c/ Tolosa Latour, Necropolis of Cadiz.
1st-2nd centuries AD
The lucerne is from a group of funerary objects, which arrived at the laboratory as part of a set of ceramic fragments covered on the outside with blackish deposits of organic material caused by incineration. After the cleaning and desalination of the fragments, it was possible to reconstruct the erotic scene depicted on the ?discus?, as the only preserved remains of the object.
V. D. Bécquer
\"Retrato de Familia \" (Family portrait), 19th century.
Oil painting on canvas.
93.5 x 132 cm
The canvas which arrived at the Museum of Cádiz had been lined\ ;. Intervention consisted of removing two vertical linen patches on the back and subsequently cleaning these areas, removing the adhesive. As the painting was very dark and of tenebrist style, cleaning was carried out by removing the old varnish. Finally, it was varnished again.
Attributed to the Maestro de Roda.
\"La Visitación\"(The Visitation), 16th century
95 x 66 cm.
a. Paintwork: The pictorial layer was levelled out in some areas. Stucco was applied to the small gaps and chromatic reintegration was carried out.
b. Treatment of the support on the back: the original crosspieces were replaced by others which were screwed to the boards in an intervention carried out possibly at the start of the 20th century. The screws were removed to facilitate smooth application, positioning support stops.
B. E. Murillo
\"Ecce Homo\", 17th century.
Oil painting on canvas.
81 x 66 cm.
Canvas with old lining. The intervention was limited to cleaning, consisting of the removal of old varnish, which was very dark, yellowish and deteriorated. It was newly varnished. On the back of the canvas, two patches or linen strips, which did not have any purpose, were removed, eliminating the adhesive material.
Terra sigillata vessel, \"marmorata (marble effect)\"
Claudio-Nerón period (mid 1st century AD).
It originated from a workshop in the south of Gaul (form 37).
The sigillata, with marble effect decoration, was extremely fragmented with straight, defined cracks. The restoration work to piece together the object again was carried out with much caution in order to adjust all the fragments which fit, without a tolerance margin, given the type of cracks which are characteristic of this very refined clay, fired at high temperatures.
Glass Roman cornucopia
Necropolis of Cádiz.
1st - 2nd centuries AD
This glass object was found completely fragmented, and had to be recovered during the excavation as a single compacted block with the sand contained on the inside. This technical solution allowed the safe extraction of the object, which had to be completed in the laboratory. The elimination of the binding resin was a complex job due to the difficulty of preserving the physical state of the object, since the raw material was extremely delicate and fragile. Finally, the glass was reconstructed, consolidated and protected.
Coins from the numismatic section
Coins from the numismatic section
Various historical periods, from the 3rd century BC until the 19th century.
A total of 116 coins allocated to the permanent exhibition at the Museum of Cádiz have formed part of a global project of preservation-restoration. The restoration treatment, aimed at improving the interpretation of the objects, has consisted of carrying out surface cleaning in order to eliminate the corrosion spots which totally or partially concealed the type of coins. Furthermore, in order to guarantee the physical-chemical stability of the various metals of which the objects are made (gold, silver and copper alloys), desalination was carried out and treatments were applied to inhibit and protect against environmental factors. In addition, passive preventative measures to preserve the objects have been carried out, aimed at controlling the relative humidity in the coin exhibition hall at the museum.
Roman male torso
1st-2nd century AD.
This marble sculpture has undergone a thorough mechanical cleaning process in order to eliminate the deposits of inorganic material from the surface. The treatment was carried out with a ?dry method?, using low impact abrasive elements in order to preserve the original patina of the sculpture. The removal treatment was complicated, in particular, in areas where there were cracks and marks, visually identifiable by their white tone, and where the accumulation of dirt was more notable given the irregularity of the surface. Once the cleaning treatment had been completed, a reversible layer providing physical protection was applied, as a barrier against solid and gaseous pollutants, in order to improve the preservation of the sculpture, facilitating its daily maintenance.
Glazed ceramic and polychrome tile
Monasterio de La Cartuja, Jerez de la Frontera.
Heraldic theme: coat of arms of Don Álvaro Obertos de Valeto.
Potter's workshop in Triana, Seville.
Tile with mortar residue on the back of the ceramic and the sides. Moreover, the tile had an old crack, that had been repaired with mortar, and several pieces of the glaze had come off the edges. Cleaning work was carried out with demineralised water and neutral soap, mechanically removing the least adhesive mortar residues. As for the glazing, dilute calcium sulphate was used as a means of support, which finally acted as a filler in the gaps at the edges of the object. Support reintegration was restored by chromatically homogenising it with the glazing using watercolours set with acrylic resin.
Ceramic jug from the late Punic period
The Necropolis of Cádiz.
2nd-3rd centuries BC
The ceramic jug, found in a funerary setting, was very fragmented and darkened due to the effect of the adjacent organic material. During the cleaning work, an attempt was made to preserve the remains of the fine red engobe, highly altered as it had been buried in a humid, saline environment. Subsequently, all the fragments recovered at the site were reconstructed, and approximately 75% of the original form has been completed. Finally, a consolidation treatment using acrylic resins was applied in order to protect the remains of the engobe.