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The tasks of exploration and restoration of the sculptures
The tasks of excavation and of conservation in situ were carried out simultaneously from the day of the discovery. The presence of the restorer at all times was indispensable due to the poor state in which both sculptures were found. The low temperature at which the pieces were fired as well as the high level of humidity of the subsoil caused the ceramics to deteriorate into a very fragile material. These two phenomena, in addition to the high pressure exerted by the weight of the buildings and the vibrations of the vehicles that moved daily along Justo Sierra Street, caused serious damage to the images. Both were found broken into hundreds of pieces. The pressure that they were under was so great that, upon breaking up, their height was compressed by almost 30 cm. Many fragments collapsed into the interior cavities. The parts most affected were the head and the torso. In addition, a large part of the stucco finish was pulverized and the majority of the pigments disappeared.
Due to the fact that the sculptures were fractured into hundreds of pieces we decided to remove them working from above to below, taking them apart section by section (figure 8). In both pieces, we began our work by gradually removing the fill of rocks and clay that covered the head. We stopped the excavation once the head was completely free. Before proceeding to dismantle the head, we noted our observations in the field register, made various drawings, took numerous photographs in different formats and made a video recording. Afterwards we numbered the fragments in the drawing, then we removed them one by one from their original place and we placed them in bags labelled with the previously assigned number. The bags were transported in plastic containers and stored in the restoration workshop. We repeated this same process each time after freeing the torso, arms, hips, legs and feet.
The excavation work had to be slower and more careful in the areas with the most serious deterioration. In certain sections, the ceramic was so crumbly that it was necessary to reinforce it in situ with an acrylic emulsion. On other occasions, it was necessary to cover with gauze those areas where the surface had separated into ceramic slabs. Once the gauze had dried, we were able to remove the covered section without danger of losing the fragments. In the most deteriorated parts we applied bandages of plaster in order to conserve the form and the relative position of the pieces. Later, in the laboratory the pieces were placed in their original position.
After five months of work within the humid tunnel, we completed the documentation and extraction of the two sculptures. We continued our work in the tranquility of the workshop. First we washed the strongest fragments with water and neutral detergent, while the most fragile ones were washed with cotton swabs. At the same time, we removed insoluble salts and stains left by fungus.
The fragility of the sculpture made it necessary to reinforce the ceramic in order to increase its strength. Immersion in a strengthener for several days allowed for the thorough penetration of the substance. This was followed by drying in a hermetically sealed environment in order to prevent the accelerated evaporation of the solvent, which would have drawn the strengthening material to the surface.
The next step consisted of spreading out over the floor all the fragments of Element 5 in order to photograph the two of them together (figure 9). Without any doubt, the most complicated work was the assembling of these immense puzzles. Patiently, one by one, the contiguous pieces were identified and joined together with glue. In parallel, metallic supports were placed within specific sections of each sculpture. The function of these supports was to distribute the weight in the most damaged areas where the union was defective. Independently a removable tubular structure was constructed that served to keep this 128 kg. work of art in a standing position (figure 10).
During the process of reinforcement, missing pieces were replaced and the joining areas were repaired. Pigments of the same tone as the ceramic were used on the repaired areas in order to achieve a seamless appearance. Finally they were touched up in their original place.
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Last Modified: November 30, 2000
Museo del Templo Mayor, Instituto Nacional de Antropología e História, México.
Seminario #8, Centro Histórico, Cuauhtémoc, México, D.F. 06060
©Copyright 1997
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