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Wood has a wide range of applications in the artistic field, most of the time used as a support for works of art, for example, in panel paintings. Compared with stones and metals, wood is by far the material most utilised for sculptures. Through the identification of wood species, a study of timbers used in statuary in Europe, with a deeper exploration of the works of art preserved in Italy, can provide further insights for historical–artistic studies. Indeed, in reality, generic wood does not exist, but there are different timbers. This is a notion that the wood fine carving artists/craftsmen knew well. The initial idea of this study was to verify whether timber features could influence the formal results in figurative carving; therefore, a specific database that had been developed to catalogue the carving works was used for which the identification of wood species was carried out through reliable methodologies. The aim of this research was to analyse the relationship between the timber species used in statuary, the formal results of carving, and the thickness of the preparatory layer, through the data stored in a specific database, called ArISStArt. It contains a sort of registry of artistic carving and inlay works: For each artefact, a record was compiled consisting of different fields, which contains the historical–artistic information available, including the images of the artefact and also types of timber/s used for its creation, with a link to the relative field. The number of the recorded artefacts is, at present, 480. On most of the artefacts, more than one sample was taken; therefore, the total number of identifications carried out corresponds to 691. Based on the results, the vast majority of wooden statuary is carved from hardwoods, more specifically hardwoods, with diffuse porosity and small variations in density within the growth ring. The timber most present is poplar, followed by lime and walnut. With the listed three timbers, almost 80% of the artefacts recorded in ArISStArt were created. [ABSTRACT FROM AUTHOR]

The paper presents the results of the restoration and conservation work which has been carried out in three archaeological areas in the Autonomous Province of Trento. The areas, which have been opened to the public for more than ten years, are the open-air archaeological site of Monte S. Martino, Roman Tridentum (an underground site under the historical city centre of Trento), and Fiavé (a pile dwelling site in a peat bog). These areas present very different environmental characteristics and have therefore required different interventions according to their specific situation. In order to reduce maintenance and extraordinary costs, appropriate conservation of the archaeological remains is required. This consists of methodologies of conservation according to the characteristics of the environment; continuous monitoring systems and indirect preventive intervention; and annual maintenance planning. [ABSTRACT FROM AUTHOR]

This paper deals with the scientific identification of species utilized for the production of wooden sculptures collected into an exhibition of statues dated back to XVII - XVIII centuries, coming from the city of Asti and the surrounding region (Northwest Italy). Problems in sample drawing are analyzed, together with the results, described per period and author on the basis of the identified species. Almost all the statues were made of poplar or willow wood, except two, made of walnut wood. This paper also describes the principal technological characteristics of identified woods, considering specifically their utilization for carving. [ABSTRACT FROM AUTHOR]

Abstract: Forty years ago in a xxth-century church in Torino, a small fire partially burned some of the decorative external boards of the sound-box of the organ. The focus of this present work was to find a treatment able to consolidate partially burnt wood in dry conditions, in which the external charred layer would be lost if not well preserved because of its incoherence. The product had to be applied onsite on an architectural structure intended to be reused again (and not simply exhibited). This circumstance is rarely encountered in the conservation of wooden Cultural Heritage. The efficacy of treatments was evaluated on the basis of a suitable and original experimental methodology, which took into account both the immediate and long-term behaviour of the various tested products. Although the opportunity to carry out this work came from a real case, both the selected product and the set up evaluation methodology have a general validity and they can be effectively used in other similar situations in which a slight antipowdering effect is required for treatment. [Copyright &y& Elsevier]