Multianalytical approach for diagnosis and conservation of a 19th century icon of the Holy Crucifixion | ||||
| Shedet | ||||
| Articles in Press, Accepted Manuscript, Available Online from 02 July 2025 | ||||
| Document Type: research articles | ||||
| DOI: 10.21608/shedet.2025.374749.1295 | ||||
 View on SCiNiTO | ||||
| Authors | ||||
asmaa Mostafa Hussein  1; Mohammed Tharwat Mohammed Elsharief2; Moushera Ismaiel Hussien Elsadaty2
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| 1Lecturer at Conservation Department, Fine Arts Faculty, Minia University, | ||||
| 2Conservation Department, Faculty of Fine Arts, Minia University, Minia, Egypt | ||||
| Abstract | ||||
| Egyptian churches contain many old Coptic icons, among which is a unique 19th-century icon of the Holy Crucifixion at the Saint Mary Church in Minia, Egypt. The study methodology included an accurate characterization of the stratigraphic structure, pictorial materials of the icon, and a comprehensive description of deterioration phenomena and their causes to apply appropriate restoration and conservation methods. The structure and composition of the icon were determined, and its conservation state was assessed using an optical microscope, scanning electron microscopy coupled with energy dispersive X-ray spectrophotometer, Raman spectroscopy, and Fourier transform infrared spectroscopy coupled with attenuated total reflection. The findings revealed that the icon consists of six layers: pine wood, a cotton canvas, a preparation layer of calcite and gypsum, a painted layer of black carbon, white lead, azurite, and lithopone, a gilding layer, and a shellac varnish layer. The icon suffers from many anthropic interventions that have led to increased damage. The most significant issues are incorrect restorations and the installation of lighting units at the edges of the icon, which led to damage to the varnish layer. The icon also suffers from tears, the separation of parts of the canvas, as well as the loss and peeling of parts of the preparation, painted, and gilded layers. According to the data collected, the optimal materials and techniques were selected for the removal of the varnish layer and earlier restorations, fixing the detached canvas layer, reassembling the separated parts, completing the missing parts, and retouching. | ||||
| Keywords | ||||
| Icon; Pigment; Varnish; Deterioration; Conservation | ||||
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