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Archive: March, 2013

Conservation Notes: A very fine resolution

March 18th, 2013

Prayer bead inside micro-CT scanner. Sustainable Archaeology, University of Western Ontario.

Micro-CT scanning prayer beads from the Thomson Collection

The AGO’s Lisa Ellis, conservator of sculpture and decorative art, and Sasha Suda, assistant curator of European Art, travelled to the University of Western Ontario to answer questions about the intricate construction of two prayer beads from the Thomson Collection currently featured in the exhibition Idea Lab: Research at the AGO, Investigating Miniature Ivory and Boxwood Carvings, running from July 19, 2012, to April 2014.

Micro-CT slice of prayer bead 29365 revealing construction methods and materials. Click to enlarge. (Prayer bead. Workshop of Adam Dirksz. AGOID.29365. The Thomson Collection © Art Gallery of Ontario.)

The complexity of the prayer beads has until now defied attempts to fully understand their construction. Some of these miniature carvings contain close to 100 separately carved elements. Traditional tools like X-radiography and microscopy cannot not fully explain how these objects were made — the way they are pieced together obscures joins from view and stacks elements, making it impossible to fully decipher the objects’ interiors with X-rays.

In order to understand these objects, we required much more sophisticated imaging. For help with our problem, we tracked down Dr. Andrew Nelson and doctoral student Zoe Morris from the University of Western Ontario’s Department of Anthropology and Dr. Ron Martin from its Department of Chemistry. This highly specialized group of experts introduced us to micro-computed tomography, also known as high-resolution X-ray tomography or micro-CT scanning.

Prayer bead. Workshop of Adam Dirksz. The Thomson Collection © Art Gallery of Ontario.

The Sustainable Archaeology facility at Western University has a Canadian Foundation for Innovation–funded industrial Nikon Metrology XT H 225 system microtomography (micro-CT) scanner with a resolution so fine that it can distinguish details as small as 36 micrometers — a third of the diameter of a human hair — in the scans of the prayer beads. Just like medical scanners (which have a slice thickness of 600 micrometers), micro-CT scanners perform non-invasive studies to show internal features not of human anatomy, in this case, but of archaeological and bioarchaeological materials and now artworks.

Micro-CT scanning is now successfully exposing the construction secrets of these superlative carvings: scans of the two prayer beads have revealed hidden joins, pegs and adhesives. With the support of our collaborators at Western, the AGO team is eager to continue our micro-CT investigations into these fascinating objects and scan the remaining eight prayer beads in the Thomson Collection.

Zoe Morris, University of Western Ontario, manipulating and interpreting the scans.

More resources:

Learn more about the project in this CODART e-zine article by Lisa Ellis and Sasha Suda.


This animation is a surface rendered model of the prayer bead, created from a 21 gigabyte, three-dimensional volume of micro-CT data, using VGStudio MAX. Animation created by Zoe Morris. Courtesy of Sustainable Archaeology: Western University, 2012. Prayer bead. Workshop of Adam Dirksz. 1500-1550. AGOID 29365. The Thomson Collection © Art Gallery of Ontario.


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Conservation Notes: Silica gel to the rescue!

March 12th, 2013

Silica gel, valiant protector of artworks.

You’re probably used to finding packets of silica gel in your shoes boxes, electronic packaging, new purses — its uses are many — but did you know it’s also hidden in spots all around galleries and museums? In this post, conservator of sculpture and decorative arts Lisa Ellis explains why it is also a simple but powerful material used in the preservation of artworks. Read the rest of this entry »

Conservation Notes: Get to know a SHEB

March 4th, 2013

Many of the works in our collection are fragile and delicate, but there are some that are fragile and also very, very heavy. In this post, conservator of sculpture and decorative arts Lisa Ellis and mountmaker John Williams explain how our staff members move this kind of work around the Gallery.

Notes on the Storage, Handling and Exhibition Base (SHEB) for Archangel Michael

Archangel Michael, French, circa 1290, limestone with traces of polychromy, 153 cm high, 48 cm wide, 37 cm deep, Anonymous Gift, 1997, © 2013 Art Gallery of Ontario

This superlative and rare sculpture, depicting the Archangel Michael, was an anonymous gift to the AGO in 1997. It is dated to around 1290 and is carved out of limestone.

Depending on exhibition schedules, sculptures at the AGO rarely sit still for any length of time. Instead they tend to move from gallery to gallery and sometimes temporarily reside in storage areas or even travel to other institutions on loan. The AGO conservators and mountmakers assist the Exhibition Services department in the movement of large, fragile objects such as the Archangel Michael. Read the rest of this entry »