10.6092/issn.1973-9494/7943
This research includes a study on the conservation of two miniature paintings produced by unknown artists and probably dated to the second half of the 18th century. These paintings are registered at the Museum of Helwan University, Faculty of Applied Arts, Giza, Egypt, No. (A) of 100/6.This research also includes a historical and artistic study of the paintings. To study the materials and techniques used in their execution, several methods were used. XRD, XRD-EDAX was used for the examination and analysis of inorganic materials; in the case of organic materials, FTIR, UV was used to identify the pigment materials, glue, varnish, isolation layer or condition of the paper support. The oil medium in the paint layer was identified by the GLC method. Cross sections of both paintings were examined to find out about the technical knowledge used in constructing the painting / pictorial layers.Finally, this research involves a study of how to separate two oil paintings executed on one paper support, and the most important procedures needed to carry out this step, as well as those necessary for reconstructing the painting layers. In addition, a new method is described to treat cracks.Another new method was used to protect the paper support of these paintings from high relative humidity. This research also proposes a new tear mending method for paper objects instead of the traditional methods used in international paper and manuscript conservation laboratories.
application/pdf
1973-9494
7943
en
Mahmoud Sayed Korany
Conservation Science in Cultural Heritage
alla-prima
Study of Materials and Techniques for the Conservation of Two Miniature Paintings
Text.Serial.Journal
https://conservation-science.unibo.it/
17
Articles
2018-03-28
2018-03-26
2018-03-28
2019-09-06
101-116
CSCH
Mahmoud Sayed Korany
2017
10.6092/issn.1973-9494/7943
101
Conservation Department, Faculty of Archaeology, South Valley University, Luxor Branch
1973-9494
alla-prima
en
116
Mohie, M. A. and Brania, A. A. (2008). <em>Alternative Supports: an experimental and applied study on oil and wall paintings</em>. In: “Giza through ages” /1<sup>st</sup> international conference, Faculty of Archaeology, Cairo university, 4 – 6 March, Cairo, pp. 65-73.
Study of Materials and Techniques for the Conservation of Two Miniature Paintings
https://conservation-science.unibo.it/article/download/7943/7658
17
A    STUDY OF MATERIALS AND TECHNIQUES FOR THE
     CONSERVATION OF TWO MINIATURE PAINTINGS

  Moustafa Attia Mohie
  Conservation Department, Faculty of Archaeology, Cairo University
  Giza, Egypt

  Mahmoud Sayed Korany*8
  Conservation Department, Faculty of Archaeology, South Valley University,
  Luxor Branch, Egypt
  Tourism and Archaeology Department, Faculty of Arts and Humanities,
  Jazan University, Jazan, Kingdom of Saudi Arabia

  Keywordsμ oil painting, deterioration, saflower oil, alla-prima, conservation,


  1. Introduction

   The conservation of oil paintings is an accurate technical process requiring an ex-
tensive knowledge of many sciences and an understanding of different disciplines and
applied sciences in order to ensure the correct restoration and conservation of dam-
aged oil paintings and so preserve these works of art in the best possible manner.
   The investigation of an artwork to understand its history, state of conservation
and to gain knowledge about the constituent materials, is an issue that is obtaining
growing attention in specialized literature. Therefore, assessment of the preservation
status must be conducted in an objective way by analyzing the integrity of the materi-




                                                                                                  CONSERVATION SCIENCE IN CULTURAL HERITAGE
als and examining and describing any changes in the physical-chemical properties,
quantitatively.
   This involves photography using different light sources: visible, ultraviolet (UV)
and infrared (IR), in order to highlight iconographic details, conservation problems,
painting techniques and preparatory drawings. SEM-EDAX and XRD are used to
identify the pictorial palette pigments and inorganic additives in the preparation layer.
In this study, micro-samples of materials were taken and analyzed by Infrared Spec-
troscopy (FT-IR) and a UV Spectro Photometer, to identify the organic pigments and
the sizing coat (isolation layer); some samples were also analyzed by GLC to identify
the oil medium.
   Information about the materials constituting an artwork and their distribution, to-
gether with knowledge of the phenomena occurring at the interface with the environ-
ment, can lead to proper interpretation of any alterations that may have occurred due
to natural or accidental events. This can also lead to a better understanding of the
executive techniques and conservative history of the object through the identiication
and recognition of any previous interventions and of the preservation status of the art-
work. In addition, the identiication of newly formed products can provide input for an
appropriate restoration project [1].



* Corresponding author: mahmoudsayed_sca@yahoo.com

                                                                                            101
                                                                                                                                 There are certain forms of deterioration which must be treated prior to any interven-
M. Attia Mohie, M. Sayed Korany - A study of materials and techniques for the conservation of two miniature paintings



                                                                                                                              tion regarding the detachment procedure, while other forms need to be handled after
                                                                                                                              the detachment procedure.
                                                                                                                                 The two oil paintings under examination are supported on paperboard and are both
                                                                                                                              ixed to a single secondary paper support. In this case, separation of the two paintings
                                                                                                                              was required. Before separating the two images, certain precautions had to be taken
                                                                                                                              and, imperatively, be applied. This was necessary so as to maintain the integrity of the
                                                                                                                              paint layer during and after the process of separation, as well as during the steps in
                                                                                                                              reconstructing the different layers.
                                                                                                                                 In carrying out the restoration and conservation of oil paintings, we highlight that it
                                                                                                                              is essential to fully understand all the different domains of the applied sciences before
                                                                                                                              starting the practical steps needed for their restoration and conservation.


                                                                                                                                 2. Historical Studies

                                                                                                                                 This research includes a study of two miniature paintings, registered at the Museum
                                                                                                                              of Helwan University, Faculty of Applied Arts, Giza, Egypt, No.(A) of 100/6. The two
                                                                                                                              paintings are unsigned and undated.
                                                                                                                                 The two oil paintings are supported on paperboard and are both ixed to a thick
                                                                                                                              secondary paper support. One of them represents a noble sitting on a carpet and
                                                                                                                              in front of him stands a maid. The painting is decorated with loral and geometrical
                                                                                                                              ornamentation. According to the artistic and pictorial characteristics of the individuals
                                                                                                                              portrayed in the picture (Figure 1a), the painting follows the Persian style and dates
                                                                                                                              back to the Zand dynasty (prior to 1779). It represents the end of the Safavid era,
                                                                                                                              as we can observe by its style and form; for example, the lights and shadows of the
                                                                                                                              human igures are close to the Qajarian style [2]. The second painting, conceptually,
                                                                                                                              resembles the former and dates back to the same period, but the style used is that of
                                                                                                                              Central Asia (Figure1b).




                                                                                                                              Figure 1. a) Persian Style miniature painting, No.(A) of 100/6 from the Faculty of Applied Arts
                                                                                                                              εuseum, Giza, Egypt, before conservation; b) Central Asia book cover painting, No.(A) of 100/6
                                                                                                                              from the Faculty of Applied Arts Museum, Giza, Egypt, before conservation.




                                                                                                                        102
   3. Materials and Methods

   3.1 Optical Light Microscope (OLM) Examination

   For stratigraphic analysis, a cross-section of these paintings was examined with a
Zeiss standard stereomicroscope of the stemi DRI663 type, using relected light. Verti-
cal photo microscopy (VPM) was used to study the direction of the brushstrokes [3],
as well as invisible damage such as micro cracks and laking in the paint layer [4]. The
conservation state of the paperboard was also examined, and a Herzberg Stain test
was performed to identify the pulp [5].

   3.2 Investigation Using UV and IR Lamp

   UV radiation was used to detect deterioration and past restoration areas, if any, of
the paint layer (Figure 2a). Moreover, IR radiation was used to study the artistic char-
acteristics of the painting and forms of deterioration by means of a different method
(Figure 2b).




                                                                                                    CONSERVATION SCIENCE IN CULTURAL HERITAGE
Figure 2. a) UV Investigation; b) IR Investigation.

   3.3 Analysis Using XRD

   X-Ray diffraction (XRD) was used to analyze the inorganic materials in the paint
layer and to identify the illers and additives in the paperboard. Philips X-Ray diffraction
equipment, model PW/1710 with Co radiation, Fe ilter at 40 KV, 30 εA and scanning
speed 0.02/s was used. From the diffraction charts, the dA and the relative intensities
were obtained and compared with JCPDS (Joint Committee on Powder Diffraction
Standards) iles [6].

   3.4 Investigation and Analysis Using SEM – EDAX

   Investigation and analysis with a scanning electron microscope equipped with an
Energy Dispersive X-Ray analysis (EDX) unit was carried out using a Philips XL30
KV model and resolution for W (3.5nm), to identify the constituent elements of the
inorganic pigments and their proportions, as well as the form of the granules of the
pigment crystals [7].


                                                                                              103
                                                                                                                                3.5 Analysis Using UV Spectro Photometer
M. Attia Mohie, M. Sayed Korany - A study of materials and techniques for the conservation of two miniature paintings




                                                                                                                                  Analysis with a UV Spectro Photometer was used to analyze the organic materials
                                                                                                                              in the paint layer and varnish. A UV Spectro Photometer δambda λ00 Peckin Elmer
                                                                                                                              Double Beam was used.

                                                                                                                                3.6 Analysis Using Fourier Transform Infrared Spectrometer / FTIR

                                                                                                                                FTIR was used to identify the sizing coat (isolation layer) and the organic binding
                                                                                                                              medium in the paint layer. A JASCO FT / IR 6100 Spectrometer was used.

                                                                                                                                3.7 Analysis Using Gas Liquid Chromatography (GLC)

                                                                                                                                 GLC was used to identify the oil medium in the paint layer. GLC is considered to
                                                                                                                              be one of the most successful techniques for determining the fatty acids in the binding
                                                                                                                              medium and studying the changes which take place during the aging process [8].


                                                                                                                                4. Results and Discussion

                                                                                                                                4.1 Painting Technique

                                                                                                                                4.1.1 Results of the cross-section examination of samples from the irst painting as
                                                                                                                              shown in Figure 3a

                                                                                                                                 The cross-section examination of the brown background (S1) under the optical light
                                                                                                                              microscope (125X) revealed two paint layers; the lower one was thick and light col-
                                                                                                                              ored, while the upper one was very ine and brown. It did not reveal any ground layer
                                                                                                                              (Figure 3c). Speciically, the cross-section of the red area (S2) of the painting revealed
                                                                                                                              two layers: the upper one was semi-thick and red, while the lower layer was thick and
                                                                                                                              green (Figure 3d). The cross-section of the green area (S3) of the painting, showed
                                                                                                                              one layer of green color (Figure 3e). The number of layers conirms that the artist used
                                                                                                                              the alla-prima technique and that the paint layer was applied directly to the paperboard.

                                                                                                                                 4.1.2 Results of the cross-section examination of samples from the second painting
                                                                                                                              as shown in Figure 3b

                                                                                                                                 The cross-section of the black background (S4) under the optical light microscope
                                                                                                                              (125X) revealed that the irst paint layer was very ine and black (Figure 3f). Further
                                                                                                                              examination did not reveal any ground layer. The cross-section of the red area (S5)
                                                                                                                              of the painting revealed one semi-thick red layer (Figure 3g). The cross-section of the
                                                                                                                              gilded area (S6) of the painting consisted of two layersμ the upper was very ine and
                                                                                                                              gilded, while the lower one was semi-thick and red (Figure 3h). The number of layers
                                                                                                                              conirms that the artist used the alla-prima technique and that the paint layer was
                                                                                                                              applied directly to the paperboard.




                                                                                                                        104
                                                                                                          CONSERVATION SCIENCE IN CULTURAL HERITAGE



Figure 3. a) Cross-section samples of irst painting: cross-section examination of the brown
background S1 (c), cross-section examination of the red area S2 (d), and cross-section
examination of the green area S3 (e). b) Cross-section samples of second painting: cross-section
examination of the black background S4 (f), cross-section examination of the red area S5 (g), and
cross-section examination of the gilded area S6 (h).

   4.2 Paint Layer Details

   The suggested method (VPM) was used to study the techniques and characteristics
of the two paintings.This method showed that the painter used two or three types of
brushes to apply the paint layer and that the brushstrokes went in all directions (Figure
4a). The use of VPM showed that the paperboard was of a smooth type (Figure 4b)
and also revealed the presence of white salt crystals (Figure 4c, d) [9].


                                                                                                    105
M. Attia Mohie, M. Sayed Korany - A study of materials and techniques for the conservation of two miniature paintings




                                                                                                                              Figure 4. a) Details of the paint layer; b) paperboard of smooth type; c) microscopic image of the
                                                                                                                              secondary support; d) presence of white salt crystals in secondary paper support.

                                                                                                                                 4.3 Pigments Used in Paint Layers of Both Paintings

                                                                                                                                 Results revealed that lead red (Pb3O4) was used as a red pigment in painting No.
                                                                                                                              1(Persian Style miniature painting) (Standard No. 8-19 JCPDS) (Figure 5a, b).




                                                                                                                              Figure 5. a) XRD result of red sample; b) SEε - EDAX result of red sample.

                                                                                                                                 4.3.1 Red Pigment from Madder

                                                                                                                                 UV Spectro Photometer analysis also revealed that madder was used as a red
                                                                                                                              pigment in painting No. 2 (Central Asia book cover painting) (Figure 6a). Madder is
                                                                                                                              one of the most important red dyes and pigments derived from the roots of the madder
                                                                                                                              plant, Rubiatinctorum [10].


                                                                                                                        106
    Madder was used in many parts of Europe, where this plant was grown, such as
in Normandy, Languedoc, Spain, Sicily, Lombardy, etc. It contains red and yellow
dyes [11], depending on the basic components.The dye is composed of two types of
componentsμ the irst, alizarin, purpurin, pseudo-purpurinν the second, alizarin 2-meth-
ylether, rubiadin, munjistin [12]. While the former components give a red color, the
latter group of components give a yellow color [13]. There are also different types of
madder plant (Rubiatinctorin L.), Lady’s Bedstraw (Galliumborede, Goverum L.), Wild
Madder (Rubiapergrina L.), Indian Madder (Rubiamungista L.) [13].

   4.3.2 Black Pigment from Tannin

   UV Spectro Photometer analysis revealed that tannin was used as a black pigment
in painting No. 2 (Central Asia book cover painting) (Figure 6b). Tannin is obtained from
the fruits, roots, bark and wood of a number of plants and trees.Well-known sources
of tannin include oak galls, Sumach leaves and divi-divi fruits.The basic components
of tannin are gallic and di- and tri-gallic acids, including ellagic acids. Tannin is a very
acidic organic substance due to the presence of phenolic, hydroxyl and carboxyl
groups in their chemical structure [13].
   Tannin is divided into gallotannins and ellagitannins, and can be brown or black
when iron is added to it. Moreover, tannin is used for ferro-gallate inks [14].

   4.3.3 Brown Pigment from Logwood

   UV Spectro Photometer analysis revealed that logwood was used as a brown
pigment in painting No.1(Persian Style miniature painting) (Figure 6c).




                                                                                                     CONSERVATION SCIENCE IN CULTURAL HERITAGE




                                              Figure 6. a) UV result of red sample; b) UV
                                              result of black sample; c) UV result of brown
                                              sample.




                                                                                               107
                                                                                                                                 Τhe logwood gives either a dark reddish orange colour or sometimes, a dark violet
M. Attia Mohie, M. Sayed Korany - A study of materials and techniques for the conservation of two miniature paintings



                                                                                                                              or purple colour, and can also turn into light yellow over time until it becomes black.
                                                                                                                              Logwood is also called Campeachy Wood, Blackwood, Bois Blue, Blauholz. It grows
                                                                                                                              in Central, North and South America, and reaches up to 30-45 feet in height. The tree
                                                                                                                              bark is smooth and lat, and is dark brown in colourν the lowers are yellow and its seeds
                                                                                                                              look like beads in the shape of a double kidney [15].The artist in this case applied the
                                                                                                                              method of “half-tones», a method that is dependent on one important characteristic:
                                                                                                                              the color and its intensity or strength of coverage, where the artist applied a red layer
                                                                                                                              over a black layer to produce a brown layer.

                                                                                                                                 4.4 Medium Used in Paint Layers

                                                                                                                                 The GLC analysis of samples taken from the paint layer of these paintings showed
                                                                                                                              the presence of a small amount of saturated fatty acids and detectable levels of
                                                                                                                              palmitic and stearic acids. The interpretation of these results indicates the presence
                                                                                                                              of saflower oil (Figure 7).The results of the P/S ratio of palmitic to stearic acids deter-
                                                                                                                              mined that saflower oil was used as the oil medium in the paint layers.




                                                                                                                              Figure 7. GLC result of oil medium.

                                                                                                                                 4.5 Sizing (Isolation Layer)

                                                                                                                                  FTIR analysis is a method used to identify the glue (sizing) on the paperboard. The
                                                                                                                              interpretation of the FTIR spectrum revealed that animal glue was used as the sizing
                                                                                                                              coat (Figure 8).
                                                                                                                                  A sizing coat is considered either as a ground layer in these paintings or as an iso-
                                                                                                                              lating layer. The interpretation of the presence of a proportion of oil with animal glue in
                                                                                                                              the sizing coat does not mean that the artist mixed the oil with the solution of colloidal
                                                                                                                              to make the isolation layer, it is due to the fact that a percentage of the oil had moved
                                                                                                                              from the paint layer to the sizing coat. The main goal of the sizing was, moreover, to
                                                                                                                              isolate and protect the paper support from the paint layer, whether oils or pigments
                                                                                                                              were used [16].


                                                                                                                        108
Figure 8. FTIR result of sizing coat and paperboard.

   4.6 Varnish Analysis

   UV analysis was used to identify the type of varnish. The analysis showed that the
varnish used in these paintings was Arabic gum (Figure 9).




                                                                                              CONSERVATION SCIENCE IN CULTURAL HERITAGE




Figure 9. UV result of varnish type.


                                                                                        109
                                                                                                                                 4.7 Paperboard Support
M. Attia Mohie, M. Sayed Korany - A study of materials and techniques for the conservation of two miniature paintings




                                                                                                                                 The result of examination using Optical Light Microscopy (OLM) showed that the
                                                                                                                              pulp used in the paperboard is rag paper made from cotton and linen ibers (Figure 10).




                                                                                                                              Figure 10. a) εicroscopic image of the cotton iber from the paperboard pulp; b) SEε examination
                                                                                                                              of the cotton iber from the paperboard pulp; c) a microscopic image of the lax iber from the
                                                                                                                              paperboard pulp; d) SEε examination of the lax iber from the paperboard pulp.

                                                                                                                                 XRD analysis results also showed that illers or additives were used between the
                                                                                                                              iber pulp rags. They were calcite (calcium carbonate) CaCO3, (Standard No. 05-
                                                                                                                              586 JCPDS), aluminum silicate AlSiO2 (Standard No. 37-1460 JCPDS), quartz SiO2
                                                                                                                              (Standard No. 46-1045 JCPDS), topazlite CaO.Fe2O3.3SiO2 (Standard No. 3-1135
                                                                                                                              JCPDS) (Figure11).




                                                                                                                              Figure 11. XRD result of the paperboard analysis.



                                                                                                                        110
   4.8 Conservation State of Paintings

   These paintings have been exposed to severe conditions, improper storage and
neglect which together have caused several deterioration phenomena, i.e. tears, dark-
ening of the varnish layer, cracks, dirty appearance, scratches, lacunas and brittle-
ness of the paperboard. The intensity of the colours has been lost due to the dirty
appearance and the darkened varnish; however, the original intensity of the colours is
preserved under the frame. Two lacunas were found. The abrasion, tears, cleavage
and laking can be easily noticed. The support is brittle and discoloured, it has turned
into a greyish brown; and the PH value is 5.5 (Figure 12). PH is the prime indicator of
paper permanence, not lignin [17]. When the oil medium is exposed to environmental
action or the passage of time, it deteriorates, and the fatty acid ratio also changes [18].
Weak adhesion between the components of the painting and partial dissolution of the
sizing material between the paint layer and the support, as a result of direct contact
with water, have also caused several deterioration phenomena. The darkening of the
varnish is mainly due to the long-term exposure of the painting to ultraviolet radiation
and the presence of particulate matter in the atmosphere.




                                                                                                    CONSERVATION SCIENCE IN CULTURAL HERITAGE

Figure 12. Showing PH value of the paperboard.



   5. Restoration and Conservation Processes

   There were forms of deterioration which had to be treated prior to any intervention
regarding the detachment procedure and other forms which needed to be handled
after the detachment procedure. The steps used in the treatment, detachment and
remounting of the oil painting on the new support were as follows.
   First, the painting was separated from the frame, the dirty darkened varnish layer
was removed using ethyl alcohol which gave successful results [19].
   To consolidate and improve the adherence of the paint layer and the ground to the
paperboard, a solution of 5% and 10% of Beva 371 in white spirit was applied by brush,
and then square pieces of Japanese paper and gauze were applied using Beva 371,


                                                                                              111
                                                                                                                              this was done to reinforce the paint layer and to provide protection for the paint layer
M. Attia Mohie, M. Sayed Korany - A study of materials and techniques for the conservation of two miniature paintings



                                                                                                                              during the treatment procedure on the back of the painting. The detachment was care-
                                                                                                                              fully carried out using handsaw, scalpel and cauter without causing any stress.
                                                                                                                                  The cracks, especially those located in the upper left part, were ixed by using the
                                                                                                                              cauter [20].
                                                                                                                                  To restore lacunas on the board, a piece of special acid free board was inserted in
                                                                                                                              the lacunas and ixed to it by the “window method”. The thickness was the same as the
                                                                                                                              thickness of the paperboard. To de-acidify the paperboard, it was brushed with 2.5%
                                                                                                                              magnesium carbonate with distilled water [21] which increased the PH value to 7.
                                                                                                                                  To mend the tears in the board, the edges of the tears were brushed with 10% water
                                                                                                                              solution of rabbit skin glue, the edges were then repaired using a cauter. In order to
                                                                                                                              consolidate the board, 5% of Plextol B500 was applied by brush.
                                                                                                                                  For the mounting, the original painting support was consolidated by spreading a
                                                                                                                              layer of Plextol B500 on the verso of the painting, and then Japanese paper of the
                                                                                                                              same board size was glued on the back of the painting board by using 5% Plextol
                                                                                                                              B500. Some Japanese paper strips were also glued on the edges of the board; an acid
                                                                                                                              free board was then used to mount the original board using Plextol B500. The painting
                                                                                                                              was subsequently placed on the new support.
                                                                                                                                  Toluene was used to remove the cushion layers of Japanese paper and gauze
                                                                                                                              from the paint layer. The laking paint layer was additionally pressed to the board. An
                                                                                                                              emulsion ill was used on the laking areas. The laked paint layer was retouched us-
                                                                                                                              ing “Restaura Art” Restoring Colours in degrees that resembled the original [22]. After
                                                                                                                              the paint layer was completely dry, the surface of the painting was re-varnished using
                                                                                                                              semi-glossy Beva Finishing Varnish [23]. Modern synthetic varnishes are more stable
                                                                                                                              than natural varnishes [24]. After being remounted on the new support, the paintings
                                                                                                                              were retouched, re-varnished and framed, as shown in Figure 13.




                                                                                                                              Figure 13. a) Persian Style miniature painting, no. (A) of 100/6 from the Faculty of Applied Arts
                                                                                                                              εuseum, Giza, Egypt, after conservation.; b) Central Asia book cover painting, no. (A) of 100/6
                                                                                                                              from the Faculty of Applied Arts Museum, Giza, Egypt, after conservation.

                                                                                                                                 To protect the paperboard from the high relative humidity found in Egypt, Wacker
                                                                                                                              BS 1001 was used. Wacker BS 1001 is a solvent free, silane / siloxane emulsion. This
                                                                                                                              material is widely used with inorganic materials such as stones, but its effects on the
                                                                                                                              properties of organic materials is unknown [25]. After testing Wacker BS 1001 on sam-
                                                                                                                              ples from the paperboard, it was observed that total impregnation forms a homoge-


                                                                                                                        112
nous layer on the paper ibers, thus isolating the paperboard from relative humidity and
water. Changes in the mechanical properties of the paperboard were also observed.
However, it was decided to impregnate a polyester sheet with Wacker BS 1001 (1:4),
which was then glued to the back of the painting.


      6. Conclusion

    These paintings were investigated using non-destructive methods. The supports of
both paintings are made of paperboard and an alla-prima technique is used. The art-
ists’ work is monochrome in tone. Lead red, madder, tannin and logwood are the main
pigments employed in these paintings. The oil used in these paintings is saflower oil.
Wacker BS 1001 is a suitable material to protect the back of these paintings from high
relative humidity. Suitable materials and methods were used for the conservation and
treatment of the two paintings.


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   Biographical notes

    Moustafa Attia Mohie, is a professor in the Department of Conservation, Faculty
of Archaeology, Cairo University, Egypt. He was formerly the head of the conservation
department. He is also the founder and director of the laboratory for verifying authen-
ticity and against the forgery of historical antiquities. He has Patent no. 190808 from
the European Union. He is the author of more than 20 publications in national and
international scientiic journals. He has also been involved in several research projects
concerning the conservation ield and taken part in international conferences as well
as in Egypt. He has participated in the conservation of several international paintings.
He has participated in the conservation of several paintings in Egypt. He has taught
on several training courses for conservators at the Supreme Council of Antiquities and
police oficers at the Agency for veriication of criminal evidence. He was the winner of
one of the 5 projects selected from among 65 projects presented at Cairo University.

    Mahmoud Sayed Korany, is a teaching assistant in the Conservation Depart-
ment, Faculty of Archaeology, South Valley University, Luxor branch. He is a lecturer
in the Department of Tourism and Archaeology, Faculty of Arts and Humanities, Jazan
University, KSA. He is a conservator in the Ministry of Antiquities, Egypt. His main
research interests are restoration and conservation of archaeological materials, in-
vestigation and analysis of archaeological materials, restoration and conservation of
pictorial paintings, preventive conservation, condition surveys, conservation plans/
strategies, collection care surveys. He has participated in the editing of the “Annals du
service des antiquities de l’Egypte”. He has over twelve years experience as a conser-
vator working on a range of movable and immovable artifacts. He has participated in
several archaeological excavations. He is the author and co-author of 3 publications
covering the conservation of cultural heritage. He is a co-investigator in 2 Scientiic
Research projects.




                                                                                                   CONSERVATION SCIENCE IN CULTURAL HERITAGE
    Summary
    This research includes a study on the conservation of two miniature paintings pro-
duced by unknown artists and probably dated to the second half of the 18th century.
These paintings are registered at the Museum of Helwan University, Faculty of Applied
Arts, Giza, Egypt, No. (A) of 100/6.
    This research also includes a historical and artistic study of the paintings. To study
the materials and techniques used in their execution, several methods were used.
XRD and XRD-EDAX were used for the examination and analysis of inorganic materi-
als; in the case of organic materials, FTIR, UV was used to identify the pigment ma-
terials, glue, varnish, isolation layer or condition of the paper support. The oil medium
in the paint layer was identiied by the GδC method. Cross sections of both paintings
were examined to ind out about the technical knowledge used in constructing the
painting / pictorial layers.
    Finally, this research involves a study of how to separate two oil paintings executed
on one paper support, and the most important procedures needed to carry out this
step, as well as those necessary for reconstructing the painting layers. In addition, a
new method is described to treat cracks.


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                                                                                                                                 Another new method was used to protect the paper support of these paintings from
M. Attia Mohie, M. Sayed Korany - A study of materials and techniques for the conservation of two miniature paintings



                                                                                                                              high relative humidity. This research also proposes a new tear mending method for
                                                                                                                              paper objects instead of the traditional methods used in international paper and manu-
                                                                                                                              script conservation laboratories.

                                                                                                                                  Riassunto
                                                                                                                                  È stato condotto lo studio storico-artistico e conservativo di due dipinti in miniatura
                                                                                                                              realizzati da artisti sconosciuti e probabilmente risalenti alla seconda metà del XVIII
                                                                                                                              secolo. Questi dipinti sono registrati presso l’Università di Helwan, Facoltà di Arti Ap-
                                                                                                                              plicate, Giza, Egitto. Allo scopo di studiare le tecniche artistiche, sono state impiegate
                                                                                                                              le strumentazioni XRD, XRD-EDAX per l’analisi dei materiali inorganici; FTIR, UV per
                                                                                                                              l’analisi di materiali organici ovvero, di pigmenti, colla, vernice, strato di isolamento del
                                                                                                                              supporto cartaceo. Il legante ad olio nello strato di vernice è stato identiicato grazie
                                                                                                                              alla tecnica GLC. Sono state analizzate le sezioni trasversali di entrambi i dipinti, allo
                                                                                                                              scopo di conoscere il ilm pittorico.
                                                                                                                                  Inoltre, lo studio è stato rivolto al metodo di separazione dei due dipinti ad olio es-
                                                                                                                              eguiti su un supporto cartaceo e alle procedure necessarie per ricostruire gli strati di
                                                                                                                              pittura, nonché ad un nuovo metodo per trattare le screpolature. Ci si è posto anche il
                                                                                                                              problema, riguardante la protezione del supporto cartaceo di questi dipinti dalla umid-
                                                                                                                              ità relativa e a quello degli strappi degli oggetti di carta, alternativo ai metodi tradizion-
                                                                                                                              ali utilizzati per i manoscritti e documenti cartacei.




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