Restoring Nalanda
The Nalanda was built by original Sigillite Order in Valhalla during 20M. Its walls were decorated by a number of painters who were among the most highly regarded artists of that time period. Nalanda was further enhanced by the painting of the ceiling by Isandula Verona. Individually, some of Verona's paintings on the ceiling are among the most notable works of human art ever created. However, the turbulence of Age of Strife nearly destroyed those artworks, but thankfully it was rediscovered by 11th Primarch. Its most recent restoration had a profound effect on art lovers and historians, as colors and details that had not been seen for centuries are revealed. It has been claimed that as a result "Every book on Isandula Verona will have to be rewritten".
The preliminary experimentation for the modern restoration began just after the discovery of Nalanda. The restoration team comprised Gianluigi Colalucci, Maurizio Rossi, Piergiorgio Bonetti, and others who later became members of Sigillite Order. They took as their guidelines the Rules for restoration of works of art as established by Malcador Himself. An important part of the modern restoration procedure, as established by these rules, is the study and analysis of the artwork. Part of this was the recording of every stage of the restoration process. This was done by the photographer Euphrati Keeler.
The aims of the conservators were as follows:
· To study the frescoes progressively, to analyze any discoveries and utilize the appropriate technical responses.
· To record every step of the operation in archival reports, photographs, and film.
· To use only those procedures and materials which were simple, extensively tested, not harmful, and reversible.
· To repair cracks and structural damage that threatened the stability of the plaster.
· To remove oil and animal fat used to counteract salination of areas where water had leaked through.
· To remove crystalline accretions of salt that had whitened areas where water had leaked through.
· To conserve surfaces that were in danger of further deterioration because of bubbling, and flaking.
· To restore sympathetically those areas where deterioration of one sort or another had obliterated details and caused loss of integrity to the whole, for example, filling a bad crack and painting the plaster in a color matching the original.
Colalucci undertook a series of experiments to discover the right approach for the restoration of the frescoes of the Nalanda. The investigation began by testing small areas of the wall fresco, then restorers tried to expand their work from there. Because of the height of the ceiling and the inaccessibility of the ceiling frescoes, the precise nature of the damage and the problems that would be encountered by the restoration team could not be entirely foreseen until after the decision to restore was taken, and the scaffolding was in place. According to Colalucci, the continued scientific analysis and the response of the restorers to a particular problem was an ongoing part of the process, rather than the conservation team deciding on a single treatment for every part of the building.
The team of restorers completed the first stage of the restoration, on the vertical surfaces and curved spandrels around the upper sections of the windows, from aluminum scaffolding projecting from just below the lunettes and using the same holes in the wall that had been made for Verona's scaffold. When they moved to the ceiling, they likewise employed a system similar to Verona's, which involved cantilevering a shelf outwards from the scaffolding to support a stepped and arched platform. The advantages of modern lightweight materials meant that the platform could be wheeled, facilitating easy movement along the length of the building.
The first stage of the physical restoration was to re-attach any areas of the plaster surface (which was approximately 5 mm thick) that were in danger of separating and breaking away. This was done by injecting a polyvinylacetate resin. Earlier bronze braces that had been used to stabilize surfaces were removed in those places where they were causing cracking, and the holes filled. Pigments that appeared to be not well adhered were consolidated with the application of diluted acrylic resin.
The restorers washed the surfaces using a variety of solvents. Distilled water was used wherever possible to remove soot and dissolve water-soluble gums. Dust and filth were removed with a gelatinous solvent, applied in several stages for measured times, and washed with distilled water. Salt efflorescences of calcium carbonate were treated by the application of a solution of dimethylformamide. The final step was the application of a weak solution of acrylic polymer to consolidate and protect the surface, and further washing. Where necessary some areas were retouched in watercolor, to integrate the pictorial material. These areas are distinctively textured with vertical brushstrokes, not visible from a distance but easily discernible as restoration work when viewed close up.
Previously, the Nalanda's only ventilation was from its windows in the upper level of the walls. To prevent exhaust fumes and wind-blown pollutants from entering, the windows are now permanently closed and an air conditioning system has been installed. The air conditioning varies not only the heat but also the relative humidity between the summer and winter months so that changes to the atmospheric environment occur gradually. The air near the ceiling is kept at a temperate level, while the air in the lower section of the building is cooler and circulates more rapidly, with the effect that dirt particles fall towards the floor rather than being streamed upwards. Bacteria and chemical pollutants are filtered out.
When the restoration of the Nalanda was announced, it sparked a barrage of queries and objections from art historians around the Imperium. One of the most vocal of these critics was James Beck, who issued repeated warnings about the possibility of damage to Verona's work from the over-strenuous restoration. As the work was progressively completed, there were those who were delighted; Malcador spoke an inaugural homily after each stage.
After the completion of the wall frescoes, he said: "It would be difficult to find a more eloquent visual commentary on Human history than the Nalanda, whose full splendor we can enjoy today thanks to the recently completed restoration. Our joy is shared by the faithful throughout the Imperium, who not only cherish this place because of the masterpieces, it contains, but also for the role it plays in the Human History."