History of restoration of the Egyptian funerary shroud of the 2*nd c. AD

Summary

The Pushkin State Museum of Fine Arts showcases a rare Egyptian funerary shroud that dates back nearly 2,000 years. Originating from the Roman-ruled Egypt, these shrouds were used in burial rituals. Discovered among 224 boxes of artifacts purchased by a Russian collector, it has a unique depiction of a woman accompanied by the gods Anubis and Osiris. Over the years, this shroud underwent numerous conservation efforts to preserve its fragile state. The museum meticulously documented the restoration process, which included innovative photographic techniques and chemical analyses to understand and conserve its original artistry. This ancient artifact continues to captivate with its blend of history and meticulous preservation efforts.

Highlights

• The shroud is a unique piece with only six similar shrouds existing worldwide. 🌍
• Conservation teams used advanced photography to study the shroud's materials and past treatments. 📷
• A mix of traditional and digital restoration techniques brought the shroud's image back to life. 💡
• Innovative protective casing maintains the shroud's condition by controlling environmental factors. 🌡️
• The restoration project was spearheaded by Natalia Zea and took extensive preparation and research. 👩‍🔬

Key Takeaways

• The Pushkin Museum holds a rare Egyptian funerary shroud, unique for its depiction of a woman with deities Anubis and Osiris. 🎨
• Conservation of the shroud faced challenges due to outdated preservation techniques from the 19th century. 🕰️
• Cutting-edge technology and detailed documentation were pivotal in the shroud's restoration process. 📸
• Research revealed the original pigments and confirmed later additions to the shroud painting, telling a story of adaptation. 🔍
• The shroud is now preserved in a specially designed protective case, continuing its journey into the future. 🔒

Overview

Step into the intriguing history of the Egyptian funerary shroud housed at the Pushkin State Museum of Fine Arts. This relic of the past carries the whispers of ancient traditions, when Egypt was a Roman province, and mass-produced shrouds marked an era where exquisite craftsmanship met cultural needs. Its journey from the bustling antique markets into the hands of collectors tells tales untold. 🌌

Facing the challenges of time, this remarkable shroud didn't fare well in the hands of 19th-century archaeologists, whose rudimentary conservation methods left scars. Yet, with the study of its fabric and pigments using everything from infrared to UV photography, the museum's experts were well-equipped to reverse some of the damage. This meticulous process of discovery, analysis, and documentation paints a vibrant picture of what once was and what has been recovered. 🧵

Thanks to the tireless work of conservators and researchers, the shroud now rests within a specially crafted frame that guards its secrets for future generations. Not just a symbol of ancient burial customs, it stands as a testament to modern conservation efforts, ensuring its 2,000-year legacy endures. Visitors can glimpse its storied past under the safe illumination of museum lights, as the shroud sits poised for many more years in its place of honor. 🌟

Chapters

• 00:00 - 00:30: Introduction to the Pushkin State Museum of Fine Arts The chapter introduces the Pushkin State Museum of Fine Arts, highlighting its importance as one of the main museums in Russia.
• 01:00 - 02:00: The Arrival of the Egyptian Artifacts The chapter titled 'The Arrival of the Egyptian Artifacts' introduces a collection visited by over a million people each year, comprising over six hundred and seventy thousand pieces, including paintings, sculptures, drawings, photographs, and archeological findings. Each item harbors its own unique story. This chapter focuses on the story behind one such piece in the collection.
• 02:00 - 03:00: Background on the Burial Shrouds The chapter discusses the historical context and significance of a collection of Egyptian artifacts acquired by the Russian archaeologist and collector, Vladimir. The narrative focuses on events from April 1909, when 224 boxes containing these artifacts were transported to Moscow. These artifacts were intended to be housed in Moscow, following a recent decision to secure this unique collection.
• 03:00 - 04:00: Rarity and the Unique Iconography of the Shroud The chapter discusses an ancient burial shroud housed in the Fine Arts Museum, emphasizing its historical significance. With nearly 2,000 years of history, the shroud dates back to the period when Egypt was a Roman province. It highlights the role these shrouds played in burial practices, being part of a burial cult and potentially serving as decorations for tomb walls.
• 04:00 - 05:00: Challenges in Preservation and Conservation of Artifacts The chapter discusses the challenges faced in the preservation and conservation of artifacts, focusing specifically on historical shrouds. It highlights a particular moment when these shrouds gained widespread popularity, leading to their mass production. This involved pre-painting images of bodies and guards on the fabric, with the deceased's portrait being added later.
• 05:00 - 06:00: Historical Conservation Methods and Their Drawbacks The chapter discusses historical conservation methods, using a specific example from the Pushkin Museum. It highlights the rarity of certain artifacts, mentioning that there are only six known routes in museum collections worldwide with similar iconography involving the gods Anubis and Osiris. Among these, the Pushkin Museum's piece is unique as it features the gods accompanying a woman holding a hand of atonement.
• 06:00 - 07:00: Initiation of New Conservation Efforts The chapter titled 'Initiation of New Conservation Efforts' seems to discuss the mystery surrounding an artifact known as the shroud, where questions about its origin, ownership, and the identity of the figure depicted on it are highlighted. The text also touches upon the challenges faced by colonists in acquiring objects for collections, particularly in markets and antique shops where sellers often lacked knowledge about the origins of the items they were selling. Additionally, the preservation state of items is mentioned, suggesting a focus on conservation issues.
• 07:00 - 08:00: Research and Documentation Process The chapter 'Research and Documentation Process' highlights the importance of having an art conservator present during archaeological excavations. It discusses how modern archaeologists need to have skills in field conservation, focusing on the impact of temperature and humidity fluctuations on the preservation of ancient artifacts. The presence of an art conservator is crucial for maintaining the condition of these artifacts during excavation.
• 08:00 - 09:00: Theories and Hypotheses about the Shroud's History This chapter explores the various theories and hypotheses regarding the history of the Shroud. It highlights how in the 19th century, archaeologists often mishandled artifacts due to ignorance about proper treatment, particularly textiles. This negligence, along with repeated conservation efforts, significantly impacted the Shroud's condition. The discussion offers insights into how these historical practices have contributed to the current state of the Shroud.
• 09:00 - 10:00: Photographic and Radiographic Examination The chapter discusses the treatments and preservation attempts made on the shroud after being acquired by collectors in the 19th century. It was lined with new fabric using gelatinous glue. While these methods helped in maintaining the shroud in a relatively good state initially, they also contributed to its deterioration over time due to the outdated nature of the methods.
• 10:00 - 11:00: Infrared and UV Photography for Damage Assessment The specialists at the Pushkin Museum had been monitoring the condition of certain artworks over the years. The aging process led to the deterioration of materials used by 19th-century conservators. This caused various damages such as breakages, affirmations of the canvas, and blistering and pilling of the paint layer. Additionally, in some areas, the glue permeated the linen canvas, resulting in stains on the images.
• 11:00 - 13:00: Microphotography and Technological Research Findings The chapter begins with exploring the necessity of new conservation treatments in the field of microphotography and technological research. It highlights that before any museum piece undergoes conservation, it must be reviewed by the conservation council. Various professionals, including art conservators and researchers, play roles in this process.
• 13:00 - 15:00: The Role of Microbiological Studies The chapter 'The Role of Microbiological Studies' focuses on the decision-making process of curators who determine essential tests and discuss methods for conserving important artifacts. A special studio is established, indicating the complexity of the conservation project, which involved extensive preparation over six months. The main objective for the conservatists is to halt deterioration and meticulously document each stage of the preservation process.
• 15:00 - 18:00: Developing a Conservation Plan The chapter titled 'Developing a Conservation Plan' outlines the preparation and execution of a plan for conserving the Shroud. This involves setting up a workspace with a table large enough to accommodate the Shroud, ensuring it is fitted with Panasonic cameras for thorough documentation. One camera is positioned directly above to capture the overall conservation process, while a mobile camera is used for taking detailed close-up images. The goal of this setup is to meticulously document each step of the conservation effort, ensuring both a comprehensive record and facilitating detailed analysis. The mention of music suggests a possible audiovisual component in the documentation process.
• 18:00 - 23:00: The Conservation Process The museum holds a vast amount of video footage documenting conservation processes. Every conservation treatment is initiated with thorough research. Several questions are critical, such as the materials used in the creation of the Shroud, its current state of preservation, and the potential outcomes of the conservation efforts.
• 23:00 - 27:00: Reconstruction of the Woman's Portrait on the Shroud This chapter explores the reconstruction of a woman's portrait on a shroud. It delves into the historical and iconographic questions surrounding the mysterious depiction of a woman and a child on the shroud. To uncover these mysteries, a collaborative effort was made by scientists, researchers, art historians, and conservators. The first step in their investigation was the careful photographing of the shroud.
• 27:00 - 31:00: Creation of a Protective Display Case The chapter describes the creation of a protective display case for the shroud. Using soft light and side lighting, high-resolution photographs were taken to capture minute details of the surface. Satellite photography was employed to assess the shroud's condition. Radiography was conducted to identify the materials of the shroud and to pinpoint areas with paint loss.
• 31:00 - 32:00: Conclusion and Future Preservation The chapter discusses a significant discovery confirming the theory about a historical piece through the use of X-rays. The investigation revealed that the image of a child was painted much later than those of Normans or Beaton. Additionally, it supports anthropologists' theory that a young woman and her son were victims of an epidemic, with the child's image being added posthumously to the shroud.

History of restoration of the Egyptian funerary shroud of the 2*nd c. AD Transcription

• 00:00 - 00:30 [Music] [Music] the Pushkin State Museum of Fine Arts is one of the main museums in Russia every
• 00:30 - 01:00 year it is visited by more than a million people and its collection holds more than six hundred and seventy thousand pieces among which are paintings sculptures drawings photographs archeological findings and more it took many years to form this connection and it's every piece has a story behind it this is one of them [Music]
• 01:00 - 01:30 April 1909 a month before a decision was made to acquire a unique collection of a Russian a topologist and a collector Vladimir call initiative [Music] 224 boxes filled with Egyptian artifacts arrived to Moscow to find their new home
• 01:30 - 02:00 in the Fine Arts Museum inside one of those boxes was an ancient burial shroud [Music] this shroud has almost 2,000 years of history at the time when Egypt was one of the Roman Empire provinces such Rao's were a part of the Burien cult they were placed of a buddhist of the dead and perhaps haven't decorated the tomb walls
• 02:00 - 02:30 at one moment the shrouds reached such popularity the day became mass-produced the images of a body and the guards would be painted in advance and the portrait of a deceased would be glued onto the fabric later [Music]
• 02:30 - 03:00 despite their widespread use such routes as the one from the Pushkin Museum are rare objects and museum collections there are only six routes with similar iconography of a deceased accompanied by the gods Anubis and Osiris in the entire world out of those six this one is the only one where the gods accompany a woman holding a hand of atonement it is
• 03:00 - 03:30 unknown where the shroud came from who its owner was who is depicted on it colonists refused to find objects for his collection mainly at the markets and the antique shops where the sellers were rarely aware of the origins of their foods the state of preservation of
• 03:30 - 04:00 ancient artifacts in many ways depends on excavation conditions nowadays having an art conservator at the site is considered necessary as an alternative archaeologists have to have skills of filt conservation temperature and humidity fluctuations are one of the main reasons of artifact damage during excavation
• 04:00 - 04:30 the 19th century archeologists not only didn't know how to treat their findings correctly but quite often disregarded the pieces thinking I'm not valuable enough and it happens to textiles especially often this negligence was not the only factor which affected the shroud state just like the majority of archaeological artifacts it went to conservation treatments many times by
• 04:30 - 05:00 the time colonists have acquired it for his collection the shroud had undergone several treatments in the 19th century it was lined with new fabric with the use of gelatinous glue such methods are considered outdated these days something that on one hand had helped to preserve the piece in a relatively good state on the other hand became one of the reasons why its condition worsened over time for
• 05:00 - 05:30 many years the Pushkin Museum specialists had monitored its condition eventually as a result of natural aging the glue used by the 19th century conservators dried out it caused many breakages and affirmations of the canvas led to blistering and pilling of the pains layer besides that at some areas glue soaked through the linen canvas stain in the image
• 05:30 - 06:00 when new conservation treatments became necessity preparations began and this is where our story starts any Museum piece in need of conservation has to go through the conservation Council first art conservators researchers and
• 06:00 - 06:30 curators decide what tests have to be done and discuss methods of conservation [Music] the project and conserving the Shroud had promised to be difficult the preparations alone took half a year the conservatists main goal was to suspend the shrouds deterioration and to document all the stages of the process a [Music] special studio was set up for this
• 06:30 - 07:00 purpose containing a table big enough to fit the shroud and equipped with Panasonic cameras to document the process of conservation one of the cameras was placed directly above the table [Music] another one is mobile and was used to take close-up shots of the Shroud thanks
• 07:00 - 07:30 to that the museum holds terabytes of video footage of the process in its possession every conservation treatment should start with research this time many questions had to be answered what materials had been used to make the Shroud what was its state of preservation and what consequences
• 07:30 - 08:00 resulted from previous attempts at conserving the piece there were other questions regarding the history what its unique iconography meant who was depicted on the shroud why a woman in the child scientists and researchers art historians and conservators teamed up to find the answers first the shroud was photographed these are images taken in
• 08:00 - 08:30 soft light and with side lighting the photographs high resolution allows to them in and see the smallest details of the surface satellite photography helps to evaluate its condition radiography was done next to determine the materials the shroud was made of as well as to clarify the areas with paint loss it
• 08:30 - 09:00 also confirms the theory about the history of the piece the x-rays clearly showed that the image of a child was painted significantly later than Normans or Beaton directly it also confirmed the theory of anthropologists who suggested that the young woman and her son fell victim to an epidemic the boy followed his mother after which his image was added to the shroud [Music]
• 09:00 - 09:30 in the second century BC the plague of Galan spread across the Roman provinces could it affect Egypt as well quite possibly but it is unlikely that we'll ever get a confirmation of whether it really happened the IR photography is used to show the details that can't be perceived with a naked eye and this is a
• 09:30 - 10:00 UV photograph numerous paint loss areas and other damages are clearly visible in it as opposed to a regular photograph we can also notice areas affected by previous conservation treatments in these photographs different pigments of the same color have different luminescence dependent on their chemical makeup
• 10:00 - 10:30 [Music] macro photography was conducted using last generation electronic microscopes it allowed to evaluate the state of the linen fibers and see how exactly the 19th century conservators attached it to the new lining evidently the used
• 10:30 - 11:00 erogenous glue or goo you made of animal bones and ligaments [Music] technical and technological research was conducted to study the pigments and adhesives used to make the shroud it became clear that the pigments were
• 11:00 - 11:30 typical for the time gypsum or a pigment ochre and indigo finding gypsum in the paint layer was an unpleasant surprise for art conservators as it provided certain challenges for the conservation process all the different shades and colors visible on the surface were made with just these four pigments mixed with gelatinous glue the research clarified
• 11:30 - 12:00 which areas were altered in the 19th century fragments of fabric on his irises headpiece were possibly taken from another shroud their paintings were found on the same hat piece as well as a nervous clothing zinc oxide was found in in paintings and other added materials zinc oxide is a pigment that became a widespread in the middle of the 19th century
• 12:00 - 12:30 [Music] one of the most important examinations was microbiological one it was conducted in the Moscow State University department of biology laboratories [Music] paintings normally contain a wide spectrum of organic matters they can become a breeding ground for microorganisms that are capable of
• 12:30 - 13:00 destroying the paint layer thus permanently damaging the piece microbiological studies can determine the presence of bacteria or fungi even when it's not apparent preventing possible damage the laboratory results showed that the contamination level of the air around the shroud was within low limits it meant that there weren't any
• 13:00 - 13:30 active microbial growth in its components perhaps it had taken place in the past and the conservators only had to do over the aftermath [Music] an antiseptic was added to the strengthen solution as a preventative measure early tests helped a group of
• 13:30 - 14:00 conservatives headed by Natalia Zea tena to fully evaluate the Shroud state of preservation the new objective was to develop the best possible program of conservation treatments the first challenge was to remove the 19 central
• 14:00 - 14:30 lining from original canvas without disturbing the paint layer large amount of trypsin were found in the paint's layer so it was dangerous to use any water-based solutions because it could result in paint layer damage as gypsum is a more two syllable material [Music] [Music] another challenge and feature was the
• 14:30 - 15:00 lack of so-called gesso or a primer underneath the paint layer with time which led to a lack of cohesion between the panes and the canvas every time the sraw was moved particles of Paynes would separate from the surface this factor exploded to turn on the shroud upside down for several months the conservators had
• 15:00 - 15:30 been separating the cameras from the lining centimeter by centimeter brilliantly all recommend the challenge after the lining removal the shroud was moved onto a flat surface the next step who was meant in the deformations the choice of strengthen solution was not easy after consulting with chemists the
• 15:30 - 16:00 conservators settled on fluorine containing solution after the pinch layer was consolidated and the deformations mended it was time to realign the shroud for that purpose conservators chose Indian cotton dense yet translucent the fabric was dyed neutral beige and stretched after that remaining fragments of the shroud were
• 16:00 - 16:30 placed onto it small amounts of Lascaux glue were used to fix the edges of the fragments onto the fabric the glue was applied to the line in with a thin needle [Music] restoring their lost image of the young woman's face proved to be delicate and difficult work initially the portrait was painted on the separate piece of fabric and fixed upon the shroud with
• 16:30 - 17:00 large amounts of glue initially the portrait was painted on a separate piece of fabric and fixed upon the shroud with large amounts of glue the glue soaked through the fabric and damaged threads the original painting was damaged beyond repair the nineteenth-century conservators and sort of blend pieces of canvas in places of loss all the remaining pieces of the
• 17:00 - 17:30 original canvas were carefully cleaned put together inlined in this case line was made with the translucent silk at the same time using artists for searching for similar portraits from the era as a result 7,000 portraits were used as reference the artists managed to
• 17:30 - 18:00 make several reconstructions of the young woman's face while the images were printed on fabric with a different color intensity the one that was chosen was the least saturated it was placed under the thin silk lining with original fragments on it to show what the piece looked like at the moment it was made it was decided to make a fool image reconstruction after
• 18:00 - 18:30 careful studies the image was completed by an artist who painted the missing parts on the printed photograph of the shroud after that the image was finished digitally what you see here as a result of the artists work an imagined reconstruction of the shroud [Music]
• 18:30 - 19:00 when the long work of the Conservatives came to an end the only thing that was left was to find a way to exhibit the shroud and have it to protect it at the same time a special protective case was built for that it consists of a frame in which the shroud is placed it is covered
• 19:00 - 19:30 by a special plexiglass the construction is hermetic and protects the shroud from exposure to humidity and temperature changes the frame of the shroud is angled placing the piece at an angle as opposed to vertical position allows avoiding using mountings which essentially benefits the pieces condition thanks to the conservators
• 19:30 - 20:00 hard work the shrouds 2000 years long journey will not end here it has a long life within the walls of the museum ahead and the Conservatives will continue to monitor its condition you [Music]
• 20:00 - 20:30 you