Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Like so many secondary schools, in Portugal and elsewhere, the Sebastião e Silva Secondary School in Oeiras has important scientific collections. These mainly encompass the Natural Sciences, Physics and Chemistry fields, and their significance is associated both with the memory and identity of the School, and with local pedagogic practices, contributing therefore to the history of sciences and education in Portugal. Moreover, they reflect the value given to these subjects by their host institution, for example, by the selection of materials which integrate the collection. The main purpose of the present essay is to explain the origins and context of the collection and its institutionalization as a museological nucleus of the School. The collection relevance and its immeasurable heritage value is a maker of a collective identity and memory of the School and the educational community. In the present paper implemented strategies of pedagogical interaction are discussed and, ultimately, problems and future perspectives are highlighted. A reflection is made about the relevance of this heritage in an era of digital technologies, as well as the main challenges in its preservation, study, interpretation and dissemination.   Received: 2018-8-14Revised: 2019-1-14Accepted: 2019-5-30Online: 2020-3-4Publication: 2020-3-13

The present problems around the public display of a full taxidermy mounted rhinoceros in Lisbon and the motifs for the replacement of its original horns are presented in this paper. The twentieth century specimen concerned belongs to the National Museum of Natural History and Science of the University of Lisbon (MUHNA C). The several warnings of rhino horn thefts occurring in museums across Europe in the last two decades and the frequency of requests for loans of this specimen for exhibitions, raised an internal debate at the MUHNA C. In this paper, firstly, we present a short overview of the problems in terms of the international context and the vulnerability of these specimens at museums, followed by a brief overview of the history of the Lisbon specimen. Finally, we detail and discuss our conservation, methodology and ethical approach to the removal and replacement of the specimen’s original horns with replicas, based on Norfolk Museums Service’s (UK) protocol and experience.   Received: 2018-10-7Revised: 2019-3-4Accepted: 2019-4-8Online: 2019-6-18Publication: 2020-3-13

Tempera painting on canvas has played multiple functions throughout the history of painting. They were used to cover altars in Lent, to make canopies and ceilings for beds, to act as organ doors, etc. In the 19th century and in the earlier 20th century, they were used as adornment on walls of palaces and theatres, as well as sceneries in the latter ones. Generally, this kind of tempera painting shows large proportions, which demanded a specific methodology of execution. Treatises of the epoch display how the painter, provided with paintbrushes of long handles, as brooms, walked on the canvases while the execution lasted. At that time, pigments derived from the activity of modern industry were already in use, in combination with other materials traditionally used in the previous centuries. This article presents the working methodology and materials used in tempera painting on canvas, mainly during the 19th century, providing a knowledge base for this subject.   Received: 2018-12-30Revised: 2019-9-6Accepted: 2019-10-16Online: 2020-3-17Publication: 2020-11-27

The conservation of science and technology (S&T) heritage encompasses complex challenges. Among the reasons for this complexity are the S&T objects specific characteristics: the wide variety of materials, construction techniques and dimensions, and the existence of operating mechanisms. Present conservation methods are not fully adapted to the specificity of this heritage, requiring more research on S&T conservation. This paper identifies the main challenges of S&T objects conservation and gives guidelines to overcome them by i) increasing knowledge on materials and their degradation; ii) understanding the objects’ function; iii) researching and developing new conservation techniques compatible with the characteristics of S&T objects; and iv) creating decision-making tools for the definition and implementation of conservation and maintenance programs.   Received: 2018-10-15Revised: 2019-5-3Accepted: 2019-5-30Online: 2019-6-20Publication: 2020-3-13

In conservation, earth renders can be used as sacrificial coatings. However, earth presents vulnerability when in contact with water. The application of ecological surface treatments on earth renders can be of great relevance, ensuring their durability while increasing eco-efficiency and extending its range of applications. The behaviour of a ready-mixed earth render applied in situ, on adobe and concrete block masonry experimental walls exposed outdoors with protection, and under controlled laboratory conditions, on hollow bricks, was evaluated after four years. Several superficial treatments were applied on the renders: linseed oil, mucilage of aloe vera and pasta and rice cooking water. The renders were characterized by non-destructive tests. The surface treatment with linseed oil presents good results and improves the durability of the earth render, giving it adequate protection against natural degradation.   Received: 2019-3-1Revised: 2019-4-17Accepted: 2019-10-20Online: 2020-4-15Publication: 2020-11-27

The cemetery of Jesus of Murcia (Spain) has more than 600 pantheons, which converts it in a small funerary city, whose buildings show a large spectrum of architectural samples. This paper presents an exhaustive study of the typologies and materials used in those little buildings. In addition, this investigation addresses the study of the evolution and the distribution of the typologies and materials detected, drawing conclusions about both of these aspects.   Received: 2019-3-15Revised: 2019-4-22Accepted: 2019-6-30Online: 2020-5-4Publication: 2020-11-27

CONSERVAR PATRIMÓNIORevista académica com avaliação por paresAcademic peer-reviewed journal Edição PublisherAssociação Profissional de Conservadores-Restauradores de Portugal (ARP)Rua Fialho de Almeida, n.º 14, 2.o esq. 1070-129 Lisboa, PortugalContribuinte VAT registration number n.º 503 602 981 Periodicidade FrequencyQuadrimestral Triannual Registo ERC127342 ISSN2182-9942 edição digital digital edition DOIhttps://doi.org/10.14568/cp Director DirectorELIN FIGUEIREDO Directores-adjuntos Co-directorsANA CLAROANA ZÉLIA MILLERSÍLVIA O. SEQUEIRATIAGO MIGUEL FERREIRA Assistente editorial Editorial assistantSalima Rehemtula Projeto gráfico Journal layoutJoana & Mariana Paginação Page designFernanda CarvalhoSílvia O. Sequeira   Online: 2020-11-27Publication: 2020-11-27

Structure B is an archaeological structure from the post-classic period of the Mexica culture located within the archaeological site of Templo Mayor in Mexico City. The various alteration dynamics caused by its exposure to the weather have generated severe conservation problems in the stuccos that cover the reliefs of the stone skulls of Structure B. Since the alteration effects are mainly due to the crystallization of salts, the absorption of direct humidity because of stagnation of water and the impact of rainwater, the use of sacrificial layers is presented as a measure for the long-term conservation of the stuccos. This investigation proposes a methodological framework for the elaboration of diverse models of sacrificial layers, as well as for their qualitative evaluation after submitting them to resistance tests that imitate the environmental dynamics to which the structure is subjected, in order to design a suitable sacrificial layer for a given structure and context.   Received: 2018-11-30Revised: 2019-4-5Accepted: 2019-4-7Online: 2019-5-14Publication: 2020-7-31

Many times, records of the materials used by contemporary artists in their first works are scarce. If the work under study has been carried out during the artist youth, sometimes artists just remember to have used synthetic materials but no longer have memory of its specific type. In the last decades of the 20th century, vinyl-based synthetic paints marketed as Sabu paints, were sold at affordable prices making them popular among the students of Fine Arts as substitutes of more expensive acrylic paints. Using the ATR-FTIR spectroscopic technique it was possible to unequivocally distinguish acrylic from vinyl paints in two early works from Manuel Vilarinho and Pedro Cabrita Reis, both belonging to the collection of the Faculdade de Belas-Artes of Universidade de Lisboa. Samples from the first case painting presented the characteristic peaks of acrylic paints and those collected from the other painting presented the characteristic peaks of Sabu paints.   Received: 2018-12-8Revised: 2018-6-18Accepted: 2019-6-24Online: 2020-4-14Publication: 2020-7-31

The ornamental fountain in marble and breccia is a 16th century Italian work integrated in the small courtyard of the Cardiga Palace (Torres Novas, Portugal) currently in restauration process. The iron spikes used to connect the constituent elements were corroded and contaminating the base stone elements surfaces with intense stains of metallic oxides. There was a suspicion that, apart the surface, these oxides could have migrated in depth through the porous structure of the material. The performance of the iron oxides removal tests was evaluated using optical measurements in the CIELAB color space after each chelant application. Sodium dithionite was found to exert a substantially higher cleaning action than ammonium citrate. After finishing the treatment with the most efficient chelant, the chelating action was verified below the surface of the marble. It was found that at the depth of 1 mm the material remained contaminated with iron oxides, with an evident color contrast with a treated surface.   Received: 2018-12-8Revised: 2019-3-11Accepted: 2019-4-5Online: 2019-4-24Published: 2020-7-31