/library/oar/handle/123456789/72971 2025-12-29T03:07:05Z 2025-12-29T03:07:05Z /library/oar/handle/123456789/95592 2022-05-12T08:22:49Z 2018-01-01T00:00:00Z

Title: Cleaning oil-based wall paintings : the 18th century wall paintings of the Chapel, Palazzo de La Salle, Valletta, Malta Abstract: This MSc dissertation deals with designing a site-specific cleaning treatment for different surface accretions obscuring the 18th century oil-based wall painting located in a private palace chapel, within Palazzo de La Salle, in Valletta, Malta. The surface accretions vary from inorganic (i.e. lime-based covering layers residues, dust accumulation, salts, pigment degradation products) to organic material (i.e. coatings). After information regarding the original technique, physical history, condition and accretion analysis was evaluated, this dissertation adopted an iterative approach. It initiated with extensive literature research focusing on oil-paintings and their cleaning. The dissertation then sought to understand better the accretions, their extent and solubility. The most widespread and aesthetically disturbing accretions showed sensitivity towards water, making water-based method promising. Consequently, the wall paintings themselves, were tested for surface water sensitivity and mechanical sensitivity. The sensitivity towards water and mechanical action increased with higher water delivery and prolonged mechanical action. Through the results achieved, the information was then assembled to set up cleaning parameters such as the intervention and performance criteria along with suitable working properties, upon which cleaning materials were chosen and evaluated. This compilation of information led to a series of testing, observation and evaluation. To minimize the water delivery and mechanical action for a safe cleaning method, hydrogels were tested (i.e. Agar and Nanorestore®). The results were ineffective unless mechanical action on the surface (e.g. swabbing) for clearance was applied. After evaluation, however, it was realized that the removal of gels from the surface and swabbing caused small original fragment losses and the cleaning results were still unsatisfactory. Hence, the study developed in another class of auxiliary materials: sponges. Three different sponges known to be sensitive towards paint layers, leaving minimal residues and good efficiency were tested (i.e. Sofft® sponge, Smoke sponge® and Elite models® make-up sponge). The sponges were tested both moist or dry, as clearance materials after delivering water to the painted surface with Agar. Areas containing water-sensitive pigments or salts were tested only with a dry sponge. For the final testing, nine different areas exhibiting different accretions were chosen. Cleaning trials were evaluated mainly by non-invasive techniques: visual observation, multispectral imaging and by a hand-held microscope. The evaluation also took place indirectly by studying the cleaning materials after use under a stereomicroscope. From all the materials tested, the moist Sofft® sponge or dry in the case of water-sensitive paint layers, resulted as the most promising cleaning material. Further analysis to assess any morphological changes were carried out with SEM. Future proposed work includes: further and larger cleaning trials using the Sofft® sponge, identification of removed material from the surface of the wall paintings and, identification and quantification of any extractable components from the Sofft® sponges when used moist. Description: M.SC.CONSERVATION

2018-01-01T00:00:00Z /library/oar/handle/123456789/81915 2021-10-11T13:01:38Z 2018-01-01T00:00:00Z

Title: A study of the technology of gilding on Maltese stone during the 17th and 18th centuries Abstract: Gold has, for centuries, been extensively used in art produced all over the world, seen in art as early as Byzantine art and the Medieval period. Locally, gilding with gold leaf has been widely used in Malta and Gozo and may be noted in almost all local churches and palaces that were decorated in the Baroque period. Anyone who walks into a church or palace in Malta is almost immediately stuck by the impressive amount of gold present on the walls, frames and statues. The aims of this study include the identification of the different materials and techniques used to gild on stone in the Baroque period; the identification and analyses of any preparation layers; similarities and trends in gilding techniques and materials within two churches ‐ St John’s Co‐Cathedral and the Church of Our Lady of Victory and the possibility of “classifying” particular decorations. There have only been limited studies on gilding locally; therefore, an in‐depth study on this technique within the Maltese context is of great importance historically and for the preservation of Maltese heritage. Investigations entailed collecting historical information about two case studies (St John’s Co‐Cathedral and Church of Our Lady of Victory, both built and decorated during the time of the Knights of the Order of St John) from primary and secondary sources, in situ examinations and observations of the various gilt decorations and scientific analysis, aimed at understanding the inorganic and organic constituent materials of these gilt wall decoration. This study indicates that the process of gilding throughout the years was quite similar. There was a general method used to prepare the stone (using a primer, preparation layer and in some cases coloured ground). However, the study has also found that there was no consistent recipe used for this preparation layer and that gilders used existing and similar inorganic materials but experimented with organic substances. Moreover, this study also found the existence of two types of gilding used during the Baroque era within the two case studies; burnished and unburnished, indicating that gilders possibly used and experimented with different methods, materials and techniques for gilding on stone in this era. Description: M.SC.CONSERVATION

2018-01-01T00:00:00Z /library/oar/handle/123456789/81911 2021-10-11T13:00:31Z 2018-01-01T00:00:00Z

Title: Filming on location in a historic city : impacts and policies with special reference to Valletta Abstract: Malta’s historic built environment and cultural landscape have appeared in numerous feature films, television series and commercials. At time of writing (April 2018), 138 films had been shot partly or entirely in the Maltese Islands. Malta’s versatile and multi-faceted cultural landscape has been used by a great number of directors to stand in for multiple countries. The locations, the current film infrastructure, the financial infrastructure, the good climate, the English-speaking crews and the water tanks all contribute to making Malta an excellent location for films (Malta Film Commission, 2017). From 1998 to date, Malta went from not having any procedures in place to regulate film industry, to launching a National Film policy in 2016. These policies have been adapted as the need arose and on the basis of the knowledge and experience gathered throughout the years. While the risks of negative impacts on local communities as result of filming on location have been widely studied in other contexts, in Malta practically no research has been done on this aspect. In this study, Malta’s National Film Policy is compared to other countries’ experiences and policy frameworks in regulating filming in historic cities. Two cases of filming on location in Valletta are considered in detail. The UNESCO World Heritage site of Valletta is chosen as a case study to explore how filming maybe impacting local communities living in an urban context of cultural heritage value. Key stakeholders from the film industry, the regulator, as well as the local resident communities are interviewed. It is found that no notable film–induced tourism has emerged to date in these historic urban locations. Some of the reasons for this are discussed. It is argued that, although such film-induced is being promoted as an objective in the current National Film Policy, there are no measures in place to safeguard historic neighbourhoods and local resident communities against the possible risk of potential harmful side-effects that this could have. It is recommended that more research on such potential impacts is undertaken, before further attempts are made to pursue this objective of the National Film Policy. Description: M.A.CULTURAL HERIT.MANGT.

2018-01-01T00:00:00Z /library/oar/handle/123456789/74054 2021-04-19T11:31:37Z 2018-01-01T00:00:00Z

Title: Documenting intangible cultural heritage through the medium of photography : spirit of place Abstract: The aim of this study is to investigate how the medium of photography can document the Spirit of Place. Since this characteristic of place is of intangible nature, the Spirit of Place can only be perceived and not seen nor touched. The challenge presented itself in the execution of image making - how can one take a photo of something whose characteristics are intangible? The study looks at how places came out of spaces, and how dwellings were created. The creation of the Spirit of a Place came about from the people inhabiting and identifying themselves with the place. The study also looks at how physical subjects such as buildings, dwellings, churches, chapels, niches and other architectural features found in a place can indicate towards a presence of this Spirit due to their symbolic meanings tied to the people inhabiting the place. The study consisted of three methods of investigation. Qualitative interviews were conducted to extract criteria for the practical project. Then photographs were used in the focus groups in order to find out how participants read images and find out how and in which images the Spirit of Place has been documented. Description: M.A.CULTURAL HERIT.MANGT.

2018-01-01T00:00:00Z