ΠΕΡΙΛΗΨΕΙΣ ΕΙΣΗΓΗΣΕΩΝ 1ης ΗΜΕΡΙΔΑΣ ΣΥΝΤΗΡΗΣΗΣ και...

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The rescued relics from the monastery of Panagia Sumela

Dr. Stauros [email protected]

During the last few years, a significant number of objects became known

which are attributed with relative or absolute certainty to the historic monastery of

Panagia Sumela in the Pontus according to tradition or due to the dedicatory

inscriptions that most of them bear.

They constitute a set of artefacts and documents of particular importance,

since they cast light on quite a few aspects of the Monastery history, especially of its

post-Byzantine phase. Moreover, the collection comprises many distinct categories of

works of art: manuscripts, book bindings, icon covers, reliquaries, processional and

service crosses, ecclesiastical vessels, miniature sculptures, priestly vestments,

liturgical cloths, embroidered icons. The variety of diverse techniques and methods of

treating semi-precious and precious materials, as well as the combination of styles,

motifs and materials of Western, Islamic and local (based on the age-old Byzantine

tradition) origin used in these samples of gold-thread embroidery, metalwork, minor

arts and enamels enhance our knowledge of various technical, stylistic, typological,

iconographical, historical and religious matters of that era.

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Icons from the conservation laboratories f 22nd

Ephorate of

Byzantine Antiquities

Dr. Ioannis P. Xouliaras22

ndEphorate fo Byzantine Antiquities, Tzavela 17, 30300, Naupaktos, Greece.

[email protected]

The icons which are stored in the laboratories of 22ndEphorate of Byzantine

Antiquities are collected either by conducting autopsies, allocated to storage and

maintenance of local ecclesiastical authorities. Risked being destroyed or were in a

very poor condition.

The icons that are damaged should include those of the Transfigurationmonastery in Chrysovo Naupaktias and those of the church of St. Spyridon in

Lefkada. In very poor condition were the Byzantine glazed picture of the Crucifixion

from Aroniada Marsh and the image of the Virgin Odigitrias, which is the product of

antiquities and delivered to the service of the police department of Lefkada. The icons

from St. Nikolaos Ampelakiotissa delivered for storage and cleaning.

The collection of 22nd Ephorate hosts artefacts from different chronological

era and artistic perspective, however, have a common destiny and common vision to

save and enlighten us even fragmentary for the artistic movements of the 18thcentury

mainly in mountainous Nafpaktos and Lefkada.

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The known and the unknown: study and conservation of four

Constantinopolitan liturgical textiles

Dr. Christos KarydisTEI of Ionian Islands-Specialization Conservation of Cultural Heritage, Panagoula 29100,

Zakynthos [email protected]

Inside the Eastern Orthodox Church, during the Liturgy and the other

mysteries, decorative and liturgical garments and textiles are used by the clergy.

After 1453 and the break-up of the Byzantine Empire, Constantinople

remained an important centre for gold-embroidery. From the 17th century onwards,

famous Constantinopolitan embroidresses, who were fully abreast of the latest

developments in their art, signed their handiwork, well aware of their worth.Outstanding examples of Orthodox ecclesiastical fabrics have been found in regions

ranging from Alexandria to Romania, Mount of Athos, Sinai, Ankara, Cyprus etc.

Every single object that participates with one way or another in the Christian

religion has a specific role and meaning. As in every religion, symbolism plays a

significant role bringing together the human and the divine.

The aim of this paper is the presentation of four post-yzantine liturgical

textiles belonging to the Ecumenical Patriarchate.

The first item is the epitaphios of the well known Kokona of Rologa (19th

century), the second epitaphiosis dated in the 19thcentury and is similar to the work

of Kokona, both displayed and stored in the Ecumenical Patriarchate

The third item dated in the 1897 is a decorated fabric called vilo, work ofGrigoria the head of the workshop. Finally, the forth liturgical textile is a large cross

which decorates a velvet vilo displayed in the Church of St. Nickolaos of Ipsomathion

(Samatya Aya Nikola Rum Ortodoks Kilisesi Vakf) in Constantinople.

The aim of this paper is the presentation of theese unknown and known

liturgical textiles to the research community and the presentation of the construction

materials and techniques used by the technicians and their comparison with other

projects scattered in the Eastern Orthodox Church.

The presentation is completed by recording the current preservation state of

textiles and the conservation treatments which have been carried out.

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2.

The Codicology and Conservation of the Gospel Manuscript of Saint

Christoforos from Panagia Soumela

Dr. Nikolas SarrisTEI of Ionian Islands-Specialization Conservation of Cultural Heritage, Panagoula 29100,


The Gospel Manuscript of Saint Christoforos from Panagia Soumela of Pontos

is one of the most rare, ancient and important relics to have survived from this old

monastery , while it is directly linked with the history of Orthodoxy in Pontos. This

parchment manuscript survives to date with strong signs of damage and gelatinization,

to an extent that it is no longer possible to identify its text nor to use it as a book. At the

same time it is a relic which pilgrims come to worship at the new Monastery of Panagia

Soumela in Veroia, where the manuscript is on display today within the church of the

monastery.

In this paper, the particularities of the manuscript are examined, following a

preliminary investigation of its palaeographical and bookbinding characteristic while

the options for its conservation treatment and displaying are presented.The current preservation conditions of the manuscript are alarming, even if it

is kept within a metal box container and direct access to it is not permitted. The

gelatinization of the parchment leaves is a phenomenon that proves the hardship that

the manuscript has undergone over the centuries. It is a state that unfortunately is

difficult to reverse while it may become worsened by its exposure to high temperatures

and high relative humidity, setting a series of dilemmas on which are the most

appropriate ways to display this object.

Beyond being a relic, this manuscript is also an object that attracts interest for

the historical information that derives from its examination. Nevertheless the blocking

of the leaves due to the gelatinization of the parchment is also irreversible. Every

attempt to separate the leaves would lead to the breaking of the object in to smallerfragments. Regardless of the fact that it would be impossible to use this manuscript as a

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book for reading and researching its content without causing greater damage to it,

recent technologies and techniques for digital viewing provide the tools and methods

that allow the optical penetration to otherwise inaccessible parts of damage

manuscripts, such as the manuscript of Saint Christoforos, and permit its digital

analysis and reading.

Techniques such as X-Ray CT scanning and Multispectral Imaging have found

many applications for revealing important and ilegible texts in manuscripts, while otheranalytical techniques (eg Raman Spectroscopy, XRD, XRF) would allow us to identify

the elements and materials of the manuscript, to collect evidence of its date and the

methods and history of its making. Such analysis allow us furthermore to identify

bookbinding evidence which at current are inaccessible between blocked leaves, so as

to help us understand whether the current bookbinding and its covering ever belonged

together and to help us date it.

The results of the aforementioned analysis and studies is a task of a

collaborating team of different specialisms, including codicologists, palaeographers and

book conservators, in order to reveal and identify the multiple elements of the

manuscript and to learn more on the history of the precious manuscript and its

production.The state of its preservation and the difficulties of conserving this manuscript

make this a special and very rare case. At this point, the science of conservation is split

between different approaches of treating manuscripts, as static relics or as functioning

books and it is called upon to offer solutions that will serve at the same time the

museological, religious and technical requirements for the most appropriate way to

display and preserve this manuscript.

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The Conservation and Reinstatement of the Wooden Carved Screen

f the Orthodox Church of St. Dimitrios in Tatavla- Istanbul

Charalambos Galanopoulos- Restoration Art Production, Kastorias 3, 54636, Thessaloniki

[email protected]

Istanbul except its long-drawn Byzantine history, presents also a newer post-

byzantine unceasing development of ecclesiastical art with exceptional samples in

architecture, painting, ecclesiastical heirlooms and music. These treasures are a

testimony of the civilization, the culture, and the indigenous presence of the Istanbul

Greeks in the area, consisting this way of a historical pattern that was specially

marked through the last two centuries.

For the today Istanbul Greeks, the churches accompanied with all the precious

heirlooms that they possess, can easily be assumed as marks of their self-designation

towards their religious and cultural identity. Besides these heirlooms become objects

of interest and care of how these, can be preserved and distinguished through the era

and according to time, no matter the decayed march that has been moved for sixty

years now in the population of their communities.

The conservation project of the wooden carved screen of the Orthodox Church

of Saint Dimitrios in Tatavla, the most numerous places of the Istanbul Greek

communities, results the relief and the care of those people.

Following, the presentation of the project will introduce the static

reinstatement of the wooden construction, the process of the minimum interventionincluding the cleaning of the surface and the restoration of the gilded wooden carved

areas, as well as the concept of the above chosen methods.

The conservation of the wooden carved screen will be presented in

comparison to the predominant concept of conservation, which wrongly rules over the

broader Turkish area in conservation nowadays, affecting consequently the Greek

Orthodox churches.

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.

1 54625 [email protected]

3028/2002

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http://www.vavouskos.com/http://www.vavouskos.com/mailto:[email protected]:[email protected]:[email protected]://www.vavouskos.com/

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The ecclesiastical artefacts as part of the cultural heritage and the

legal obligation of the Greek State for their protection

Dr. Anastassios VavouskosLawyer

1 Ermou str. 54625 [email protected]

The matter of protecting our cultural heritage as central administration

jurisdiction became object of legal regulation from the first free living moments of the

up to then enslaved Greeks till present by voting the law in force 3028/2002,

Regarding the Antiquities Protection and in general the cultural heritage.

According to this law:

1. Protects the cultural heritage within the Greek borders from the Antiquity tillpresent and at the same time the State legal obligation to care is establishedwithin the borders of international law for the protection of cultural commodities

connected to Greece historically, wherever they may be in the world.

2. The sense of Greek cultural heritage is defined as total of cultural commoditieswhich are found within its geographical borders.

3. The sense of cultural commodity is defined as testimonial of its existence and thepersonal and collective activity of human,

the ecclesiastic artifacts as part of the national cultural heritage are included with the

article 73 par. 1 in law 3028/2002, Regarding the Antiquities Protection and in

general the cultural heritage. And since the cultural heritage of Greece consists of the

cultural commodities found within the Greek borders by law, means that theecclesiastic artifacts found within these borders, as part of the cultural heritage of

Greece are by law cultural artifacts of the cultural heritage of Greece. The enlisting of

ecclesiastic artifacts in the cultural commodities of the national cultural heritage has

as result the state obligation to protect the ecclesiastic artifacts found either within

Greece or within the Greek territory, whenever they may have been removed by it, or

historically connected to Greece wherever they may be.
http://www.vavouskos.com/http://www.vavouskos.com/mailto:[email protected]:[email protected]:[email protected]://www.vavouskos.com/

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The Byzantine & post-Byzantine artefacts in Turkish museum

collections

Nikolaos SalamourisTEI of Ionian Islands-Specialization Conservation of Cultural Heritage, Panagoula 29100,


One of the key features of the sociopolitical rearrangements characterizing the

7th and 8th century BC ancient Greek tribes was the mobility of both people and

goods. The urge for a new and flourishing life was the driving force that led the

Greeks, and mainly the Ionians, to distant settlements along the Mediterranean Basin

and Euxeinos Pontos. That remote colonization up to the outermost reaches was the

origin of historically long-lasting trade routes and centers which gifted special

chapters to Greek History, not only in antiquity but also during both the Byzantineand Modern eras.

Socioeconomic changes due to trade transactions were not the exclusive

results of population movement. Directly or indirectly, population shifts had an

impact on the general formation of a common civilization, which gradually created

the identity of each colonial center on the basis of a mutual blending with indigenous

cultural elements. As a consequence, a common culture, language and art took form.

An art embracing all of the applied artistic practices, whether they had an operational,

religious or spiritual character.

This uniform cultural identity didnt take long to spread throughout the

centers, not only because of the transfer of products but also due to the movement of

artisans who followed the trade routes. After all, those artisans were the main

exponents of the cultural dynamic that characterized the history of Greek antiquity.

From the Archaic period to the Classical, and from the Hellenistic to the Roman it

was artisans that constituted the stream of people who communicated, along with

scholars, the Greek art and civilization throughout the Mediterranean Basin, the deep

East, and Euxeinos Pontos.

Artisans movement would not be an exclusive characteristic of antiquity, but

it would come to feature a new world that emerged through the coming of Christianity

and the strengthening of Byzantium. In the long-lasting history of the new empire, art

ekistic and religious- is the link that connects the regions under the shield of central

power, which was Constantinople.Currently, three cities present through their findings the history of technique

and transfer that took place during a vast historical course of Byzantium.

Constantinople, Thessaloniki and Athens connected through an important collection

of religious objects are the three cities, within a larger number of other important

cites, that link this vast historical course that constitutes the Byzantine Empire. Craft,

material, aesthetics connected hundreds of artisan lives that in different historical

phases and geographical locations created masterpieces composing a huge cultural net

which characterized Byzantine civilization.

At the same time, these findings reveal rare artistic appliances which testify a

long course of aesthetic elements coming from all the various parts of the empire and

even from outside its limits. Having its religious subject matter and operation defined

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there was no obstacle for a special art to evolve and to adjust to various historical

mutations, not only during Byzantine Empire but also crossing its temporality.

The present time bares witness to the dynamic of this important art that until our days

is applied by artisans who continue a traditional craft and at the same time hold a deep

understanding necessary for its evolution and for its heritage.

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Analyses and Absolute Dating of Ceramic and Glass Materials:

Is Corrosion a Problem or a Bless?

Associate Professor. Nikos ZachariasDepartment of History, Archaeology and Cultural Resources Management,

University of Peloponnese,24 100 [email protected]

Chemical Analyses and absolute dating studies of ceramic an glass material

share the history of their exposure to high temperatures ranging from 800 1,000 C

and the subsequent effects caused by this process.

Absolute dating and authenticity testing performed using the Luminescence

techniques are focused on study of the silica material being in abundance and in a

crystalline form for ceramic material or in amorphous state for glasses and glazedmaterial.

The analytical and technological studies have extensively reported, so far, the

categorization of the above material to four distinct phases those of ceramic-vitrified-

glassy-corroded ones; that categorization aims mainly to aware for compositional

deviations potentially found on vitrified pottery and corroded glasses and glazes.

Recently, the development of laboratory protocols which make use all

analytical information that can be acquired during the study of fired materials, are in

use for a more holistic characterization of their preservation state proving also

valuable decision-making data for authenticity purposes.

Within the present study, case studies for glazed pottery from the Classical

and Byzantine periods and glass studies of Mycenaean and Roman artefacts from

Greek excavated areas will be presented.

Additionally, a short presentation of the main aims of the EU funded research

program:Mobile Care for the Documentation, Characterisation and Conservation of

Movable Cultural Heritage Artefacts from Remote Areas in Greece (MoCaCu) 2013-

2015, will be made.

Photo 1: A roman glass sample photo taken by a Scanning Electron Microscopy.

Sings of cracklings, pitting and encrustations are extensively observed.

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Western- European influences on the post- byzantine icon painting

technique of Crete and the islands of Ionian

Dr. Eleni Kouloumpi

Laboratory of Physicochemical Research, National Gallery-Alexandros Soutzos Museum.Alsos Ellinikou Stratou, Athens, 11525,[email protected]

The fall of the Byzantine Empire in 1453 marks the beginning of one of the

most important periods of the Greek history of art. The Post-Byzantine era, which

lasted until the establishment of the first Greek State, was the transitional period

where the art of panel painting through strong interchanges with the western world,

changes gradually style; from religious to civil. At the same time, the artists

technique evolves; the painter changes the means of creation and from egg tempera onwooden panel, oil painting on canvas is introduced. Cultural influences also brought a

change in the iconographic types: the artist exempts himself from the strict Byzantine

rules of depiction in order to acquire the right of free expression.

The painting was approached from two different perspectives; the

physicochemical one, in order to understand the technique and the materials used and

the conservation side, in order to record the condition of the artefact and follow the

proper conservation procedure.

The current research is focused on the scientific documentation of the

evolution of the icon painting technique via physicochemical characterization of the

pigment and binding medium present in the paint layer of the panel painting, in order

to understand the technique of the artist. At the same time, the effects of westerninfluences on the technique and the painting characteristics of the icon are being

studied through comparison with both Byzantine and western painting standards.

Taking into consideration the complication of analyzing a paint sample,

together with the limitation of the sample size, a methodology was set up in order to

ensure that as much information as possible would definitely be obtained from each

sample. Therefore, it was decided to start the analysis by using non-destructive

methods, such as SEM-EDX and mFTIR, for obtaining a first set of results before

proceeding to a destructive method such as GC which appears to be necessary for the

positive identification of organic media.

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Physicochemical analysis as an important tool in the conservation of

artefacts of cultural heritage

Dr. Artemios OikonomouInstitute of Nuclear and Particle Physics

N.C.S.R. Demokritos, Agia Paraskevi Attikis, 153 10, [email protected]

In recent years, the interdisciplinarity in all areas of archaeological research is

evident, and the field of artifact conservation is not an exception . Archaeometry is a

new field of research that comes to marry natural sciences (especially physics and

chemistry) with theoretical sciences (archaeology, protection and conservation).

Indeed, the very definition of archaeology is the application of natural sciences to the

study of archaeological materials and artefacts of cultural heritage in an

interdisciplinary way (Brothwell and Pollard, 2002; Liritzis, 2007).

An important role in this direction is played by the development and

application of physicochemical methods of analysis in order to analyze the properties

of objects for the purposes of conservation of cultural heritage. The range of

application of these methods is wide as they can be applied with very satisfactory

results both to inorganic (stone, glass, metal, ceramic) and organic materials (paper,

textiles, wood).

In the present study we demonstrate the importance of physicochemical

methods used in the conservation science. The physicochemical analysis usually

precedes any invasive restoration, and enables one to identify and determine the

physicochemical state-character of the object. This choice, then, informs the correct

application of conservation techniques and methods, thus making it an invaluableanalytical step in the process of conservation.

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. IZ ' &

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An interdisciplinary study of the preservation state and

conservation methodology of the Early Christian mosaic at the

Apollo Erethimios sanctuary in Rhodes, Greece

Dr. Dimitris TsipotasIZ Ephorate of Prehistoric & Classical Antiquities, Pella

Private InsitutePASTER [email protected]

The Sanctuary of Apollo Erethimios is located on the NW side of Rhodes

island, near the village of Theologos (Tholos). Excavations in the sanctuary during

1980-1990, with the collaboration of the KB Ephorate of prehistoric and classical

antiquities and the Department of Archaeology of the University of Ioannina, once

more brought to light part of the construction of the Early Christian Basilica, such as a

cruciform baptismal font and mosaic floors with geometric patterns around it.

During the study of the Basilica, a full digital documentation of the mosaic

construction and materials as well as damages and preservation state has been carried

out. Identification of the mosaic substrates and tesserae and chemical analytical

methods of the mortars along with in situ analysis with a portable XRF device in

order to determine the elements in the form of oxides present in the mortar samples,

were performed.

The mortar samples and tesserae colors were identified by their RGB values

characterization in an image editing software and digitally recognized at the Munsell

scale.

Mortar samples from throughout the construction were observed in a digital

microscope to identify their inclusions, calculate the size of their aggregates, the

mortar-aggregate proportion and their preservation state in general. The examination,

dimensions and preservation observations were carried out with the support andimage processing software of the digital microscope.

In general, damages observed in the mosaic are fragile composition, loss of

cohesion at the substrate-tesserae interface, cracks, gaps, loses, vigorous plant growth

and root system, biological attack and atmospheric and soil soluble and insoluble

deposits.

Therefore, in formulating the overall conservation methodology of the floor

mosaics of the Basilica, the lack of the structural stability of the substrates

stratification, the extensive root system of different sizes spread on the substrates and

surfaces, the fragility of the material substrates and surfaces, the loss of cohesion of

the stones and tesserae, the external climatic conditions, in which the construction will

also remain exposed after conservation and its archaeological significance whichdictates to follow minimum intervention and reversibility principles, should be taken

seriously into account.

The case study of the Early Christian mosaic materials analysis, in situ

conservation and presentationproject with traditional, modern and nanotechnology

compounds combination will be presented.

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Microscopic and physicochemical analytical techniques; applications

in the identification of portable icons materials

Giorgos MastrotheodorosPhD candidate,Materials Science and Engineering Department, University of Ioannina,

Ioannina, Greece, 45 110

&Laboratory of Archaeometry, NCSR Demokritos, Aghia Paraskevi, Athens, Greece, 15 310

[email protected]

The term icon in the context of the Eastern Orthodox Church, refers to

portable paintings which depict holy persons and scenes from their lives. The unique

style of icon painting traces its roots in Hellenistic painting and was fully developed

during the byzantine period. In the post-byzantine era, icon painters adopted several

western elements and they gradually abandoned the traditional byzantine idiom.

Recently, under the influence of several icon painters, art historians etc. an increasedinterest towards byzantine painting is observed.

Portable icons executed in the traditional manner, pose several technological

characteristics similar to those of the middle age European panel paintings. More

specifically:

i. they are painted on wooden panels which have been prepared by applying aground layer

ii. paint layers are made by mixing ground pigments with water-based binders(mainly egg yolk)

iii. the background of the painting is almost exclusively executed by applying thinmetallic foils

By indentifying the materials of icons a lot of useful information is acquired

(Sotiropoulou and Daniilia, 2010). For example, the identification of pigments in

some instances may clarify aspects of dating. What is more, questions regarding

provenance, raw materials circulation etc. are also usually answered on the basis of

analytical data.

Nowadays, the application of modern analytical techniques on the

identification of the materials used in the manufacture of works of art is a well

established approach (Spoto 2003). Thus, the examination of portable icons by means

of analytical techniques enhances the knowledge of the raw materials and techniques

used by icon painters who lived and created in the past.

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, -Restoration Art Production &

D.R.K Galanopoulos

[email protected]
mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]

ΠΕΡΙΛΗΨΕΙΣ ΕΙΣΗΓΗΣΕΩΝ 1ης ΗΜΕΡΙΔΑΣ ΣΥΝΤΗΡΗΣΗΣ και...

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