls of the temple are carved in high-relief and intricately painted. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55d207eaa0d56f75e4a7/1503857324585/19+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_ANE1438.jpg Projects The custom-built wooden scaffold, providing access to the painted reliefs on the interior walls of the naos. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55cd7da24ff4cded4ae5/1509305741705/19+Shelwit_Overview_2012-05-13_APS_arce-lux_AMD0340.jpg Projects Following cleanup, preparations for work on the interior painted reliefs could begin. An initial step included the erection of a custom wooden scaffold, constructed by a team of local carpenters. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55bb86db43237523ddb1/1509303688991/17+Shelwit_Temple_P5_004_S009-012_2012-04-25_APS_ARCE-Lux_JP.jpg Projects Guano deposits were collected and tested in a Cairo laboratory for the presence of harmful fungal and bacterial growths, principally Histoplasma capsulatum. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55a759827ebe075ab52a/1509303615445/15+Shelwit_Temple_P3%2B10_001_Tb_2012-04-25_APS_ARCE-Lux_JP.jpg Projects Guano deposits proved the best indicator of roost locations and aided in estimating colony size between three to five hundred mature bats. No flightless young were observed. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a559a7da24ff4cded4931/1503857324427/12+roof+DSC_0436.jpg Projects Detail of roof joint after filling and repointing with lime mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a559959827ebe075ab49f/1509305182963/12+roof+DSC_0435.jpg Projects The original plaster on the temple roof had largely weathered away, resulting in exposed joins and depressions where water could pool. Previous water infiltration had resulted in visible damage to the building interior. These joint were also filled with lime mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a559359827ebe075ab46b/1503857324220/11+Shelwit_Workshot_2012-05-07_pho_APS_arce-lux_MMS5035.jpg Projects Repointing and filling of the temple’s exterior cracks with a tailor-made lime mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55917da24ff4cded490b/1503857324227/11+Shelwit_Workshot_2012-05-07_pho_APS_arce-lux_ANE1145.jpg Projects Repointing and filling of the temple’s exterior cracks with a tailor-made lime mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a558f86db43237523dc4a/1503857324198/11+Shelwit_Workshot_2012-05-07_pho_APS_arce-lux_ANE1140.jpg Projects Repointing and filling of the temple’s exterior cracks with a tailor-made lime mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a558c59827ebe075ab419/1509304780245/10+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_MMS5289.jpg Projects Preparation of lime mortar for repointing of the temple’s fabric. Brick dust and local sand were sieved and washed to provide filler for the mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a558a07eaa0d56f75e1e5/1509304758136/10+Shelwit_Temple_Ext_002_C_2012-05-13_APS_Arce-lux_JP.jpg Projects Preparation of lime mortar for repointing of the temple’s fabric. Fired bricks were crushed to provide a portion of filler for the mortar. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55877da24ff4cded48ca/1503857324086/10+Shelwit_Overview_2012-05-13_APS_arce-lux_AMD0330.jpg Projects Multiple field tests were carried out to establish the ideal lime to fillers ratio for the mortar mix. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a558659827ebe075ab3e9/1503857323931/9+closure+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_MMS5360.jpg Projects Closure of temple openings with wood and mesh screening. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a55847da24ff4cded48af/1509304173456/9+closure+DSC_0455.jpg Projects Detail of a window closure on the temple's interior south wall after completion. A double screening system was implemented wherever possible to act as a backup. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a557c7da24ff4cded485c/1503857323804/9+closure+DSC_0445.jpg Projects Closure of temple openings with wood and mesh screening. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a557b86db43237523dba5/1503857323778/9+closure+DSC_0444.jpg Projects Closure of temple openings with wood and mesh screening. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a557907eaa0d56f75e12e/1503857323680/8+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_ANE1421.jpg Projects Construction of screens on the temple's roof terrace. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a557407eaa0d56f75e105/1509303884777/8+Shelwit_Temple_D_002%C2%AD_Td_2012-06-20_APS_Arce-lux_JP.jpg Projects A team of local carpenters sealed the temple openings with wooden frames and a double layer of heavy duty, stainless steel screening with a mesh size of 1 cm2. The design was intended to minimally alter the original light levels and airflow within the temple. Taking into account the historic fabric, screens were fitted tightly in place without the use of screws, adhesives, or other invasive means. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a557386db43237523db41/1503857324048/7+Shelwit_Workshot_2012-05-07_pho_APS_arce-lux_MMS5053.jpg Projects Asellia tridens bat taking refuge in one of the many thin cracks running though the building fabric. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a555e86db43237523da9d/1509304651611/6Pub+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_MMS5301+crop.jpg Projects Planning for repointing the exterior building fabric. Bats have the agility to crawl through very small openings including cracks. As a result, repointing was necessary. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a555d07eaa0d56f75e046/1503857323646/6Pub+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_ANE1561.jpg Projects Planning for sealing of the temple openings. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a555407eaa0d56f75dff0/1503857323647/6+Shelwit_Temple_C4_002_Tb_2012-04-25_APS_ARCE-Lux_JHP.jpg Projects Egyptian monuments are often streaked with bat and bird excreta. While historic sites are frequently sealed to prevent infestations, the closure systems are rarely made of durable materials and are poorly maintained. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a554907eaa0d56f75dfad/1509304027732/6+after+detail+Shelwit_Temple_S_003_Ta_2012-06-27_APS_Arce-lux_JP.jpg Projects Detail of window closures on the temple's south facade after completion. The wooden frames were painted to match the color of the surrounding stone. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a554686db43237523d9ca/1509302904020/5+Shelwit_BatDocumentation_2012-04-23_pho_APS_arce-lux_OMM0429.jpg Projects A bat colony was habituating in the side chapels, corridor and stairwell of the temple. Bats are a cause of mechanical damage to original surfaces, while their excrement causes staining and chemical deterioration of stone and paint layers and can host fungus and bacteria harmful to humans. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a554307eaa0d56f75df46/1503857323709/2+Floor+plan.jpg Projects Temple floorplan (diagram is not to scale). https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a554286db43237523d9a0/1503857323395/1+Shelwit_Workshot_2012-05-14_pho_APS_arce-lux_ANE1546.jpg Projects Deir el Shelwit temple exterior. Image © ARCE, 2012 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/571a505db09f958c693a9b7e/571a553e07eaa0d56f75df06/1461343559872/1+Shelwit_Overview_2012-05-23_pho_APS_arce-lux__ANE_ANE2010.jpg Projects https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/599efed53e00bec273cb1c42/1503592166634/01_CIMG0396.JPG Projects https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/599f0345f5e2311effe765f8/1503593596102/01_TUT_BC_Ww_287_KC_20160227.jpg Projects https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/599f07b8cd39c3d6a83dffe4/1503594730011/01_Shelwit.jpg Projects https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/599f080f7131a56391d13ed6/1503594523762/01_NAG09-00-029.jpg Projects https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/599f0875ff7c50f0225dbe2d/1503594639846/36_20140818_AT_OA_EF-LIGHTS+ABOVE+PAINTING_1943-46-2.jpg Projects https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/599f090f03596ede4743a67a/1503594773557/01_imagewall3265.jpg Projects https://www.cordaconservation.com/blog daily 0.75 2020-07-03 https://www.cordaconservation.com/blog/2019/4/10/card-mural-installed-in-town-hall monthly 0.5 2019-04-10 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/5cae19ff0d92977242828bcb/1554913804585/5caa6a5c4176d.image.jpg News - Card Murals Installed in Town Hall https://www.cordaconservation.com/blog/2019/8/17/phase-3-conservation-of-maclises-murals-houses-of-parliament monthly 0.5 2019-08-17 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/5d57f110818a3300015c036e/1566044458393/unnamed.png News - Conservation of Maclise murals, Houses of Parliament https://www.cordaconservation.com/blog/2019/9/18/plaster-bits-a-publication-of-the-center-for-painted-wall-preservation monthly 0.5 2019-09-18 https://static1.squarespace.com/static/5718149fe707eb46ff278b68/t/5d82302b9fd55416a36cf709/1568813121163/Screenshot+%286%29.png News - America's preservation policy... 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