Francsesco Guardi's View of the Palazzo Loredan

Partially restored image of <em>View of the Palazzo Loredan dell'Ambasciatore on the Grand Canal, Venice</em>

Partially restored View of the Palazzo Loredan dell'Ambasciatore on the Grand Canal, Venice

Ultra-violet light shows areas of previous retouching

Ultra-violet light shows areas of previous retouching

This small painting by Francesco Guardi depicts in exquisite detail the embassy of the Holy Roman Empire in Venice.

It is set amid the bustle of daily life on the Grand Canal. Washing hangs from balconies, Gondoliers take their boats to and fro, and finely dressed diplomats peer from windows and promenade on the quayside.

Among the many figures a gentleman in a blue coat — probably the ambassador himself — stands at the entrance to the palazzo grandly holding a gold sceptre. Above him hangs the imperial crest of the powerful regime which for centuries dominated most of central Europe.

Guardi is renowned as one of the great eighteenth century Venetian landscapists known as veduta painters. His works were highly popular and influential among the British artists and collectors who visited Venice on their Grand Tour.

This work is a fine example of his mature technique. It combines the detailed precision mastered under the influence of the artist Canaletto with an increasingly expressive use of brushwork, atmosphere and light.

Cleaning of the painting by the museum's conservators has revealed the stunning luminosity of these original effects.

When this painting initially entered the museum's collection, the brilliance of Guardi's technique was not fully visible. The top layer of varnish which covered the painting had severely discoloured, turning brown with age. Excessive retouching of the sky area had also been carried out, made visible under ultra-violet light.

The museum's conservator cleaned the paint surface, removing the old varnish and previous restorations. Tiny black spots in the paint, initially thought to be dirt, were found to be granules of pigment. Similar spots can be seen in other works by the artist, who would have ground and mixed his own paints.

With the full clarity and radiance of Guardi's original work revealed, the painting was re-varnished and placed on display.

Before and after cleaning

Museum conservators have been busy cleaning the image, here is a before and after view of the image:

View of the Palazzo Loredan dell'Ambasciatore on the Grand Canal, Venice [before cleaning]

View of the Palazzo Loredan dell'Ambasciatore on the Grand Canal, Venice [before cleaning]

View of the Palazzo Loredan dell'Ambasciatore on the Grand Canal, Venice [after cleaning]

View of the Palazzo Loredan dell'Ambasciatore on the Grand Canal, Venice [after cleaning]

The Battle of St Fagans

We welcomed the English Civil War Society last weekend, to explore the Battle of St Fagans, which took place near the museum in 1648. They brought with them not only a fair amount of weaponry (as you'd expect), but an amazing number of skills and objects to demonstrate. I think a list would be a bit boring, so here are some photo higlights from the week-end. Thanks to Alcwyn Evans for taking the photos, I was busy protecting the church from reforming zealots!

 

ECWS member at the spinning wheel

Settling in for a day of spinning at Cilewent farm

Parliamentarian Camp

Setting up camp in Abernodwydd field

The battle heats up at St Fagans - muskets are fired

Fire!

Older and younger re-enactors watch a battle display

A re-enactor family. The smaller members of the group did an excellent job too!

Civil War Pikemen

Pikemen waiting for the call to battle

Civil War Gentry

A nobleman in St Fagans Castle, in 1640s costume.

Summer art activities

This is a wonderful drawing by Charley of a Jester which ties in with our Tudor art theme.

Don't forget that art activities are running all through August, and if you haven't been before, now is the time to visit as it's generally a little quieter in the galleries when the weather is good!

Block Blog: Primary Investigations

At this juncture in the investigation of this block-lift, I am making every effort to outline the relationships (if any) between artefacts. As can be see in the first photograph, plenty of small pieces of iron plate, often with no telling association with larger plates, emerge as soil is scraped away. Aside from photographing their position for future reference, and examining them for signs of the remains of fittings, impressions of textile or leather, there is not much that can be done with these anonymous fragments. Moreover, these fragments often overlie more interesting and coherent features, and so I am generally removing these: I will most likely x-ray these in large batches at a later date. As you can tell by the annotations, I’ve begun to get a good idea of the fragile nature of the fragmentary, corroded copper and iron artefacts mixed in the burial deposit, and have begun to grasp how difficult lifting the larger pieces of lorica will be.

So far I have had limited success at recovering any ‘true edges’ of the iron armour, as most of the vulnerable thin plate has been broken. Finding edges greatly improves our chances of identifying plates, and where two edges have been found, dimensions such as the width of the plate can give us an idea of which part of the lorica cuirass the plate comes from. It also helps us to make educated comparisons with examples of Roman armour found from other sites. For instance, the iron plate recovered in the second photograph has a width of 6.5 cm across, dimensions similar to those recorded for the armour fragments found amongst the Corbridge Hoard, and from the Austrian site, Carnuntum. It also has the very corroded remains of two copper alloy rivets, which improves our understanding of how the cuirass was constructed and held together.

As I work I am keeping the surface of the soil block wet, by spraying it with deionised water. This prevents the soil from drying out too much, separating, and breaking the iron remains as it falls into chunks. As most of the iron is in such a poor condition, consolidation with a removable acrylic adhesive, such as Paraloid B72 (ethyl methacrylate copolymer) is a must (which is why in some photographs the iron surface appears to have a dark sheen to it).  

Whilst excavating an area of the block to the left of the photograph, I came across an exciting, (and sadly, very degraded) find: copper alloy wrapped around a thin iron plate. It can be seen in-situ in the photograph to the right, and after excavation in the photograph below. Sadly, as not much of the object has been recovered, a firm identification of this piece hasn’t been reached yet, though further excavation might yield more clues.

Readers may have noticed that I have begun to clean the outside of what is most likely a girth hoop. The exposed iron plate is 1mm in thickness, and the hoop is broken in several places, that I can see from the surface. When focusing on this feature, I will have to be careful to remove enough soil and other burial debris to reveal the curved plate’s shape, whilst maintaining the earthy support until I am ready to remove the that section of armour from the soil block. The next blog entry will focus on describing the results of excavations in this area, which includes a copper-alloy tie loop, still associated with the iron plate.