AN EGYPTIAN PUZZLE - The conservation and restoration of the lid from the coffin of But-har-chonsu, Chantress of Amun, Part II: Realigning and stabilizing the lid’s wooden structure with carbon-fibre composite dowels [in German] / Die Konservierung und Restaurierug des Sargdeckels der But-har-cho... (original) (raw)

S. Haag und R. Hölzl (ed.), Ein Ägyptisches Puzzle - Ausstellungskatalog des Kunsthistorischen Museums Wien, 2015

Abstract

The project focused on the development of a method to ‘de-restore’ and reassemble the lid of the ancient Egyptian wooden anthropoid coffin belonging to But-har-chonsu, a chantress in the cult of Amun, who lived during the 3rd Intermediate Period (Dynasty 21/22, c. 970-900 BC). In 1893, two years after her coffin was excavated, its lid was presented to Vienna’s Kunsthistorisches Museum where it was relegated to a storage facility since its very poor condition precluded exhibition. Part II: Realigning and stabilizing the lid’s wooden structure with carbon-fibre composite dowels After the coffin lid’s decoration was consolidated and methods of filling the spaces between it and the wooden planks were developed as described in Part I, the wooden body itself could be restored and the conservation of the lid finalized before its return to the museum. The wooden planks used for the body of the lid (which had been inadequately and inconsistently restored following severe structural damage) were misaligned; since this prevented restoring fragments of the decoration to their proper positions as well as reassembly of the lid’s foot, major intervention was called for. The misaligned joins of the previous restoration, fixed with modern dowels of beech wood and an excessive amount of PVAc-emulsion glue, had to be opened. The modern dowels were carefully sawn in half, and holes were drilled in those portions of the dowels remaining in place to leave a thin shell-like layer interposed between the wooden planks and new dowels. After the excess PVAc glue was softened with acetone gel it could be removed with a scalpel. Cavities and uneven surfaces in some dowel holes were smoothed with rabbit skin glue and Poraver. Following disassembly it proved possible to realign the wooden planks correctly only when all of them were simultaneously joined. Old dowel holes had to be used for the new joins despite misalignment. A new type of dowel made of composite carbon fibre embedded in epoxy resin (Araldite 2020) was developed which self-adjusted to any shape during use. These dowels were created by inserting braided carbon fibre rope into narrow latex balloons closed with a knot. Liquid epoxy resin was injected through a thin rubber tube into the balloons in the old dowel holes. When the planks were correctly reassembled, epoxy resin expanded the balloons to the exact shape of the misaligned dowel holes. When the resin had hardened, the body was again taken apart, the balloons removed, and the wooden planks realigned once and for all, with the new dowels secured with fish glue (Artcolle) with a bit of Poraver added. Any large gaps remaining between the planks were additionally stabilized with spacers of spruce, coated with a mixture of gypsum, spherical silica-compound (Poraver, Superlite), fibres (Arbocel, Dralon), and pigment to simulate the colour of the ancient gesso layer on the lid. New dowels of spruce were employed in the reassembly of the lid’s foot end since none of the ancient dowels were sturdy enough. Spacers and composite filling imitating the primer provided additional strength before the foot was reattached. Once the wooden construction was fully aligned and stabilized, all remaining loose fragments of decoration were returned to their original positions and fixed with Paraloid B 72 in acetone. To wind up the project, a special mount was designed for the fragile lid so that it can be safely displayed upright in the museum. [in German]

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