The role of CT in restoration of a very rare Christ wooden statue: a fundamental contribution.

Transcription

1 The role of CT in restoration of a very rare Christ wooden statue: a fundamental contribution. Poster No.: C-1514 Congress: ECR 2015 Type: Scientific Exhibit Authors: M. Disaro', P. Sartori; Venice/IT Keywords: Education and training, Computer Applications-3D, CT, Computer applications DOI: /ecr2015/C-1514 Any information contained in this pdf file is automatically generated from digital material submitted to EPOS by third parties in the form of scientific presentations. References to any names, marks, products, or services of third parties or hypertext links to thirdparty sites or information are provided solely as a convenience to you and do not in any way constitute or imply ECR's endorsement, sponsorship or recommendation of the third party, information, product or service. ECR is not responsible for the content of these pages and does not make any representations regarding the content or accuracy of material in this file. As per copyright regulations, any unauthorised use of the material or parts thereof as well as commercial reproduction or multiple distribution by any traditional or electronically based reproduction/publication method ist strictly prohibited. You agree to defend, indemnify, and hold ECR harmless from and against any and all claims, damages, costs, and expenses, including attorneys' fees, arising from or related to your use of these pages. Please note: Links to movies, ppt slideshows and any other multimedia files are not available in the pdf version of presentations. Page 1 of 19

2 Aims and objectives The image of Jesus Christ crucifixion is one of the most common icon of Christian religion. Holy themes representations began to appear only by the late II century (1), since during the early history of Christianity, church resisted to it with all its might. Cruxification of Christ soon began habitual symbol of Christianity, and one of its most frequent depictions. Ancient images of the crucifixion almost do not transfer physical sufferings; only in XII-XIII century Christ began to be represented with the bent body, suffering, bleeding profusely, with a beard, in a bandage, with a cross nimbus and a crown of thorns (2). The "Cristo Passo" (Lebender Schmerzensmann) represents Christ in his passing away moment, an uncommon portrayal of the Passion. Jesus is still alive, his eyes half-closed, without suffering signs in his face, his wounds still bleeding. The "Cristo Passo" depiction first appeared in Germany during the XVI century and, later, in other Christian countries, especially in northern Italy. A "Cristo passo" wooden statue has been recently found in the basement of Santa Caterina church, Venice (Fig.1). As a consequence of the rarity and peculiarity of the subject, the Accademia delle Belle Arti decided to restore and then expose it in the international Venetian museum of Gallerie dell'accademia. Due to the poor condition of the statue, restorers involved our Radiological Unit to perform a CT study, before starting a very delicate restoration. Images for this section: Page 2 of 19

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4 Fig. 1: The wooden statue before restoration, in S.Caterina's Church, Venice. Page 4 of 19

5 Methods and materials The radiological examination of the wooden statue was performed with a multidetector CT scan (16 slice) without gantry inclination. Restores brought the statue with the left arm removed from the main piece (Fig. 2-3); they underwent separately to a CT scan. Afterwards, several different types of measures with multiplanar and 3D reconstructions were obtainded. Images for this section: Page 5 of 19

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7 Fig. 2: The statue before CT scan, in Radiology Unit of SS Giovanni e Paolo Hospital, Venice. Page 7 of 19

8 Fig. 3: The removed arm before CT scan, Radiology Unit. Page 8 of 19

9 Results The masterpiece consisted in a lime tree wooden statue. Several unexpected features, both structural and artistic, were revealed by the CT investigation. CT scan revealed that the choosen log had natural structural problems of stability, which could invalidate the final results and led to irreversible damages. To correct them and avoid possible future impairments, the artist was obliged to glue different natural cracks inside the main log during the manufacture of the statue. Rough restoring efforts had been done in later time, demonstrated by the presence of several iron elements, expecially nails, in different parts of the body (Fig. 4-5). CT revealed fractures of some long nails due to the progressive natural enlargment of splits inside the wood. After its completion, a wooden statue was normally covered with plaster and glue and then painted by another artist. In this case, CT showed an unusual amount of plaster and glue and the presence of tissue inside some of the cracks, indicating a different methology used in the creation of this masterpiece. Exact measures of plaster and glue thickness in differerent parts of the statue were provided (Fig. 6). These data supported the intial hypothesys of the restorers that the painter used linen cloth to close some superficial splits and plaster and glue to shape the surface of the statue, before painting it. Fungal microorganisms ruined the wooden structure. The arms resulted to be the more seriously affected parts. The 3D reconstructions documented that the wounds was specifically created to obtain a peculiar internal shape, aproximatively conic with an enlargment on its basement, that was not evident with an external observation (Fig. 7-8). This unusual conformation confirmed the restorers' hypothesis that an underlying iron structure was fixed in the deeper and largest part of the shape. It supported iron red painted elements that came out from the wounds, mimicking blood gush. Further information obtained by CT and multiplanar/3d reconstructions were essential for the restoration process: i. density measures of the different used materials; ii. precise nails collocation; iii. exact width of the splits; iv. extension of fungal damages in the different parts of the statue. These non otherwise achievable information allowed to a very careful one-year restoration wich was conducted in a very strict collaboration between restorers and Page 9 of 19

10 radiologists. Moreover, the data, along with other previous historical issues, permitted to identify Michele Giambono as the painter of the statue and the date of execution ( ). The Venetian master who sculptured the stutue is still unknown. Images for this section: Page 10 of 19

11 Fig. 4: CT sagittal reconstruction shows different blocks of wood and several iron nails Page 11 of 19

12 Fig. 5: Fragment of iron element in a natural crack Page 12 of 19

13 Fig. 6: CT axial image with measurements of different thickness of plaster and glue Page 13 of 19

14 Fig. 7: CT 3D reconstruction of the hand's wound Page 14 of 19

15 Fig. 8: CT 3D reconstruction of the body. The surface features are enphasized. Page 15 of 19

16 Conclusion The excellent final results permitted to expose the sculpture in the international museum of the Gallerie dell'accademia in Venice (Fig. 9). In this case, more than in precedent ones, CT played an invaluable role in the restoring process of this ancient masterpiece, confirming the potential function of radiology and radiologists to help the preservation of the human past heritage. Images for this section: Page 16 of 19

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18 Fig. 9: The wooden statue after restoration, exposed in the international museum of Gallerie dell'accademia, Venice Page 18 of 19

19 Personal information References 1. Bisconti F. Primi cristiani. Le storie, i monumenti, le figure. Libreria Editrice Vaticana, Roma Dresken-Weiland J. Immagini e parola. Alle origini della iconografia cristiana. Libreria Editrice Vaticana, Roma Page 19 of 19