Article from e_conservation, the online magazine No. 3, February 2008, pp. 22-47/110 www.e-conservationline.

com

PRESERVATION AND CONSERVATION OF MUMMIES AND SARCOPHAGI

GIAN LUIGI NICOLA MARCO NICOLA ALESSANDRO NICOLA

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

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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 of such 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
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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 "archaeological research" 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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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.
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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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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).
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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 superimposing 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 restorations since 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 the top 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 disarticulated, 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).
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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 by extraction 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
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(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 we could 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 Aset mummy, 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
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construction scheme of the Egyptian magic armours of that age (images 28, 29). Nevertheless, the result is merely a propositional 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 Aset sarcophagus, with the exception of the decoration, which is rather poorer in this case. Furthermore, this sarcophagus 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 number of 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
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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).
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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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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 duly packed, 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

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
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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).
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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 the plaster 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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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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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 than expected. 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, contacted our 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).
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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 by means 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 body and, 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 deriving from 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
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to the pillow on which the corpse was lying down. We noted the leg fractures in the area centred around the knees, put back in anatomic 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 the surface 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 team to 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.
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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 museum environmental 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 on the 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 XRays analysis, the missing parts of broken amulets exposed in the Museums showcase were found inside the mummy. Hopefully, conservation may help us understanding 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 this institution 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.
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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 of Robinia 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

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 preparatory 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 MarzoAprile 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)

*Article submitted to EITEC 2006

46

e_conservation

CONSERVATION OF MUMMIES AND SARCOPHAGI

Prof. GIAN LUIGI NICOLA

NICOLA RESTAURI S.r.l - Italy www.nicolarestauri.it Contact: nicolarestauri@tin.it 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 the conservation 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.
e_conservation

Dr. MARCO NICOLA

ADAMANTIO S.r.l. c/o CNR-ISTEC Italy www.adamantionet.com Contact: nicola@adamantionet.com 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 charge of 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 archaeological findings 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.
47

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