Section 4: Composite artefacts (PDF 20858kb) - National Museum of ...

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Proceedings of Metal 2004 National Museum of Australia Canberra ACT 4–8 October 2004ABN 70 592 297 967The results of the analysis can be seen in Figures 4(a),(b), (c), and (d). Figures 4(a) and 4(b)show images of the thread and the surface of the thread. Figure 4(c) shows a region typical fordeterioration of the protective varnish coating. Figure 4(d). shows an X-ray fluorescence spectrum of thelamina. Detected elements in decreasing order of importance are copper, zinc, iron, silver, antimony, tinand palladium. Again this shows that the thread was processed from relatively crudely refined ore.Figure 4a. Image of the laminar thread (SEM):Figure 4b. Detail of the surface of the thread (SEM).Figure 4c. Detail of the deteriorated surface varnish(SEM).Figure 4d. X-ray fluorescence spectrum of the lamina.Detected elements in decreasing order of importance(KeV vs cps.): copper, zinc, iron, silver, antimony, tinand palladium.The restoration work in the Museum of the Cathedral of Valdivia was carried out with studentsof the post-degree on Restoration They were the first students of the post-graduate degree inRestoration, during 1998.2.2 At the Cathedral of SantiagoThe city of Santiago de Chile was founded by Pedro de Valdivia on February 12th, 1541, atwhich time the cathedral was given a site. Construction work did not proceed until 1547. Called theAssumption of Our Lady in 1560, in 1560 it was substituted by a new factory, which in turn wasdestroyed by the earthquake of May 1647. This was destroyed and fell in the earthquake of 1679 and wasreplaced in June 1730.The plans of the current cathedral were commended in 1753 to the Bavarian Jesuits Pedro Vogeland Juan Hagen. In 1780, when through the petition of Bishop Manuel de Alday y Aspee to King CharlesIII, the Roman architect Joaquin Toesca took over the work. He was followed by Juan Jose de Goycoleafollows by Vicente Larraín, Eusebio Chelli, Fermin Vivaceta and Ignacio Cremonesi. The cathedral wasfinished in 1831 but it was only consecrated in 1906.© Published by the National Museum of Australia www.nma.gov.au505
Proceedings of Metal 2004 National Museum of Australia Canberra ACT 4–8 October 2004ABN 70 592 297 967It keeps valuable paintings and works of gold and silversmiths, most of which were made bycoadjutor Jesuit brothers who came from Bavaria. The collection went on to the cathedral after theexpulsion of this religious order in 1767, most of these objects which are kept in the Museum of theCathedral and others are displayed in the old sacristy.2.3.1 Analysis, Conservation and Restoration:The Cathedral of Santiago asked me to make a diagnosis of the state of its silver, gold andbronze collections in order to be able to restore them in a second phase. Gold did not pose any majorproblems, but the silver, which had been cleaned with great enthusiasm with a Chilean chemical product(Brasso R ), did. severely damaged the patina. All the religious objects of the chapel of the Holy Sacramentshone brightly. On the other hand, the main altar of the Cathedral made of platen (silver with copper) hadsome relief, and some parts of it were able to be saved. The person who did the work previously did notdo the work meticulously, cleaning only that which was the easiest to clean: the surface. Some silverobjects had been cleaned with a kind of crumbly, chalky lime, which left some scratches. Since thecollection only had damage due to cleaning, and a patina cannot nor should not be forged, no restorationwas carried out in the collection of the Cathedral. But the Bishop and his team were advised to use milderchemicals such as the product Tarnished Silver Cleaner on the colonial silver collection.A theoretical-practical class was also given to the personnel of the museum in order to teachthem how to use this chemical, since after applying the product; the object must be washed andthoroughly dried. Damage by chemical products used in cleaning could also be observed on the bronzeobjects. These were iron pieces dipped in bronze. The chemical ate away the bronze leaving the ironexposed.Amongst these was a bronze fountain with was encrusted with green corrosion and stainsproduced by a very strong chemical, possibly an acid, that had burnt the surface of the fountain leavingbrown rust circles. After analysing the fountain, it was discovered that the material was not bronze butbrass. The origin of the circles could not be discovered. The green stains were eliminated mechanicallywith a scalpel (triangular). Efforts were made to remove the other stains with distillate water, but theauras remained visible. They were now clean but it was plain to see a missing piece of brass on thesurface of each aura.In the Cathedral a great collection of silver and gold embroidered textiles, chasubles, stoles, etcetera, exists. Because the Cathedral authorities are concerned for the state of their collection, theMuseum asked me to restore a very beautiful processional cross which has a red background embroideredwith silver and gold religious themes. The silver threads had become loose and the image had beendamaged since this cross had been frequently used in processions. The external gold fringes, which wereadded to the object 10 years ago to make it look more beautiful, were in good condition. In therestoration, the silver threads were attached to the cloth with silk threads and surgical needles. No newthreads were used. In some parts, the original silver thread was missing; certainly someone must havetaken it as a souvenir. The Museum wanted the eye of the Saint to be painted again. This I did not dosince there was no information on it in order to know how it was, who our saint was looking at.In the cathedral itself there is a sculpture of the Virgen del Carmen. It is a life size woodenstructure with a porcelain face and dressed (Figure 5a). The Virgen del Carmen is the Patroness of Chile.The robe is full of silver and gold thread embroidery. Since she is deeply venerated and frequentlytouched by the faithful who go to ask for her help, many ornaments had become loose. All of the silverand gold threads and the ornaments were put back in place on the cloak using silk threads and curvedsurgical needles. Once the work was finished, it was again put on public display since in the Cathedral ofSantiago the Virgen del Carmen cannot be allowed to be absent from her station.© Published by the National Museum of Australia www.nma.gov.au506
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