www.ptcer.pl/mccm
1. Introduction
Ceramics have assisted the human being for centuries, and had initially served as functional objects and elements; however, after some centuries, ceramics started functioning as a form of artistic output. The specifi c types of ceramic art objects and elements of architectural decoration, as well as their shape, developed hand in hand with the evolution of ceramic craft and workshop. They were also infl uenced by the tastes of particular periods. We should be able to properly protect and conserve the preserved, fi red and gla-zed objects of historical value which constitute the Polish, European and global heritage.
Arts conservators play an important role in this task, especially the ones who specialise in the conservation of artistic and functional ceramics, as well as the architectural details. The author of the article is one of these specialists.
The need to fi ll and reconstruct the missing fragments of glazed ceramics is one of the conservational tasks for the protection of a ceramic object of historical value. The present paper discusses two methods of reconstruction: the fi rst one which is “cold” in the conservational technology, and the second one via fi ring. Their characteristics, which include the limited application possibilities of the fi ring method and reasons for that, shall constitute an introduction to a broader discussion of the topic.
The reconstructions of historic ceramics
with “cold” or ceramic fi ring conservation methods
M
ARIAR
UDYRetired worker of Nicolaus Copernicus University, Faculty of Fine Arts, Institute of Heritage Science and Conservation, Department of Conservation of Architectonic Elements and Details, ul. Sienkiewicza 30/32, 87-100 Toruń
e-mail: maria-rudy@wp.pl
Abstract
The present paper discusses the issues concerning the methods of solving problems created by the need to fi ll and reconstruct the damaged/missing fragments in ceramic glazed antiques via conservation methods. Two methods of reconstruction are depicted in the paper: the fi rst one, “cold” in the conservation technology, the second – ceramic fi ring. Their characteristics, limited possibilities of ap-plying the ceramic fi ring methods, and the reasons why, shall constitute an invitation to a broader discussion of the topic.
The strictly conservational conditions, limiting or/and precluding the fi lling and reconstructions with the use of the ceramic technique are also presented. What is important in this case, there are the historic and technologic aspects of the original objects, whose identifi -cation is the duty of every conservator of the ceramic work of arts. Furthermore, the technological and conservational conditions of con-duct in “cold” reconstructions are specifi ed, which differ depending on whether the works of art are exhibited in the interiors or outside. The text is supplied by illustrations that present the typology of fi llings and reconstructions in ceramic antiques representing the artistic craft, as well as the ones of decorative glazed architectonic elements.
Keywords: Glazed ceramics restoration, Conservation principle, Ceramic antique, Imitation of missing part, Firing conservation method, Ceramic glaze
REKONSTRUKCJE CERAMIKI HISTORYCZNEJ
ZA POMOCĄ METODY KONSERWATORSKIEJ „NA ZIMNO” LUB METODĄ WYPALANIA CERAMICZNEGO
W artykule dyskutowane są zagadnienia dotyczące metod rozwiązywania problemów związanych z potrzebą wypełnienia lub rekon-strukcji zniszczonych/brakujących fragmentów zabytków ceramiki szkliwionej metodami konserwacyjnymi. W artykule przedstawiono dwie metody rekonstrukcji: pierwsza to metoda „na zimno” w technologii konserwacji, druga – wypalanie ceramiczne. Ich charakterystyki, ograniczone możliwości stosowania metod wypalania ceramicznego i tego powody są zaproszeniem do szerszej dyskusji tego tematu. Prezentowane są również ściśle konserwatorskie warunki ograniczające lub/i uniemożliwiające uzupełnienia i rekonstrukcje wykonane za pomocą użycia techniki ceramicznej. Co ważne w tym przypadku to historyczne i technologiczne aspekty obiektów oryginalnych, których identyfi kacja jest obowiązkiem każdego konserwatora ceramicznych dzieł sztuki. Ponadto wyszczególniono warunki technolo-giczne i konserwatorskie wykonania rekonstrukcji „na zimno”, które różnią się w zależności od tego czy dzieła sztuki są eksponowane wewnątrz czy na zewnątrz. Tekst zaopatrzono w ilustracje pokazujące typologię wypełnień i rekonstrukcji zabytków ceramicznych, reprezentujących rzemiosło artystyczne, jak również ilustracje dotyczące dekoracyjnych, szkliwionych elementów architektonicznych.
Słowa kluczowe: restauracja ceramiki szkliwionej, zasada konserwacji, zabytek ceramiczny, imitacja brakującej części, ogniowa metoda konserwacji, szkliwo ceramiczne
The strictly conservational conditions, limiting or/and preventing the fi lling and reconstructions with the use of a ceramic technique will be presented. What is important in this case there are the historic and technologic aspects of the original objects, the identifi cation of which is the duty of every conservator of the ceramic work of arts. Further-more, the technological and conservational conditions of conduct in “cold” reconstructions are specifi ed, which differ from each other, depending on whether the works of art are exhibited in the interiors or outside.
The textual part of the paper is supplied by illustrations, presenting the typology of fi llings and reconstructions in ceramic objects of historical value, representing the arti-stic craft, and the ones which are decorative architectural elements.
2. The origin of damages and defects
in ceramic objects
One of the necessary and fundamental pieces of infor-mation in the workshop of every ceramics conservator is the knowledge of how damages occurred in ceramic objects of historical value. This knowledge determines the indispen-sable stages of initial research reconnaissance in the scope of history, stylistics, technology, research of a conservation degree, and reasons why the object was damaged, which give opportunity to prepare guidelines and programme of conservation and restoration works for a given ceramic
ob-ject of historical value in the conservator’s conclusions/ interpretation [1, 2].
The guidelines and work progress are different in the case of objects with purely mechanic damages resulting from an earlier or a “fresh” damage of an object which has been well preserved. These procedures are also different for objects which have changes and damages in the bulk structure (po-rous earthenware ceramics) or surface (sintered earthenware ceramics), resulting from weathering or the harsh environ-ment to which the object has been exposed through specifi c periods of its existence, and/or the harmful infl uence resulting from the use of improper materials, both in the past and now, and carrying out unprofessional repairs (Figs 1–4) [3].
Conducting strictly conservational procedures, which remove the origin of damage and weathering changes, is indispensable in both of the abovementioned cases. As a result, the procedure will have a great infl uence on the scope of the possible fi llings and their aesthetic arrange-ment [4]. Sometimes any earlier interferences in repair are so unprofessional or even destructive for the original that there is no possibility to reconstruct its previous artistic features, and it is necessary to keep replacements so as not to damage the core part of the object itself. The aforemen-tioned conditions should be documented in detail, discussed in a larger committee, and then confi rmed in a protocol in the presence of the object’s caretaker, specialists and appraisers and representatives of the conservational and museum authorities.
Fig. 3. Diffi cult to remove epoxy adhesive in the porcelain joint of a claw foot teacup (1820).
Fig. 1. Repair resin layer, being diffi cult to remove, put on the surface of a base of a his-toric fi gure made of bisque.
Fig. 2. Signs of inadequate repairs of a bro-ken handle of a porcelain teacup from the manufacture in Sevres.
Fig. 4. Fragments of a fractured claw foot tea cup (1820) with visible damages of the cobalt paint and ceramic gilt, resulting from un-professional repairs.
polytechnic knowledge about the historical and contem-porary workshops and manufactures of glazed ceramics. These include:
4. The knowledge about the historical ceramics work-shop where the object was made.
5. The research into the technique and technology of preparing resources and fi ring of the genuine ceramics.
6. Expertise and knowledge of how to choose contem-porary resources and additions in order to prepare the ap-propriate raw material composition to fi re earthenware and glaze.
7. Worked out as a result of experimentation – conditions of fi ring the glaze “tips”, bending it properly during and after fi ring which enables to connect or glue the fragment preci-sely to the original fracture, utilising the “cold” method, in the place where the damage appeared.
8. Cooperation with a ceramic antiques conservator who can supply ceramicists and technologists with selected sam-ples for physical and chemical analyses after a substantive consultation.
Until now, there have been only few cases where the ceramic technique via fi ring has proven to be an effec-The abovementioned limitations pertain to the objects
which have been severely destroyed and weakened by envi-ronmental corrosion, e.g., archaeological ceramics, ceramic object which come from war and post-war damages (old ruins), the weakened tile ceramics from historic tile furnaces [5–6] which were disassembled and assembled unprofessio-nally, or even ceramic objects rescued from fi res (Figs 5–7).
3. Conservational guidelines in choosing
a method of fi lling and reconstruction of
historic ceramics
3.1. Ceramic method via fi ring
In the discussion of conditions and limitations of the me-ans and methods of imitational fi llings in damaged ceramic antiques, it is necessary to take into consideration specifi c aspects referring to the problems and possibilities of repro-duction of missing fragments with the ceramic method via fi ring, and afterwards “cold” mounting them on the object. Only few ceramicists and researchers in Poland handle them. These people have a professional technological and
a) b)
Fig. 7. The view of ornamental forms the side (a) and from a top-diagonal view (b) with clear and permanent changes caused by fi re. Fig. 6. A fragment of a research description with a micro photo which shows a burned ceramic painting decoration on a fragment of a casket.
Fig. 5. A historic porcelain casket, richly decorated with enamel and glazes, and ornaments representing people. The visible dam-ages are due to a fi re.
Ethics of An Conservator of Works of Art, the “cold” method of fi lling and reconstruction of historic ceramic enables ma-ximal preservation of the antique substance – the original and/or historic, which guarantees the proper and effi cient protection of our ceramic heritage.
Similarly to the ceramic method via fi ring, the conserva-tors should have proper knowledge pertaining to the history of workshops and manufactures as well as the techniques and technology of producing and fi ring glazed ceramic works. What is also crucial is getting to know and deter-mining the fundamental physical and chemical features of the ceramics which we are fi lling, petrographic and material tests as well as the knowledge of the scopes of painting and sculpting techniques and technologies. The knowledge of future conditions, environment and the social function of the object are necessary to conduct long-term reconstructions or fi llings. The different environments include:
– Museums [8] which guarantee proper – specifi ed in conservational documentations – temperature and humidity as well as lighting conditions; they not only should determine the exhibition rooms but also storage rooms where most of ceramic objects are stored.
– Private collections or decorations and family memo-rabilia – this is the environment where the conservational requirements pertaining to preserving adequate and stable tive method of the reconstruction of missing fragments.
The main realisation problems are connected to the lack of possibility to determine precisely the bend of the fi red “tip”, which would allow for a more precise adjustment of the new fragment into the fracture of the original object. Therefore, only the elements whose surface was fractured minimally and regularly can be successfully reproduced. It is corroborated by specifi c realisations, for example, the gilded handle of a historic porcelain vase from Petersburg (19th century) which comes from the collection of the
Na-tional Museum in Warsaw [7] (Fig. 8) as well as covers of precious ceramic vessels, such as porcelain, tin-and-lead glazed and creamware, and others. However, only copies of historic ceramics are made in majority of cases and they are used, for instance, as an architectural detail in interior (for example, historic furnace) and in elevations of historic buildings as well as copies of existing ceramic works of art. Other examples of the application of the aforementioned techniques are shown in Fig. 9–15.
3.2. “Cold” conservation method
Taking into consideration the historical and conservatio-nal aspects, as well as those pertaining to the knowledge of antiques, and complying with the regulations of the Code of
Fig. 8. Two handles from an antique porcelain vase from Petersburg (19th century); National Museum, Warsaw; The handle indicated
with an arrow is a ceramic copy (gilded and fi red porcelain), modelled on the original handle, which is on the right side of the photo
Fig. 9. Tiles from the great furnace in the Artus Court in Gdańsk; left – a 20th century
copy of one of the original Renaissance tiles; author: prof. Henryk Lula, a ceramicist. Right – the original tile.
Fig. 10. External face of the original portrait- tile (1545) by Georg Stelzener.
conditions of the environment in the place where the object is kept after conservation and restoration are not respected despite the guidelines specifi ed in the post-completion do-cumentation of a ceramic object.
– Exteriors [9] with different atmospheric and geological conditions; the climate of a given region has a different detri-mental effect on the ceramic decorative detail and it varies depending on whether the object is exposed to the different
a) b)
Fig. 11. Copy of a Renaissance tile shown in the left side of Fig.9: a) view of the tile fl ange from the short side, b) external face of the tile.
Fig. 12. Front of a town house facade (Toruń) with elements of gothic brickwork, initially glazed; the gothic and contemporary bricks were covered with an epoxide resin layer, fl aking off on contemporary ceramic bricks.
a) b)
Fig. 13. Western portal of a gothic church of st. Jacob in Toruń before conservation and restoration (a) and after it (b). The glazed colourful ceramic refractory bricks were reconstructed and fi lled using two methods: „cold” and ceramic burning.
Fig. 14. . Fragment of a pedestal near the portal (Fig. 13b) with refractory bricks which were reconstructed with the use of „cold” and ceramic burning methods.
Fig. 15. One of ceramic copies, element of the portal (Fig. 13b) cov-ered with resin varnish (now fl aking off) to weaken the glaze’s gloss.
climates: that of the seaside or the submontane regions. The effects also differ depending on whether the object has been exposed in a highly industrialised citiy or countryside.
Thus, the conservator of historic ceramics is obliged both to choose materials individually and consciously as well as to apply methods which are typical for reconstructions of objects exhibited in the exteriors and interiors; the know-ledge about the possible detrimental infl uence of the local backlighting which produces the UV radiation (a majority of led lamps cast a cool light) is necessary. Furthermore, the arts conservator should consider the local condensation dampness near places which are strongly heated, for exam-ple, the windowsills above radiators, decorative fi replaces with moulding, that is places where ceramic antiques are often exhibited.
In the case of external expositions, it is extremely im-portant to use restoration materials and formulations which are resistant to weathering (binders, aggregates, pigments of mortars imitating earthenware, bisques, engobes, bin-ders and pigments which imitate the ceramic paint and glazes). The “cold” methods of mounting and connecting the fragments to the original piece should ensure an im-proved resistance to the meteorological factors (adequate metal fi ttings, glues, laminates etc.). The description and characteristics of materials which are used nowadays to reconstruct or to renovate the historic ceramics exhibited in the interiors and the exteriors is included in the quoted publications, among which there are this paper author ‘s publications [10–12].
Among the issues connected with reconstructions and fi llings of historic sintered earthenware ceramics (porcelain, stoneware), there is an area where making good imitative conservational mortars and artifi cial glazes, as well as gilts, are the only measure to tackle the diffi culties mentioned in the latter part of the text. These diffi culties include de-formations which occur in broken porcelain, stoneware, sometimes in terracotta and creamware, where damaged or broken fragments have remained disconnected for a longer period without being glued back or reconnected. These deformations are a result of a slow process of recrystalli-zation which occurs in products fi red at high temperature, encompassing the fi nal stage of fi ring, i.e. sintering. Thus, the long-period of disconnection results in the fact that the broken fragments do not fi t, which makes it more diffi cult to achieve a level contact surface, which in turn causes the light to be distorted or even accidentally refracted. It is possible to avoid or alleviate the unwanted visual effect by using specifi c conservational methods. These methods also allow the conservator to avoid certain techniques, for example, grinding the protruding or deformed fragments of the surface and smoothen the contact area with the use of adequate varnishes imitating glazes, put on a larger surface, including the original glaze. These procedures go against the conservational ethics because they result in damages in the area of ornamental historic material.
3.3. The principles of conservatorial conduct
in fi llings and reconstructions of historic
ceramics which are protected by law
The issue tackled in section 3.2. is connected with the conservator’s excessive intervention. The repairs are fre-quently conducted by non-professionals in the areas with well-preserved ornamental layer. It makes us rethink and reminds us of the fundamental conservational principles and assumptions which pertain to the statutory obligation to preserve the extant historic substance which also – despite the infl uence of weathering – informs the researchers and specialists as well as conservators (practitioners) of cera-mics about the antique’s important features. The information may expand our knowledge in the scope of possibilities to reconstruct sculpting and painting forms and elements, the means of original construction and function, e.g. the con-struction elements visible on the back of the object – part of the earthenware or biscuit (tiles, refractory shapes, ceramic masks, porous-red ceramics, internal static reinforcement of ceramic, biscuit, stoneware and terracotta moulds). The con-temporary instrumental research can also help to identify, basing on micro-samples, the original range of decorations in the glaze layer, ceramic gilts or mirroring despite major changes caused by weathering, e.g. after a fi re whose high temperature caused irregular damages or changes.
We should therefore improve our conservational knowled-ge in the scope of a better understanding of physical pheno-mena taking place in porous and non-porous (sintered) cera-mic objects as well as their decorative layers: engobe, glaze and enamel, both colourful and colourless glazes, mirroring and gilts. Only the research and conservational knowledge which is continuously improved can prevent unprofessional, damaging and pseudo-conservational proceedings in work with historic ceramics. Museums, government agencies devoted to the protection of historic objects and monuments as well as the conservational principles, which are specifi ed in the Code of Ethics of A Conservator of Works of Art [13], serve to protect and respect the historic ceramics.
With reference to the theme of the present paper, there are determined conservational rules and principles which specify that the areas which undergo reconstruction and fi lling in historic ceramics should be clear when observed from up close. They should also be well documented in photos (and described) and stored on an electronic medium.
Conservators and appraisers should make every effort to prevent random and accidental repairs carried out by non-professionals even in the case of private commissions and souvenirs of collectors and owners of historic ceramics which are not registered objects of historical value. The repairs made by non-professionals can lead to damaging the original ceramics and have only one aim – to make the object look as beautiful as a new one. To achieve it, the knowledge of fi llings and reconstruction is not necessary.
Conservator’s reconstructions and fi llings of the tiles in the great furnace in the Artus Court in Gdańsk.
Conservator’s reconstructions and fi llings of the tiles in the great furnace in the Artus Court in Gdańsk.
4. Examples of “cold” fi llings, reconstructions and copies in artistic ceramics [14, 15]
Conservator’s reconstructions a tile (16th century) – Historical Museum of Cracow.
Fillings and reconstructions of an ancient lekythos – National Museum in Poznań.
Conservator’s copies ceramic rails of a furnace (18th century) Uphagen House in Gdańsk
Conservator’s fi llings and reconstructions: porcelain cup (1857) Sèvres.
Conservator’s reconstructions of tiles (16th century) – National Museum in Gdańsk.
5. Examples of “cold” and fi red fi llings, reconstructions and copies in ceramic antiques –
architectural elements
Glazed and ceramic sculpting architectural details – modern and gothic – placed in alcoves on the western top of a gothic church in Grzywna near Chełmża.
Gothic ceramic sculptures of four women, these sculptures were demounted from the top of the church; damages of glazes are visible, multiple layers, losses of the porous and brick earthenware, cement fi llings, multiple structural fractures and breaks [16].
Gothic ceramic sculptures of four saint women after conservation and restoration.
Fillings and reconstructions of the glazed terracotta sculpture of Madonna (19th century) placed in alcoves on the western
top of a church in Grzywna.
Ceramic and glazed ornamental details of the outdoor dressing of the gothic church in Kamień Pomorski, where ceramic cop-ies of gothic and modern glazed shaped bricks were made. Works lead by a ceramicist and technologist, prof. dr hab. Henryk Stoksik – Academy of Fine Arts and Design in Wrocław.
The copy of historic ceramics supervised by Piotr Romiński, M.A. – Academy of Fine Arts and Design in Wrocław.
Examples of ceramic copies and “cold” fi llings with multi-colour glaze, placed in the outer walls of a co-cathedral in Kamień Pomorski.
A model copy of a glazed ceramic shape, illustrating the glaze and eartenware of gothic ornamental elements in the outer walls of the co-cathedral in Kamień Pomorski; authors of the copy: prof. dr hab. Henryk Stoksik and Piotr Romiński, M.A.
6. Summary
Being an academic teacher, an appraiser of the Commit-tee of the Polish Conservators and of the Union of the Polish Artists and Designers, a conservator and a practitioner of works of art and a technician who specialises in conserving artistic and functional ceramics, when I analyse the current state of scientifi c and conservational knowledge, I see the need to develop an adequate cooperation of conservators of ceramic works of art with specialists and researchers from related areas of knowledge from the scope of history of ceramics, its techniques and technologies, examination of materials, petrographic analyses, as well as a tighter cooperation with contemporary ceramicists – artists and technicians who train university students in conservation. Within the scope of the training, they acquaint themselves with the active ceramic workshop with varied possibilities of producing artistic ceramics with its preparation and treat-ment of raw materials, and fi ring different types of ceramics.
One University which has a conservational curriculum is the Academy of Fine Arts in Wrocław, where the Department of Restoration and Reconstruction of Ceramics and Glass at the Faculty of Ceramics and Glass has been functioning for years. There, the scientists and ceramicists-artists take up the task to reconstruct the historic ceramics via fi ring. Nowadays, it is one of few universities in Poland (which specialises in the area), where gothic and modern copies of numerous glazed ceramic elements have been produced. These reproductions were based on models and research material in the form of historical and genuine ceramics. Some of the reproductions are shown in illustrations in Sec-tion 5 of the present paper.
A valuable example of a copy of a historic ceramic plate originates from the dissertation of an Academy of Fine Arts and Design in Bratislava student (Fig. 16), which depicts a professional ceramic skills of someone who is able to take up such diffi cult challenges as copies of historical product of functional and artistic ceramic craft.
Fig. 16. Original decorative plate from 1721 (on the left) and its copy (on the right) made within the framework of a dissertation written at the Academy of Fine Arts and Design in Bratislava.
Literatura
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[15] Conservator ‘s documentation of theses and in the Conser-vation Workshop supervised by Maria Rudy, MA:
– Michał Angowski, Tile representing the emperor Ferdinand I from the Museum of Cracow, Conservation Workshop at the Department of Fine Arts and Design, NCU Toruń, 2010. – Marta Pilarska, porcelain cup with a saucer from the royal manufacture in Sevres from 1875, Conservation Workshop at the Department of Fine Arts and Design, NCU Toruń, 2010.
– Bin Nara, porcelain vase from 19th century, Museum of
Warmia and Mazury in Olsztyn, Conservation Workshop at the Department of Fine Arts and Design, NCU Toruń, 1994. [16] Conservation work and documentation included in thesis
supervised by Maria Rudy, MA:
– Dobromir Dombek, documentation of the lekythos with a black fi gure, NCU Toruń, 2002.
– Aneta Górniak, Szkliwione ceramiczne fi gurki czterech Świętych z k-ła p.w. Św. Katarzyny Aleksandryjskiej w Gr-zywnie, Conservation Workshop at the Department of Fine Arts and Design, NCU Toruń, 2012.
– Adriana Lora, Terakotowa rzeźba Madonny z Dzieciątkiem z k-ła p.w. Św. Katarzyny Aleksandryjskiej w Grzywnie, Con-servation Workshop at the Department of Fine Arts and De-sign, NCU Toruń, 2013.
