{"id":14420,"date":"2016-05-24T15:01:39","date_gmt":"2016-05-24T20:01:39","guid":{"rendered":"http:\/\/www.conservators-converse.org\/?p=14420"},"modified":"2016-05-24T15:01:39","modified_gmt":"2016-05-24T20:01:39","slug":"44th-annual-meeting-objects-wooden-artifacts-session-monday-16-may-2016-the-study-of-boxwood-prayer-beads-and-miniature-altars-from-the-thomson-collection-at-the-art-gallery-of-ontario-and-the-m","status":"publish","type":"post","link":"https:\/\/resources.culturalheritage.org\/conservators-converse\/2016\/05\/24\/44th-annual-meeting-objects-wooden-artifacts-session-monday-16-may-2016-the-study-of-boxwood-prayer-beads-and-miniature-altars-from-the-thomson-collection-at-the-art-gallery-of-ontario-and-the-m\/","title":{"rendered":"44th Annual Meeting – Objects-Wooden Artifacts Session, Monday 16 May 2016, "The study of boxwood prayer beads and miniature altars from the Thomson Collection at the Art Gallery of Ontario and the Metropolitan Museum of Art\u201d presented by Lisa Ellis"},"content":{"rendered":"

Lisa Ellis, Conservator of Sculpture and Decorative Arts at the Art Gallery of Ontario (AGO), presented collaborative work on the study of boxwood prayer beads and miniature altars from the early 16th<\/sup> century (c. 1500-1530). The beads and altars are very small, complex, and intricately carved artifacts whose construction has not been well characterized. Teams at the AGO and the Metropolitan Museum of Art (MMA) are exploring the carving techniques and joinery strategies using careful examination, micro-computed tomography (\u00b5CT scanning), and physical deconstruction of select artifacts to better understand how the pieces were created.
\nBecause of their depth and small size, traditional photography has been inadequate to capture the various layers in focus within one image, making distance sharing and comparative work impossible. In order to better share between institutions and scholars, the AGO set out to photodocument these artifacts with high resolution images that are in focus throughout the depth of the artifact. In order to do this, they are taking a series of photos at various focal depths, then stacking the images to maintain sharpness. The image quality is profoundly improved from the old hazy images that made it impossible to understand the detail.
\n

\"<\/a>

Prayer bead, AGOID.29365. Detail showing \u201cThe Coronation of the Virgin.\u201d The Thomson Collection of European Art \u00a9 Art Gallery of Ontario.<\/figcaption><\/figure>
\n 
\nThrough preliminary x-radiography, they found that the artifacts can be grouped in to two broad classes: artifacts created in simple relief and artifacts created with a complex design. The complex artifacts were then \u00b5CT scanned, revealing the multiple elements joined together. Using medical imaging software, they were able to better understand the parts and see that the beads were created in layers. With the software, the various layers could be virtually deconstructed so that each layer could be examined and stacked, as if each piece were separate. At the MMA, Pete Dandridge, Conservator and Administrator, was able to disassemble a bead to physically see the pieces, which further helped to interpret the \u00b5CT data and reinforced the understanding of the layers. Since not all artifacts can be taken apart, the \u00b5CT scans provided to be invaluable in examining the construction and documenting the process. One example showed a bead attached to a rosary that had multiple roundels set into the main structure. The roundels could be virtually removed with the \u00b5CT scans and software, revealing a numbering system beneath.
\n
\"Workshop<\/a>
Prayer bead, AGOID.29365. Micro CT scan revealing use of pegs in depiction of \u201cThe Coronation of the Virgin.\u201d The Thomson Collection of European Art \u00a9 Art Gallery of Ontario. Scans courtesy of Sustainable Archaeology at Western University.<\/figcaption><\/figure>
\n 
\n