Relevant information for owners gathered in one place.
Piran
Carpaccio's artwork - survey, conservation and protection
- Vittore Carpaccio, Mary and Child on the Throne and the Saints - Mother of Hope
- 1518 year
- oil on canvas, 291.5 × 219.5 cm
- signature VICTOR CARP [ATHIVS] VENET [VS]/MDXVIII
- Minorite Church of St Francis of Assisi in Piran
- EID 1-03879
A thorough knowledge of the materials used and the historical circumstances of their creation is crucial for the long-term preservation and in-depth understanding of Carpaccio's Piranese artwork. The painting has been scrutinised through a series of non-invasive examinations, which have revealed the extent and quality of the old conservation and restoration interventions, as well as its current condition. Due to the complexity of the procedures, the examination was carried out at the ZVKDS Restoration Centre in conditions where the highest technical and safety standards are guaranteed.
Results of the screening
The measurements given in the catalogues and in the Italian minutes were found to be incorrect. The painting actually measures 291,5 cm in height and 119,5 cm in width, which deviates by approximately 10 cm from the previous data. The painting has been conserved and restored several times in the past - presumably at least 3 or 4 times (cleaning, consolidation, underpainting, puttying, tensioning on the subframe, retouching, varnishing). Special examinations have determined the extent of the numerous retouches, which in some places have also been transformed into overpaintings. The painting is mounted on a new subframe, and there is also a generous layer of varnish and minor local mechanical damage. The condition of the painting is currently stable.
The decorative frame, while not original, is an important stylistic addition. The wood shows the same pattern as the carpet under the Throne of Mary. On inspection, the condition of the frame was poor: there was extensive mechanical damage to the gilding and wood, and its stability was problematic. During the conservation and restoration work, the wood was properly conserved and the individual elements mechanically reinforced. Surface dirt was removed and missing parts of the lining and gilding were filled in.
Picture under different lights, photo by Andrej Hirci
Preventive measures
To further protect the painting, two key measures have been implemented: glazing at the front to prevent mechanical damage to the precious artwork and negative environmental influences, and a protective surface at the back to protect it from dust, dirt, micro-organisms and high humidity from the walls and the room. Experience shows that paintings protected in this way are significantly less damaged than those without protection.
Assembly
The painting and the altar niche were properly prepared before installation. The supporting elements for the painting and the decorative frame were made of stainless metal and fixed to the walls of the altar niche and to the edges of the decorative frame. Particular attention was paid to the distance of the back of the painting from the wall of the altar niche. The appropriate distance ensures air circulation, which prevents the formation of dangerous condensation.
The front image is glazed to provide mechanical security. Guardian Clarity™ protective glass ( https://www.guardianglass.com/eu/en/our-glass/guardian-clarity ) 8.76 mm thick in an anti-reflective version with high UV protection, which ensures optimal protection of the artwork while allowing a clear and uninterrupted visual experience. The glass surface is held in place by brackets, discreetly mounted on the back wall of the altar niche and colour-coordinated with the decorative frame; the brackets are also mounted at an appropriate distance from the picture surface to allow air circulation. The contractor is Archa inženiring d.o.o. ( https://archapromuseum.com/ ) is a company specialising in integrated project solutions for museums and galleries.
Text by Barbka Gosar Hirci
Author of the photos: Ubald Trnkoczy
Participants
Barbka Gosar Hirci; Project Manager
Nuška Dolenc Kambič, Tina Vrenko and Ana Strašek; restoration of the gold frame
Janez and Franci Novak, Anže Šušteršič, Aljaž Krajnc, Anže Štrubelj and Tilen Hirci; editing
Andrej Hirci and Katja Kavker; natural science research
Emina Frljak Gašparovič; Snapshot overview
