Polish Archaeology in the Mediterranean (18.2006(2008))

HAWARTE

SYRIA

CONSERVATION PROCEDURES

In 2005, the team monitored the condition
of the paintings preserved in the cave and
undertook whatever maintenance conser-
vation was required. A digital documen-
tation of all the paintings was completed
in preparation for the monographic
reconstruction project {Fig. 1}.
Work on the fragments kept in the
Hama Museum stores followed the same
standard procedure in the two seasons:
cleaning the backs of plaster fragments of
embedded chunks of the original rock from
the walls and ceiling of the cave, followed
by cleaning and protection of the painted
surfaces. In the course of this work, it is
essential to separate the five different
painting layers that have been identified
during the preparation of the first bigger
panel, the scene of Mithras as Helios
[Figs 2, 3}· Each layer has to be documen-
ted in terms of the coloring and style of
painting, and judged by its merits whether
it will be mounted separately on new
support [Figs 4, 3}.
These activities have tripled and
quadrupled the amount of restoration work
to be done, but have also led to the
discovery of whole figures and fragments of
the composition restorable from the pieces.
In 2006, three bigger fragments of ceiling
were thus recomposed, and three
fragments from the walls. As there is still
hope of new fittings to be made to the
compositions, like the peacock with
poppies from the ceiling (chronologically
the latest layer), placing the recomposed
fragments on rigid supports is being
delayed wherever possible.

The scene representing Mithras as
Helios (conserved as a separate panel for
display in 2002, cf. Parandowska 2003:
296-297) had been cut from the wall of the
mithraeum with two earlier coatings of
painted plaster. In 2006, layers 2 and 3
received comprehensive treatment, that
is, they were separated, cleaned and
consolidated. The composition turned out
upon analysis to be thematically the same,
although different in size and colors.
In order to prepare a new background,
the surface of preserved fragments of layer
2 still attached to layer 3 was protected
with Japanese tissue and gauze, glued with
a 20% solution of PVA in water, then cut
off. These fragments, backed with gauze
and Primal AC33, were then detached for
separate treatment. Layer 3 turned out to
be full of cracks and gaps. The surface was
cleaned mechanically and chemically with
20% strong vinegar, after which the
painting layers were consolidated with
Plextol B500 in water. A 5% Paraloid
B86 in ethanol was applied for surface
protection, while cracks and empty spaces
were filled with stucco (lime-calcium
carbonate-PRiMAL AC33 in 1:1:1.5 parts).
This was then turned upside down in order
to prepare a supporting construction of
gauze, canvas, polystyrene foam, honey-
comb aluminum panel and fiberglass fabric
to carry the panels. After reversing the
panel the surface of the transfer was
cleaned, the ground leveled and protected
with paraloid. Work on the final esthetic
arrangement (color unification of the new
plaster — tratteggio) was begun.

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