Highlights in this issue
New mounts for the headless stone boy and his brother
Matthew Rose, Museum Technician, Design and Outsourcing
During the dismantling of the entire dormer window by the V&A Sculpture Conservation team in the summer of 2007, it became evident that the headless figure was separated from his feet. This article details the construction of a specially made mount to preserve the stone figure in place atop the dormer window.
The Bourdichon Nativity: A masterpiece of light and colour
Lucia Burgio, Senior Object Analysis Scientist
In 2003, the Museum acquired a late fifteenth-century illuminated miniature by Jean Bourdichon, an artist who worked at the French Court and served four kings in his lifetime. In 2008, the Science Section borrowed a Renishaw Raman spectrometer from the Chemistry Department, University College London, analysing the Bourdichon Nativity.
Deteriorated enamelled objects: Past and present treatments
Fi Jordan, Senior Ceramics Conservator
The re-display of a number of fourteenth- and fifteenth-century enamelled objects has given the Ceramics and Glass Conservation Studio the opportunity to assess a number of past treatment methods used on the degraded surface of enamels on metal.
Stained and painted glass from the Chapel of the Holy Blood, Bruges
Ann Marsh, Stained Glass Conservator
The figurative and armorial stained glass panels from the Chapel of the Holy Blood, Bruges are a prominent feature of the new Medieval & Renaissance Galleries. Their original home is a double chapel, the ground floor of which is in the Romanesque style while the first floor, the Chapel of the Holy Blood, is of Gothic design.
Autumn 2009 Issue 58 special edition
- Director's acknowledgement
- Editorial comment - Conservation Journal 58
- Designs on the future: Developing the new Medieval & Renaissance Galleries
- Aspects of the role of Lead Conservator
- Behind the scenes: Conservation and audience engagement
- Medieval & Renaissance Galleries: A passive approach to humidity control
- What's the difference? Climate comparisons for the Medieval & Renaissance Galleries
- A method statement for the Medieval & Renaissance Galleries
- Medieval & Renaissance Galleries conservation progress logs
- New mounts for the headless stone boy and his brother
- Sir Paul Pindar's house on the move again
- Loss compensation at the first floor interior panelling: Sir Paul Pindar's house front
- Training through collaboration - conservation of the Camaldolese Gradual
- A stucco relief by Francesco di Giorgio Martini: Conservation and technical considerations
- The Bourdichon Nativity: A masterpiece of light and colour
- Deteriorated enamelled objects: Past and present treatments
- Stained and painted glass from the Chapel of the Holy Blood, Bruges
- 'This burden of light is the work of virtue': Research on the Gloucester Candlestick
- Digital in-fills for a carpet
- Master Bertram's Apocalypse Triptych: To clean or not to clean
- Professional development in a project culture
- Work in progress: Holbein's drawing processes
- Conservation: Principles, Dilemmas, and Uncomfortable Truths - a summary
- Acknowledgements and Conservation Department staff photograph
- Conservation Department staff chart
- Editorial Board & Disclaimer
- Printer Friendly Version
- Work in progress: the development of the Medieval & Renaissance Galleries