ΠΕΡΙΛΗΨΕΙΣ ΕΙΣΗΓΗΣΕΩΝ 1ης ΗΜΕΡΙΔΑΣ ΣΥΝΤΗΡΗΣΗΣ και...
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1η ΗΜΕΡΙΔΑ ΣΥΝΤΗΡΗΣΗΣ και ΜΕΛΕΤΗΣ ΕΚΚΛΗΣΙΑΣΤΙΚΩΝ ΚΕΙΜΗΛΙΩΝ, Θεολογική Σχολή Χάλκης 2014TRANSCRIPT
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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.
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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X-Ray CT scanning ( ) Multispectral
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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,
Zakynthos [email protected]
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
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]
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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.
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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,
Zakynthos [email protected]
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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(Mo a u)2013-2015, .
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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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.
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(Brothwell and Pollard, 2002 , 2007).
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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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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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:
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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
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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MSc, .
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, -Restoration Art Production &
D.R.K Galanopoulos
mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]