The Dream of Virgin

Chemistry is the basis of Art and its conservation. From the chemical elements and compounds that are the pigments and media of paintings, the chemical reactions which give the work its final appearance over time, to the solvents and resins used to restore works of art, chemistry is central at every stage. 

For National Chemistry week, the RSC had the unique opportunity to display a rare fourteenth-century Italian work, belonging to the Society of Antiquaries of London to highlight the importance of Chemistry in Art. "The Dream of the Virgin"  by Simone dei Crocefissi, a fourteenth-century Italian Master from Bologna, was a little known and seemingly uninspiring panel when it came to the Courtauld Institute for conservation. It was revealed as a stunning and historically important work of art after technical examination and extensive restoration work. The panel had been cut up and painted over, presumably to make it more saleable at the time. The conservation treatment revealed a beautiful hitherto unsuspected stippled Tree of Life, the original form of an ogee arch and a wealth of original detail preserved under the overpaint. All these discoveries played a significant role in confirming the painting as Simone's work.

Chemistry played a key role at all stages of the making, investigation and conservation of the work. Microchemical testing revealed that a ground of calcium sulphate was used in the painted areas of the work. This was typical of Italian works at this time. Chemical staining tests of cross-sections revealed the use of egg tempera in all painted areas, except for a final oil glaze on the Virgin's blue robe. This was a significant discovery as the use of oil was unusual at this date. Although Simone would not have known the chemistry of his materials, his innovative use of the relatively new oil medium was pure chemical experimentation.

The removal of layers of dark resin varnish, dirt and overpaint was carried out with chemical solvents, tailored to the solubility of the layers to be removed, whilst leaving the original paint layers unscathed. The final reintegration of damages by retouching was done in synthetic resin media, which are chosen not only for their visual qualities, but also for their chemical stability and reversibility without harming the paint in the future. A final layer of protective varnish seals the surface of the work, again chosen for its solubility over time and its stability.

Chemistry therefore plays an important role in the work's creation, investigation, restoration and future preservation.