Nicola, G.L. Et Al. Conservation of Mummies and Sarcophagi. 2008

8/7/2019 Nicola, G.L. Et Al. Conservation of Mummies and Sarcophagi. 2008

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GIAN LUIGI NICOLA

MARCO

NICOLA

ALESSANDRONICOLA

PRESERVATION AND CONSERVATIONOF MUMMIES AND SARCOPHAGI

All images are copyrighted to the owners of the respective works of art and to the authors of this article

Article from e_conservation, the online magazineNo. 3, February 2008, pp. 22-47/110

www.e-conservationline.com


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In Italy, and particularly in the collection held by the Egyptian Museum of Turin, there are many

archaeological findings representing a challenge, in terms of conservation. Most of them were

unearthed during the archaeological excavation campaigns carried out in Egypt during the XIXth

and XXth century whilst some of them are donations received from private collections formerly

belonging to wealthy personality and noblemen of the XIXth century, when it was fashionable to

own Egyptian artefacts or even mummies. In many cases these collectors or their heirs donated

such items to the museums for patronage or when they were no longer willing to possess them.

These donations often constitute small collections, almost unknown, and held in Archaeological

and/or Civic Museums.

Until recently, archaeological findings of this kind were stored as and exhibited without the care

required for a museum object, submitting them to improper restoration involving irreversible

consequences, such as in case of mummies bandage removal and inappropriate use of

sarcophagi, and well as invasive and irreversible treatments.

The conservation of this type of archaeological material is difficult although quite often

reserving unexpected surprises and great satisfaction. In this essay we will focus on some

preservation and conservation issues we had to face when performing conservation activities on

the mummies and sarcophagi acquired by some museums from private collections.

Special attention will be drawn on environmental parameters, research and analysis,

transportation systems, compatibility of materials and philosophy of conservation.

Introduction

Throughout the nearly 60 years of experience

in conservation boasted by the three

generations of the Nicola family, several

interventions were made on Egyptian artefacts

formerly belonging to private collections and

then acquired by public Institutions. This

essay will focus on archaeological findings ofsuch provenance nowadays held by the Italian

Civic and/or Archaeological Museums. This

choice is due to the fact that such findings are

particularly interesting under the conservation

point of view since they usually went through

many vicissitudes, a history which seems to be

more complex than the one discovered when

restoring the mummies and the funerary

outfits belonging to great collections such as

those of the Egyptian Museum of Turin. In the

past, the mummy and the sarcophagus of

Pa Sheri en Aset(Museo Archeologico di Genova

Pegli, Italy) were exposed in vertical position

for many years and, after falling down, both

the corpse and the container were seriously

damaged and had to be restored to face the

emergency. The subsequent intervention

conducted actually involved an "archaeologicalresearch" into the finding, which brought to

the recomposition of the written text inside

the sarcophagus and the reconstruction of the

complex outfit of funerary objects. Another

interesting case we had to deal with was the

conservation project relating to the Egyptian

mummy and the relevant sarcophagus belonging

to the Museo Civico di Merano, Italy, involving

the recovery from the damages caused by a

mouse and the removal of a previous,

inappropriate restoration. At the moment1,

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CONSERVATION OF MUMMIES AND SARCOPHAGI


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we are also carrying out some analysis in order

to plan the best possible conservation activity

required on a Roman age Egyptian mummy

belonging to the Museo Scarabelli, Imola,

presenting problems which were apparently

due to the putrefaction process. The operations

performed during conservation activities

required for mummies are sometimes incorrectly

defined with the Italian term "restauro"

(which literally corresponds to "restoration",

although the term is usually translated as

"conservation" to correctly match the meaning

in English) however, they are actually steered

towards the material preservation, with the

aim to ensure the possibility of further studies

by means of non-destructive analysis.

Pa Sheri en Asets mummy and sarcophagus

(Museo Archeologico di Genova Pegli, Italy)

Thanks to the conservation project, started in

1991 and ended in 1999, it has been possible

to apprehend some interesting information on

the construction of these findings and to better

understand their history. The sarcophagus

belongs to the anthropoid bivalve type:

apparently, this technique was often used in

the construction of coffins of mummies of the

same age of the one under review (images 1, 2).

The wooden moulded parts composing the

sarcophagus were not glued one to the other

but rather fixed by wooden pegs with circular

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GIAN LUIGI NICOLA, MARCO NICOLA and ALESSANDRO NICOLA


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profile, which were transversally fitted into the

axes thickness. The coffin, once built and

assembled, was then sawn transversally, in

order to obtain perfectly matching bed and top

(images 3-5).

On the cut surface between the bed and the

top, six housings were carved for the pegs to

be fitted therein, with proper rabbet partially

filled with glue and fibres. The coffin was then

closed and sealed with plaster, which was applied

manually on the outside after the completion

of the interior decoration and placement of

the corpse inside. The sarcophagus internal

and external surfaces are decorated with

tempera colours on a layer of plaster, which

fills the slits between the axes and completely

covers the wood (images 6, 7).

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In this sarcophagus there wasnt a canvas

incorporated in the preparatory layer, which

has been found sometimes within coffins of

the same age. During the conservation

activities, it has been possible to ascertain

that the whole decoration was originally drawn

on the coffin keeping it open; such type of

decoration differs from the one executed on a

closed coffin, with the mummified body inside,

the decorative motifs on the bed are

independent from those on the top, in other

words there is no continuity (image 8).

Furthermore, it became evident that the drawing

was sketched in red and then the colours were

laid with a particular order: red first then yellow,

green, blue and finally black. The latter marks

out the drawing in some particular areas. This

colour sequence, detected looking at the super-

imposing layers of the hues, often recurs in the

decoration of Egyptian findings of this age. On

the top, in correspondence with the areas over

the mummys chest and legs, the remains of a

semi-transparent amber-coloured substance,

similar to a varnish, were detected (image 9).

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We found this substance several times on other

contemporary or earlier sarcophagus other times

it had been removed during previous restorationssince it was deemed as non-original. Said

substance, as the majority of natural varnishes,

is easily soluble in organic solvents and shows

golden yellow fluorescence under UV light.

During an earlier conservative operation, in

order to prevent uplifts and detachments,

some lightweight tissue paper was applied on

the whole surface to protect it and sealing thetop to the bed. The lower part of the top, over

the feet, was disjoint and slack; from the

openings it was possible to see that part of the

mummy had fallen down due to the prolonged

standing in vertical position (image 10).

Before removing the thin layer of interim tissue

paper, a preliminary inspection to assess the

conditions of the mummy and the presence of

interior decoration inside the coffin has been carried

out by means of optical fibres (images 11, 12).

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From the results of this preliminary exam we

were expecting to find out a serious damage,

which was actually ascertained after the opening

of the sarcophagus after having eliminated the

tissue paper sealing its two parts. The remains

of the mummy, which were completely dis-

articulated, occupied the lower half of the

sarcophagus as a compact mass taking the shape

of the coffins interior. Many fragments of

painted plaster detached from the coffin and

felt on the corpse whilst many particles were

deposited among the bandages (image 13).

After temporarily fixing the lift-ups of the

interior decoration still in place and carefully

collecting the fragments fallen on the bandages,

the corpse was transferred on a specially

provided stretcher, carefully avoiding to alter

the position of the mummys remains. In the

area where the corpse was laying inside the

bed, many fragments of the coffins interior

decoration were found, as well as a few faence

amulets and a multitude of annular and

cylinder shaped beads (nearly 13,000), which

originally formed the magic armour (image 14).

Thanks to the radiographies of the corpse,

weve been able to ascertain that the coffin

had already been opened not just because the

bones were in absurd position (the feet under

the right elbow and the jaws under the feet)

but also because the carved beard of the

sarcophagus was found inside the coffin, with

the mummy (images 15-17).

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In the past, the sarcophagus certainly was

exposed to a severe trauma, which caused the

breakage of a few parts of the wooden coffin

and of the corpse. Such distress did not

happen recently: in an old photograph of the

Museum, the sarcophagus is standing, secured

by a rope winded around the abdomen and

a wire around the throat in order to prevent

its falling down inside the glass cabinet

(images 18).

Relying on the radiography, we carried out a

sort of "archaeological research" into the

lump of organic powder, burnt bandages,

bones, skin, resin, plaster and wood

fragments, beads and amulets (image 19).

During this sorting operation the black stone

sacred anepigraph scarab, usually placed over

the heart of the deceased, was found (images

2022).

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All the findings were selected and recorded.

At this point it was possible to start restoring

the wooden sarcophagus: the fragmentary

parts found inside the case, including the

carved beard have been put back in place; the

broken pegs have been replaced if not

recoverable whilst the missing ones have

been replaced and fitted into the original

housing. The new pegs have been made out

of robinia wood as the mechanical stress

performance is similar to the original pegs

one and also because it is easily recognizable

by laboratory analysis or under UV light as its

fluorescence is peculiar. The assembly of all

the parts back in place enabled to recover

some of the original strength of the structure.

We did our best to limit the use of glues,

which have been employed only for anchorage

and consolidation of the detached fragments

whilst no glue was used to fix the pegs or the

original set-up in order not to alter the

original cabinet. Only in one case it was

necessary to insert a stainless steel pin, in

the left side area of the coffins bed. Once

completed the coffins assembly it was possible

to proceed with consolidation, fixing the

colours as well as the preparatory layer to

the wooden support; such operation turned

out to be quite difficult due to the presence

of wax, which had been applied in previous

restorations as a fixative (images 23, 24).

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For this reason it was first necessary to execute

an accurate cleaning of the decorated surfaces,

even if this operation was particularly

difficult, considering the frailty and porosity of

the paint. The dust and organic substances

deposited on the surface were removed first.

The old wax fixatives were then removed byextraction using organic solvents applied on

cellulose supports. At this point the lengthy

work of repositioning the many detached

fragments of the coffins interior decoration,

almost tiny fragments, could start. Most of the

interiors inscriptions have been recomposed

relying on the work of text interpretation

(carried out by an Egyptologist2) and on the

preliminary study on the morphological and

technical features of the fragments, including

the plasters thickness, the distinguishing

marks of the wood fibres on the plaster and

the brushstrokes (images 2527).

All the blue faence elements, the beads, the

tiny cylinders, the amulets and the sacred

scarab have been collected with care, in order

not to further damage the part of the mummy

still in the original anatomic position.

Therefore, in some cases we preferred not to

extract some beads fallen deeply into the still

swathing mummys legs and pelvis. Finding

the above mentioned recovered elements wecould understand that the mummy was

probably adorned by magic armour made of

extraordinarily tiny elements. As agreed with

the Principal and the Superintendent, these

elements have been used to recompose the

fragmentary magic armour taking as a model

some analogous findings of the same age

existing in various museums.

More particularly, the magic armour belonging

to the Muse du Louvre, Paris, is composed by

a series of round shaped beads which are

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similar to the ones found on the Pa Sheri en

Asetmummy, even if the size of the faence

small cylinders is smaller and the shape of the

sacred winged scarab is different. The

embroidery recomposition has been executed

using linen threads, following the typical

construction scheme of the Egyptian magic

armours of that age (images 28, 29).

Nevertheless, the result is merely a proposi-

tional and not a faithful reconstruction and is

easily reversible hence not precluding any

further development. The remains of the

mummy have been placed in anatomic

position, even without proceeding with the

complete reconstruction of the skeleton

(image 30).

The detached bandages and fragments were

put into paper bags and placed over the

corpse, which was then wrapped in canvas

and placed on a moulded and perforated

fibreglass tray3, containing and holding the

mummy though allowing air circulation. The

corpse and the tray as a whole have been

bandaged and covered by a modern linen

sheet secured by a braid, as in ancient times,

and the magic armour has been laid thereon

(images 31, 32).

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Egyptian mummy and sarcophagus,

Museo Civico di Merano, Italy

The mummy and the sarcophagus had been

stored for a long while in the deposit of the

Museo di Merano, inside a closet wooden case

which shielded the findings but could not

prevent the damage caused by the xylophagous

insects and rodents neither dust infiltration

(images 33, 34).

As the case was opened it was immediately

clear that the content was in very bad

conditions: the sarcophagus was disjointed in

several points despite the previous restorations

and covered by a thick layer of dust, whilst the

mummy inside was under a blanket of cotton

stuffing and chips (images 35, 36)

The sarcophagus is structurally analogous to

the Pa Sheri En Asetsarcophagus, with the

exception of the decoration, which is ratherpoorer in this case. Furthermore, this sarco-

phagus was used as a container in the past,

as suggested by the eighteenth century metal

hooks applied thereto. The wooden sarcophagus,

still bearing the plaster layer with tempera

decoration has been already restored in al

1915 ca., with a patchy recomposition using

nails, screws4 and other metal and wooden

stiffeners. The painted surfaces had been

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treated with a fixative which resulted

extremely tough and opalescent. The chemical

analysis detected the presence of a white -

nacreous siliceous layer, materially compact

with varying thickness, which suggested the

presence of a sodium silicate. Unfortunately,

the cleaning test results showed that it

wasnt possible to remove such layer without

risks for the artefact and therefore cleaning

had to stop when reaching the ultimate layer

composed by the above mentioned substance

(images 37, 38).

The conservation activities performed by our

team in years 2002-2003 brought to the

recovery and reassembly of all the wooden

structures parts which were broken or

detached but didnt get lost as secured by

metal or wooden joints. Unfortunately, the

parts which had been fixed with nails are

now lost and we can only assume their

existence from the presence of a numberof nails still in place. Our conservation

intervention was focused on recovering

the original joints efficiency by replacing

the lost pegs and restoring the broken ones

screw-driving internal pins therein. We tried

to limit as much as possible the insertion of

foreign elements which, due to their intrinsic

characteristics, may seriously damage the

wood inducing the formation of cracks.Taking as a reference the previous restorations

steered towards ensuring mechanical strength

to the artefacts, it may be noted that the

metal plates fixed by more than one fastener

performed better than seaming with single

rigid elements (such as nails or screws)

since these exercise mechanical strength

in a restricted area, thereby provoking,

in the course of time, the breakage of the

original wood which is extremely fragile and

dehydrated. The insertion of single pins was

limited to the restoration of the original pegs

made out of hard wood5 since the pin

insertion allowed recovering the pegs

efficiency (images 39, 40).

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We avoided as much as possible, using glue

and wooden junctions, to join the various

parts of the original framework6 as alien, not

compatible or distinct whilst the fractures

within a single element have been normally

bonded with vinyl glues (image 41).

The mummy was inside the sarcophagus and

was overcrowd by cotton padding and wood

shavings.

During the operations carried out to find out a

suitable package to safely transport the mummy

to the laboratory, the above mentioned material

was removed and we discovered that the

cotton stuffing came from the interior of a red

velvet pillow placed under the mummy during

the previous conservation intervention, dating

back to the beginning of the XXth century.

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provided frame, moulded to include the shape

of the mummy: this way it was possible to lift

the corpse without causing any damage, as

shown in the radiographies executed before

and after transportation (images 46, 47).

The mummy was "cleaned" using a micro

vacuum cleaner to remove the dust on the

surface whilst the ragged bandages and cloths

were fixed with stitches. The survived

cartonnage elements were removed and

restored separately. The mummys safe

withdrawal from the sarcophagus allowed us

to better work on the sarcophagus, as

illustrated previously.

However, there still was the problem of the

mummys conservation: the mummy was

The pillow was removed from the original

position by a mouse: the rodent also damaged

the mummy to build up its nest with cotton

stuffing and bone fragments taken from the

mummified body. The corpse of the mouse was

also found under the sarcophagus. Once dulypacked, the remains were taken to the

laboratory, where the mummy was withdrawn

from the bed containing it (images 42-45).

To withdraw the mummified body from the bed

we had to provide a harness in order to

prevent the structural failure of the damaged

parts of the corpse. The harness was made

securing the corpse and the velvet pillow with

some braids, using a Teflon needle. The

braids were then fixed to a specially

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structurally damaged and it was sensible not

to put it back into the coffin without a proper

support, which should have been suitable to

enable the mummys safe withdrawal in the

future without being too visible. A cast of the

lower part of the mummy was necessary to

make such support: the corpse had to be

completely winded up with a transparent film

protecting it from humidity (images 48-52).

Then the lower part was covered with a nylon

sheet and a canvas, both fixed to the

structure though well adhering to the

mummy. The nylon sheet was placed to make

sure that the cast could be easily removed

whilst the canvas would strengthen theplaster cast. Once obtained the shape of the

body from the cast it was finally possible to

realize the fibreglass shaped support required,

which was drilled in order to allow air

circulation. The holes are hidden by canvas

coverage (images 53, 54).

After cleaning the mummy and the

cartonnage, the latter was fixed to the

bandages as it was before the intervention

(images 55, 56).

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Egyptian mummy, Museo Archeologico, Imola

At the moment1 we are working on a Roman

age Egyptian mummy of a girl. The mummy

apparently had serious conservation problems

but, after an in-depth preliminary study, the

problems seemed to be less serious thanexpected. Looking through the glass cabinet,

the mummy seemed to be progressively

degrading. Our intervention was steered

towards finding out a specific and appropriate

conservation metho-dology and was also the

occasion to study the mummy under the

archaeological and anthropo-logical point of

view. In October 2003 the Museum Director of

the Museo Archeologico di Imola, contactedour team asking to sort out a conservation

problem with an Egyptian mummy formerly

belonging to the Scarabelli collection. The

mummy, which until recently had clearly visible

golden areas on the face, at the time we were

called looked dark, brownish and lucid and was

also showing the signs of deliquescence.

The glasses of the showcase containing the

mummy, presumably dating back to the XIXth

century, were misty and therefore it was difficult

to inspect the archaeological finding (image 57).

Furthermore, some worm-holes were detected

on the wooden parts of the container thus it

seemed that the mummy was attacked by

insects. In consideration of the above we

planned to examine the corpse after removing

it from the glass showcase. However, since we

suspected putrefaction could be in process, we

decided to execute some preliminary analysis.

In November 2004, after taking the mummy

inside the glass showcase to the laboratory,

the whole was introduced inside an air-tight

glass cabinet equipped with valves and air

taps (image 58).

After nearly six months, Prof. Minero and Prof.

Maurino from the Analytical Chemistry

department of the University of Turin,

cooperating with our team of conservators,

took the first sample of air from the glass

cabinet (throughout one of the faucets),

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the second sample of air from the glass

showcase containing the mummy (drilling a

port on the rear part of the glass showcase),

and a third sample of air from the laboratory

environment (images 59-62).

Thanks to the analysis, we ascertained that the

glass showcase containing the mummy was no

longer air/water-tight, despite the glass silicon

seals since the warm holes enabled air

circulation and humidity as well.

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As a consequence, the showcases misty

glasses were due to condense phenomenon and

therefore, since the showcase was no longer

efficient, it was necessary to replace it. The

chemical analysis performed by Prof. Minero

and Prof. Maurino showed characteristic

markers of Creosote, probably used as a

pesticide and antiseptic during previous

conservation interventions. Creosote is a

hazardous cancerogenic substance which had

to be appropriately treated and efficiently

confined within the new showcase; with the

aim to minimize the risks related to this

substance and to other hazardous products

used in conservation in the past, it would be

sensible to have some official directives

requiring atmosphere control in the museum

environment. In order to avoid biological and

chemical risks for the personnel, we decided

to drill a few ports on the wooden parts of the

showcase in order to proceed with the washing

of the mummy showcases atmosphere bymeans of an autoclave, alternating vacuum

cycles to clean air input (image 63).

After opening the glass showcase, we could

see that the mummy had a brownish lucid

colour partly hiding the gilded parts, once

clearly visible (images 64, 65).

The girls head was disjointed from the bodyand, between the head and the neck, there

was a cloth pad obstructing the occipital hole.

The above mentioned gildings were mainly

visible on the forehead, on the teeth and

possibly on a pad within the mouth cavity

(image 66).

Lifting the green cloth laid on the corpse as a

result of the previous conservation intervention7,

we found out some other gilded areas on the

breast, the abdomen and the pubis (image 67).

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Near the feet and the head some bitty hair is

visible at the showcases bottom and over the

green cloth. Some white particles derivingfrom the showcases interior peeling deposited

and adhered to the skin, which was slightly

deliquescent, sticky and soft (image 68).

The rupture of the right arm in the area

centred around the omeral joint had been

repaired by means of a little greenish pin

and the arm was laid on a piece of wood.

The ercolation of the brownish-lucid substance

on the body caused the adhesion between of

the arm to the wood as well as of the corpse

to the pillow on which the corpse was lying

down. We noted the leg fractures in the area

centred around the knees, put back inanatomic position during the previous

conservation intervention. Inside the glass

showcase there were four bottles containing,

according to the labels, calcium chloride and

synthetic camphor. Nearby such bottles the

decorative cord has faded, uniformly and

therefore independently from the content

of the bottles whilst the original hue of the

most distant parts is in perfect conditions.

The radiographies revealed serious damages

to the skeleton and the presence of pins

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which have been used for hairdressing and to

repair the omeral fracture (images 69, 70).

For instance, we took into consideration the

possibility to keep the mummy in inert gas

atmosphere (Nitrogen) to protect it from

microrganisms and parasites; in such case it

would have been necessary to check the presence

of anaerobic bacteria, which could be dangerous

in this kind of environment (image 71).

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The biological analysis performed8 showed

absence of fungi and anaerobic bacteria alive

and a normal presence of aerobic bacteria on

the green cloth while they were absent on thesurface of the corpse (image 72).

It may be noted that if the substance taken

from the corpse of the mummy contaminated

the culture of bacteria taken from the green

cloth, these would not survive. This information

was a key-factor to be considered for the

design of the new showcase: as the air chemical

analysis, this particular data enabled our teamto understand that the archaeological finding

was already treated with preservatives

commonly used as pesticides as well and also

had antiseptic properties. As a consequence,

treatment and conservation in inert gas

atmosphere was considered not necessary.

Even under the operational point of view, the

absence of pathogen bacteria was a guarantee

of safety for those operators treating the

mummy and such condition simplified

working procedures.

Our conservation activity was limited to the

removal of the parts of cloth which covered

the corpse as well as of the white fragments

detached from the old showcases interior

which adhered to the mummys skin and to

the detachment of the mummy from the green

cloth pillow and of the arm from the piece of

wood. Finally, the corpse has been placed on a

stretcher lined with a sterile double fibreglass

net layer (images 73, 74).

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At the moment1, while waiting for the new

showcase, the corpse is kept inside a Plexiglas

cabinet with climate control (18-20C; 50-55

% Relative Humidity) (image 75).

There are no items similar to the aforesaid

mummy, in terms of conservation parameters

required, at the Archaeological Museum of

Imola. In the case of mummies, it is

necessary to design a specific container for

the conservation of archaeological findings

requiring particular attention. It is actually

necessary to conciliate the complexity

deriving from conservation needs, design

costs, realization and museum management.

Having analysed the conservation environment

adopted by different museums worldwide to

preserve their mummies, weve been able to

find out different parameters, which do not

depend exclusively on the climate area in

which each museum is located. In the course

of this study we evaluated the museumenvironmental conditions, the microclimate

inside the museum and the macroclimate

outside, the number of visitors in relation to

the museums dimensions and fruition

capacity, the conditions in which the item is

exposed and finally the problems which

apparently determined the worsening of the

mummys conditions.

For the new showcase we also took into

consideration some variables, such as

durability of the materials to be used for the

showcase and their suitability for the

proposed solution. Last but not least we

examined the context in which the showcase

should be fitted, under the aesthetical point

of view. Hence, the options polarized towards

a showcase with aluminium framework, wood

lining and stratified glass including UV filter

film. It will be possible to control the climate

parameters inside the glass showcase

throughout the specially provided

instruments; in case of imbalance exceeding

the safety limits, it will be possible to

intervene for corrective action.

A further campaign of analytical analysis9 onthe mummy turned out to be extremely

interesting as identifying some of the materials

within the archaeological findings.

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Of particular note was the X Ray-Fluorescence

(XRF) portable instrument, which requires no

sampling and is therefore a non-invasive and

non-destructive analysis. Throughout this

technique, it was possible to obtain some more

detailed information on gold, which turned out

to be particularly pure (images 76, 77).

Chlorine and Potassium signals were often

detected as well, suggesting the use of chlorides

during embalming operations or afterwards, for

conservation. At the moment further analysis

throughout gas chromatography has been

undertaken to identify the organic substances

of the brownish-lucid layer on the mummys

surface and to verify the presence of henna or

other dyes used for hair colouring.

Radiocarbon dating of the cloth found at the

base of the skull will provide further details on

the age of the archaeological finding and will

improve our knowledge on the Egyptian

embalming techniques.Some anthropological studies and analysis

carried out by the academics10 of the

University and of the Anthrpological Museum

of Turin, also relying on various analyses, still

have to be completed. The results of the

aforesaid studies, together with other

information relating to the preservation and

conservation of this particular mummy will

be presented at the VI World Congress on

Mummy Studies, which will be held in

Lanzarote (Canary Islands) in February 20071.

Conclusions

These three cases are certainly significant

however we could narrate about many others,

revealing some embarrassing anecdotes. As an

example, during the performance of conservation

activities on a mummy belonging to the Civic

Museum of Asti11, we detected some damages

which were probably imputable to the former

owners or to the museum conservators who

tried to withdraw the amulets from the corpse

without the necessary care. Thanks to the X-Rays analysis, the missing parts of broken

amulets exposed in the Museums showcase

were found inside the mummy.

Hopefully, conservation may help us under-

standing as well as enhancing our knowledge

as no conservation intervention can leave

knowledge aside. In the near future, the

sarcophagus belonging to the Narni Museum

as well as a mummy - not belonging to thisinstitution which has already been studied

by the academics of the University of Pisa

from the anthropological point of view, will be

the occasion for new studies steered towards

an in-depth knowledge of this archaeological

finding, considering that many coffins were

re-used in the past. Even in this case, an

interdisciplinary approach will be necessary

to obtain reliable scientific results12 while

coordination is essential to properly use and

elaborate the information available.

76

77

e_conservation 45



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Acknowledgements

We would like to thank the following people

and institution for making some aspects of our

work possible:

Dr. Guido Rossi Archeological Museum of

Genova Pegli

Dr. Caterina Longo Civic Museum of Merano

Dr. Laura Mazzini & Dr. Daniela Picchi Civic

Museum "Scarabelli" of Imola

Ms. Melanie Zeffirino (translation) and Ms.

Carla Gori (paging)*

Endnotes

1. The present article was presented at the EITEC

Workshop (Encontro International de Tecnologias

Aplicadas Museologia, Conservacao e Restauro), 19-20

October 2006, Coimbra, Portugal.

2. Dr. Valeria Cortese - Torino.

3. Compare the construction technique of the fibreglass

tray described in relation to the case of the mummy

belonging to the Museo Civico di Merano.

4. The use of screws is certainly less stressful than

employing nails, which have to be inserted with a

hammer, involving a serious trauma for the layers of

plaster and paint. The damage is particularly serious

when single nails are used whilst the appliance of plates

fixed by means of more than one fastener is less invasive.

5. When it was necessary to replace a missing peg into

the original housing, the new peg has been made out ofRobinia wood a species which did not grow in ancient

Egypt having similar mechanical stress performance to

the Nile Acacia and other hard woods usually employed

to make pegs. Furthermore, this type of wood is

absolutely recognisable and therefore distinct for the

typical fluorescence to UV light.

6. The original technique required the union of

structural elements throughout pegs which were

sometimes totally hidden in the wood thickness and

*Article submitted to EITEC 2006

sometimes placed diagonally so that the head was visible.

All the slots were filled with plaster (containing iron

oxides and gypsum), which was often applied on the

surrounding area and, more frequently, was the prepara-

tory layer for the tempera decoration.

7. During a previous conservation intervention, the corpse

was recomposed on a green velvet pillow with a decorative

cord. A green cloth was also laid on it to cover nudity.

8. Biological analysis has been performed by Dr. Daniela

Riccio (ALCHIM S.a.s.) coordinated by ADAMANTIO S.r.l..

9. Performed by ADAMANTIO S.r.l.

10. Performed by Dr. Boano, Dr. Fulcheri, Dr. Grilletto, Dr.

Carnazza, Dr. Bresci, Dr. Meaglia, Dr. Barbero and Dr. Rabino

11. Compare in bibliography "Museo Archeologico di Asti:

La collezione Egizia" pag. 43.

12. Compare in bibliography "Sarcofagi della XXI dinastia

(CGT 10101-10122)"

Bibliography

1. E. Leospo (ed.); Io vivr per sempre Storia di un

sacerdote dellantico Egitto. Tormenta Editore, Genova

(1999)

2. G. L. Nicola; Restauro di opere restaurate:

problematiche di intervento in due casi limite.

Proceedings of XIX International Conference "Science and

Cultural Heritage" Bressanone (Italy) 1-4 July 2003,

Arcadia Ricerche, Padova (2003)

3. E. Leospo (ed.); Museo Archeologico di Asti La

collezione egizia. Ages Arti Grafiche, Torino (1986)

4. G. Fornaciari, A. G. Naccarato, F. Mallegni; Autopsia per

una mummia. Archeologia Viva Anno XIII n 44 Marzo-

Aprile 1994 - Giunti (1994)

5. A. Niwinski (ed.), G. L. Nicola, T. Radelet, G. Laquale;

Sarcofagi della XXI dinastia (CGT 10101-10122) Ministero

dei Beni e de delle Attivit Culturali, Torino (2004)

6. A. M. Donadoni Roveri; Passato e Futuro del Museo

Egizio di Torino. Allemandi & C., Torino (1989)

7. G. L. Nicola (ed.); De Gypso et Coloribus. Celid, Torino (2002)

46 e_conservation



26/27

Prof. GIAN LUIGI NICOLA

NICOLA RESTAURI S.r.l - Italywww.nicolarestauri.it

Contact: [email protected]

In 1966, after completing his studies in visual

arts, Gian Luigi Nicola graduated at the

Accademia Albertina of Turin and was awarded

with professorship one year later. Since then

hes been working with his father, not only in

the restoration of paintings but mainly

specialising in conservation of archaeological

findings of various materials such as wood,

stone, plaster, and clay (particularly from

Egypt) requiring treatment in situ. In 1988 the

experience of all members of the Nicola family

merged into the new-born NICOLA RESTAURI

S.r.l. Gian Luigi Nicola is one of the Technical

Directors in-charge, by virtue of the great

experience acquired working with the Egyptian

Museum of Turin and a number of Italian

Archaeological Museums for which he restored

so many artefacts, including more than 200

old Egyptian wooden sarcophagi, nearly 900

ceramic vases and handicrafts, stone

monuments and almost all the statues of

pharaohs and gods held by the Egyptian

Museum of Turin. In 1975 and 1983 by

appointment of the Egyptian Government, he

drew up two preparatory projects for theconservation of the Tomb of Nefertari and, in

1992, he was invited by the Egyptian

Government, to participate to the

international conference on the Sphinx

conservation project, being one of the 16

members of the international team of experts

working on this goal. Last but not least, since

1998, Gian Luigi Nicola is Professor of

conservation and training at the Academy of

Fine Arts of Turin, for the BA and MA degree

courses in Conservation Studies.

Dr. MARCO NICOLA

ADAMANTIO S.r.l. c/o CNR-ISTEC Italywww.adamantionet.com

Contact: [email protected]

Marco Nicola represents the third generation of

a family of conservators. He took an honours

degree (110/110) in chemistry at the

University of Turin in 2003, presenting his

final dissertation on Protein-based media

identification and ageing in Art. In 2005 he

started his Science and Material Technology

PhD, working on the bio-susceptibility of

restored materials. On February 2005, with his

friend Dr. Admir Masic, he founded ADAMANTIO

S.r.l., a start-up hosted by University of Turin

and CNR-ISTEC, carrying out specific projects

relating to conservation, including scientific

analysis and researches focused on preservation

and restoration of cultural heritage. As Board

Director and Conservation Scientist in chargeof research and conservation projects, Marco

Nicolas professional experience in conservation

ranges over a variety of subjects, including

artefacts and monuments of architectural and

historical interest, archaeological sites, mural

paintings, oil and tempera paintings on canvas

and wood panel, book and paper conservation,

as well as stuccoes, stone, wood, terracotta,

mosaics, enamels, metals and archaeologicalfindings such as mummies. He performed some

interesting analysis and research campaigns

focused on material identification, dating and

damage assessment thereby providing advice

on conservation strategies as well as analysis

driven to identify and eventually carry out the

most appropriate treatments required. Since

2004, he has been cooperating with the family

company, NICOLA RESTAURI S.r.l., as R&D

Manager in-charge of chemical and scientific

analysis for conservation projects and activity.


e_conservation 47
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Documents

Nicola, G.L. Et Al. Conservation of Mummies and Sarcophagi. 2008