1st Interim Report

Eu-ARTECH

Access, Research and Technology for the conservation of the European Cultural Heritage

Integrating Activity

implemented as

Integrated Infrastructure Initiative

Contract number: RII3-CT-2004-506171

Project Co-ordinator: Prof. Brunetto Giovanni Brunetti

Reporting period: from June 1st 2004 to November 30th 2004

Project funded by the European Community

under the “Structuring the European Research Area”

Specific ProgrammeResearch Infrastructures action

1

1st Year Interim Activity Report

1. PROGRESS REPORT

1.1Summary of the activities and major achievements ...... 3

1.2Management Activity...... 3

1.2.1 Management tasks ...... 4

1.2.2 General meetings ...... 4

1.3Networking Activities...... 5

1.3.1N1-Sharing knowledge and resources...... 5

1.3.1.1 Activity progress...... 6

1.3.1.2 Meetings and workshops...... 7

1.3.2N2- Materials and methods in conservation...... 8

...1.3.2.1 Activity progress...... 8

1.3.2.2 Meetings and workshops...... 8

1.4 Transnational Access Activities...... 9

1.4.1TA1: AGLAE...... 9

1.4.1.1Description of the publicity concerning the new opportunities

for access ...... 9

1.4.1.2Description of the selection procedures and access activity ....9

1.4.1.3Meetings and workshops ...... 10

1.4.2TA2: MOLAB...... ….10

1.4.2.1Description of the publicity concerning the new opportunities

for access ...... 10

1.4.2.2Description of the selection procedures and access activity....10

1.4.2.3Meetings and workshops…………………………………………..11

1.5Joint Research Activities...... 11

... 1.5.1 JRA1: Development and evaluation of new treatments for the

conservation-restoration of outdoor stone and bronze monuments...... 11

1.5.1.1 Activity progress...... 12

1.5.1.2 Meetings and workshops...... 12

...1.5.2 JRA2: New methods in diagnostics: Imaging and spectroscopy ………………....13

1.5.2.1 Activity progress...... 13

1.5.2.2 Meetings and workshops...... 13

…

2. LIST OF DELIVERABLES……………………………………………………………… 15

3. USE AND DISSEMINATION OF KNOWLEDGE……………………………………… 16

ANNEXES

...Annex 1 – Summary Report of the First General Meeting………………………………….18

...Annex 2 – Composition of the Users Selection Panel……………………..….…………….24

...Annex 3 – List of User-Projects …………………………………………………………….25

...Annex 4 – Summary Report on N1- Sharing knowledge and resources………….……..…..26

...Annex 5 – Summary Report on N2- Materials and methods in conservation………..……...36

...Annex 6 – Summary Report on JRA1……………………………………………………….40

...Annex 7 – Summary Report on JRA2………………………………………………….…....47

1. Progress Report

1.1– Summary of activities

Eu-ARTECH started formally on June 1st 2004. From that date many activities became progressively operative and, after the first six months, significant progresses have been done towards the planned milestones for all the three activities of networking, access and joint research. The management tools to develop the project have been also set up.

The present interim report describes the activities that have been developed during the first mid-year, preparing the way towards the more articulated annual report to be delivered at the end of May 2005. In spite of the slight delay in the delivery of funding, all the activities started and first planned milestones achieved.

1.2– Management Activity

Eu-ARTECH is managed by a Governing Board composed by the Coordinator and one Representative for each institution involved in the I3. The Boardis chaired by the Coordinator for the whole duration of the ECContract. He convenes the Governing Boardas often as the interests of the Consortium so require, on a six months basis and at least once a year. The Governing Board is the principal decision-making and arbitration body of Eu-ARTECH, including decisions regarding major parts of its organisation, necessary for the execution of common tasks inside the project.

The running activities of Eu-ARTECH are led by the Coordinator, B.G. Brunetti (University of Perugia, UNI-PG) with the support of the Members of the Steering Committee.

The Steering Committee forms the managerial heart of the activities. Behind the Coordinator, it consists of one member responsible for Networking, one responsible for Access, one responsible for Joint Research, and one in charge of Dissemination of Knowledge and Intellectual Property Right issues. The Steering Committee members meet regularly at least twice a year and really jointly coordinate the project. All project planning, reporting to EC, and archiving is done under the supervision and guidance of the Steering Committee, although the Governing Board has the decision power on all main subjects.

Specific role of the SteeringCommittee is to:

-prepare the Programme of Activities;

-ensuring that all work meets functional requirements;

-make progress reports on the state of advancement of the Project to the Governing Board;

-establish the annual adjustment of the Programme of Activities with respect to work share, changes and budget allocations;

-propose to the Governing Board the terms and conditions of Access rights to Pre-existing Know-how not listed prior to the signature of the ECContract;

-ensure, the review and authorise contemplated publications and communications in connection with the Knowledge;

-propose to the Governing Boardthe review of project Knowledge and measures in connection with their industrial protection, defence and advancement;

-propose to the Governing Boardthe acquisition of rights from third parties.

The typical tasks of management and coordination are budgeted, planned and performed by the Steering Committee itself. The decision-making process occurs by consensus.

1.2.1 – Management tasks

The Governing Board met one time during the first six month period, during the Kick-off Meeting in Firenze, on July 16th-17th, 2004. The Governing Board was officially settled in that occasion, although other preliminary informal meetings were held prior to the commencement of the project.

Management tasks decided by the Governing Board were delegated to the Eu-ARTECH Coordinator and Steering Committee. The main management tasks carried out during the first six months are listed below.

-The Consortium Agreement was written in collaboration with all the Contractors, establishing several rules concerning the development of activities and relations among partners, including Intellectual Property Rights. The Consortium Agreement is residing at the University of Perugia.

-The members of the Steering Committee were elected. The Committee is now composed by the EU-ARTECH Coordinator, B. Brunetti (UNIPG); the Responsible of Networking activities, R. Mazzeo (UNIBO); the Responsible of Access activities, M. Menu (C2RMF); the Responsible of Joint Research Activities, M. Matteini (CNR-ICVBC); the Responsible of Dissemination of Knowledge and Intellectual Property Rights, Y. Chryssoulakis (OADC).

-The Peer Review International Committees for both the AGLAE and MOLAB access programmes were elected. Each Committee is composed by three relevant personalities chosen among the most reknown experts in Europe in the field (see Annex 2).

-The University of Perugia received and distributed the budget for all the partners.

-Reporting guidelines were circulated among Members Representatives and policies for internal reporting were established.

-Informal contacts were developed with other related I3 initiatives (i.e. LASERLAB) or related projects (COST G8, COST G7, CEN/TC 346 dedicated to the “Conservation of Cultural Property, ATHENA,) to promote cross-fertilisations.

-The Eu-ARTECH website was set up in a first form at the commencement of the project and then, more recently, in a renovated version ( The website is the natural interface with users and other institutions, being the main source of information regarding the Consortium activities. In particular, through the website many information, such as eligibility of users, application forms and procedures for Transnational Access are distributed to the scientific community and potential users.

-The Coordinator participated to a Meeting in Bruxelles where the rules for annual reporting were presented and discussed by the Research Infrastructure office and I3 Coordinators. Information on the conclusions of the meeting were distributed among contractors.

1.2.2 General Meetings

The first Eu-ARTECH General Meeting coincided with the Kick-off Meeting in Firenze on July 16th-17th, 2004, although, as previously mentioned, other preliminary informal meetings were held among Representatives of the aprticipatinh infrastructures, before of the official starting of the project .

In Firenze, the first meeting of the Governing Board was held, with the presence of all the authorised representatives of the Consortium Infrastructures: UNIPG: B.Brunetti; CNRS-C2RMF: M.Menu; CNR-ICVBC: M.Matteini; NGL: A. Roy; OPD: D. Pinna; BLFD: M. Mach; OADC: S. Sotiropoulou; ICN: A. Tagle; LNEC: J. Delgado; IRPA: J. Wouters; RWTH: B. Bluemich; UNIBO: R. Mazzeo; INOA: L. Pezzati. In that occasion, the formal nomination of the Steering Committee, having the duties indicated in the Consortium Agreement, was also carried out.

The Governing Board elected the members of the Peer Review International Committees (PRIC) for both Access activities (see Annex 2).

The location and date of the First Intermediate Meeting was established. The meeting, organised by ICN, will be held in Amsterdam, on middle January 2005 (12th -15th ).

Finally, the pages of the Eu-ARTECH website were discussed. Particular attention was given to the description of the Transnational Access and to the design of the Proposal Forms for AGLAE and MOLAB.

After the first Governing Board Meeting, other informal contacts have been held among Members Representatives through telephone, e-mail and fast mail. For example, information on annual reporting rules were distributed by e-mail and discussed.

The next G. B. Meeting will be held during the First Intermediate Meeting in Amsterdam.

1.3 – Networking activity

Networking activities have been designed to improve the cooperation among the Consortium institutions and foster cooperation with institutions external to it, in order to enhance the access to the most relevant resources and achieve the critical mass to create a high level basis for the European research area to grow.

From an operative point of view, networking is articulated in two lines, one regarding mainly the analytical studies and diagnostics on artwork materials (N1), the second mainly regarding the materials and methods used in conservation of cultural heritage (N2). Networking discussions on the rational use of analytical resources in science for conservation (N1) is of outmost importance to optimise research at the highest levels; the definition of best methods and materials in conservation of artworks (N2) is the proper way to better guarantee their long-term preservation.

Effective coordination of the two activities is accomplished and guaranteed by the continuous interactions among the responsibles of the networking tasks and participants, who discuss and take care of the developments of each activity. Natural coordination also follows from the periodical (every six months) General Meetings that Eu-ARTECH has planned throughout the whole duration of the project. Substantially, all the Consortium representatives have the opportunity to evaluate the advancement in the work and to plan its development in terms of unified objectives.

Responsible for networking is UNI-BO.

1.3.1 – N1: Sharing knowledge and resources

N1 networking specific objectives are the exchange of knowledge and expertise on specific material examination or analysis methods; promote the use of common reference materials; diffuse common analytical good practices; propose standards (within the frame of decisions and programmes of the CEN Technical Committee CEN/TC 346 dedicated to the Conservation of Cultural Property); encourage the education and training through research, increasing the opportunities of formation for young scientists.

Responsible for N1 is CNRS-C2RMF. Participants are all the Consortium members apart INOA and RWTH.

The first task to be persecuted within N1 was Task 1a – Review on the state of the art on non-destructive technique applications. The review was carried out and the results led to the organisation of the workshop “ Non destructive analysis of cultural heritage artefacts” that will be held in Amsterdam on January 12th, 2005.

Although not originally foreseen for the first mid-year, a workshop on the painting technique of Raphael and, more generally, on the methods of examination of paintings, was organised in London by the National Gallery on November 11th, 2004. The workshop took advantage of the great exhibition ‘Raphael: From Urbino to Rome’, held in the Sainsbury Wing of the National Gallery (20th October 2004- 16th January 2005).

1.3.1.1 – Activity progress

Following the inaugural meeting of the project in Florence on July 16-17th 2004, with the goal to diffuse information among the scientific community, publicity on the Eu-ARTECH Access activities (AGLAE & MOLAB) and planned workshops was distributed to approximately 170 institutions: cultural national or provincial organisations, museums, libraries, universities or educational institutions, research institutes, technological centres, restoration workshops, manufacturers of scientific instrumentation, producers of materials (paper, colours, dyes, pigments…). Information were also distributed to members of the most relevant international networks or organisations, such as ICOM-CC, COST G8, and COST G7.

An overview of the most frequently used non-destructive analytical techniques was carried out by Jean Louis Boutaine, C2RMF, Antonio Sgamellotti, UNI-PG, and Mauro Matteini, ICVBC, with the contributions of all contractors.

The recent evolution of these techniques, presently used in the field of artwork study and conservation, mainly concern with following topics:

  • improvement of performances of already existing equipment;
  • application of new methodologies derived from material science;
  • development of portable instrumentations and their miniaturisation;
  • developments of new methodologies for studies of organic materials.

On the basis of the overview, selected laboratories, currently applying the most advanced non-destructive techniques were identified and experts were invited to participate to a workshop with the title “ Non destructive analysis of cultural heritage artefacts”. The workshop, organised in co-operation with COST G8, will be held at ICN - Amsterdam on January 12th 2005. Co-ordination is of Jean Louis Boutaine (C2RMF – France), Maarten van Bommel (ICN – The Netherlands) and Annemie Adriaens (Gent University – Belgium, COST G8). Eleven presentations will be given by internationally reknown scientists belonging to several institutions, mostly internal but also external to the Eu-ARTECH consortium. To better diffuse knowledge on Eu-ARTECH activities, the workshop is planned to be open to public and, on December 15th, 55 participants are already registered. Among registered participants are also some SME’s producing equipment for in-situ non destructive measurements.

Although not originally foreseen for the first six months, a one-day workshop was held at the National Gallery, London, 11th November 2004, organised by the National Gallery. The workshop coincided with a major loan exhibition in London devoted to the painter: ‘Raphael: From Urbino to Rome’, held in the Sainsbury Wing of the National Gallery (20th October 2004- 16th January 2005). There has been no conference examining Raphael’s painting practice since a meeting held at Princeton University in 1983, marking the 500th anniversary of the painter’s birth. Since that time there has been substantial progress in the understanding of 15th- and 16th -century Italian painting techniques, and considerable development in the methods applied to the examination of paintings, particularly portable ‘non-invasive’ forms of examination. The National Gallery Eu-ARTECH workshop concentrated on Raphael’s technical practices before his transfer to Rome in 1508, and, although largely dealing with Raphael’s easel paintings on wood panel, some attention was also give to his techniques for painting on canvas (gonfalone) and in buon fresco. The opportunity to collect together and discuss the data on Raphael’s paintings dispersed among the institutions involved in the Eu-ARTECH network, or having contact with it, has proved particularly valuable. It was immediately clear at the workshop that the painting examination methodologies and interpretation of results had benefited from the already established close cooperation of Consortium participants. An additional benefit was that many of the papers presented applications of the analytical techniques offered in the “AGLAE and MOLAB access” being developed within Eu-ARTECH.

During the first mid-year, the bases for another workshop, planned for 2005, were established. The workshop will be dedicated to the study of organic substances in artworks. Discussions on applied methodologies (established or under development) and comparative evaluation of results were carried out, in the perspective of improving research and enabling harmonisation of analytical methodologies. A meeting of the “core group” for organic analyses was held in Montpellier on November 6th, 2004, with participation of OADC, ICN, IRPA, and NG. Within the general field of organic substancesin cultural heritage (natural organic polymers, such as polysaccharides and proteins in different functions as supports, binding media, adhesives; natural dyestuffs and lake pigments; early synthetic dyestuffs; natural resins, triglyceride materials and waxes; synthetic polymers), it was decided to better focus initially the attention on “natural dyestuffs and lake pigments”.

1.3.1.2 – Meetings and workshops

The first meeting of N1 coincided with the Eu-ARTECH kick-off meeting in Firenze. In that occasion the planning of the first six months was discussed and confirmed. All the eleven participating institutions were present.

A discussion Meeting for the planning and progress of Task1b – Common analytical strategies: Studies on organic materials in artworks was held on November 6th, 2004 in Montpellier, F, during the Conference: “Dyes in History and Archaeology DHA 23”, Montpellier, November 4th-6th 2004. The following representatives of the working group were present: Maarten van Bommel, ICN; Ina Vanden Berghe, KIK-IRPA; Sophia Sotiropoulou, OADC; Jo Kirby and Catherine Higgitt, National Gallery.

As already mentioned, on November 11th 2004, at the National Gallery of London, a workshop was held, entitled ‘Raphael’s Painting Technique: Working Practices before Rome’. The workshop attracted almost 200 participants among the international community of conservators, conservation scientists, curators, students and other scholars and the audience heard eleven papers on the technical study of paintings and their conservation by eminent authorities from Italy, France, Britain and the United States. Several papers combined discussion of painting materials and techniques with aspects of the conservation needs and treatments of paintings, notably for Raphael’s famous Madonna del Cardellino in the Galleria degli Uffizi. The development of Raphael’s later painting practice was examined in papers dealing with the ‘Alba Madonna’, now in Washington and Santa Cecilia from Bologna. A wide-ranging technical survey from the laboratoire at the Musée du Louvre of Raphael’s paintings in French museums began the day, presenting the results of new examinations centred on infra-red and radiographic studies. A contribution from the Opificio delle Pietre Dure (OPD) continued the theme of design and evolution of Raphael’s compositions relying on digital infra-red scanning of paintings and interpretations derived from these images, while a second paper from INOA in Florence explored the technology and application to Raphael’s painting of these new scanning methods of infra-red, multispectral imaging and laser profilometry. Several papers dealt with the analysis of paint layers in situ and paint samples, using modern methods of examination such as portable XRF and micro-Raman spectroscopy, including contributions coordinated by the University of Perugia and the OPD in Florence. Contributions from the National Gallery included recent re-evaluation of the underdrawings in Raphael’s early pictures in the collection in London, new discoveries on Raphael’s materials and their relationship to other 16th-century pictures and an account of the painting technique of Raphael’s Madonna of the Pinks, recently acquired for the National Gallery.