Azarnina Elena V. — restorer of the icon painting of superior category; the State Russian Museum, head of the Department of Restoration of the Old Russian Painting, Service of Restoration of Museum Values
E-mail: azarninaelena@mail.ru

The article examines the features of the icon “The Meeting of the Archangels” from Veliky Ustyug (State Russian Museum, DRZh-3103. Wood, gesso, tempera. 165.0 × 117.0 × 3.0 cm). The icon was uncovered in 1959 — 1968 in the Central State Restoration Workshops (Moscow) by A. N. Baranova. In 2022 — 2024, the Russian Museum, in connection with the preparation of a catalogue of the collection of ancient Russian icons, undertook a comprehensive study of the monument. During the work, radiography of the surface, studies in the ultraviolet region, infrared spectrum, visible regions of the spectrum and macro photography, X-ray fluorescence analysis (XRF) of pigments, analysis of pigments using IR Fourier spectroscopy (IRFS) were carried out. (Materials obtained during the research were provided to the author by employees of the Russian Museum: S. V. Sirro, O. V. Golubeva, V. Yu. Toropov, A. Yu. Bogdanov, I. I. Andreev, N. G. Solovieva). The analysis of the materials allowed us to draw conclusions about the construction of the icon shield, the canvas, the primer, the graphic preparation and the stratigraphy of the paint layers. The characteristic features of the icon's writing have been revealed. Studying the icon under a microscope made it possible to compile a detailed description of the icon’s state of preservation. One of the most important findings of the study concerns the composition of pigments. It has been proven that when painting the icon, the master refused to use gold, but used orpiment. At the same time, the blue paint, previously considered ultramarine, was determined during the study to be organic (like indigo).

Icone, physical plant, primer, scrim, paint, study, restoration.

Baranov Viktor V. — Ph.D., restorer of the highest category, member of the State Commission for Certification of Restorers of the Ministry of Culture of the Russian Federation; The State Research Institute for Restoration, Leading Researcher at the Laboratory of Physicochemical Research
E-mail: trinity64@mail.ru

The article is devoted to the results of long-term research on the technological features of the works of Old Believer icon painting of the archaic type — stylizations and imitations of the XIX — early XX centuries. Iconography of Modern times was considered a second-rate phenomenon of Russian artistic culture not so long ago. Unlike the technology of ancient painting, no one studied the artistic materials of later icons. Most researchers of ancient Russian painting are convinced that forgers of the XIX — early XX century. They were well acquainted with the colorful materials used by medieval craftsmen, and could use them in the manufacture of their “falshaks”. Since the 1990s, V. V. Baranov and M. M. Naumova have been regularly conducting technical and technological studies of late icon painting in general and icon imitations of that time in particular at the State Research Institute for Restoration. The article analyzes the written sources of the XVIII — first third of the XX century, which contain information about the materials of painting. The conclusion is made about which pigments of medieval painting the icon painters of the New Time had an adequate idea. Further, the article provides information about the technology obtained during the study of the icon stylizations and imitations themselves. The last part of the article provides a comparative analysis of the technological features of modern fakes and imitations, stylizations of the XIX — early XX century.

Old Believers, archaic iconography, technological features, stylizations, imitations, forgeries, technical and technological research.

Gordyushina Valentina I. — The State Research Institute for Restoration, senior researcher of the Laboratory of Chemical and Technological Research
E-mail: vgordiushina@mail.ru

Sinchenko Anna D. — The State Research Institute for Restoration, laboratory assistant researcher of the Laboratory of Chemical and Technological Research
E-mail: kinovari.as@gmail.com

Toropov Sergey E. — Yaroslav - the - Wise Novgorod State University, Director of the Center for Archaeological Research
E-mail: Sergey.Toropov@novsu.ru

Rudakov Vladimir M. — IA RAS, specialist of the Laboratory of Natural Science Methods
E-mail: rudakov_iaran@mail.ru

This work is devoted to the study of the degree of preservation of the timber flooring of the 12th century homestead from the Troitsky excavation (Veliky Novgorod) and the development of methodological recommendations for its conservation. For more than 20 years, the Laboratory of Chemical and Technological Research of the State Research Institute for Conservation has been working on preservation of archaeological objects made of wood. Based on the world experience and knowledge accumulated in the field of preservation of archaeological artifacts, as well as laboratory research and practical work on objects, our laboratory has developed methodological foundations for conservation, both for a specific archaeological object and for a series of objects made of wood. A change in the density and, accordingly, the strength of archaeological wood compared to healthy wood of the same breed is the most acceptable criterion for assessing the degree of its destruction. The destruction of wood extracted from water or wet soil usually occurs in the upper layers, deeper ones are healthy wood that does not require strengthening. Therefore, the assessment of the "degree of degradation" of wood by the depth of the massif provides the most objective data for the development of methodological recommendations for its conservation. The archaeological objects of the flooring selected for conservation are presented mainly in the form of a hump, peeled from the bark. It has been experimentally proven that different amounts of consolidant are required to strengthen the opposite sides of the hump. According to the data obtained, the optimal amount of it was calculated, taking into account the depth and degree of destruction of the wood. This article describes in detail the choice of a consolidant, methods of impregnation, drying and control of the conservation process. The final stage of the research work was the creation of recommendations for carrying out technological operations for the conservation of archaeological timber flooring of a 12th-century homestead from the Troitsky excavation (Veliky Novgorod).

Archaeological wood, degree of degradation, consolidants, optimal amount, conservation, control method, polyethylene glycols, PEG-1500.

Kotelnikov Pavel N. — artist-restorer of the highest category of metal works; The State Research Institute for Restoration, head of the department of scientific restoration of metal works
E-mail: 113metal@gmail.com

Kurakov Sergey V. — Researcher engineer; Bauman Moscow State Technical University, Engineer I cat. of Museum
E-mail: kurakov@bmstu.ru

Samoilov Vladimir B. — Bauman Moscow State Technical University, associate professor of the Department of Materials Processing Technologies
E-mail: wladsam@mail.ru

The modern chemical industry offers a large selection of composite polymer materials for additive 3D printing technologies. New structural solutions and new chemical formulas for plastics are emerging. This type includes a modern group of materials for producing transparent models in 3D printing. The article provides a comparison of two methods of additive technologies in relation to the restoration of losses of museum objects (polytechnic type), when the functionality of the ancient mechanism was completely restored, while maintaining the principle of reversibility in restoration. The authors highlight the main criteria that influence the quality and accuracy of the resulting additive products and consider the issues of choosing optimal shaping modes using 3D printing and post-additive processing (grinding, polishing, paint coating). In recent years, there has been a growing interest among museum staff, art historians and cultural experts in exploring the possibilities offered by new technologies in relation to museum space and exhibition solutions. Undoubtedly, methods of creating transparent products and models will allow visitors and museum specialists to take a fresh look at the exhibit and / or its parts, for example, to obtain an accurate idea of the lost form of a museum object. In the article, the authors highlight promising areas for using additive technology products in the museum space in the form of visual models, art objects, copies, duplicates, etc. The work of restoring the loss of polytechnic museum exhibits required high interdisciplinary interaction between various specialists, both technical and humanitarian fields of science, education and culture, and the authors believe that the experience shown in this article will be of interest to a wide range of readers. The proposed material is published for the first time.

Additive technologies in restoration, 3D printing, polytechnic museum exhibits, photopolymer plastic, transparency, light transmittance parameters, luminosity.

Nesterova Anastasia I. — The Russian academy of painting, sculpturing and architecture of Ilya Glazunov, first-year student internship assistants
E-mail: n.nesterova.ru@yandex.ru

The purpose of this article is to talk about the restoration and attribution of a unique icon painting monument originating from the collection of the Pereslavl-Zalessky Museum-reserve. The Russian academy of painting, sculpture and architecture of Ilya Glazunov has completed a complex of works on the conservation and restoration of the icon “John Chrysostom”. In parallel with the restoration, research work was carried out to study the history of the monument and its attribution. Special attention is paid in the article to the study of the artistic features of the icon “John Chrysostom”, the specifics of the plots and compositional solutions are considered. An important part of the work with the monument was the discovery of the author's signature on the icon, which makes it possible to find out the identity of the iconographer. During the search for other works by the iconographer Alexei Ivanovich Lapyrev, an icon from the collection of the State Central Andrey Rublev Museum “Christ Pantocrator” was found, which also has a signature where the name, patronymic and surname of the iconographer coincide with the signature on the restored icon. The article also compares the icons “John Chrysostom” and “Christ Pantocrator”. The character of the writing, the chiaroscuro modeling of the personal and the color are similar on the two icons and have common features. Despite the fact that the date of writing is indicated on the icon from the collection of the State Central Andrey Rublev Museum, it is not possible to name the exact date of the icon “John Chrysostom” because of the lost part of the inscription. In conclusion, the author concludes that the icon can be attributed to the Yaroslavl school of icon painting and clarifies the dating.

Restoration, attribution, Yaroslavl school of iconography, Pereslavl-Zalessky Museum-reserve, Alexey Ivanovich Lapyrev, John Chrysostom, Christ Pantocrator, State Central Andrey Rublev Museum.

Pivovarova Nadezhda V. — Ph.D; State Russian Museum, Leading researcher, department of Ancient Russian Art
E-mail: nad-pivovarova@yandex.com

The article examines the ancient icon from the collection of the State Russian Museum, “The Meeting of the Archangels Michael and Gabriel”. The icon was found in the Arkhangelsk Church of the monastery of the same name in Veliky Ustyug, from where it was transferred to the Veliky Ustyug Museum of Local History in 1931. In 1959 — 1968, the icon was restored in the Central State Restoration Workshops (Moscow) by artist-restorer A. N. Baranova, and then transferred to the Russian Museum. The article focuses on the results of the restoration, which radically changed the appearance of the icon and allowed us to raise the question of the time and place of its creation. The data from the restoration passport compiled by A. N. Baranova and the opinions of researchers who analyzed the images on the icon during the process of its uncovering are presented. To resolve the issue of the icon’s origin, data from the Sotnaya Book of Veliky Ustyug of 1630 is used. According to the information contained in the book, the icon was in the Church of the Entry of the Virgin into the Temple of the Archangel Michael Monastery. An analysis of the text of the Sotnaya Book leads to the conclusion that the image was venerated in Ustyug. According to the source, the icon had a precious frame with a crown, chaplet and grivna, decorated with stones and pearls. This information is confirmed by the results of a study of the icon under a microscope and radiography of its surface. A review of the existing literature and the results of the study of the icon allow us to return to the question of the place of its creation. In light of the work carried out, the most justified opinion seems to be that of G. I. Vzdornov, expressed back in the 1970s, about the creation of the icon in Veliky Ustyug. At the same time, the broad dating proposed by Vzdornov should be narrowed to the last quarter of the 13th century.

Veliky Ustuyg, Museum of local lore of Veliky Ustuyg, State Russian Museum, Central State Workshop of the Restoration, icon, Synod of the archangels, A. N. Baranova, restoration, research.

Rebrikova Nataliya L. — Candidate of Biological Sciences; The State Research Institute for Restoration, Head of the Biological Laboratory
E-mail: nrebrikova@rambler.ru

The article discusses foreign and domestic experience in the use of natural compounds (essential oils and their components), as well as a mixture of one essential oil and a hydrolate of another essential oil for fungicidal treatment of paintings. The results of a study of the effect of vapors of seven essential oils — dill oil, mint oil, sage oil, thuja oil, fennel oil, fir oil, bay oil and three components of essential oils — terpineol (contained in orange oil, camphor oil), eugenol (the main component of clove oil), citral (contained in lemon essential oil) on the development of three pure fungal cultures: Penicillium chrysogenum 3T, Aspergillus niger 2T, Ulocladium sp. 2B. Eugenol, citral, and terpeniol turned out to be the most effective. It has been established that essential oils and their components have a fungicidal effect. Samples of painting materials show the effect of essential oil vapors on varnishes and drying oil immediately after treatment and after artificial aging, yellowing of the treated samples is noticeable in comparison with the control. The revealed interaction of essential oils with varnishes and drying oil is not a limitation for their use as fungicides, but it should be taken into account when processing paintings.

Microscopic fungi, essential oils, essential oil components, fungicidal treatment, paintings, protective coatings, artificial aging.