Three Attic Amphoras from Cerveteri
Artist: Nikosthenes, P. di Monaco 1519, P. di Syleus
Date: 525 B.C.; 510-490 B.C.; 480-470 B.C.
Classification: Vases
Dimensions: Various
Materials: Ceramic
Adopted By: The Canada Chapter
Description
HIGH PRIORITY PROJECT
These were deposit vases to be used as wine containers to unite with the dead at memorial occasions for ceremonial banquets and symbolic reasons in Etruscan tombs. The banquet unites the living with the deceased in the afterlife. The vases could be in ceramic or metal, either locally produced, or imported (as shown here). They are figures with different themes, and each was made in Athens by a different master. As a whole, they date from 525 and 470 B.C. They arrived after a long sea journey from Greece to central Italy, through the Etruscan city of Cerveteri and the trade routes of antiquity. They were used in the tombs of prestigious people.
TOTAL COST: € 12.310,94 ($ 12,032.71)
Restoration Procedures
-
In-depth verification of the structural and conservative conditions
-
Cleaning, consolidation, and integration of missing parts to repair cracks
-
Chromatic retouching
Detail
Adopted By:
The Canada ChapterInventory N°: 16587, 16929, 20260
Artist: Nikosthenes, P. di Monaco 1519, P. di Syleus
Date: 525 B.C.; 510-490 B.C.; 480-470 B.C.
Dimensions: Various
Materials: Ceramic
Department:
Etruscan - Italic AntiquitiesCurators:
Dr. Maurizio Sannibalemuseum:
Gregorian Etruscan MuseumLaboratories:
Metals & CeramicsWishbook year: 2023
Three Attic Amphoras from Cerveteri - Final Restoration Report
Restoration Procedures of Pelike - inv. 20260
The restoration of the Pelike (inv. number 20260) was performed in three phases.
Phase 1: Extensive structural inspection of the previous gluing.
Phase 2: Filling and repair of the missing parts, connecting the new plaster integrations to the numerous "filings" made on the fractures in earlier restorations.
Phase 3: Color matching of the new integrations with the original surface of the artifact using acrylic colors applied first with the glazing technique and then the Pointillé technique. This phase aimed to make the pictorial representation more defined and legible.
Restoration Procedures of Attic Amphora - inv. 16587
The restoration of the Attic black-figure amphora inv. number 16587 has been completed. Over the next few days, the vase will again be displayed in Room II of the Regolini Galassi Collection, display case C, of the Gregorian Etruscan Museum. The original surfaces of the amphora were particularly altered from a decorative point of view, with the application of now-aged substances, pictorial retouching, plastering, and reconstructions not distinguishable from the original. The current restoration work has recovered the authentic surfaces of the artifact while preserving some of the reconstructions from the early 1900s, which were expertly done in the past to restore the amphora's apparent integrity.
Restoration Procedures of Attic Amphora - inv. 16929
The restoration of the Attic Amphora (inv. number 16929) was performed in three phases.
Phase 1: Extensive structural inspection of the previous gluing.
Phase 2: Filling and repair of the missing parts, connecting the new plaster integrations to the numerous "filings" made on the fractures in earlier restorations.
Phase 3: Color matching of the new integrations with the original surface of the artifact using acrylic colors applied first with the glazing technique and then the Pointillé technique. This phase aimed to make the pictorial representation more defined and legible.
Three Attic Amphoras from Cerveteri - Restoration Update
The restoration of the black-figure Attic Amphora (530-510 B.C.) inv. 16587, on display in the Gregorian Etruscan Museum, started in early August. Before the restoration, our specialists made a series of observations, and the documentation of the painted surfaces revealed that this object had been reworked from a structural point of view. The restorer found integrations, plastering, and mimetic pictorial retouches. The campaign to review the actual state of preservation was finalized using cleaning tests performed at previously examined areas, with the vase exposed to ultraviolet radiation. The Scientific Research Laboratory analyzed some substances from the old restoration. As of today, the restorer is carrying out the operations to revise and clean the original surfaces and consolidate the historicized reconstructions prone to detachment. Scientific investigations and restoration work are currently underway.
Three Attic Amphoras from Cerveteri
Details
Adopted by: The Canada Chapter
Inventory: 16587, 16929, 20260
Artist: Nikosthenes, P. di Monaco 1519, P. di Syleus
Date: 525 B.C.; 510-490 B.C.; 480-470 B.C.
Classification: Vases
Materials: Ceramic
Dimensions: Various
Museum: Gregorian Etruscan Museum
Department: Etruscan - Italic Antiquities
Laboratory: Metals & Ceramics
Wishbook year: 2023
Description
HIGH PRIORITY PROJECT
These were deposit vases to be used as wine containers to unite with the dead at memorial occasions for ceremonial banquets and symbolic reasons in Etruscan tombs. The banquet unites the living with the deceased in the afterlife. The vases could be in ceramic or metal, either locally produced, or imported (as shown here). They are figures with different themes, and each was made in Athens by a different master. As a whole, they date from 525 and 470 B.C. They arrived after a long sea journey from Greece to central Italy, through the Etruscan city of Cerveteri and the trade routes of antiquity. They were used in the tombs of prestigious people.
TOTAL COST: € 12.310,94 ($ 12,032.71)
Restoration Procedures
-
In-depth verification of the structural and conservative conditions
-
Cleaning, consolidation, and integration of missing parts to repair cracks
-
Chromatic retouching
Media
Attic Vase - inv. 20260
Attic Vase - inv. 16587
Restorations Update: Three Attic Amphoras from Cerveteri - Final Restoration Report
Restoration Procedures of Pelike - inv. 20260
The restoration of the Pelike (inv. number 20260) was performed in three phases.
Phase 1: Extensive structural inspection of the previous gluing.
Phase 2: Filling and repair of the missing parts, connecting the new plaster integrations to the numerous "filings" made on the fractures in earlier restorations.
Phase 3: Color matching of the new integrations with the original surface of the artifact using acrylic colors applied first with the glazing technique and then the Pointillé technique. This phase aimed to make the pictorial representation more defined and legible.
Restoration Procedures of Attic Amphora - inv. 16587
The restoration of the Attic black-figure amphora inv. number 16587 has been completed. Over the next few days, the vase will again be displayed in Room II of the Regolini Galassi Collection, display case C, of the Gregorian Etruscan Museum. The original surfaces of the amphora were particularly altered from a decorative point of view, with the application of now-aged substances, pictorial retouching, plastering, and reconstructions not distinguishable from the original. The current restoration work has recovered the authentic surfaces of the artifact while preserving some of the reconstructions from the early 1900s, which were expertly done in the past to restore the amphora's apparent integrity.
Restoration Procedures of Attic Amphora - inv. 16929
The restoration of the Attic Amphora (inv. number 16929) was performed in three phases.
Phase 1: Extensive structural inspection of the previous gluing.
Phase 2: Filling and repair of the missing parts, connecting the new plaster integrations to the numerous "filings" made on the fractures in earlier restorations.
Phase 3: Color matching of the new integrations with the original surface of the artifact using acrylic colors applied first with the glazing technique and then the Pointillé technique. This phase aimed to make the pictorial representation more defined and legible.
Restorations Update: Three Attic Amphoras from Cerveteri - Restoration Update
The restoration of the black-figure Attic Amphora (530-510 B.C.) inv. 16587, on display in the Gregorian Etruscan Museum, started in early August. Before the restoration, our specialists made a series of observations, and the documentation of the painted surfaces revealed that this object had been reworked from a structural point of view. The restorer found integrations, plastering, and mimetic pictorial retouches. The campaign to review the actual state of preservation was finalized using cleaning tests performed at previously examined areas, with the vase exposed to ultraviolet radiation. The Scientific Research Laboratory analyzed some substances from the old restoration. As of today, the restorer is carrying out the operations to revise and clean the original surfaces and consolidate the historicized reconstructions prone to detachment. Scientific investigations and restoration work are currently underway.
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