(by Amulya Shrestha, Engineering Student)

The Walters Art Museum in Baltimore was one of the first museums to implement an art conservation program. Last Thursday, the SCIART team received a behind-the-scenes tour of the art conservation labs there and discussed our ideas with the conservators.

We started the tour by learning about the history of the Walters Museum. We were introduced to Dr. Glenn Gates, one of the conservation scientists, who gave us a tour of his lab. There we saw the equipment used to perform the analysis of the different artworks. The lab consisted of an x-ray fluorescence imaging machine which allows you to meticulously examine the image of the different materials used on the artwork.

We were then allowed to to examine different artworks such as Japanese sword guards (tsuba), the elopment of Helen of Troy, and the ancient artifacts from the Aztecs. We also visited three additional labs where the art conservation and restoration took place. The paintings conservation lab contained one of a set of three paintings of the elopment of Helen of Troy, they were able to use infrared and ultraviolet imaging analysis to analyze how the painting was constructed in order to use the proper restoration techniques.

The book and paper conservation lab showed us the different gels and techniques used to conserve historic books that were written on parchment paper. The object conservation lab showed us how ultraviolet imaging can be used to observe below the surface or the paint. The trip was then summarized with a presentation by the conservator on the projects they are currently working on. One such project was analyzing the scratches on Macuilxochitl, the god of gambling and another was the originality of the rays emitting from a painting of the Madonna. We also got a chance to discuss the constraints and the design of the resistance temperature detector sensor with experts including Dr. Terry Weisser.

Currently in our research, we are working on designing the resistance temperature detector on a 3-D modeling program called solid works. We have also been working on the signal conditioning circuit design to ensure that the proper signal is propagated to the micro-controller for data analysis. We have also been doing literature review for the different scholarly articles we read on fabrication and characterization of the temperature sensor, signal conditioning circuits for temperature sensors, wireless signal acquisition and processing, and temperature and humidity monitoring in museums to further our knowledge on art conservation.

(by Adam Ring, Chemistry Group)

Members of the Chemistry and Biology groups within the SCIART program had the opportunity to visit the Walters Art Museum in Baltimore this past week. Since our research projects focus on studying the age and origin of ivory artifacts throughout history, this visit provided background on various ivory materials, ivory’s use in various cultures, and the ethical and technical issues surrounding the study of ivory.

The visit began by joining Terry Weisser, the previous Director of Conservation and Technical Research at the Walters, for a group seminar discussing how to distinguish various types of ivory. When distinguishing elephant tusk ivory from mammoth (which has been discovered well-preserved in permafrost and used throughout much of history), we were taught to look at the Schreger lines. These are crossing lines of dental tubules formed as the ivory grows. When these Schreger lines intersect at obtuse angles along the periphery, this is indicative of elephant ivory. Intersection at acute angles however indicates that the specimen is mammoth.

Walrus tusk ivory was shown to have two distinct layers of dentine (primary and secondary) and is structurally very useful in manufacturing weaponry. Islamic weapons made from ivory are often found to be made from walrus for this reason. Narwhal tusk is easily identifiable due to its spiral pattern and tendency to be hollow due to the thick nerve extending through the tusk. Other ivory materials discussed were made from hippo teeth (common in Egypt), sperm whale teeth (typically used for scrimshaw), warthog, boar, and elk’s tooth. We also discussed regulations in selling and transporting elephant ivory. These regulations were put in place because elephants have been the target of poachers since ivory is a valuable good on the black market.

After lunch, we had the opportunity to look through the conservation window and view a wide array of ivory artifacts. Two objects that particularly stood out to me were an ornate French lampshade and a dagger made of Damascus steel with an ivory handle. These two objects’ stark differences in function represented the huge spectrum of use that ivory allows in its carving. The French lampshade showed some of the most delicate detail I’ve seen in an ivory carving with an intricate pattern of small openings allowing light to pass through. The dagger on the other hand, being made of walrus ivory, represented the strong and utilitarian qualities that ivory can have.

Walking around the collection, we had the opportunity to see many more example of ivory’s use throughout many different eras and cultures. One case study focused on the Minoan Snake Goddess within the collection. Made of ivory and gold, this work was deemed a fake by a scholar who stated these particular figures would not have been made of ivory. However, there exists a dilemma in testing the authenticity of the figure because previous restoration campaigns could have influenced carbon dating results. This sheds light on the problems one can face when doing research on a particular artifact. Overall, this visit has given us an introduction to the importance of ivory throughout our history and gave us a glimpse of the challenges one can face when working in ivory conservation.