Centre For Preventive Conservation - National Museum ...2002).pdf · Centre For Preventive Conservation - National Museum Belgrade Centar za preventivnu zastitu - Narodni muzej Beograd

DIANACentre For Preventive Conservation - National Museum Belgrade

Centar za preventivnu zastitu - Narodni muzej Beograd

NUMBER 8 * 2002/2003 * Broj 8

Introduction to Preventive Conservation Uvod u preventivnu zastitu

Problems of Inadequate Treatment of CeramicsProblemi neadekvatnog tretmana

keramike

The Consolidation ProcessProces konsolidacije

FFRROOMM TTHHEE EEDDIITTOORRFFRROOMM TTHHEE EEDDIITTOORR

Eight years ago when we were trying to solve the numerous problems inconservation and find ways for organising effective and adequate archaeo-logical objects conservation service, we were not aware that we were actu-ally building the system of preventive conservation in our country. It soonbecame obvious that the process of defining the area was simultaneouslygoing on at large.Professional approach today requires reduction i.e. elimination of all risksthreatening the safeguarding of cultural heritage by creating friendly environ-ment to slow down and even prevent and stop destructive processes.The approach to cultural property safeguarding does not allow improvisationsas they could seriously endanger its values and cause irreparable damage.Preventive conservation should be taken care of by multidisciplinary teams atall levels of management in museums, in cooperation with experts and out-side organisations and with public support.Statement that preventive conservation is more developed in theoretical thanin practical sense can be heard of even in very developed museum com-munities and protection institutions, along with the conclusion that there existdifficulties in its application. We are glad that DIANA Centre has been ableto simultaneously develop both the theoretical and practical aspect of pre-ventive conservation. DIANA Centre excels in its flexibility and energy, whichis a proof that each community can develop basic principles of preventiveconservation if adapted to its specific needs and requirements. DIANA Centretoday is a recognizable system that is efficiently contributing to the develop-ment of the profession. This provokes interest and sympathy both amongdeveloped museums and institutions of protection but alsoamong the less developed ones in our neighbour-hood, in Africa and Far East. They wish to learnmore about our experience and resultsachieved and in the same time to sharewith us their achievements in preven-tive conservation application.The preventive conservation sys-tem applied at DIANA Centre isbased on interdisciplinary theo-retical and practical training,

active and passive conservation, development of applied research, publish-ing activities related to conservation and on the vigorous information system,openness to public, transparency of all activities in preventive conservation,on raising awareness of the public of the need for care about cultural her-itage, establishing a network of sponsors and donors as well as on thedevelopment of partnership relations with different institutions. In the forthcoming period one of the most important objectives should bethe establishing of legislation that would incorporate preventive conservationtreating it as basic strategy in safeguarding of cultural heritage.Having established DIANA Centre for Preventive Conservation, the NationalMuseum Belgrade becomes one of the rare agents in application of pre-ventive conservation of museum collections. This national institution hasmade its place among those international ones that adopted preventive con-servation as their new development strategy. In this transition period, the well-defined position of DIANA Centre within the new organization of the NationalMuseum Belgrade should help in interdisciplinary defining of all museumactivities essential for the development of the Museum. DIANA Centre is the proof that cultural property and preventive conservationare of universal significance and that it brings into closest relation all thosecaring about the future and survival of cultural heritage. We have beenalready achieving what we anticipated by our first documents of the Projectin 1996 - cultural property safeguarding is not to be of local nature, it shouldunite and comprise cultural heritage in its totality, and safeguarding systemshave to be created in a unique manner and designed for a broader area.Clearly defined approach, developed methodology, feeling of commitment toa common idea, energy accumulated, dynamic attitude, perseverance and

enthusiasm, they are all fundaments for our next steps andgoals - DIANA as a regional centre for preventive con-

servation. This development of DIANA Centre hasalready been recognized by important

domestic and international cultural andsafeguarding institutions as well as by

our colleagues and institutions in thesurrounding countries in the region.We hope this issue is a good illus-tration and explanation of thesegoals of ours.

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Kada smo pre osam godina,poku{avaju}i da re{imo nagomi-lane probleme u konzervaciji,trazeci odgovaraju}i put za organi-zovanje efikasne i primerene slu`beza{tite arheolo{kih predmeta, nismo bilisvesni da smo zapravo po~eli da gradimosistem preventivne zastite u na{oj zemlji. Ubrzoje postalo o~igledno da se taj proces odvijao paralel-no sa njegovim kona~nim definisanjem u svetu. Profesionalnipristup danas zahteva da se u za{titi kulturnih dobara najpre moraju sman-jiti odnosno eliminisati svi rizici koji mogu da dovedu do njihovog ugroàvan-ja, odnosno da se stvaranjem pogodnih uslova sredine i okruènja uspore ili~ak spre~e i zaustave destruktvni procesi na kulturnim dobrima. Pristup kul-turnom nasledju ne trpi improvizacije, jer one ozbiljno ugroàvaju njegovevrednosti i mogu da nanesu nenadoknadivu {tetu. Preventivnu za{titu mora-ju sprovoditi multidisciplinarni timovi muzeja na svim nivoima odgovornosti,uz saradnju stru~njaka i organizacija spolja i uz podr{ku javnosti. âk i u vrlorazvijenim muzejskim sredinama i institucijma za{tite moè se ~uti da je pre-ventivna za{tita razvijenija na nivou teorije, a da ima jo{ uvek pote{ko}a kodprimene u praksi. Sa ponosom isti~emo da DIANA Centar istovremeno razvi-ja teoriju i praksu preventivne zastite. DIANA Centar poseduje elasti~nost ienergiju kojima pokazuje da svaka sredina moè razvijati osnovne principepreventivne za{tite prilagodjene njenim specifi~nostima i razli~itostima. DIANACentar je danas prepoznatljiv sistem koji pruà istinski doprinos razvojustruke. I zato izaziva ìvi interes i simpatije, kako kod veoma razvijenih muze-ja i institucija za{tite, tako i onih manje razvijenih kao {to su zemlje u na{emokruènju, u Africi ili na Dalekom Istoku. Mnogi od njih ele da upoznaju na{aiskustva i postignute rezultate, ali i da nam stave na uvid sve ono {to su onipostigli na polju primene preventivne za{tite. Sistem preventivne za{titeDIANA Centra zasniva se na interdisciplinarnoj teorijskoj i prakti~noj obuci,primeni pasivne i aktivne konzervacije, razvoju primenjenog istraìvanja, izda-va~koj delatnosti i sna`nom sistemu informisanja, otvorenosti prema javnostii stavljanja na uvid svih aktivnosti u vezi sa za{titom, na animiranju javnosti

za brigu o kulturnom nasledju,formiranju mreè sponzora idonatora, razvijanju partnerskihodnosa sa razli~itim institucija-ma. U narednom periodu jedan

od najva`nijih zadataka }e bitizalaganje da na{a dràva uspostavi

pravni sistem koji }e uklju~iti preven-tivnu za{titu kao jednu od osnovnih

strategija o~uvanja kulturnog nasledja.Organizovanjem DIANA Centra za preventivnu

za{titu, Narodni muzej u Beogradu postaje jedanod retkih aktera primene principa preventivne za{tite

muzejskih zbirki. Ova nacionalna institucija i na me|unarodnomplanu izbija u prvi red onih koje su preventivnu za{titu zvani~no usvojile kaonovu strategiju svog razvoja. U ovom periodu tranzicije, jasno postavljanjeDIJANA Centra u novoj reorganizaciji Narodnog muzeja treba da pomogneda se interdisciplinarno defini{u i ostale muzeolo{ke aktivnosti bitne za nje-gov dalji razvoj. DIANA Centar pokazuje da kulturno dobro i preventivnaza{tita zaista imaju univerzalno zna~enje i da ~vrsto povezuje sve one kojise brinu o budu}nosti i opstanku kulturnog nasledja. Mi smo ve} na putuda ostvarimo ono {to smo jo{ 1996, u prvim dokumentima Projekta zapisali- da za{tita kulurnih dobara ne sme imati lokalni karakter, da treba da objed-injuje i da obuhvata kompletno kulturno nasledje, te da se sistemi za{titemoraju graditi jedinstveno za {iru regiju. U jasno definisanom pristupu, razvi-jenoj metodologiji, zajedni~kom ose}aju pripadnosti jedinstvenoj ideji, aku-muliranoj energiji, dinami~nosti, upornosti i entuzijazmu lako se mogu pre-poznati na{i slede}i koraci i cilj - DIANA kao regionalni centar preventivneza{tite. Ovakav razvoj DIANA Centra ve} su prepoznale zna~ajne doma}e imedjunarodne organizacije kulture I za{tite, ali i kolege i institucije u okolnimzemljama na{eg regiona. Nadamo se da ovaj broj pred vama dovoljno ilus-truje i opravdava ove na{e ciljeve.

Photographs in this issue have been taken from objectsthat are part of Serbia and Montenegro museums collections,

and are protected by copyrightSvi predmeti na fotografijama u ovom ~asopisu su iz zbirki muzeja

Srbije i Crne Gore. Fotografije su za{ti}ene autorskim pravima

2

For further information please contactZaa sve blliiè iinformaacciijje molliimo Vaas daa kontaaktiiraate

CCeennttaarr zzaa pprreevveennttiivvnnuu zzaa{{ttiittuu DDIIAANNAACCeenntteerr ffoorr PPrreevveennttiivvee CCoonnsseerrvvaattiioonn DDIIAANNAA

Galerija FresakaCara Uro{a 2011000 Beograd

Srbija i Crna Gora / Serbia and MontenegroTel. (381 11) 182-9966, 621-4491

Fax (381 11) 183-6655

[email protected]

FFOORREEWWOORRDDFFOORREEWWOORRDDAcademician Nikola Tasi}

This issue of DIANA publication offers ample information on theactivities of the Centre in the field of preventive conservation,active conservation and safekeeping conditions of cultural her-itage, on education of museum public, museum organisation andmany other interesting topics for those who are interested in inno-vations in these areas. To this end, the editors of DIANA stayedtrue to their principles, and this is obvious from the issue in yourhands.DIANA Centre, as an institution fostering fundamental principles insafeguarding museum objects particularly when related to pre-ventive conservation, constantly widens its network and throughtraining and education of specialised workforce carries out itsmission. DIANA Centre excels at work with young, future profes-sionals in conservation and this is reflected in the contents of thisissue.As can be seen from this issue, the activities of DIANA Centreimply various areas of museology. We would like to draw yourattention to two of these relating to the organizational structure ofthe National Museum Belgrade and DIANA Centre. Old, outdat-ed, stereotyped museum organisation forms belong to the past.Instead, a modern, functional approach is applied: museum activ-ities are being conformed to the interests of the public, the con-tents of exhibitions and displays are complying with moderntrends. And together, they require new, more flexible organizationof work in museums as well as new approach.Museum professionals will surely like contributions on seminarsthat cover problems almost every professional has to deal with inhis everyday work. This is an opportunity to share and commu-nicate knowledge and experience of domestic and foreign expertswith museum professionals - collection curators, conservators,restorers, etc.Diversity of contributions in this issue of DIANA publication shouldsatisfy the interest of professionals as well as of those who arenot experts in the field. It seems to us this is exactly the objec-tive of this, modest in volume but of significant importance, pub-

UUVVOODDNNAA RREEÛUVVOODDNNAA RREEÂkademik Nikola Tasi}

Ovaj broj ~asopisa DIJANA donosi raznovrsne informacije oaktivnostima Centra iz oblasti preventivne za{tite, konzervacije iuslova ~uvanja kulturnog nasle|a, o obrazovanju muzejske pub-like, muzejskoj organizaciji i mnogo toga drugog, zanimljivog zapasioniranog pratioca inovacija u ovim oblastima. I u ovom smis-lu, redakcija DIJANE je ostala dosledna svom opredeljenju, a ve}samo letimi~an pogled na sadràj ovog broja to najboljepotvr|uje.DIJANA Centar, kao institucija u kojoj se neguje po{tovanje nor-mativa ~uvanja muzejskih predmeta, naro~ito u oblasti preventivneza{tite, {iri svoju mreù, i obrazovanjem specijalisti~kog kadraostvaruje svoju misiju u pravom smislu. Specifi~nost DIJANACentra je rad sa mladim, budu}im stru~njacima iz oblasti konz-ervacije, {to se reflektuje i u sadràju ovog broja ~asopisa. I kako se vidi iz ovog broja, aktivnost DIJANA Centra se pro{irilai na druge segmente muzeolo{kog rada. Naveli bismo dva radakoji se odnose na osmi{ljavanje organizacione struktureNarodnog muzeja u Beogradu i njegovog DIJANA Centra. Stari,prevezi|eni kli{ei muzejske organizacije pripadaju pro{losti.Umesto njih, uvodi se moderan, funkcionalan pristup:prilago|avanje muzejskih aktivnosti interesovanju publike,uskla|ivanje sadràja izlo`bi i stalnih postavki sa savremenimtokovima. Sve to zahteva novu, fleksibilniju organizaciju rada umuzejima i kori{}enje novih mogu}nosti.Muzealcima }e, svakako, posebno zanimljivi biti tekstoviposve}eni seminarima, koji su se bavili nekim od problema sakojima se gotovo svaki muzejski radnik sre}e u praksi. To je imogu}nost da se steknu znanja i prenesu iskustva doma}ih istanih stru~njaka na muzejske radnike - kustose zbirki, konzerva-tore, restauratore i druge. Raznovrsni radovi u ovom broju ~asopisa DIJANA pruàjumogu}nost da se zadovolji radoznalost stru~njaka, ali i onih kojinisu eksperti. To je, kako nam se ~ini, i svrha ovog, po obimuskromnog, ali po zna~aju velikog ~asopisa.

3

CONTENTSCONTENTS

From The EditorMila Popovi}-@ivan~evi}

ForewordNikola Tasi}

IntroductionFabio Isman

Introduction to Preventive ConservationVesna @ivkovi}

Preventive Conservation and its implementation at DIANA CentreMila Popovi}-@ivan~evi}

Reorganisation of the National Museum BelgradeBiljana Rami}

Code of Ethics for ConservatorsTatjana Velenik, Danijela Stojiljkovi}

Museum without ObstaclesAna Kocjan, Milica Stojanovi}, Bojan Georgievski, Ana Vuji}

Kids at MuseumVesna @ivkovi}, Ana Kocjan, BojanGeorgievski

SeminarsVesna @ivkovi}, Zvezdana Popovi}

Use of Raman Microanalysesin ConservationJelena Petrovi}, Silvio Ke~ke{

Spectroscopic Methods inInvestigation of Prehistoric Pigments and Their SourcesA. Rosi}, M. Stojanovic, Z. Nedi}, U. B. Mio~

Organic and Inorganic Materials in ConservationMilica Stojanovi}

Why Survey?Mark M. Francis

Some Issues of Ceramic TreatmentsIvana Stojkovi}

Conservation of GlazedMediaeval PotteryIvana Stojkovi}, Sla|ana Novkovi}

The Consolidation ProcessSandra Davison

New Aproach towards Conservation of GlassTamara Lujak, Nemanja Mr|i}

Conservation of the Gravestones on The Graveyard near The Log Church in TakovoLjiljana Proti}

Visiting Museums and Conservation Institutions In ItalyMila Popovi}-@ivan~evi}

Training in Mosaics Conservation Arles 2002Maja Frankovi}

Calendar of Activities in 2003

Identity Card

Sidney Franklin Trust

Mission Statement

SADR@AJSADR@AJ

Re~ urednikaMila Popovi}-@ivan~evi}

Uvodna re~Nikola Tasi}

[tampa i o~uvanje ba{tineFabio Isman

Uvod u preventivnu za{tituVesna @ivkovi}

Preventivna za{tita i prakti~na primena u DIJANA CentruMila Popovi}-@ivan~evi}

Reorganizacija Narodnog muzeja u Beogradu

Biljana Rami}

Eti~ki kodeks za konzervatoreTatjana Velenik, Danijela Stojiljkovi}

Muzej bez preprekaAna Kocjan, Milica Stojanovi}, Bojan Georgievski, Ana Vuji}

Deca u muzejuVesna @ivkovi}, Ana Kocjan,

Bojan Georgievski

SeminariVesna @ivkovi}, Zvezdana Popovi}

Primena ramanske mikroanalize u konzervaciji

Jelena Petrovi}, Silvio Ke~ke{

Spektroskopske metode uistraìvanju praistorijskih

pigmenata i njihovih nalazi{taA. Rosi}, M. Stojanovic,

Z. Nedi}, U. B. Mio~

Organski i neorganski materijali u konzervaciji

Milica Stojanovi}

Za{to ispitivanje terena?Mark M. Francis

Problemi neadekvatnog tretmana keramike

Ivana Stojkovi}

Gle|osana srednjovekovna keramika

Ivana Stojkovi}, Sla|ana Novkovi}

Proces konsolidacijeSandra Davison

Novi pristup konzervaciji stakla

Tamara Lujak, Nemanja Mr|i}

Konzervacija spomenikana groblju kod crkve

brvnare u TakovuLjiljana Proti}

U poseti muzejima i institucijama za{tite u Italiji

Mila Popovi}-@ivan~evi}

Obuka iz oblasti konzervacije mozaika, Arl 2002

Maja Frankovi}

DIANA Kalendar 2003

Li~na karta DIJANE

Sidni Franklin Trast

Izjava o misiji

2

3

4/5

6/7

8/9

22/23

26/27

26/27

26/27

30/31

40/41

40/41

42/43

42/43

44/45

44/45

46/47

48/49

50/51

54/55

58/59

60/61

62/63

64

IINNTTRROODDUUCCTTIIOONNIINNTTRROODDUUCCTTIIOONNFabio Isman, Special correspondent for IlMessaggero, Rome

Just a couple of recollections, happily from, a ratherdistant past, such as a newspaper article, sparkedby an early morning phone call, to stopMichelangelo's Christ Bearing the Cross, or ChristResurrected from leaving the church of Santa Mariasopra Minerva in Rome, to go on exhibition inCanada. The Italian State had accepted to loan thesculpture to the organisers of an international foodexposition to be placed in the Vatican's pavilion.The trip certainly would not have been favourableto its conservation, nor would it have added to sci-entific knowledge. Then, there is the case of twoindignant articles which, reflecting the wishes ofParliament, helped release funds for consolidationof the tufa terrain upon which the town of Orvieto(Italy) is built and to block the closure of therestoration workshops which have been operatingsince the city was ruled by popes and which hoststhe last works by Luca Signorelli.It is true that there are times when newspapers areuseful. When Christ Bearing theCross was an issue as well as when Orvieto wasin danger of crumbling away, there were very fewjournalists in Italy who were dealing with the safe-guarding of its historic and artistie heritage eventhough it is one of the richest and most widespreadthroughout its territory from the cities to the coun-tryside.Some long articles have appeared in Italian papers,at least in those dailies with a large circulation, writ-ten by brilliant art critics or sometimes by universi-ty professors, if not even by some philosopher. Butpermanent "art reporters" have been rare. The fore-most and for many of us, the true master was cer-tainly Antonio Cederna, with his immense civic con-sciousness.Journalists rarely dealt with problems related toheritage. At the most, they mobilised when therewas something sensational, that is to say, when itwas already too late: the day after a natural cat-assrophe or one of numerous thefts ofart, when a tower had already col-lapsed, a fresco had becomedetached or a cornice was show-ing signs of imminent collapse.That was in a time when theMinister of Cultural Heritage wasthe Cinderella of Italian ministerswhose nomination was decided onthe basis of criteria in place at thattime which dictated that the "leftovers"be distributed, amongst the partners of acoalition government: political "leftovers" butalso those of (un)civilised (in)decency.That was the era when the Italy of Cultural Heritagewas a little Italy, reduced to a shadow of the grandItaly that she bad once been. The overall state ofher cultural heritage, its management and restora-tion was catastrophic. Visiting a museum was tan-tamount to a treasure hunt. They were closed moreoften than open, and then only during short officehours. For the most part, they were almost totallyincomprehensible with no explanations or usefulinformation. Vast archaeological areas were leftneglected without surveillance and were under-used and unappreciated. Others remained irreme-diably damaged by the omnipotent and ubiquitouscement. A great number of monuments were thenincomprehensible, unrecognisable and disfigured.Then, in Italy as elsewhere, cultural heritage came

into fashion. People began working less and beganto have more free time. Culture took on moreimportance and was more accessible to even thosesocial classes that had formerly been on the fringe.Someone finally understood that cultural heritagecould represent more than just a cost or a moralobligation (that of preserving, passing what hasbeen handed down to us on to future generations- heritage for which we are merely custodians). Onthe contrary, it could also represent a formidableopportunity for development: cultural, civic, andeven economic, thanks to the creation of varioustypes of jobs in museums from restoration to bou-tique sales and, guided tours. And beyond thecomplex financial calculations, someone has dis-covered the real added value of the present era inthe legacy of antiquity.And then it happened that the Italian Ministry ofCultural Heritage, once considered a "leftover", wastaken over by the second in command in the gov-ernment, the Deputy Prime Minister. Its previouslymeagre funding increased considerably. This phe-nomenon, whose most visible effect was the ren-aissance of museums, has not just been happen-ing in Italy but around the world. Fifteen years havenow passed since France, for example, decided toimprove and expand its greatest museum: theLouvre. Before that, there were the NationalGalleries in London and Washington which hadeach set their expansions in motion. But in the year2000 alone, at least fifteen great museums havebeen restored, expanded or built from scratch. Tocite but a few, there are the Tate, the NationalPortrait Gallery, the British Museum and the WallaceCollection in London; the George Pompidou Centrein Paris; the Dulwich Picture Gallery; the Museumof Fine Arts in Houston (Texas); the Neue Galerieand the American Museum of Natural History inNew York (for these alone the Economist has cal-culated an expenditure of 1,800 million Italian lira,almost nine hundred million dollars). There isalready talk of a new Guggenheim and expansionof the MoMA, the Museum of Modern Art in. NewYork. In Rome alone, and just in. the last few years,

at least a dozen institutions of this sort havesprung up or have been rediscov-

ered after decades of absurdand indecent absence.

Articles dealing withheritage, its manage-ment and safe-guarding and itsaccessibility andpotential forenjoying it havealso begun tomultiply. Journalists

don't just writeabout it when someone

has taken a work of artwithout asking for it or when something has col-lapsed instead of being repaired.That is not all: little by little people have also begunto understand that art and culture, historic andartistic heritage have no boundaries; that everycountry has its own roots, and that they are no lessworthy of being preserved and saved than ours. Inshort, the amount of information has increasedconsiderably. The reason for this lies in the fact thata newspaper is a business like any other (even ifits character is somewhat unique) whose purposeis to inform the public but, at the same time, guar-antee returns to its shareholders. It is neither acharity nor a purely educational institution, nor anobject whose daily reading constitutes "the morning

prayer of modern man" as defined by GeorgWilhelm Friedrich Hegel (1770-1831). On the otherhand, they are more than prepared to devotespace and resources to the events that are fash-ionable, those that interest a fairly broad spectrumof potential readers; and finally (it had already hap-pened long ago for the environment), the safe-guarding and protection of heritage have begun toattract the attention and participation of publicopinion, a mass phenomenon no longer limited tothe interest of an exclusive elite of more or lessconventional, educated and aware people or sim-ply those who are more sensitive than many others.Nevertheless, the road is long and there are manyarticles to be written since the world of culture andarts is still filled with hardly edifying events andcrimes which should be averted. The road is alsoscattered with pitfalls. Assaults on heritage contin-ue and are proliferating everywhere, sometimessubtle and other times insidious. These are not justwars, earthquakes or floods: they are also badly-done restoration jobs (and those in Rome for theJubilee have hardly distinguished themselves inmany cases, due to haste, in a country which oth-erwise has always been a recognised point of ref-erence in the sector), intrusive cement and thedesire for holiday homes as well as the abandon-ment of that ancient virtue known as maintenance.Once, any basilica worthy of that name had its own"factory": nowadays, sweeping restoration work isoften preferred: and. when a work of art is in needof restoration, it means that something in it hasbeen lost forever.Heritage has finally found a interested public. Canthe news media take credit for this? I honestly don'tknow. Perhaps. One thing is certain: Those whowrite about safeguarding historic and artistic her-itage receive much more correspondence fromreaders than in the past (often alerts which provequite valuable).Just ten years ago, when ICCROM, together withthe Italian Government, launched the Media SaveArt award, I remember the feeling of scepticismsurrounding the project which was accused ofbeing a vanity project. In the meantime, a lot ofwater has passed under the Tiber bridges whichhave fortunately been recently restored.The articles brought together in this volume, writtenby journalists from around the world and dealingwith all types of problems, show how much thetimes have changed and how much the actions ofthe press - those of the free press and not thoseserving a regime - have been useful, if not indis-pensable. These articles have led to proposalswhich have been critiqued and, in the end, cor-rected, to opening up debates on importantthemes and to combating negative trends.Despite all this, the voice of the prophet crying outvainly in the desert is still all too common. Friederichvon Schiller (1759-1805) proclaimed that "art is theright hand of nature", and the French writer JorisKarl Huysmans (1848-1907) observed that "asidefrom sainthood, art is the only pure thing on earth",and even if someone as disillusioned as HenryMiller (1891-1980) knew full well that "art teachesnothing, if not the meaning of life", there are still toomany people who are all too ready to forget thesethings. "Art is an accident which leaves no oneunharmed", claimed Leo Longanesi (1903-57).Umberto Eco wrote, "I don't really know how it hasdone it, but art has always been the first to changeour way of thinking, feeling and seeing even whenjust a hundred years ago people couldn't under-stand what need there was to create it". "Every greatwork of art has two countenances, one for its own

MMuusseeoollooggyy aanndd PPrreevveennttiivvee CCoonnsseerrvvaattiioonn

4

[[TTAAMMPPAA II [[TTAAMMPPAA II OOÛUVVAANNJJEE BBAA[[TTIINNEE OOÛUVVAANNJJEE BBAA[[TTIINNEE Fabio Isman, dopisnik Mesa|era

Samo da podsetim na nekoliko stvari, na sre}u izprili~no daleke pro{losti, kao {to je novinski ~lanakpodstaknut telefonskim pozivom jednog ranogjutra, ~iji je cilj bio da spre~i preno{enjeMikelan|elovog Hrista koji nosi krst ili RaspetogHrista, iz crkve Santa Maria sopra Minerva, u Rimu,na izlo`bu u Kanadu. Italijanska dràva je pristalada pozajmi skulpturu organizatorima me|unarodneizlo`be hrane, koja se odràvala u Vatikanskompaviljonu. Putovanje bi svakako na{kodilo njenomstanju, a ne bi imalo nikakav nau~ni doprinos.Zatim, tu je i slu~aj dva ogor~ena ~lanka koja su,odraàvaju}i stav Parlamenta, uticala na odobra-vanje finansijskih sredstava za konsolidacijukre~nja~kog terena na kome je podignut gradOrvijeto (Italija) i da se spre~i zatvaranje restaura-torskih radionica, koje poti~u jo{ iz vremena papskevlasti u gradu, a u kojima se ~uvaju poslednja delaLuke Sinjorelija.înjenica je da su novine ponekad korisne. Uvreme kada je Hrist koji nosi krst bio aktuelan, kaoi kad je Orvijetu pretilo propadanje, u Italiji je biloveoma malo novinara koji su se bavili za{titomistorijskog i umetni~kog nasle|a, iako je ono bilojedno od najbogatijih i najra{irenijih po celoj teritorijizemlje, kako u gradovima, tako i u unutra{njosti.U italijanskim novinama,bar kada se radi o viskoti-ra`nim dnevnim listovima, bilo je nekih duìh ~lana-ka, koje su pisali sjajni umetni~ki kriti~ari ili,ponekad, univerzitetski profesori, ako ne i filozofi.Me|utim, konstantni umetni~ki izve{taji su bili retki.Najistaknutiji i, za mnoge od nas, pravi "majstor" bioje Antonio ]ederna, koji je posedovao izuzetnugra|ansku svest.Novinari su se retko bavili problemima vezanim zakulturno nasle|e. U najboljem slu~aju, reagovali sukada se de{avalo ne{to senzacionalno, dakle kadaje ve} bilo kasno: dan nakon prirodne katastrofe ilineke od brojnih kra|a umetni~kih dela, kada setoranj ve} sru{io, freska otpala ili kada je venac nafasadi ve} pokazao znake neizbe`nog propadanja.U to vreme, italijanski ministar za kulturno nasle|eje bio "Pepeljuga" me|u ministrima, a o njihovomimenovanju se odlu~ivalo na osnovu tada vaè}ihkriterijuma koji su podrazumevali da "preostalamesta"pokriju koalicioni partneri: politi~ki "ostaci", alii oni koji su (ne)podobni.To je bilo vreme u kome je tretman kulturnognasle|a u Italiji, Italiju ~inio malom - samo senkomnekada{nje velike Italije.Op{te stanje, menad`menti restauracija njenog kulturnog nasle|a bili sukatastrofalni. Poseta muzeju je bila poput lova nablago. Oni su ~e{}e bili zatvoreni nego otvoreni, aradno vreme im je svakako bilo kratko. U ve}inislu~ajeva, bili su nepristupa~ni, bez obja{njenja ilikorisnih informacija. Mnogi arheolo{ki lokaliteti subili zanemareni i bez kontrole, nedovoljno isko-ri{}eni i potcenjeni. Neki drugi su bespovratnoo{te}eni svemo}nim i sveprisutnim cementom.Veliki broj spomenika je tako postao nerazumljiv,neprepoznatljiv i izobli~en.Onda je i u Italiji, kao i drugde, kulturno nasle|epostalo moderno. Ljudi su po~eli manje da rade iimali su vi{e slobodnog vremena. Kultura je dobilana zna~aju i postala pristupa~nija, ~ak i onim dru{-tvenim klasama koje su dotada bile na margini.Neko je kona~no shvatio da bi kulturno nasle|emoglo da predstavlja ne{to vi{e od tro{ka ilimoralne obaveze (obaveze o~uvanja, preno{enjana budu}e generacije onoga {to smo nasledili -

kulturnog blaga za koje smo samo kustosi). Dakle,ono bi tako|e moglo da predstavlja sjajnu priliku zarazvoj - kulturni, gra|anski, pa ~ak i ekonomski -zahvaljuju}i stvaranju razli~itih tipova posla u muze-ju, od restauracije do rada u prodavnici i vo|enjatura. Povrh svih kompleksnih finansijskih prora~una,neko je otkrio i realni doprinos aktuelnog trenutkau zaostav{tini antike.Zatim se desilo da italijansko Ministarstvo za kul-turno nasle|e, nekad smatrano "ostatkom",preuzme drugi ~ovek vlade, zamenik predsednika.Dotada oskudne finansije ministarstva zna~ajno suporasle. Ovaj fenomen, ~ija je najo~iglednijaposledica bila obnova muzeja, nije se de{avaosamo u Italiji, ve} {irom sveta. Pro{lo je petnaestgodina otkada je Francuska, na primer,odlu~ila da pobolj{a i pro{iri svojnajve}i muzej - Luvr. Pre toga,pro{irenje su doìvele samoNacionalne galerije u Londonui Va{ingtonu. Me|utim, samou 2000. godini, najmanjepetnaest muzeja bilo jerenovirano, pro{ireno iliponovo izgra|eno.Navedimo samo neko-liko: Tejt, Nacionalnagalerija portreta, Britanskimuzej i Volas kolekcija uLondonu; Centar @or`Pompidu u Parizu; Galerija slikaDalvi~; Muzej lepih umetnosti u Hjustonu (Teksas);Neue Galerie i Ameri~ki prirodnja~ki muzej u NjuJorku (samo za pomenute muzeje ~asopisEkonomist je naveo rashod od 1.800 miliona lira,{to je skoro 900 miliona dolara). Ve} se pri~a onovom Gugenhajmu i pro{irenju MoMA-e, Muzejamoderne umetnosti u Nju Jorku. Samo u Rimu, i tou poslednjih nekoliko godina, bar je dvanaestakinstitucija ove vrste ponovo zaìvelo nakonapsurdnog i besramnog vi{edecenijskog odsustva.Sve je vi{e i ~lanaka koji se bave kulturnimnasle|em, njegovim rukovo|enjem i ~uvanjem, kaoi njegovom pristupa~no{}u i potencijalima. Novinarivi{e ne pi{u o toj temi samo kada neko uzme nekoumetni~ko delo bez pitanja ili kada ne{to propadneumesto da se konzervira.To nije sve: malo po malo, ljudi su po~eli dashvataju da umetnost i kultura, istorijsko i umet-ni~ko nasle|e nemaju granice - da svaka zemljaima svoje sopstvene korene i da oni nisu ni{tamanje vredni o~uvanja nego na{i sopstveni.Ukratko, koli~ina informacija se pove}ala uzna~ajnoj meri. Razlog za to leì u ~injenici da jenovinarstvo posao kao i svaki drugi (bez obzira {toje njegov karakter u neku ruku jedinstven), ~ija jesvrha informisanje javnosti, ali u isto vreme ipovra}aj novca. Ono nije milosrdna, ali ni ~istoedukativna institucija, niti svakodnevno ~itanje nov-ina predstavlja "jutarnju molitvu modernog ~oveka",kako je to definisao Dòrd` Vilhelm Fridrih Hegel(1770-1831). S druge strane, novinari su vi{e negospremni da na|u izvore i posvete prostor popu-larnim doga|ajima, onim koji zanimaju dovoljno{irok spektar potencijalnih ~italaca. Kona~no (i to seve} odavno desilo sa pitanjem prirodnogokruènja), o~uvanje i za{tita nasle|a su po~eli daprivla~e pa`nju i u~e{}e javnosti i postali masovnifenomen, ne vi{e ograni~en na interes elitne grupemanje ili vi{e konvencionalnih, obrazovanih i sves-nih ljudi ili prosto onih koji poseduju ve}u osetljivostod mnogih drugih.Me|utim, taj put je dug i potrebno je napisati jo{mnogo ~lanaka, s obzirom da je svet kulture iumetnosti jo{ uvek preplavljen ne ba{ pou~nim

doga|ajima i zlodelima koja treba da se spre~e.Put je, tako|e, pun zamki. Ugroàvanje nasle|a senastavlja i razmnoàva na sve strane, ponekadsuptilno, a ponekad i podmuklo. Ne radi se samoo ratovima, zemljotresima i poplavama - to su ilo{e ura|ene restauracije (restauracije koje suizvr{ene u Rimu povodom Jubileja u mnogimslu~ajevima nisu ni do{le do izraàja zahvaljuju}iùrbi, a radi se o zemlji za koju se, ina~e, uvekvezuje op{tepriznato merilo u ovoj oblasti), suvi{nicement i èlja za posedovanjem letnjikovaca, kao izaboravljanje stare vrline poznatije kao odràvanje.Nekada je svaka bazilika vredna tog imena imalasopstvenu "radionicu". Danas je uklanjanje postalo

veoma prisutan restauratorski metod ikada jedno umetni~ko delo treba

da se restauri{e, to zna~i da jene{to na njemu ve} zauvekizgubljeno.Nasle|e je sada kona~nonai{lo na interesovanjejavnosti. Da li je to zaslugainformativnih medija? Ja tostvarno ne znam. Mo`da, ali

jedno je sigurno: oni koji pi{uo o~uvanju istorijskog i umet-

ni~kog nasle|a dobijaju sadamnogo vi{e reakcija ~italaca nego

ranije (obave{tenja koje se ~estopokaù kao veoma korisna).

Pre samo deset godina, kada je ICCROM, zajed-no sa italijanskom Vladom, osnovao nagradu Medijispasavaju umetnost, se}am se ose}anja skepticiz-ma koje je vladalo oko tog projekta, smatranogplodom ta{tine. U me|uvremenu, mnogo je vodeproteklo ispod tibarskih mostova, koji su, sre}om,nedavno restaurisani.^lanci sakupljeni u ovoj knjizi, koje su napisali nov-inari iz raznih krajeva sveta i koji se bave razli~itimtipovima problema, pokazuju koliko su se vremenapromenila i koliko je novinarstvo - ono slobodno, ane ono koje sluì reìmu - bilo korisno, ako neneophodno. Ovi ~lanci su doveli do kritikovanja i,na kraju, korigovanja nekih predloga, do otvaranjarasprava o va`nim temama i do borbe protiv neg-ativnih tendencija.Uprkos svemu tome, proro~ki glasovi koji uzalud-no opominju i dalje su uobi~ajena pojava. Fridrihfon [iler (1759-1805) je rekao da je "umetnostdesna ruka prirode", a francuski pisac @oris KarlUismans (1848-1907) primetio je da je "poredsvetiteljstva umetnost jedina ~ista stvar na svetu", abez obzira {to je i neko tako trezven kao {to jeHenri Miler (1891-1980) znao veoma dobro da"umetnost ne pruà ni{ta ako ne smisao ivota", jo{uvek ima previ{e ljudi koji bez problema sve tozaboravljaju. "Umetnost je nezgoda iz koje niko neizlazi nepovre|en", tvrdio je Leo Longanesi (1903-1957). Umberto Eko je napisao: "Ne znam ba{kako je to ~inila, ali umetnost je uvek bila prva kojaje menjala na{ na~in razmi{ljanja, ose}anja ivi|enja, ~ak i pre samo sto godina, kada ljudi nisurazumeli potrebu za njenim stvaranjem." "Svakoveliko umetni~ko delo ima dva lica, jedno za svojedoba i drugo za budu}nost, za ve~nost", kako jeobjasnio ~uveni pijanista i dirigent DanielBarenboim. Neophodno je preduzeti mere danijedno od ova dva lica umetni~kog dela nepropadne.Pre nekoliko godina u Pekingu nije bilo sa~uvanovi{e od nekoliko desetina hutonga, tradicionalnihstani{ta, ~ije sobe gledaju na unutra{nje dvori{te. Utrenutku dok sam razgovarao sa jednimfunkcionerom, ~iji poloàj odgovara gradskomve}niku u Italiji, on je od vlade primio faks koji ga je

MMuuzzeeoollooggiijjaa ii PPrreevveennttiivvnnaa zzaa{{ttiittaa

5

era and the other for the future, for eternity", as thefamous pianist and conductor Daniel Barenboimexplained. It is necessary to ensure that neither ofthese countenances which belong to a work of artare lost.A few years ago in Beijing, there were but a fewdozen Hutong, traditional dwellings whose roomsface the interior courtyard, left standing. While I wasspeaking with an official, one who would have beenequivalent to a city councillor in Italy, a governmentfax informed him that one of these houses wouldbe sacrificed to allow the imminent construction ofa highway. Just thinking about how many misdeeds havetaken place over the centuries and at every latitudemakes one shudder. At the same time, we couldbe happy about the numerous threats which havebeen averted and the anxieties which have disap-peared. But artistic and cultural heritage is fragile(much more so than the love of Jacques Prevert,1900-77) and at times so difficult to preserve. Oftenit is the victim of cultural ignorance and it conflictswith the aspirations of modernity. Since it is so vastand changing all the steps taken to safeguard it willnever seem sufficient.Defending our past, and therefore our future, is aneternal struggle and it will never be won. Today thepress, and above all television because of itsgreater immediacy and the greater emotionalimpact it offers, can make a meaningful contribu-tion. Soon the task will fall to on-line publications,and who knows what after that. Another thing.There will always be someone there ready to takethe defence in saving what humankind has creat-ed throughout the centuries and which has some-times miraculously survived, by reporting, question-ing, protesting, crying out and - let us hope -being indignant. Or else, let us hope not: Because,if one day, no one is indignant any longer, it couldmerely mean that there is no valid reason to be so.But that happy day will surely never dawn. So, many of uswill continue to fight as long as we can. Let ourhopes be less in vain. And that will make us happy

Reprinted from Ghislaine Pardo (ed.), The Pressand the Safeguard of Heritage (Rome: ICCROM,2000) with the kind permission of ICCROM, theInternational Centre for the Study of thePreservation and Restoration of Cultural Property.The full title is available for purchase from theICCROM web site (www.iccrom.org).

IINNTTRROODDUUCCTTIIOONN TTOO PPRREEVVEENNTTIIVVEEIINNTTRROODDUUCCTTIIOONN TTOO PPRREEVVEENNTTIIVVEECCOONNSSEERRVVAATTIIOONN CCOONNSSEERRVVAATTIIOONN Vesna @ivkovi}, curator

The notion of preventive conservation of culturalproperty and its idea existed for over twenty years.After a while it became obvious that preventiveconservation cannot be considered solely an indi-vidual duty. Therefore, a need emerged that the ideaof preventive conservation should develop into pro-tection system, which is understood, accepted andin use by all engaged in safeguarding of heritage. The increasing number of reasons that provokedeterioration of cultural heritage: from direct impactof environment to the consequences of inadequateapproach to cultural heritage protection led to theneed for creation of systematic methods of protec-tion. It is believed that carrying out of projects con-cerning preventive conservation in the past few

years (Teamwork Projects - Europe, Delta plan -Netherlands, PREMA - Africa, Getty ConservationInstitute and Canadian Conservation Institute activ-ities) resulted in acceptance of preventive conser-vation notion and eventually in its implementation inthe museums functioning (Kathleen Dardes, JeffreyLevin 2000).Design and realization of the Teamwork Projects Iand II implied creation and development of teamsfor preventive conservation in museums, includingall the employees. Teams had to make long termplans for promotion of preventive conservation andfor incorporating it in national programmes of pro-tection (Neal Putt 1998, 16, Neal Putt, Tracy Satin2000, 1-1). Projects comprised many Europeanmuseums and were based on connecting thesafeguarding institutions at the international level. Gradually, the preventive conservation concept hasbecome a strategy in Europe, that was fully definedin "The European Strategy of PreventiveConservation" based on seven main activities(European Preventive Conservation Strategy Project2001, 10).Until now, the preventive conservation idea hasbeen connected with museums collections.However, it is expected that preventive conservationbe incorporated in the safeguarding systems ofarchival and library material and immovable cultur-al properties (Neal Putt 1998, 18).The application of preventive conservation is basedon common sense principles and good house-keeping attitude. It represents a range of activitiescarried out with an aim to protect cultural property(which is a basic museum role) without actual inter-vention on the object, by decreasing or eliminatingdamage risks and keeping it in conditions as closeas possible to those when discovered or stored. Itimplies a universal approach, since it is related tothe needs of complete collections, but also to thebuilding in which a collection is placed (Susan Corr2000, 11). It is also considered to be the simplestand at the same time the most cost-effectivemethod of protection (J. P. McGreevy 2000, JeffreyLevin 1992).The range of definitions indicates that preventiveconservation requires stable conditions for protec-tion of an object from negative impacts of light,temperature and moisture, then from insects andmicroorganisms during safekeeping, displaying andtransporting. It is often forgotten that emergencysituations, organized illicit cultural properties trade,urbanization and human negligence represent con-stant danger, as these issues are not easily con-spicuous. This is mainly result of cultural ignoranceon the one hand and of the lack of cultural poli-cies, on the other (Gaël de Guichen 2000, 19, NealPutt and Tracy Satin, 2000). Complete protection of an object, besides provid-ing the adequate safekeeping conditions (display-ing, transport), requires considering factors whoseimpact is not immediate, but whose consequencescome subsequently and cause irreparable loss(Gaël de Guichen 2000, 31, 33). System of pro-tection, which includes prevention, develops con-tinually and its application demands constantassessment of cultural properties endangermentlevel and long term and detailed plans of actions.Long term plans (for three or five years) should definethe role of the safeguarding institution and its obli-gations in the process of cultural heritage conser-vation. Subsequently, it should foresee all weak-nesses in the institution and prevent all situations,which could endanger cultural properties. Regularbuilding maintenance, regular control of safekeep-ing and displaying conditions, adequate documen-

tation, use of suitable materials for safekeeping,displaying and transport, housekeeping, control ofinsects and microorganisms occurrence, preparedplans and trained personnel in the case of emer-gency are those procedures that require well-defined strategy with set priorities and necessaryactivities.Preventive conservation implies teamwork of allengaged in the protection of cultural property, i.e.of those employed both in institutions of protectionand in state and legal services. In order to achievehighest level of efficiency in preventive conservationcollaboration between conservators and other pro-fessions is required (curators, as well as architects,designers, administration, security). This also refersto managerial structures involvement (director) inthe work and coordination of teamwork, institution-al collaboration, information exchange, and mid-carrier education of the employees.Finally, there is a need to raise the general publicawareness of the extent to which cultural heritageis endangered and of the importance of its protec-tion. Preventive conservation therefore includespublic and media in the process of cultural heritageprotection (Youth and the Safeguard of Heritage2000, 11). Unattractiveness and the fact that pre-ventive conservation results are not immediatelyobvious are considered as main faults in preven-tive conservation (Jeffrey Levin 1992).Consequently, it is important to point out the valueof prevention in protection processes, involve pub-lic in preventive conservation and make public will-ingly responsible for heritage preservation.However, as Jeffrey Levin from Getty ConservationInstitute said - it is the obligation to: 1. understandwhat preventive conservation means; 2. accept preventive conservation as a legitimatecollections care strategy; 3. treat preventive conservation as integral part ofinstitution's consciousness and put it into practiceroutinely (Jeffrey Levin 1992).

This process is yet to be started in the institutionsof protection in Serbia and Montenegro, since theidea of preventive conservation is a completely newconcept in Serbian museology. Furthermore, thereis a constant lack of appropriate literature andinterested and educated personnel in this area. Notonly the condition of our cultural heritage but alsothe necessity to prevent its further deteriorationimpose an obligation to apply preventive conserva-tion.

References:

Susan Corr, 2000 Caring for Collections, A Manualof Preventive Conservation, Heritage Council, 11Kathleen Dardes, Jeffrey Levin, 2000 PreventiveConservation: a Discussion, The GettyConservation Institute Newsletter Volume 15,Number 2 J. P. McGreevy 2000 Preventive conservation andthe Néprajzi Múzeum - A view from abroad,http://www.neprajz.hu/preventiv/publikaciok/index_e.shtmlGaël de Guichen, 2000 Protect our Heritage: It isFragile, Youth and the Safeguard of Heritage,ICCROM, 19Gaël de Guichen, 2000 The causes of the deterio-ration of heritage, The Press and the Safeguard ofHeritage, edited by Gishlaine Pardo, ICCROM, 31, 33 European Preventive Conservation Strategy Project,2001, Towards a European Preventive ConservationStrategy, ICCROM, 10Jeffrey Levin, 1992 Preventive Conservation, The

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obave{tavao da }e jedna od tih ku}a biti `rtvovanakako bi se omogu}ila planirana izgradnja autoputa.âk i samo razmi{ljanje o broju nedela koja su sede{avala tokom vekova {irom sveta izaziva jezu.Istovremeno bismo mogli da budemo zadovoljnizbog brojnih pretnji koje su otklonjene i briga kojesu nestale. Me|utim, umetni~ko i kulturno nasle|eje ranjivo (mnogo vi{e od ljubavi @aka Prevera,1900-1977) i ponekad ga je veoma te{ko o~uvati.Ono je ~esto `rtva kulturne neukosti i sukobljava ses modernisti~kim te`njama. S obzirom da je kul-turno nasle|e toliko obimno i da se menja, svikoraci koji se preduzimaju za njegovo o~uvanjenikada ne}e delovati dovoljno.Za{tita na{e pro{losti, a tako i na{e budu}nosti,predstavlja ve~nu borbu u kojoj nikada ne}emopobediti. Danas novinarstvo, pre svega televizijsko,zbog ve}e neposrednosti i emocionalnog uticajakoje vr{i, moè da pruì zna~ajan doprinos. Uskoro}e taj zadatak imati on-line publikacije, a pitanje je{ta je slede}e. Ne{to drugo. Uvek }e postojatineko ko }e se zalagati za ~uvanje onoga {to je~ove~anstvo stvaralo kroz vekove i {to je ponekad~udesno preìvljavalo, zahvaljuju}i izve{tavanju,protestovanju, glasnim povicima i - nadamo se -ogor~enosti. Ili, pak, nadajmo se da ne}e biti tako,jer ako jednog dana vi{e ne bude ogor~enosti, to}e mo`da zna~iti da za nju vi{e nema pravograzloga. No, taj sre}an dan sigurno ne}e nikadaosvanuti. Dakle, mnogi od nas }e nastaviti da sebore dokle god budu mogli. Neka na{e nade budumanje uzaludne i to }e nas usre}iti.

Tekst iz: Ghislaine Pardo (ed.), The Press and theSafeguard of Heritage (Rome: ICCROM, 2000)objavljen uz dozvolu ICCROM, the InternationalCentre for the Study of the Preservation andRestoration of Cultural Property.Tekst u originalu je dostupan preko ICCROM-ovogweb sajta (www.iccrom.org).

UUVVOODD UU UUVVOODD UU PPRREEVVEENNTTIIVVNNUU ZZAA[[TTIITTUU PPRREEVVEENNTTIIVVNNUU ZZAA[[TTIITTUU Vesna @ivkovi}, kustos

Pojam preventivne za{tite kulturnih dobara i idejakoju nosi, postoje ve} vi{e od dvadeset godina.Tokom vremena pokazalo se da preventivna za{titane moè da bude samo obaveza pojedinca, takoda se ukazala potreba da se zamisao o preven-tivnoj za{titi preto~i u sistem za{tite, koji je shva}en,prihva}en i koji se primenjuje. Neophodnoststvaranja sistematskog na~ina za{tite su uslovili svebrojniji uzroci propadanja kulturne ba{tine, odneposrednog uticaja okoline do posledica neadek-vatnog pristupa za{titi kulturnog nasle|a. Smatra seda je poslednjih godina, realizacija razli~itih pro-jekata koji se odnose na preventivnu za{titu("Teamwork Projects" - Evropa, "Delta plan" -Holandija, PREMA - Afrika, aktivnosti Geti institutaza konzervaciju i Kanadskog konzervatorskog insti-tuta) dovela do prihvatanja pojma i da je preven-tivna za{tita kona~no uklju~ena u na~in funkcionisan-ja muzeja (Kathleen Dardes, Jeffrey Levin 2000).Izrada i realizacija "Teamwork Projects" I i II,podrazumevala je formiranje i razvoj muzejskih tim-ova za preventivnu za{titu, sastavljenih od svihzaposlenih, i sa zadatkom da sa~ine dugoro~neplanove za promovisanje i uklju~ivanje preventivneza{tite u nacionalne programe za{tite (Neal Putt1998, 16, Neal Putt, Tracy Satin 2000, 1-1). Projekti

su obuhvatili evropske muzeje i bazirali su se napovezivanju institucija za{tite na internacionalnomnivou.Postepeno, koncept preventivne za{tite u Evropi jeprerastao u strategiju, u potpunosti definisanu"Evropskom strategijom preventivne za{tite", ~ijuosnovu ~ine sedam ta~aka delovanja (EuropeanPreventive Conservation Strategy Project 2001, 10).Do sada, pojam preventivne za{tite je povezivan samuzejskim zbirkama, ali o~ekuje se uklju~ivanjepreventivne za{tite u sistem za{tite arhivskog i bib-liote~kog materijala i nepokretnih kulturnih dobara(Neal Putt 1998, 18).Primena preventivne za{tite se bazira na principimazdravog razuma i doma}inskog stava, a predstavl-ja niz aktivnosti preduzetih sa ciljem da se za{titikulturno dobro (jedna od osnovnih uloga muzeja)bez direktne intervencije na njemu, smanjivanjem ilipotpunim uklanjanjem rizika od o{te}enja i njegov-im o~uvanjem u pribli`no istom stanju u kome jeotkriven (zate~en).Preventivna za{tita podrazumeva sveobuhvatnipristup, budu}i da se odnosi na potrebe kolekcijau celini, kao i zgrada u kojoj se one nalaze (SusanCorr 2000, 11), a smatra se najjednostavnijim i prit-om najisplativijim na~inom za{tite. (J. P. McGreevy2000, Jeffrey Levin 1992)Pod preventivnom za{titom niz definicijapodrazumeva obezbe|ivanje stabilnih uslova koji}e predmet za{titi od negativnog uticaja svetlosti,temperature i vlage, zatim insekata i mikroorgani-zama tokom ~uvanja, izlaganja i transporta.Naj~e{}e se zaboravlja da vanredne situacije,organizovana ilegalna trgovina kulturnim dobrima,urbanizacija i ljudski nemar predstavljaju, ne uveko~iglednu, ali konstantnu opasnost, koja je obi~noposledica kulturnog neznanja sa jedne i neposto-janja kulturne politike sa druge strane (Gaël deGuichen 2000, 19, Neal Putt and Tracy Satin, 2000).Potpuna za{tita predmeta, osim obezbe|ivanjaadekvatnih uslova ~uvanja (izlaganja, transporta),zna~i i nezanemarivanje faktora ~iji uticaj se ne vidina prvi pogled, a posledice se javljaju naknadno iizazivaju gubitak koji je te{ko nadoknaditi (Gaël deGuichen 2000, 31, 33). Sistem za{tite kojipodrazumeva prevenciju se konstantno razvija injegovo sprovo|enje zahteva stalnu procenu ste-

pena ugroènosti kulturnih dobara i detaljnurazradu dugoro~nog plana delovanja. Dugoro~nimplanom (trogodi{njim ili petogodi{njim) treba defin-isati ulogu ustanove za{tite, njene obaveze u pro-cesu za{tite kulturnog nasle|a i zatim predvidetisve slabe ta~ke u ustanovi za{tite i predupreditisituacije koje mogu ugroziti kulturna dobra.Redovno odràvanje zgrade, redovne kontroleuslova ~uvanja i izlaganja, adekvatna dokumentaci-ja, upotreba odgovaraju}ih materijala pri ~uvanju,izlaganju i transportu, odràvanje ~isto}e, kontrolapojave insekata i mikroorganizama i spremniplanovi i obu~eno osoblje u slu~aju vanrednihsituacija su postupci koji name}u postojanje jasnodefinisane strategije delovanja sa ustanovljenim pri-oritetima i na~inom sprovo|enja potrebnihaktivnosti.Primena preventivne za{tite podrazumeva timskirad svih pojedinaca angaòvanih na poslovimaza{tite, {to zna~i ne samo zaposlenih u ustanoviza{tite, ve} i u dràvnim slu`bama i zakonodavstvu.Potpuna efikasnost preventivne za{tite zahtevasaradnju konzervatora sa drugim profesijama (kus-tosi, ali i arhitekte, dizajneri, administracija,obezbe|enje...), uklju~ivanje direktora - strukturaupravljanja, u rad i kordinaciju rada tima, saradnjume|u institucijama, razmene informacija, kao iredovnu obuku zaposlenih.Kona~no, postoji potreba da {iroka publika budesvesna stepena ugroènosti kulturnog nasle|a izna~aja njegove za{tite, {to zna~i da preventivnaza{tita obuhvata i uklju~ivanje javnosti i medija uprocese za{tite kulturnog nasle|a (Youth and theSafeguard of Heritage 2000, 11). Budu}i da seosnovnim manama preventivne za{tite smatrajunjena neatraktivnost i ~injenica da ne daje odmahvidljive rezultate (Jeffrey Levin 1992), va`no jepravilno ista}i vrednost prevencije u procesuza{tite, uklju~iti publiku u njenu primenu i u~initi dapublika na taj na~in svojevoljno preuzme svoj deoodgovornosti na o~uvanju ba{tine. U svakom slu~aju, kao {to kaè Dèfri Levin, iz Getiinstituta za konzervaciju, potrebno je: 1. shvatitizna~enje preventivne za{tite; 2. prihvatiti preven-tivnu za{titu kao legitimnu strategiju brige o zbirka-ma; 3. usvojiti je kao integralni deo svesti i sprovoditije redovno i posve}eno (Jeffrey Levin 1992).

Ovaj proces u ustanovama za{tite u Srbijii Crnoj gori tek predstoji, s obzirom da jepojam preventivne za{tite potpuno novpojam u srpskoj muzeologiji i da ga pratenedostatak odgovaraju}e literature, zain-teresovanih i obrazovanih kadrova u ovojoblasti, ali je obaveza za njegovo spro-vo|enje proizilazi ne samo iz stanja ukome se sada nalazi na{e kulturnonasle|e, ve} i iz potrebe da se spre~i nje-govo dalje uni{tavanje.

Literatura:

Susan Corr, 2000 Caring for Collections, AManual of Preventive Conservation, Herita-ge Council, 11Kathleen Dardes, Jeffrey Levin, 2000Preventive Conservation: a Discussion,The Getty Conservation Institute NewsletterVolume 15, Number 2 J. P. McGreevy 2000 Preventive conserva-tion and the Néprajzi Múzeum - A viewfrom abroad, http://www.neprajz.hu/preventiv/publika-ciok/index_e.shtmlGaël de Guichen, 2000 Protect ourHeritage: It is Fragile, Youth and the

Retouching of an Iron Age urnRetu{iranje urne iz gvozdenog doba

7

Getty Conservation Institute Newsletter, Volume 7,Number 1PREMA - Prevention in Museums in Africa, 2001,ICCROMNeal Putt, 1998 Teamwork is the key, ICCROMnewsletter 24, 16Neal Putt, Tracy Satin, 2000 Teamwork forPreventive Conservation 2 ICCROM, 1-1, Neal Putt, Tracy Satin, 2000 Relative Humidity isConstant - People Are Not,http://www.neprajz.hu/preventiv/publikaciok/index_e.shtmlSteph Scholten, 2001 PC-Start: The DutchPerspective, European Preventive ConservationStrategy Project, ICCROM Youth and the Safeguard of Heritage, 2000 editedby Alice Blondé, ICCROM, 11

PPRREEVVEENNTTIIVVEE CCOONNSSEERRVVAATTIIOONNPPRREEVVEENNTTIIVVEE CCOONNSSEERRVVAATTIIOONNAANNDD IITTSS IIMMPPLLEEMMEENNTTAATTIIOONN AATTAANNDD IITTSS IIMMPPLLEEMMEENNTTAATTIIOONN AATTDDIIAANNAA CCEENNTTRREEDDIIAANNAA CCEENNTTRREEMila Popovi}-@ivan~evi}, Head of DIANA Centre for Preventive Conservation

Europe has formulated the common strategy ofpreventive conservation as its fundamental museo-logical principle (European Preventive ConservationStrategy Project ICCROM, 2000).Strategy acknowledges the fact that Europeansshare a common identity. Faster than ever, Europemoves towards closer unity. National governmentshave for long held similar policies and structuresconcerning heritage. The fundamental values andculture of its peoples are common, and there aremany themes that unify heritage in Europe.After two decades of defining and developing, ithas become obvious that preventive conservation,as methodological and theoretical approach, is theanswer to challenges and one of the fundamentalelements of every sound strategy of conservationand preservation of cultural property, i.e. culturalheritage.By adopting this Project, museums of Europe have

adopted preventive conservation as theirs andgeneral strategy policy. European museums devel-op philosophy and practice of preventive conser-vation. This complex, multi-disciplinary approach tohandling and managing the objects and museumcollections encompasses effective, sound and eco-nomic measures in order to preserve the integrityof heritage and reduce the losses of cultural her-itage. Thus preventive conservation becomes a cornerstone of European heritage conservation policy.Preventive conservation is international and it relieson scientific exchange, free flow of information anddevelopment of education and training. One of itspresent goals is to increase public accessibility anduse of museum collections. This strategy treatsequally the richest nations, those that already havewell developed preventive conservation practiceand those just entering the world of innovation. TheStrategy identifies five areas that make the frame-work for effective policy and action. To preserveheritage of every nation and of Europe as a whole,it seems to be necessary to follow these themesas they make the national policy of preventive con-servation effective (Vantaa, September 2000):

1. LeadershipGovernments take the leadership for the preserva-tion of cultural heritage and facilitate the develop-ment of national strategies and plans 2. Institutional PlanningMuseums include preventive conservation in long-term institutional planning 3. TrainingAll those dealing with collections must have appro-priate and up-to-date training in preventive con-servation4. Access to InformationAll those involved in collection care must haveawareness of and access to the international bodyof information on preventive conservation5. Public RoleThe public is made aware of and has a role in pre-ventive conservation

***Yugoslav museology is ready to take upon itself thetask of including preventive conservation of the

country in the European strategy project and totransform the theory of preventive conservation intoconcrete projects and strategy plans. As otherEuropean countries take the leadership in the pol-icy of preventive conservation of cultural property,professionals in institutions in charge of protectionexpect the Ministries of Culture of Serbia andMontenegro to facilitate finalization of our nationalstrategy and plans for preventive conservation.Preventive conservation could thus be integratedinto general social strategy of cultural developmentand preservation of our cultural heritage.The present situation in our museology hasreached the critical point when safekeeping condi-tions are concerned. This is certainly consequenceof the long lasting poverty and inability to adapt intime to modern criteria in museology, i.e. to theprecisely defined new role of museums in thedevelopment of modern society. Museums world-wide today are most open to the public and bytaking complete care of cultural heritage take overa leading role in social development.We do hope that inadequate managing of culturalproperty now belongs to the past. From our pointof view, the first sign of changes would be theimplementation of preventive conservation as oneof the fundamental elements of cultural policy. Firstaction should be complete assessment of culturalheritage and its institutions. And this activity hasalready been started.Experts involved in the activities of DIANA Centrefor Preventive Conservation have been for quitesome time reviewing their role in the conservationpractice, applying a consistent policy and strategyof protection - and consequently the role of theCentre within the National Museum Belgrade andbeyond it. During mid-90s, while the country wasisolated, we still were managing to follow up thedevelopments abroad and trying to solve manyexisting problems here. Experience and knowledgegrew and turned into a more comprehensive proj-ect that should in the same time offer solutions forthe three fundamental problems in the then pre-vailing situation in the field of conservation:a) Training and upgrading of professionals basedon the newest, multidisciplinary scientific and expertfoundationsb) Building up of a new system in approachingconservation and protection of archaeologicalobjects, andc) Conservation of archaeological objectsWhen we started preparing DIANA project therewere but few professionals who could responsiblyanswer the expectations. Conservation centres andworkshops in our country were already laggingbehind, one could say they were the first to sufferthe blows of economic and political sanctionsimposed and that the closing of the country had itsworst effects on the conservation service. That isthe reason for having today in terms of museologythe gravest situation in the protection service in ourmuseums. This is quite understandable if we bearin mind that the conservation is a field that is con-stantly and dynamically developing, that significantefforts and funds are needed for follow up, spe-cialization, literature, consultations, learning aboutnew technologies and the markets - simply said,conservation - protection requires constant sharingof information, openness and contact with theworld. That is why the hard times that are now pastexerted the gravest influence, when culture is con-cerned, on the conservation, on the almost alarm-ing situation in the profession, poorly equippedlaboratories and workshops, lack of basic materialfor work, almost inhuman working conditions - they all

Precise mechanical cleaningPrecizno mehani~ko ~i{}enje

8

Safeguard of Heritage, ICCROM, 19Gaël de Guichen, 2000 The causes of the deterio-ration of heritage, The Press and the Safeguard ofHeritage, edited by Gishlaine Pardo, ICCROM, 31,33 European Preventive Conservation Strategy Project,2001, Towards a European Preventive ConservationStrategy, ICCROM, 10Jeffrey Levin, 1992 Preventive Conservation, TheGetty Conservation Institute Newsletter, Volume 7,Number 1PREMA - Prevention in Museums in Africa, 2001,ICCROMNeal Putt, 1998 Teamwork is the key, ICCROMnewsletter 24, 16Neal Putt, Tracy Satin, 2000 Teamwork forPreventive Conservation 2 ICCROM, 1-1, Neal Putt, Tracy Satin, 2000 Relative Humidity isConstant - People Are Not,http://www.neprajz.hu/preventiv/publikaciok/index_e.shtmlSteph Scholten, 2001 PC-Start: The Dutch Perspe-ctive, European Preventive Conservation StrategyProject, ICCROM Youth and the Safeguard of Heritage, 2000 editedby Alice Blondé, ICCROM, 11

PPRREEVVEENNTTIIVVNNAA ZZAA[[TTIITTAA II PPRREEVVEENNTTIIVVNNAA ZZAA[[TTIITTAA II PPRRAAKKTTII^NNAA PPRRIIMMEENNAA UU PPRRAAKKTTII^NNAA PPRRIIMMEENNAA UU DDIIJJAANNAA CCEENNTTRRUUDDIIJJAANNAA CCEENNTTRRUUMila Popovi}-@ivan~evi}, {ef DIJANA Centra za preventivnu za{titu

Evropa je formulisala zajedni~ku strategiju preven-tivne za{tite kulturnih dobara, kao svoj osnovnimuzeolo{ki princip (European PreventiveConservation Strategy Project, ICCROM, 2000).Strategija polazi od ~injenice da Evropljani delezajedni~ki identitet. Vi{e nego ikad, Evropa teìzbliàvanju. Nacionalne vlade odavno imaju sli~nepolitike i strukture po pitanju ba{tine. Osnovnevrednosti i kultura su isti, a mnogobrojnezajedni~ke teme sjedinjuju evropskuba{tinu.Nakon dve decenije definisanja i razvo-ja, o~igledno je da preventivna za{tita,kao metodolo{ki i teorijski pristup,predstavlja odgovor na probleme ijedan je od osnovnih elemenata svakezdrave strategije za{tite i o~uvanjakulturnih dobara, odnosno kulturnognasle|a.Ovim projektom, muzeji Evrope supreventivnu za{titu usvojili kao svoju iop{tu strate{ku politiku. Evropski muzejirazvijaju koncept i praksu preventivneza{tite, a to zna~i kompleksan, multidisci-plinaran pristup u rukovanju i upravljanjuobjektima i muzejskim zbirkama. Preventivnaza{tita obuhvata efekasne i ekonomi~ne mere,kako bi se sa~uvao integritet ba{tine i kako bi seredukovali gubici kulturne ba{tine. Na taj na~in pre-ventivna za{tita postaje kamen temeljac evropskepolitike za{tite ba{tine. Preventivna za{tita je internacionalna i po~iva nanau~noj razmeni, slobodnoj cirkulaciji informacija irazvoju obrazovanja. Jedan od aktuelnih ciljeva jeve}a pristupa~nost i raspoloìvost muzejskih zbirkiza {iroku publiku. Ova strategija ravnopravno treti-ra najbogatije nacije, koje su ve} razvile praksupreventivne za{tite, kao i one koje su pri prvim koraci-

ma u tome. Strategija identifikuje pet oblasti koje~ine osnovu efikasne politike i akcije. îni se da jenajva`nije pratiti ove teme kako bi se sa~uvalaba{tina svake nacije i evropske u celini, jer one ~ineefikasnu nacionalnu politiku preventivne za{tite(Vanta, septembar 2000):Inicijativa - Vlade preuzimaju inicijativu i vode poli-tiku za{tite kulturne ba{tineInstitucionalno planiranje -Muzeji uklju~uju preven-tivnu za{titu u institucionalno planiranje na dugi rokObrazovanje - Sve osobe koje imaju pristupzbirkama, moraju imati odgovaraju}e i osavremen-jeno poznavanje preventivne za{titePristup informacijama - Sve osobe uklju~ene uza{tutu zbirki imaju pristup skupu informacija opreventivnoj za{titi na internacionalnom nivou iupoznati su sa njimUloga javnosti - Javnost je obave{tena o preven-tivnoj za{titi i ima svoju ulogu u njoj.

***Jugoslovenska muzeologija je spremna da na sebepreuzme zadatak da preventivnu za{titu na{e zeml-je uklju~i u evropski strate{ki projekat i da teorijupreventivne za{tite razradi kroz konkretne projekte istrate{ke planove. Kako u drugim evropskim zeml-jama vlade preuzimaju inicijativu i vode politikuza{tite kulturnih dobara, stru~njaci iz ustanovaza{tite o~ekuju da Ministarstva kulture Srbije i CrneGore olak{aju izradu na{e nacionalne strategije iplanova preventivne za{tite. Preventivna za{tita bina taj na~in mogla da se ugradi u op{tu dru{tvenustrategiju razvoja kulture i o~uvanja na{e kulturneba{tine.Kada se radi o uslovima ~uvanja kulturnih dobara,sada{nja situacija u na{oj muzeologiji je dostiglakriti~nu ta~ku. To je svakako posledica i dugogo-di{njeg siroma{tva i neblagovremenog prilago-|avanja savremenim kriterijumima muzeologije,

odnosno nepostojanja jasno definisane nove ulogemuzeja u razvoju savremenog dru{tva. Muzeji usvetu danas {iroko su postavljeni i otvoreni premajavnosti i kroz kompletnu brigu o kulturnom nasle|upreuzimaju na sebe jednu od vode}ih uloga urazvoju dru{tva.

Nadamo se da neadekvatno upravljanje kulturnimdobrima pripada pro{losti. Sa na{eg stanovi{ta,prvi znak promena bi}e primena preventivne konz-ervacije, kao jednog od bazi~nih elemenata kul-turne politike. Ve} smo zapo~eli pripreme za pro-cenu stanja kulturne ba{tine i njenih institucija. Stru~njaci uklju~eni u rad Centra za konzervacijuarheolo{kih objekata DIJANA ve} duè vremenapreispituju svoju ulogu u konzervatorskoj praksi,primenjuju}i koherentnu politiku i strategiju za{tite -i u skladu sa tim i ulogu Centra unutar Narodnogmuzeja, ali i {ire. Sredinom devedesetih, dok jezemlja bila u izolaciji, mi smo ipak uspevali da pra-timo razvoj muzeologije u inostranstvu, dok smopoku{avali da re{avamo nagomilane probleme kodku}e. Iskustva i saznanja su sazrevala u sveobuh-vatniji projekat, koji bi istovremeno re{avao triosnovna problema tada{njeg stanja u konzervaciji: a) obrazovanje i usavr{avanje kadrova na najnovi-jim, multidisciplinarnim nau~nim i stru~nim osnova-mab) stvaranje novog sistema u pristupu konzervacijii za{titi arheolo{kih predmeta ic) konzervaciju arheolo{kih predmeta

U vreme kada je DIANA nastajala, postojao jeveoma mali broj profesionalaca koji su mogliozbiljno da odgovore tom zahtevnom poslu.Konzervatorski centri i radionice u na{oj zemlji ve}su po~eli da zaostaju u razvoju. Moglo bi se re}ida su oni me|u prvima bili na udaru ekonomskih ipoliti~kih sankcija, i da su se posledice zatvaranjazemlje odrazile na najgori na~in na konzervatorskeslu`be. Zato danas, kad je re~ o muzeologiji,najteè stanje upravo imamo u slu`bama za{tite pomuzejima. Ovo je sasvim razumljivo, ako se zna daje konzervacija oblast koja se dinami~no i svakod-nevno razvija, da su potrebni poseban napor isredstva da se prati napredovanje struke,obezbe|uju specijalizacije, literatura, stalne kon-sultacije, pra}enje novih tehnologija i trì{ta,ukratko: konzervacija-za{tita zahteva stalnu raz-menu informacija, otvorenost i kontakt sa svetom.Zbog toga su te{ka vremena i za kulturu, koja suostala iza nas, mo`da najvi{e uticala na stanje u

konzervaciji, na skoro alarmantno stanje struke,na lo{e opremljene laboratorije i radionice, nanedostatak osnovnog materijala za rad, naskoro nehumane uslove u kojima stru~njaci-konzervatori rade, samim tim i na sudbinui sada{nje stanje kulturnih dobara. Zato jepotrebna {iroka dru{tvena akcija iangaòvanje cele zajednice, kako bi sekroz revitalizaciju muzeja i njihovo prila-go|avanje novim vremenima, reorgani-zovale slu`be konzervacije i muzejskeradionice i povezale u jedinstven dobroorganizovan sistem.

EDUKACIJA

Evropska strategija preventivne za{tite pre-poru~uje:

-Definisanje i razvijanje osnovnog poznavanjapreventivne za{tite

-Integrisanje preventivne za{tite u sve programestudija, koje se ti~u kulturne ba{tine-Obezbe|ivanje programa studija preventivneza{tite za sve institucije koje obavljaju konzerva-torske poslove-Stvaranje mogu}nosti za specijalizacije u preven-tivnoj za{titi, magistarske i doktorantske studije-Organizovanje redovnih seminara i stru~nih sas-tanaka, kako bi se obezbedila razmena znanja osavremenoj preventivnoj za{titi -Stimulisanje istraìvanja u preventivnoj za{titi

9

had their adverse effect on the destiny and pres-ent condition of cultural property. We need broadsocial move and engagement of the entire com-munity to achieve through revitalization of ourmuseums and their conforming to the new timesreorganization of conservation services and theirconnecting into a unique, well organised system.

EDUCATION

European strategy of preventive conservation rec-ommends:-To define and develop the content of fundamen-tal knowledge of preventive conservation-To establish preventive conservation in all studyprogrammes dealing with cultural heritage-To provide a curriculum in preventive conservationfor conservation institutions-To create opportunities for specialization in pre-ventive conservation, for gaining postgraduatediplomas and PhDs-To organize regular seminars, professional gather-ing in order to up-date knowledge in preventiveconservation-To stimulate research in preventive conservationThe goal of education at DIANA Centre is:-Education and advanced training of personnel onmultidisciplinary and professional basis-Establishing teamwork and insisting on the trans-formation of professional ethics and morals-Building a broad body of young professionals whowould conduct conservation in a comprehensiveand interdisciplinary way-Affirmation of the profession, consistent conserva-tion strategy will bring general changes to under-standing protection and conservation as profession,complete care for cultural heritage inclusiveDIANA builds the professional identity of futureconservators through:1. Theoretical lectures that imply: - Basic introductory lectures for new students- Series of lectures for seniors along with moredetailed study of particular domains- Specialized lectures in various topics for all stu-dentsTheory includes the following disciplines:Museology, Preventive conservation, Microbiology,Environmental Control, Technology of ceramics andglass, Geology with Petrography, Basics of chem-istry and Chemistry of materials used in conserva-tion, Prehistoric, Greek, Roman and Medievalceramics, English for conservators, Legislation andlegal aspects of preservation of cultural property.Specialized lectures: Use of Laser in Conservation,Nature and Technology of Amber, Introduction toInformation Technology2. Practical Training that is actually a combinedapplication of various practical conservation meth-ods and theoretical explanations of those methodsand materials used. It covers study and applicationof:- Basic active conservation treatments and knowl-edge- Specialized knowledge, skills and crafts.A practical part of the programme enables master-ing Conservation documenting, Conservationexaminations, Cleaning, Consolidation, Bonding offragments, Restoration, Reconstruction, Final pro-tection.Education is carried out in cycles and by engagingadequate domestic and foreign experts andincludes:1. Summer cycle - Summer school, 9 weeks,June-August2. Autumn cycle - Autumn Workshop, 8 weeks,

October-December3. Winter-Spring cycle - Winter-spring Workshop,12 weeks, February-April4. Specialization of students and collaborators5. Conferences, seminars, meetings1. Winter-Spring Workshop was held from 11February till 11 May 2002 and it offered furthertraining based on education programmes for sen-ior students - 30 students and collaborators. Series of lectures in technology of ceramics andglass, chemistry of materials, museology, preven-tive conservation, conditions for safekeeping cultur-al objects, microbiology, English language;Practical work on conservation of ceramics, glassand stone meant mastering of conservation treat-ments: examination, cleaning, structure and surfacestabilization, bonding, restoration, reconstruction,and retouching and final protection.Special courses:- Making of moulds and copies and replicas(February - May 2002)- Cultural heritage: tourism, marketing, educationand professional awareness, lecture held by Dr.Lester Borley. Dr. Borley particularly stressed theinfluence and impact of professional NGOs ongovernmental institutions as to the preservation ofcultural heritage 2. Summer School DIANA was held from 10 Junetill 11 August 2002The following courses were held:- Conservation of fragile ceramics- Conservation of solid and glazed ceramics- Conservation of Roman and mediaeval glassTheoretical lectures included: Technology of

ceramics and glass, Petrology and petrography,Chemistry of materials, Museology, Preventive con-servation, Environmental conditions, Conditions ofsafekeeping cultural objects, Microorganismsattacking museum objects, Fire and other emer-gencies protection, Mediaeval Serbian Art, Englishfor conservators and museologists, InformationTechnology (IT)Practical work included mastering basic artisticskills and regular conservation treatments: exami-nation (macroscopic, microscopic, chemical, etc.),cleaning (mechanical and chemical), stabilization ofstructures and surfaces (consolidation by chemicalmethods), bonding of fragments, restoration,reconstruction, retouching and final protection ofthe surfaces of archaeological objects.

Special courses- Making moulds as well as copies and replicas ofprehistoric cups and beakers, Roman lamps, bowlswith barbotine decoration, etc. - silicone and gyp-sum moulds and copies of fired clay (June -August 2002)- Causes of deterioration of archaeological glassand methods for preventing further deterioration,held by Sandra Davison, Davison Studio, UK. MsDavison is one of the most distinguished experts inconservation of glass (17 June - 1 July 2002)- Basics of modern museology, held by Prof. Dr.Tomislav [ola, one of the leading theoreticians inmuseology today, Zagreb University (20 - 27 June2002)- Production of Roman ceramics, Dr. RobinSymonds, one of the leading experts in Romanceramics in Europe, Museum of London, (5 - 10August 2002)There were 35 senior students and 7 new onesattending the Summer School. In spite of the greatinterest in the courses at DIANA Centre, we decid-ed to enroll this year a smaller group of new stu-dents than before. This was, in our opinion, a nec-essary step at this stage of development, and aftersix years of intense activities aimed at establishingthe system of preventive conservation to enableconsolidating the group of some 40 senior studentsand collaborators, assessing their capacities andinterests and making further plans for their devel-opment and professional advanced training.3. Autumn Workshop 15 October - 21 December2002Activities of this workshop represent continuation ofDIANA Summer School with those students whohave successfully passed the selection during theSummer School, with senior ones and collaboratorsof DIANA.There were specialized programmes prepared forour collaborators with specific projects (preparingexhibition of ceramics and glass from Tekija,preparing for display the mediaeval ceramics andglass from Kotor, etc.).Theoretical lectures included: Technology of ceram-ics and glass, Petrology and petrography,Chemistry of materials, Museology, Preventive con-servation, Environmental conditions, Conditions ofsafekeeping cultural objects, English for conserva-tors and museologistsPractical work included mastering basic artisticskills and regular conservation treatments onceramics, glass and stone: examination (macro-scopic, microscopic, chemical, etc.), cleaning(mechanical and chemical), stabilization of struc-tures and surfaces (consolidation by chemicalmethods), bonding of fragments, restoration,reconstruction, retouching and final protection ofthe surfaces of archaeological objects.

DIANA Centre was founded in 1997 at Karata{as a Summer School for Conservation ofCeramics originating from the Djerdap regionresearches. This region, particularly Djerdap,houses vast quantities of priceless archaeologyriches from all periods. DIANA already in 1999 has developed into aninstitution functioning all the year round andundertaking permanent theoretical and practicalduties in conservation of archaeological objectsfrom the National Museum Belgrade collections.Having developed multidisciplinary approach intraining students and a highly structured theo-retical and practical curricula in museology,preventive conservation, legal protection ortechnology of materials, chemistry and practicaltraining courses, DIANA Centre has since theyear 2000 turned into one of very few protag-onists in promotion and implementation of pre-ventive conservation in Yugoslavia.The activities of DIANA Centre are a soundproof that preventive conservation can beincluded in the long-term plans of institutions,that application of safe methods, training andaccess to information can be provided, andthat the public can become fully aware of allconcepts of preventive conservation. Theresults achieved encouraged us to transformthe Centre into the nucleus of the newDepartment for Preventive Conservation of theNational Museum Belgrade. This is a new posi-tion in our system of protection and in theorganisational structure of the Museum, a newbody, most important and, as it turned out, themost needed one. Experience, knowledge, flex-ibility and energy accumulated in DIANA Centrewill provide and promote successful implemen-tation of the preventive conservation concept.

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Cilj edukacije u DIANA Centru je:-Obrazovanje i usavr{avanje kadrova na multidis-ciplinarnim i stru~nim osnovama-Uspostavljanje timskog rada i insistiranje na pri-meni profesionalne etike i moralnih principa-Stvaranje {iroke baze profesionalnih mladih kadro-va, koji }e se baviti za{titom na sveobuhvatan iinterdisciplinarni na~in-Afirmacija struke - koherentna konzervatorskastrategija koja predstavlja generalnu promenu ushvatanju za{tite, ali i konzervacije kao profesije,obuhvataju}i kompletnu brigu za kulturno nasle|eDIJANA formira profesionalnu li~nost konzervatorakroz spoj teorijskih predavanja i prakti~ne obuke:Teorijska predavanja podrazumevaju:Uvodna predavanja za nove polaznike Predavanja u ciklusima za stare polaznike, sadetaljnijim razra|ivanjem pojedinih oblastiSpecijalizovana predavanja iz pojedinih oblasti, zasve polaznike Teorijska predavanja obuhvataju slede}e oblasti:Muzeologiju, Preventivnu za{titu, Mikrobiologiju,Klimatologiju, Tehnologiju keramike i stakla,Geologiju sa petrografijom, Osnove hemije i hemi-ju materijala u konzervaciji, Praistorijsku keramiku,Gr~ku keramiku, Rimsku keramiku,Srednjoevekovnu keramiku, Engleski za konzerva-tore, Zakonodavstvo i pravne aspekte za{tite kul-turnih dobara. Specijalizovana predavanja uklju~uju:Upotrebu lasera u konzervaciji, Prirodu i tehnologi-ju }ilibara, Uvod u informatiku.Prakti~na obuka predstavlja kombinaciju primeneprakti~nih konzervatorskih metoda i teorijskihobja{njenja metoda i materijala koji se koriste.Sastoji se od izu~avanja i primene:- osnovnih aktivnih konzervatorskih tretmana iznanja- specijalizovanih znanja, umetni~kih ve{tina izanatskog ume}aPrakti~ni deo programa omogu}ava savladavanjerada na konzervatorskoj dokumentaciji, konzerva-torskim ispitivanjima, ~i{}enju, konsolidaciji, spajan-ju fragmenata, restauraciji, rekonstrukciji, zavr{nojza{titi.Edukacija se sprovodi u ciklusima i angaòvanjemeksperata iz zemlje i inostranstva i uklju~uje:Letnju {kolu (9 nedelja, jun-avgust)Jesenju radionicu (8 nedelja, oktobar-decembar)Zimsko-proletnju radionicu (12 nedelja, februar-april)Specijalizacije polaznika i saradnika

Konferencije, seminari, savetovanjaZimsko-proletnja radionica, (11.02 - 11.05. 2002.)predstavljala je nastavak obuke iz prethodnihsezona, i u nju su bili uklju~eni isklju~ivo staripolaznici - oko 30 polaznika i saradnika. Odràn je ciklus predavanja iz tehnologije keramikei stakla, hemije materijala, muzeologije, preventivneza{tite, uslova ~uvanja kulturnih dobara, mikrobi-ologije i engleskog jezika. Prakti~an rad iz konzervacije keramike, stakla ikamena bio je usmeren na dalje savladavanjekonzervatorskih postupaka (ispitivanje, ~i{}enje,stabilizacija strukture i povr{ine, spajanje, restau-racija, rekonstrukcija, retu{ i zavr{na za{tita). Specijalisti~ki kursevi- "Pravljenje kalupa i izrada kopija i replika", (feb-ruar - maj 2002.)- "Kulturno nasle|e: turizam, marketing, edukacija,profesionalna svest" Dr Lester Borli, (15. - 16.04.2002.) L. Borli se posebno osvrnuo na snaàn uti-caj i efikasne mogu}nosti delovanja nevladinihstrukovnih organizacija na zvani~ne institucije vlastikada je u pitanju ~uvanje kulturnog nasle|a. Letnja {kola DIJANA, (10. 06 - 11. 08. 2002.) Odràni su slede}i kursevi:- Konzervacija tro{ne keramike- Konzervacija ~vrste i gle|osane keramike- Konzervacija rimskog i srednjovekovnog staklaNa teorijskim predavanjima obra|ivani su:tehnologija keramike i stakla, petrologija sa petro-grafijom, hemija materijala, muzeologija, preventiv-na za{tita, klimatologija, uslovi ~uvanja kulturnihdobara, mikroorganizmi na muzejskim predmetima,za{tita od poàra i drugih vanrednih prilika, sred-njovekovna srpska umetnost, engleski za konzerva-tore i muzeologe, informatika.Prakti~an rad se sastojao u savladavanju umet-ni~kih ve{tina i obaveznog konzervatorskog tret-mana: ispitivanja (makroskopska, mikroskopska,hemijska i dr.) ~i{}enje (mehani~ko i hemijsko),stabilizacija strukture i povr{ine (konsolidacija hemi-jskim putem), spajanje fragmenata, restauracija,rekonstrukcija, retu{ i zavr{na za{tita.

Specijalisti~ki kursevi"Pravljenje kalupa i izrada kopija i replika" (praistori-jskih pehara i lon~i}a, rimskih svetiljki, zdela sa bar-botinom), silikonski i gipsani kalupi, i kopije odpe~ene gline (jun - avgust 2002.)"Uzroci propadanja arheolo{kog stakla i metode zaspre~avanje propadanja", Sandra Dejvison, izDejvison Studija, V. Britanija, jedan od najuglednijih

stru~njaka za konzervaciju stakla u svetu (17.06 -01.07.2002.)"Osnove savremene muzeologije", Prof. dr Tomislav[ola, jedan od vode}ih teoreti~ara muzeologije uEvropi, Univerzitet u Zagrebu (20. - 27. 06. 2002.)"Proizvodnja rimske keramike", Dr Robin Sajmonds,Muzej grada Londona, stru~njak za rimskukeramiku (5. - 10. 08 2002.)U radu Letnje {kole u~estvovalo je 35 starihpolaznika i 7 novih. I pored velikog interesovanja zapoha|anje kurseva u DIJANA Centru, odlu~ili smoda u toku ovogodi{nje Letnje {kole primimo naobuku manju grupu novih polaznika, {to ranijihgodina nije bio slu~aj. Procenili smo da je toneophodno, u ovoj fazi razvoja, posle {est godinaintenzivnih aktivnosti na uspostavljanju sistema pre-ventivne za{tite, kako bi se definisala grupa odtridesetak stalnih polaznika i saradnika, preciznoprocenile njihove sposobnosti i interesovanja i na-pravili dalji planovi njihovog razvoja i usavr{avanja.Jesenja radionica, (15.10. - 21. 12. 2002.)Aktivnosti ove radionice predstavljaju direktan nas-tavak rada Letnje {kole DIJANA, i to sa polaznici-ma koji su uspe{no pro{li selekciju, i sa starimpolaznicima i saradnicima. Za saradnike su napravljeni specijalizovani progra-mi koji se odvijaju po posebnim projektima(Pripremanje za izlo`bu keramike i stakla iz Tekije,Pripremanje za izlaganje srednjovekovne keramike istakla iz Kotora i dr.).Odràna su teorijska predavanja iz slede}ih oblasti:tehnologija keramike i stakla, petrologija sa petro-grafijom, hemija materijala, muzeologija, preventiv-na za{tita, klimatologija, uslovi ~uvanja kulturnihdobara, engleski za konzervatore i muzeologe.Prakti~an rad na keramici, staklu, kamenu, radisavladavanja osnovnih umetni~kih ve{tina iobaveznih konzervatorskih tretmana: ispitivanja(makroskopska, mikroskopska, hemijska i dr.)~i{}enje (mehani~ko i hemijsko), stabilizacija struk-ture i povr{ine (konsolidacija hemijskim putem),spajanje fragmenata, restauracija, rekonstrukcija,retu{ i zavr{na za{tita povr{ine arheolo{kog pred-meta.

Specijalisti~ki kursevi i predavanja"Aktivnosti me|unarodnog komiteta PLAVI [TIT",Patrik Bojlan, UNESKO i ICOM, polovinom septem-bra 2002."Interdisciplinarnost u konzervaciji" Vojin Nikoli},Zavod za za{titu kulturnih dobara Srbije, polovinomnovembra 2002."Problemi starih konzervacija i restauracija na arhe-olo{koj keramici", Jana [ubi}-Prislan, Gori{kiMuzej, i Janja Slabe, Narodni muzej Ljubljana,Slovenija, 26.11.2002."Ermita`, istorija i edukacija", "Koncepcija Ermitaàu 21. veku", Vladimir Zujev, Ermita`, Rusija, 23.11.2002."Ramanska spektroskopija i njena primena u ispiti-vanju umetni~kih predmeta", Prof. dr Ubavka Mio~,Katedra za fizi~ku hemiju PMF, 11.12.2002."Primena ramanske spektroskopije pri konzervaciji iutvr|ivanju autenti~nosti umetni~kih predmeta",Silvio Ke~ke{ i Jelena Petrovi}, Katedra za Fizi~kuhemiju PMF, 11.12.2002."Za{to ispitivanje terena", Mark Fransis, Univerzitet uDaramu, V. Britanija, 10.12.2002.

POLAZNICI

1. Studenti ili zavr{eni studenti Filozofskog fakulte-ta (sa arheologije, istorije umetnosti, etnologije, istori-je), FPU (keramika, skulptura, konzervacija {tafela-jnog i zidnog slikarstva), Konzervatorske akademije

DIJANA je po~ela sa radom 1997. godine, na Karata{u, kao letnja skola za konzervaciju keramikekoja poti~e sa istraìvanja \erdapske regije. U ovoj regiji, posebno na \erdapu, sakupljene suzna~ajne koli~ine najvrednijeg arheolo{kog blaga, iz svih vremenskih epoha.

DIJANA se ve} 1999. godine razvila u instituciju koja funkcioni{e tokom ~itave godine, obavljaju}istalne teorijske i prakti~ne poslove na konzervaciji arheolo{kih predmeta iz zbirki Narodnog muzeja.Sa razvijenim multidisciplinarnim pristupom u obuci razli~itih nivoa polaznika i visoko-strukturiranomteorijskom i prakti~nom nastavom, koja pokriva teme kao {to su: muzeologija, preventivna za{tita,pravna za{tita, hemija i tehnologija materijala, kao i kursevi za prakti~nu obuku stru~njaka. DIJANACentar ve} od 2000. godine postaje jedan od retkih promotera primene preventivne za{tite uJugoslaviji.

Delatno{}u DIJANA Centra ve} je pokazano da preventivna za{tita moè da bude uklju~ena udugogodi{nje planove institucija, da je mogu}a upotreba pouzdanih metoda, da mogu da seobezbede stru~na obuka i pristup informacijama, i da javnost moè da bude u potpunosti svesnakoncepta preventivne za{tite. Postignuti rezultati su nas ohrabrili da DIJANA Centar razvijamo u nuk-leus novog Centra Narodnog muzeja za preventivnu za{titu. Ovo je nova pozicija u na{em sistemuza{tite i organizacionoj strukturi Narodnog muzeja, novo telo od velikog zna~aja i, kako se pokaza-lo, od velike nu`nosti. Kori{}enje iskustva, znanja, fleksibilnosti i energije koja se akumulira u DIJANA

Centru i oko njega, osigura}e i unapredi}e uspe{nu primenu koncepta preventivne za{tite.

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Special courses- Activities of the Blue Shield InternationalCommittee, Patrick Boylan, UNESCO and ICOM -September 2002- Interdisciplinariness in conservation, Vojin Nikoli},Institute for Protection of Cultural Monuments ofSerbia - November 2002- Problems of old conservations and restorationson archaeological ceramics, Jana [ubi}-Prislan,Gori{ki Museum and Janja Slabe, NationalMuseum Ljubljana - second half of November 2002- Hermitage, history and education: the concept ofHermitage in the 21st century, Vladimir Zujev,Hermitage, Russia - 23 November 2002- Raman spectroscopy and its application inexamining works of art, Prof. Dr. Ubavka Mio~,Department for Physical Chemistry of the Faculty ofMathematics and Physics - first half of December2002- Application of Raman spectroscopy in conserva-tion and authentication of works of art, SilvioKe~ke{ and Jelena Petrovi}, Department forPhysical Chemistry of the Faculty of Mathematicsand Physics - first half of December 2002- Geophysical Survey, Mark Francis, DurhamUniversity, UK - 10 December 2002

STUDENTS

1. Graduates and students of the Faculty ofPhilosophy (archaeology, history of arts, ethnology,history), of the Faculty of Applied Arts - ceramics,sculpture, conservation of easel and wall painting;Conservation Academy of the Serbian OrthodoxChurch; designers and individuals with artistic inter-ests2. Collaborators/employees from various museums(Town Museum Para}in, Museum of Rudnik-TakovoRegion in Gornji Milanovac, Regional Museumâ~ak, Regional Museum Vranje, RegionalMuseum Poàrevac, Town Museum in Jagodina,Regional Museum Kraljevo, Museum of Republic ofSrpska in Banja Luka, Ethnographic MuseumBelgrade, Regional Museum MariborConservators and technicians from museumsachieve at DIANA:- Specialization and simultaneous upgrading oftheir existing knowledge and acquire new experi-ence- Conditions to change the professional status andbecome professional conservatorsTheoretical and practical part of the programme iscarried out in phases and continually as the stu-dents are divided into two main groups:I. Beginners who have to master basic introducto-ry body of knowledge both practical and theoreti-cal. All new students have to attend training in con-servation of ceramics and they are all the timeaccompanied by senior, more experienced students.II. Seniors who already have acquired certainamount of knowledge and experience in conserva-tion. Some of these students do more intensivework within the courses on conservation of glassand stone.

Further specialization of studentsa) Specialization in recognized conservation centresin the worldWe started systematic planning specializations ofour students in the recognized European conser-vation centres particularly in fields that are not wellcovered here. Maja Frankovi}, senior student trained in conserva-tion of antique mosaics in the Arles Museum,France (1 March - 1 September 2002). One of the

most eminent Ateliers for conservation of mosaicsin Europe is in this Museum. Her tutor was PatrickBlanc, leading expert in Europe for this kind of con-servation.b) Postgraduate studies abroad and at home.c) Specialist courses at DIANA Centre that are heldby the best world experts (for example,the alreadymentioned courses held by Ms Sandra Davison,Prof. Dr. Tomislav [ola and Dr. Robin Symonds aswell as courses on conservation of objects of syn-

thetic resins; conditions in storages and exhibitionhalls; packing and transportation of archaeologicalmaterial; conservation on archaeological sites; syn-thetic resin copies and replicas, etc.). The interestfor participating in educational activities of DIANACentre is constantly rising both in the country, theneighbouring ones and beyond. During theSummer school Svetlana Maoli~, conservator at theRegional Museum in Maribor, Slovenia, spent sometime with us enhancing her knowledge. Colleagu-es as well as beginners from Slovenia, show greatwish to participate in our programmes and activi-ties.In the year 2002, there were 52 persons participat-ing in the activities of DIANA Centre 35 senior onesinclusive.There are 15 senior students who are now in their5th and 6th season and they have become ourcollaborators. They already take some works forthird parties and their contribution to the conserva-tion treatment is financially valued.Since 1997 the activities of DIANA have includedover 300 young people. This made selection ofmost suitable candidates possible, so at themoment we have a group of 40 students who canrightfully be considered future professionals inpreservation and conservation of cultural heritage.Most of these young people are engaged all theyear round in the activities of DIANA dealing withconservation and museological training and prac-tice. They are also included in all parts of theorganisation of work and activities of DIANA.Thanks to this kind of organisation of activities, ithas been possible for DIANA to function as anindependent and self-supporting system.We should particularly point out that the completesystem of activities at DIANA is based on strict car-

rying out of relevant programmes and on strictworking and intellectual discipline, cherishing pro-fessional ethics, rules and morals, team work anddeveloping sense of responsibility in work as wellas on promoting the common goal and spirit,strong feeling of belonging to a unifying concept.It is through activities of DIANA that we want todevelop and build, beside professional behaviour,strong ethical criteria and specific intellectualunderstanding of the importance of cultural heritageand its role in the development of the society.

PASSIVE CONSERVATION

Adequate keeping conditions - minimum interven-tions on cultural propertyConditions for safeguarding cultural property aregenerally bad in all museums, storages, in displayrooms and during transportation (Seminar on"Keeping Conditions of Cultural Property inYugoslavia"). Depots are crammed with objects, without place forenlarging the collections, often placed in mostlyinappropriate spaces (attics)- Temperature, during winter under 00 C, and dur-ing summer over 300 C- Humidity, mostly increased, most often over 60%RH, often over 80%- Lack of ventilation and air circulationEffects of disturbed humidity, temperature valuesand lack of air circulation result in massive infec-tions on microorganisms in museum storages.- Light, utterly inappropriate as to the kind of mate-rial.- Air pollution harms all museum spaces andaggressively adds to the destructive processes onobjects.- Conservation workshops conditions are mostinappropriate both for professionals and objects(small and tight space, inadequate light for sensi-tive work, inadequate temperature and humidity).- Transporting often inappropriate, specialized dis-patchers are needed as well as air-conditionedvans and adequate packing.Prevention of fire, floods, thefts, vandalism andother emergencies is only partial and simply said itis unbelievable how lucky we were to avoid greaterlosses.DIANA Centre has started preparing plans ofPreventive conservation that should include themost important issues:- Museum building itself (location and surround-ings, storages and display space)- Methods used in storing objects- Safety, fire and flood protection, evacuation plans,control and maintenance- Thefts, vandalism, dispossession (criminal acts,unintentional acts by staff)- Environmental condition, inadequate humidity,temperature, light; diseases (microorganisms,insects and other animals)- Contamination, radiation and other kinds of pol-lution- Safety at exhibitions, in transportation, in work-shops, setting standards, developing and imple-menting adequate methodologies and techniquesand technologies- Rule books and Instructions for handling andmanagement of museum objectsPreventive conservation plans- Documentation and literature on plans of preven-tive conservation from all over the world are beingcollected and studied- Preparation of a number of books of regulationsand guidance aimed at precise regulation of muse-

Glass from the Roman CollectionStaklo iz Rimske zbirke Narodnog Muzeja

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SPC, dizajneri, i zainteresovani polaznici sa umet-ni~kim sklonostima.2. Saradnici iz muzeja iz na{e zemlje i regije(Zavi~ajni muzej Para}in, Muzej Rudni~ko-Takovskog kraja Gornji Milanovac, Narodni muzejâ~ak, Narodni muzej Vranje, Narodni muzejPoàrevac, Zavi~ajni muzej Jagodina, MuzejRepublike Srpske Banja Luka, Narodni muzejKraljevo, Etnografski muzej Beograd, Pokrajinskimuzej Maribor). Obuka u DIJANI za konzervatore i preparatore izmuzeja- Specijalizacija postoje}ih znanja, sticanje i {iren-je novih saznanja i iskustava- Prekvalifikacija razli~itih saradnika muzeja ubudu}e profesionalne kadrove iz konzervacijeProgram obuke se realizuje u razli~itim fazama i ukontinuitetu, a polaznici su podeljeni u dve glavnegrupe:- Po~etnici, koji moraju da savladaju osnovnaznanja, kako teorijskog tako i prakti~nog dela posla.Svaki novi polaznik po~inje isklju~ivo obukom izkonzervacije keramike i oni su uvek u grupi sa star-ijim iskusnijim polaznicima. - Stari polaznici, koji su ve} stekli odre|ena konz-ervatorska znanja i iskustva. Jedan deo ovihpolaznika, pored keramike, intezivnije radi tokomkurseva konzervacije staklai kamena.

Dalje specijalizacijepolaznika -Specijalizacije u zna~ajnimkonzervatorskim centrima usvetuPo~eli smo sistematski daplaniramo i sprovodimospecijalizacije pojedinihpolaznika u zna~ajnimkonzervatorskim centrimaEvrope, posebno u oblas-tima koje su u na{oj zemljudeficitarne. Maja Frankovi},stariji polaznik, bila je naobuci iz konzervacijeanti~kog mozaika u MuzejuArla, Francuska, od 1.marta do 1. septembra

2002. godine. U tom muzeju se nalazi jedan odnajuglednijih Ateljea za konzervaciju mozaika uEvropi. Mentor M. Frankovi} je bio Patrik Blan,vode}i stru~njak u Evropi za tu vrstu konzervacije. - Postdiplomske studije u svetu i u na{oj zemlji. - Specijalisti~ki kursevi u DIJANA Centru, koje drèsvetski eksperti. Ove godine su realizovana predavanja ili kursevi ito: kurs o destruktivnim procesima propadanjaarheolo{kog stakla, koji je odràla Sandra Dejvison,

jedan od najboljih stru~njaka u ovoj oblasti; preda-vanja iz savremene muzeologije - prof. dr Tomislav[ola, sa Zagreba~kog univerziteta; o rimskojkeramici, njenoj proizvodnji, trgovini i kulturnimvezama u Evropi - dr Robin Sajmonds, MuzejLondona; Konzervacija objekata od sinteti~kihsmola, uslovi sme{taja u depoima, izlo`benim sala-ma, pakovanje i transport arheolo{kog materijala,konzervacija na arheolo{kom terenu, pravljenjekopija i replika od sinteti~kih smola i dr. Interesovanje za uklju~ivanje u edukativne aktivnostiDIJANA Centra neprestalno raste u na{oj zemlji, uokolnim zemljama, ali i {ire. U toku Letnje {kole nausavr{avanju je bila Svetlana Maloi~, konzervator izPokrajinskog muzeja u Mariboru, Slovenija. Uop{te,kolege i po~etnici iz Slovenije pokazuju veliku èljuda u~estvuju u na{oj stru~noj obuci i u drugimaktivnostima DIJANA Centra.U toku 2002. godine u aktivnostima DIJANA Centrau~estvovalo je ukupno 52 polaznika i saradnika, odtoga 35 starih.Petnaest polaznika je u{lo u petu i {estu sezonuobuke i rada u DIJANA Centru i oni su pre{li u kat-egoriju saradnika. Oni rade na realizaciji projekataza tre}a lica i njihov doprinos konzervaciji se finan-sijski nadokna|uje.Od 1997. godine do danas u aktivnostima DIJANE

u~estvovalo je preko 300 mladih ljudi, ive} se napravio prirodan odabir naj-pogodnijih kandidata, tako da sadaimamo grupu od tridesetak polaznika zakoje moèmo da pretpostavimo da }e se,pored konzervace, ozbiljno baviti i teorijomza{tite kulturnih dobara. Mnogi od mladihpolaznika angaòvani su u DIJANI tokomcele godine, na aktivnostima konzerva-torske i muzeolo{ke obuke i prakse.Zahvaljuju}i ovakvom na~inu organizacijeaktivnosti, DIJANA finkcioni{e kao nezavis-tan i samostalan sistem.

Treba ista}i, da se ceo sistem delatnosti DIJANEzasniva na striktnoj realizaciji ta~no odre|enih pro-grama i na strogoj radnoj i duhovnoj disciplini, nanegovanju profesionalne etike, pravila i morala, natimskom radu i razvijanju odgovornosti za obavl-janje poslova, kao i na negovanju zajedni~kog cilja,sna`nog ose}anja pripadnosti jedinstvenoj ideji.Kroz aktivnosti DIJANE negujemo i razvijamo,pored stru~nog prakti~nog profesionalizma, strogeeti~ke kriterijume i specifi~nu duhovnu klimu o istin-

skom zna~aju kulturnog nasle|a i njegove uloge urazvoju dru{tva.

PASIVNA KONZERVACIJA

Primenom pasivne konzervacije postiè se optimal-no okruènje za objekat ili muzejske zbirke (uslovi~uvanja) i vr{i sistematska dijagnosti~ka kontrolanjihovog stanja sa~uvanosti, kako bi se zaustavio ilimakar usporio proces propadanja i nestajanja. Pogodni uslovi ~uvanja zna~e minumum interven-cija na kulturnom dobru. Uslovi ~uvanja kulturnih dobara generalno su lo{i usvim na{im muzejima, depoima, izlo`benim pros-torima i transportu (Seminar "Uslovi ~uvanja kul-turnih dobara u muzejima Jugoslavije"): -Depoi su pretrpani, bez mogu}nosti za pro{irivan-je zbirki, ~esto u potpuno neadekvatnim prostorima(tavani) -Temperatura neadekvatna, zimi ispod 00 C, a letipreko 300 i vi{e -Vlaga je uglavnom pove}ana, naj~e{}e iznad 60%RH, ~esto preko 80%-Nepostojanje ventilacije i cirkulacije vazduha-Masovne infekcije mikoroorganizmima u muze-jskim depoima, kao posledica poreme}enog stepena vlage, temperature i nedostatka cirkulacije

vazduha -Svetlo je potpuno neodgovaraju}e u odno-su na vrste materijala

-Muzejski prostori nisu izolovani od aerozaga|enja,{to {tetno uti~e na predmete i potpomaè destruk-tivne procese i propadanje predmeta -Uslovi u konzervatorskim radionicama nedopusti-vo su lo{i - kako za stru~njake tako i za predmete(tesan i sku~en prostor, neodgovaraju}e osvetljen-je za delikatan rad, neodgovaraju}a temperatura ivlaga, nedostatak za{tite tokom rada sa agresivn-im materijalima...)-Transport je ~esto neodgovaraju}i, nedostajuspecijalizovana tj. klimatizovana kola i odgovaraju}aambalaà-Za{tita od poàra, poplava, kra|a, vandalizma idrugih vanrednih prilika naj~e{}e nedostaje ili jesamo delimi~na. U DIJANA Centru su zapo~ele pripreme naplanovima Preventivne za{tite, koji }e obuhvatatinajva`nije oblasti:-muzejsku zgradu (u gra|evinskom smislu) -

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um operations and works relatedto museum objects has beenstarted (Regulations on keepingconditions of museum objects;work in the storage; displayingmuseum objects; transportationof museum objects; acquisition ofmuseum objects; maintaining thepremises; conservation services;documentation of museum obje-cts; professional conduct, etc.)

Safeguarding conditions of cultur-al propertyIntensive collecting and studyingof literature on conditions of safe-guarding, displaying and trans-porting museum objects asregards:- Environmental conditions, tem-perature, humidity, light, air pollu-tion- Effects of disturbed environ-mental conditions, microorgan-isms, insects, other diseases anddestructive processes, contami-nation- Methods for storing museumobjects- Adequate equipment for place-ment, keeping, displaying and transport of muse-um objects (shelves, cases, boxes, display cases,containers, etc.)- Conditions of work in conservation workshops(environment, air pollution, contamination, equip-ment and material for work, etc.)

EmergenciesIntensive collecting and studying of literature onprotection of museum objects in emergencies withthe aim to set precise standards and adequatemethodology, techniques and technologies for pro-tection in cases of emergency:- Protection at exhibitions, in transport, protection inworkshops- Fire, flood, earthquake protection, protection incase of armed conflicts, thefts, negligence, etc.

Monitoring the conditionIntensive collecting and studying of literature onall aspects and possibilities to monitor the con-dition of museum objects in order to prevent,stop or at least slow down destructive process-es attacking museum objects.The environmental conditions were constantlymonitored by thermohygrographs in the stor-ages of the Gallery of Frescoes, workshops ofDIANA Centre, Late Antique Storage and vaultroom and secondary depot of the NationalMuseum, and in the Archaeological MuseumDjerdap.Permanent control of the condition in the stor-age of copies of frescoes in the Gallery ofFrescoes, Late Antique Storage and the sec-ondary depot in the National Museum Belgradeproved they were contaminated by variousmicroorganisms. The work was done in coop-eration with the Meteorological Institute of Serbiaand Health Protection Institute of Serbia.In order to further develop these parts of pre-ventive conservation DIANA Centre has estab-lished contacts with the Faculty of Mining andGeology and with the Department forMicrobiology of the Faculty of Natural Sciences,Mathematics and Physics

ACTIVE CONSERVATION

When ACTIVE CONSERVATION is concerned,DIANA complies with and applies the fundamentalrule of preventive conservation that conservationinterventions on cultural property should be limitedto acceptable minimum. The best preventive treatment is keeping the objectin adequate environment. As this is not always thecase, we have to undertake preventive conserva-tion treatments to stop the harmful effects fromexternal agents (temperature, humidity, light,mechanical shocks, etc.). Unfortunately, if theobjects are not conserved, destructive processescannot be stopped and the decay of an archaeo-logical object is a result. (e.g. unconserved ceram-ics decays after some time and turns back to earth).

According to the new sys-tematization of conservationwork, active conservation isapplied to:- Organic and syntheticmaterial (synthetic resins -polyesters, silicone resins,epoxy resins, amber, etc.)- Inorganic material (ceram-ics, glass, metal, stone, etc)- Composite materials (con-sisting of several materials ofdifferent properties and notreacting with each other as iscombination of organic andinorganic archaeologicalmaterials - bone and metal,bone and glass, ceramicsand synthetic resins for con-servation and the like)The basic approach appliedat DIANA Centre involves:-Temporary conservationtreatments-Reversible methods-Use of non-destructivemethods onlyAim: to isolate an archaeo-logical object from potentially

harmful effects of the environ-ment, temperature, humidity, light, air pollution. Tostop, slow down destructive processes.The detailed documentation includes:- The log- Conservation documentation card- Computer file- Conservation card for third parties- Photo-documentation (conventional and digital)- Assignment list- Receipt list- Drawings, consultations, etc.

Conservations done1. Conservation of archaeological objects from thefollowing sites was done: Belovode, Plo~nik, VajugaPesak, Vajuga Karaula, Konopi{te, Korbovo, Greekcollection, Tekija, Diana - Karata{, Dunji} collectionand Kosmaj, Guberevac, St Peter's Church. Theobjects belong to the National Museum Belgrade

collections.- 220 ceramics objects: quite a number ofceramics objects treated was fragile where thestructure and surface had been already attackedby decaying processes; very fragmented pithoiand large jars, etc.- 26 glass objects mostly from the Roman peri-od, often very fragile and progressive dehydra-tion of the surface - corrosion- 8 stone sculptures and fragments of Romanplastics, often of unstable structure and surface- Around 200 amber objects with mainly mostendangered structure and progressive dehydra-tion of the surface - corrosion- Around 50 plaster and silicone moulds ofceramic objects- Around 200 copies of ceramic objects, Romanlamps, Roman cups and prehistoric smaller ves-sels2. Conservation of various material sculpturesand of ceramics and glass objects as well ascopies of prehistoric vessels were done forMuseum of Contemporary Art, Regional MuseumPan~evo, Institute for Protection of CulturalMonuments in Pan~evo, Regional Museums inKru{evac and â~ak, Archaeological Institute,

LECTURERS

DIANA gathered a constant team of lecturers and experts and this team is constantly beingenlarged. Academicians, Belgrade University staff and experts, those from specialized insti-tutions and private studies from the country and Europe are all among our lecturers.Until his sad demise, academician Milutin Gara{anin was constantly contributing to ourdevelopment.In 2002 our lecturers were:- Prof. Dr. Du{an Trifunovi}, Faculty of Metallurgy and Technology, Belgrade- Dragan Bulatovi}, M. A. and Prof. Dr. Aleksandar Palavestra, Faculty of Philosophy(departments for museology and archaeology)- Prof. Dr. Dragan Milovanovi} and Vesna Matovi}, M. Sc., Faculty of Mining and Geology- Prof. Dr. Ubavka Mio~, Silvio Ke~ke{ and Jelena Petrovi}, Department for PhysicalChemistry, Faculty of Mathematics and Physics and Vojin Krsmanovi}, M. Sc. Faculty ofChemistry- Miroljub Stamenkovi}, Faculty of Applied Arts (Sculpture Department)- Prof. Dr. Marija Todorovi}, Faculty of Agriculture- Prof. Ljuba Dragi}evi}, Conservation Academy of the Serbian Orthodox Church- Malena Stoj~ev, lecturer in English- Prof. Dr. Tomislav [ola, Faculty of Philosophy, Zagreb (Department for Museology)- Jana Prislan-[ubi}, Gori{ki Museum and Janja Slabe, National Museum Ljubljana,Slovenia- Lester Borley, National Trust of Scotland- Sandra Davison, Davison Studio, UK- Robin Symonds, Museum of London, UK- Vojin Nikoli}, Institute for Protection of Cultural Monuments of Serbia- Mark Francis, Durham University, UK- Mila Popovi}-@ivan~evi}, Dubravka Preradovi}, Ranko Savi}, National Museum Belgrade

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lokacija i okruènje, depoi i izlo`beniprostor-metode ~uvanja predmeta-sigurnost - za{tita od poàra ipoplava, planovi evakuacije, nadzor iodràvanje-obezbe|enje - od kra|e i vandal-izma i od nemarnosti osoblja-problem mikroklime - neodgovara-ju}a vla`nost, temperatura, svetlost;bolesti (mikroorganizmi, insekti idruge ìvotinje)-problem kontaminacije, radijacije idruga zaga|enja-za{titu na izlo`bama, u transportu,u radionicama (utvr|uju}i standarde,razvijaju}i i primenjuju}i adekvatnemetodologije i razra|ne tehnike itehnologije).- izradu pravilnika i upustava zarukovanje i rukovo|enje muzejskimpredmetimaTokom cele godine intezivno seprikuplja i prou~ava dokumentacija iliteratura o planovima preventivneza{tite iz celog sveta.Zapo~eti su radovi na pripremipravilnika i uputstava, koji treba pre-cizno da reguli{u poslove vezane zamuzejske predmete (Pravilnik ouslovima ~uvanja muzejskih pred-meta, Pravilnik o radu u depou,Pravilnik o izlaganju muzejskih predmeta, Pravilniko transportu muzejskih predmeta, Pravilnik o nabavcimuzejskih predmeta, Pravilnik o odràvanju muze-jske zgrade, Pravilnici o konzervatorskim slu`bama,Pravilnici o dokumentaciji muzejskih predmeta,Pravilnik o profesionalnom pona{anju i dr.)Intezivno se prikuplja i prou~ava literatura o uslovi-ma ~uvanja, izlaganja i transporta muzejskih pred-meta: -o klimi, o temperaturi, vlazi, svetlosti, aerozaga|e-njima -o posledicama poreme}ene mikroklime, o mikro-organizmima i drugim bolestima, insektima idestruktivnim procesima, kontaminaciji-o metodama ~uvanja muzejskih predmeta

-o odgovaraju}oj opremi za odlaganje, ~uvanje,izlaganje i transport muzejskih predmeta (police,ormari, kutije, vitrine, sanduci i sl.) -o uslovima rada u konzervatorskim radionicama(klima, aerozaga|enja, kontaminacija, oprema imaterijal za rad i dr. ) Intezivno se prikuplja i prou~ava literatura o za{titimuzejskih predmeta u vanrednim okolnostima,kako bi se utvrdili precizni standardi i adekvatnemetodologije, tehnike i tehnologije za za{titu u svimprilikama:-za{tita na izlo`bama, u transportu, za{tita uradionicama-za{tita od poàra, poplava, zemljotresa, rata,kra|a, nemara i sl.

Intezivno se prikuplja i prou~ava literatura o svimaspektima i mogu}nostima kontrole stanja muze-jskih predmeta, kako bi se spre~ili, zaustavili ili barusporili destruktivni procesi i propadanje muzejskihpredmeta.Vr{ena je stalna provera klime termohigrografima udepoima Galerije fresaka, radionicama DIJANACentra, kasnoanti~kom depou i trezoru i priru~nomdepou Narodnog muzeja - Arheolo{kog muzeja\erdapa.Vr{ena je kontrola stanja u Depou kopija fresaka uGaleriji Fresaka, kasnoanti~kom depou i priru~nomdepou u Narodnom muzeju, i tom prilikom jeutvr|eno da su ovi prostori kontaminirani razli~itimmikroorganizmima. Ovi poslovi su se realizovali usaradnji sa Meteorolo{kim zavodom Srbije iZavodom za za{titu zdravlja Srbije. Zbog {irenja saradnje u ovoj oblasti u okviru pre-ventivne za{tite, DIJANA Centar je uspostavio kon-takte i sa Rudarsko-geolo{kim fakultetom i Kate-drom za mikrobiologiju PMF.

AKTIVNA KONZERVACIJA

U skladu sa principima aktivne konzervacije, uDIJANA Centru se po{tuje i primenjuje osnovnopravilo preventivne za{tite da se konzervatorskeintervencije na kulturnom dobru ograni~e na prih-vatljiv minimum.Najbolja preventivna mera je ~uvanje predmeta uodgovaraju}im uslovima. Neophodno je da searheolo{ki predmet izoluje od {tetnih dejstava oko-line, temperature, vlage, svetlosti, aerozaga|enja ida se na taj na~in zaustave, odnosno usporedestruktivni procesi i propadanje predmeta. Kako naj~e{}e nemamo te uslove, moramo dapreduzimamo preventivne konzervatorske tretmanekoji treba da spre~e {tetne uticaje spoljnih faktora(temperatura, vlaga, svetlost, mehani~ki udari idr.). Me|utim, ako se predmeti ne konzerviraju,destruktivni procesi se ne mogu spre~iti ipropadanje arheolo{kog predmeta je neumitno(npr. nekonzervirana keramika se posle izvesnog

PREDAVAÎDIJANA je oko sebe okupila stalni tim predava~a i eksperata, i taj krug se neprestano {iri. To suakademici, profesori i eksperti sa Univerziteta u Beogradu, iz specijalizovanih institucija i privatnihstudija iz na{e zemlje i Evrope. Od ove godine o~ekujemo da se u realizaciju na{ih programauklju~e i kolege iz Amerike (Metropoliten muzej). Sve do poslednjeg momenta u na{em razvoju je u~estvovao akademik Milutin Gara{anin.U toku 2002. godine predavanja su dràli:- Prof. dr Du{an Trifunovi}, Metalur{ko-Tehnolo{ki fakultet- Mr Dragan Bulatovi} i prof. dr Aleksandar Palavestra, Filozofski fakultet (grupe za muzeologiju iarheologiju)- Prof. dr Dragan Milovanovi} i mr Vesna Matovi}, Rudarsko-Geolo{ki fakultet- Prof. dr Ubavka Mio~, Silvio Ke~ke{ i Jelena Petrovi}, Fakultet za Fizi~ku hemiju, PMF - Vojin Krsmanovi}, Hemijski fakultet, PMF- Miroljub Stamenkovi}, FPU (odsek skulpture)- Prof. dr Marija Todorovi}, Poljoprivredni fakultet- Prof. Ljuba Dragi~evi}, Konzervatorska akademija SPC- Malena Stoj~ev, profesor Engleskog jezika- Prof. dr Tomislav [ola, Filosofski fakultet u Zagrebu (katedra za muzeologiju), Hrvatska - Jana Prislan-[ubi}, Gori{ki muzej i Janja Slabe, Narodni muzej u Ljubljani, Slovenija- Lester Borli, Nacionalni trast [kotske- Sandra Dejvison, Dejvison studio, V. Britanija- Robin Sajmonds, Muzej grada Londona, V. Britanija- Vojin Nikoli}, Zavod za za{titu spomenika kulture Srbije- Mark Frensis, Muzej u Daramu, V. Britanija

- Mila Popovi}-@ivan~evi}, Dubravka Preradovi}, Ranko Savi}, Narodni muzej Beograd.

Group portrait, Summer School 2002Grupni portret, Letnja {kola 2002.

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Institute for Protection of Cultural Monuments inKotor- 68 modern art sculptures in stone, wood, metal,plastics, cellulose, ceramics, and plaster- 72 ceramic vessels, prehistoric and mediaeval- 25 glass objects from the Roman and mediae-val periods- Around 200 ceramic copies of prehistoric vessels

OTHER ACTIVITIES

1. The LIBRARY of DIANA Centre serves asresource for up-to-date, expert publications thatcould also be used as textbooks, handbooks, helpin the work of conservators. The Liraryt should alsohelp raise awareness of the professional and gen-eral public about the importance and meaning of

preservation of cultural heritage.In 2002 the Library of DIANA Centre receivedalmost 250 new titles. All books were presentsfrom the Getty Institute. (up-to-date, fundamentaltitles in conservation and museology), SidneyFranklin II Trust, UKIC and International AcademyProject, Laboratory for Conservation in Draguignan,Publishing House "Clio", Institute for Protection ofMonuments of Culture of the Republic of Serbia,National Museum Ljubljana, ArchaeologicalInstitute, Museum Professionals Society ofSlovenia.Titles in preventive conservation were presented byICCROM, Care of Collections Forum (UK), UlsterMuseum from Ireland, and National Trust ofScotland, Canadian Institute of Conservation,Conservation Committee of ICOM.

2. PUBLISHING is developing and its aim is tocover all aspects of activities at DIANA Centre:"DIANA Publication is sent to all similar and relat-ed institutions in the country and abroad. We mustpoint out that this publication made its way into theworld of conservation and culture and is mostresponsible for the place DIANA now has in theconservation profession both in the country andabroad. "DIANA Working Textbooks are planned as profes-sional manuals. "Dictionary of Conservation Terms is an endeavourof fundamental importance when the conservationprofession is concerned, as such publications arevery rare in the field of preservation of cultural her-itage. -Translations of professional literature havebecome indispensable part of activities at DIANA.Translations of the edition "Science forConservators" (Cleaning, Materials Used inConservation, and Adhesives, Consolidants andCoatings) are planned and two volumes(Introduction to Materials and Cleaning) have beenprepared for publishing. The translation andpreparation for publishing has been done byDIANA Centre team led by Milica Stojanovi},chemist;-Conservation on Archaeological Excavations - thecopyright procedure was started. The translationand preparation for publishing was done by DIANACentre team (Vladimir Martinovi}, Vesna @ivkovi},Danijela Kovijani} et al.);-Museum Ethics in cooperation with the Publishinghouse "Clio" was translated by the team of DIANA

Centre with MalenaStoj~ev as leader of theteam.

3. PRESENTATIONS ofDIANA are various andaimed at:-Keeping the domesticand foreign public info-rmed about the importantresults it achieved in pre-ventive conservation ofthe archaeological materi-al and education of youngpeople and specializedtraining of the existingprofessionals-Opening of the Museum,museology and conser-vation to the broad publicand visitors with the aimto "engage" the public in

museum issues and contents-Carrying out specific projects raises the aware-ness of the public of their own cultural heritageand the care needed for its preservation-Multimedia presentations of DIANA cover all kindsof its activities since the founding. -Since 1998 there has been a DIANA presentationon the Internet that is updated every year.-Open workshops where the visitors and the pub-lic directly participate in conservation programmesand discover the secrets of conserving thearchaeological and museum material, join us inspecialized programmes of preventive conserva-tion or in traditional methods for making archaeo-logical ceramics.During the Summer School two successful work-shops were organised and they proved that thebroad public could easily get interested in muse-um programmes and included (from children topeople of advanced age) in museological activi-ties. Part of the visitors that "discovered" us duringthe summer, continued to follow our activities inconservation and often attended lectures of thevisiting experts. Workshop "Secrets of Conservation" enabled visi-tors to learn some basic conservation skills andtreatments such as bonding and restoration usingmore recent ethnographic and modern ceramicpieces. The public was very heterogeneous - fromlittle children aged 5 or 6 to artists, designers andsenior persons.Workshop "The Copy and the Original" includedstudents of the Faculty of Applied Arts, archaeol-ogy and history of arts and others. The participantscast, in moulds prepared for them, clay copies ofRoman lamps, trimmed them, participated in theprocesses of firing and retouching. Every partici-pant was invited to conduct the complete processof making copies and take home the copy as asouvenir. Young collaborators of DIANA Centre helped thevisitors as instructors and tutors.-CD ROMs on DIANA in English and Serbian areproduced every year.-Taking part in mass media - TV and radio broad-casts, dailies and specialized newspapers andmagazines-Specialized educational lectures explaining theimportance of preventive conservation andincreased care about cultural heritageRestoration of a Roman dish

Restauracija rimske keramike

Roman Terra Sigillata after ReconstructionRimska terra sigillata nakon rekonstrukcije

RESEARCH

Laboratory Physical-ChemicalDuring 2002, thanks to the cooperation with theFaculty of Metallurgy and Technology, ChemicalFaculty - Faculty of Natural Sciences andMathematics and Institute for Testing Materials,DIANA Centre managed to conduct researchesin:-Materials for conservation (compatibility,hydrophobic properties) of OHO II spec, epoxyresins: Plastic Coating, Aubelbond, Paraloid B 72and 67, etc.-Destructive processes attacking cultural prop-erty-Most appropriate methods for preventing andslowing down the decaying processes: progres-sive dehydration of glass and amber surfaces,decaying of the surfaces of ceramics and stone,etc.-Old ceramics technologies: coarse Eneolithicceramics and low-fired Bronze Age ceramics-Conditions for safekeeping cultural property(environment, temperature, humidity, light, dis-eases, etc.)The draft design of the physical chemical labo-ratory in the National Museum Belgrade hasbeen prepared and the work on the project is inprogress. It is being prepared in cooperationwith the Department for Physical Chemistry ofFaculty of Natural Sciences and Mathematics.

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vremena raspada i pretvara u materijal od koga jenapravljena - glina).Prema novoj sistematizaciji konzervatorskog posla,aktivnu konzervaciju primenjujemo na: -organskom i sinteti~kom materijalu (sinteti~kesmole - poliesteri, silikonske smole, epoksi smole,}ilibar i sl.)-neorganskom materijalu (keramika, staklo, metal,kamen i dr.) -kompozitnom materijalu (materijali koji se sastojeiz vi{e materijala koji se me|usobno razlikuju i nereaguju me|usobno - kombinacija organskih ineorganskih arheolo{kih materijala - kost i metal,kost i staklo, zatim, keramika i sinteti~ke smole zakonzervaciju i sl.)Osnovni pristup koji DIJANA Centar primenjujeuklju~uje:- Privremene konzervatorske tretmane- Reverzibilne metode- Kori{}enje nedestruktivnih metodaTokom procesa konzervacije u DIJANA Centru sevodi detaljna dokumentacija koju ~ine:radni dnevnik, konzervatorski dosije-karton, kom-pjuterski dosije, konzervatorski dosije za tre}a lica,fotodokumentacija (klasi~na i digitalna), kartonzaduènja, knjiga reversa, crteì, konsultacije i dr.

Obavljene konzervacije Za Narodni muzej Beograd ura|ene su konzer-vacije arheolo{kih predmeta sa slede}ih lokaliteta:Belovode, Plo~nik, Vajuga Pesak, Vajuga Karaula,Konopi{te, Korbovo, Tekija, Dijana - Karata{,Guberevac, Petrova crkva.-220 konzervacija keramike: veliki broj tretiranihpredmeta bio je od tro{ne keramike, ~ija strukturai povr{ina su uveliko bile zahva}ene procesimaraspadanja; radilo se i na fragmentovanim pitosimai sudovima velikih dimenzija -26 konzervacija stakla, prete`no iz rimskog perio-da, ~esto veoma fragilnog sa ve} uznapredovalimprocesom dehidracije povr{ine- 8 skulptura od kamena i fragmenata rimske plas-tike, ~esto sa nestabilnom strukturom i povr{inom.-oko 200 primeraka }ilibara, uglavnom sa veomaugroènom strukturom i povr{inom zahva}enomprogresivnim procesima dehidracije-oko 50 kalupa kerami~kih predmeta (od gipsa isilikona) -oko 200 kopija rimskih lampi-ìàka, rimskihlon~i}a i praistoriskih posuda manjih dimenzija. Za druge muzeje ra|ene su konzervacije skulpturaod razli~itih materijala, keramike, stakla i kopijepraistorijskih posuda:Muzej Savremene umetnosti, Narodni muzejPan~evo, Zavod za za{titu spomenika kulture uPan~evu, Narodni muzeji u Kru{evacu i â~aku,Arheolo{ki institut, Zavod za za{titu spomenika kul-ture u Kotoru.-68 skulptura od kamena, drveta, metala, plasti~nihmaterijala, celuloze, keramike i gipsa, iz periodasavremene umetnosti-72 kerami~ka predmeta, iz praistorije i srednjegveka-25 staklenih predmeta, iz rimskog i sred-njovekovnog perioda - oko 200 kopija praistorijskih predmeta

POSEBNE AKTIVNOSTI

BIBLIOTEKA DIJANA Centra - treba da pomognestvaranju modere, profesionalne i stru~ne publicis-tike, koja }e istovremeno sluìti i kao ud`benici,priru~nici, kao pomo} u radu konzervatora, ali i uti-cati na podizanje svesti stru~ne i druge javnosti osu{tini i zna~aju rada na o~uvanju kulturne ba{tine.

U toku 2002. godine, biblioteka DIJANA Centraoboga}ena je za novih 250 naslova. Svi primercinovonabavljenih knjiga dobijeni na poklon od Getiinstituta iz Los An|elesa (savremena, fundamental-na izdanja iz konzervacije i muzeologije) , zatimSidni II Trasta iz V. Britanije, UKIC-a iz V.Britanije,International Academy Project-a iz V. Britanije,Laboratorije za konzervaciju iz Draginjana, Zavodaza za{titu spomenika kulture Srbije, Arheolo{koginstituta, Izdava~ke ku}e "Klio", Narodnog muzeja uLjubljani i Dru{tva muzejskih radnika Slovenije. Literatura o Preventivnoj za{titi dobijena je odICCROM-a iz Rima, Care of Collections Forum-a izV. Britanije, Muzeja u Alsteru iz Irske, odNacionalnog trasta [kotske, od Kanadskog institu-ta za konzervaciju, od Konzervatorskog komitetaICOM-a.IZDAVA^KA DELATNOST - razvija se sa ciljem dapokrije sve aspekte delatnosti DIJANE. DIJANApublikacija se distribuira svim srodnim institucijamau zemlji i svetu. Mora se ista}i da je ova publikacijaprodrla u svet za{tite i kulture i veoma je zaslu`naza istaknuto mesto koje danas DIJANA Centar imau konzervatortskoj struci, kako kod nas tako i usvetu. DIJANA Radne sveske treba da dobijukarakter stru~nog priru~nikaKonzervatorski re~nik ~ija izrada je u toku, pred-stavlja fudamentalni poduhvat kada se radi o konz-ervatorskoj struci, jer su izdanja ove vrste veomaretka u svetu za{tite kulturnih dobara. Prevo|enje stru~ne literature je deo redovnihaktivnosti u DIJANI. U zavr{noj fazi su poslovi okopripremanja za {tampu engleskog izdanja edicije"Nauka za konzervatore", koju ~ine tri knjige, a utoku 2002. godine pripremljene su za {tampu prvedve: "Uvod u materijale" i "î{}enje". Sve posloveoko prevoda sa engleskog i tehni~ku pripremuobavio je stru~ni tim DIJANA Centra, na ~elu saMilicom Stojanovi}, hemi~arem.Za knjigu "Konzervacija na arheolo{kom terenu", utoku je proces dobijanja autorskih prava. Sveposlove oko prevo|enja sa engleskog jezika itehni~ko ure|enje teksta realizuje stru~nitim DIJANA Centra (VladimirMartinovi}, Vesna @ivkovi}, DanijelaKovijani} i dr.).Planirano je i izdavanje knjige"Muzeji i Etika", u saradnji saizdava~kom ku}om "Klio" za kojuje prevod uradio stru~ni tim izDIJANA Centra, na ~elu saMalenom Stoj~ev.PREZENTACIJE - DIJANA Centarrealizuje prezentacije ~iji su ciljevi:- upoznavanje doma}e i svetske javnosti sarezultatima DIJANA Centra u oblasti preventivneza{tite arheolo{kog materijala i edukaciji mladihkadrova i specijalizaciji postoje}ih- "otvaranje" Muzeja, muzeologije i za{tite kulturnihdobara prema {irokoj javnosti i publici, kako bi sepublika "uvukla" u muzejsku problematiku i

sadràje- da javnost postaje svesna sopstvenog kulturnognasle|a i potrebne brige za njegovo o~uvanjeMultimedijalne prezentacije DIJANE prikazuju sveaspekte njenih aktivnosti, od osnivanja do danas.Videoprezentacije su na srpskom i engleskom jeziku.Internet prezentacija - Od 1998. godine DIJANACentar ima web sajt koji se redovno aùrira.Javne radionice su akcije u kojima se publika ijavnost direktno uklju~uju u konzervatorske sadràjei otkrivanje tajni za{tite arheolo{kog i muzejskogmaterijala, u specijalizovane programe preventivneza{tite ili u tradicionalne na~ine pravljenja arheo-lo{ke keramike.Tokom Letnje {kole organizovane su dve uspe{nejavne radionice, koje su pokazale da se {irokapublika moè lako animirati zanimljivimmuzeolo{kim sadràjima i da je mogu}eraznovrsnu publiku, od dece do starijih, privu}i i uve}em broju uklju~iti u na{e muzeolo{ke aktivnos-ti. Jedan deo publike koji je tokom leta "otkrio" na{rad u Galeriji fresaka, nastavio je da prati na{eaktivnosti i ~esto prisustvuje predavanjima na{ihgostuju}ih predava~a. Tokom radionice "Tajne konzervacije" publika jedobila priliku da se oproba u savla|ivanju osnovnihkonzervatorskih ve{tina i postupaka, kao {to suspajanje i restauracija, na primerima novije etno-grafske ili savremene keramike. Ova radionica jeuklju~ila veoma raznovrsnu publiku, od sasvimmale dece od 5-6 godina, do umetnika dizajnera,a tako|e i pripadnike tre}eg doba. U rad radionice "Kopija i original" uklju~ili su se istudenti FPU, arheologije i istorije umetnosti, ali jebilo i starijih zainteresovanih. U ranije pripremljenimkalupima, u~esnici su u glini izlivali kopije rimskihsvetiljki-ìàka, zatim obra|ivali odlivke, u~estvovaliu njihovom pe~enju i na kraju retu{u. Svaki u~esnikradionice je proces pravljenja kopija mogao daizvede od po~etka do kraja i da nakon zavr{etkaradionice ponese sa sobom gotovu kopiju zauspomenu. Instruktori i mentori u obe radionice su bili mladisaradnici DIJANA Centra. CD ROM o DIJANA Centru - svake godine objavlju-je se nova verzija, na engleskom i srpskom jeziku.Pojavljivanje u sredstvima informisanja -redovnoizve{tavanje o aktivnostima DIJANA Centra u radioi TV emisijama, dnevnim i specijalizovanim novina-ma i stru~nim ~asopisima.Specijalizovana predavanja, edukativnog karakterao va`nosti preventivne za{tite i poja~ane brige zakulturno nasle|e.Stru~ni tekstovi u doma}im i inostranim ~asopisimai publikacijama, koji afirmi{u sistem preventivne

za{tite kao osnovni muzeolo{kistrate{ki princip o~uvanja kul-

turnog nasle|a, tekstovi kojiafirmi{u na{u zemlju,Narodni muzej i sistempreventivne za{tite kojiDIJANA Centar sprovo-di.Specijalizovana preda-vanja - Tokom 2002.

godine Mila Popovi}-@ivan~evi} je za stru~njake i

{iru javnost odràla predavan-ja:

"Preventivna za{tita kao evropska strategijao~uvanja kulturnog nasle|a", Valjevo- Brankovina,mart 2002." Preventivna za{tita kao osnovni muzeolo{ki prin-cip ~uvanja kulturnih dobara" Muzej Nikole Tesle,18. maj 2002, Me|unarodni dan muzeja.

U 2002. godini zapo~ete su i opse`nepripreme za konzervaciju mozaika izdepoa u Galeriji fresaka - prikupljanje iprou~avanje stare dokumentacije, detaljniopisi stanja i snimanje materijala.Konsultovani su i svi relevantni ~inioci,bitni za pripreme konzervacije koja seplanira za kraj 2003. godine, u saradnji saMuzejem iz Arla i Patrikom Blanom, jed-nim od vode}ih stru~njaka za za{titumozaika danas u Evropi.

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-Articles in domestic and foreign magazines andpublications, which in an affirmative way discussthe system of preventive conservation as the fun-damental museological strategic principle inpreservation of cultural heritage, articles about ourcountry, National Museum and the preventive con-servation system DIANA Centre carries outSpecialized lectures Mila Popovi} @ivan~evi} heldfor professionals and the broader public:-Preventive Conservation as European strategy forpreservation of cultural heritage", Valjevo, March2002-Preventive Conservation as a fundamental muse-ological principle in safekeeping cultural heritage",Nikola Tesla Museum, 18 May 2002, InternationalMuseum Day-The Role of DIANA Centre in establishing preven-tive conservation in our country", Gallery ofFrescoes, August 2002

Papers1. Mila Popovi} @ivan~evi}, Five Years on - TheDIANA Centre for Conservation, Conservation NewsNo 77, March 2002, London2. Mila Popovi} @ivan~evi}, The Way DIANA func-tioned in 2001, DIANA 7, March 2002Seminar on "Conditions of safekeeping culturalproperty in Yugoslavia" two topics:1. Mila Popovi} @ivan~evi} "Preventive Conservationas a fundamental museological principle in safe-keeping cultural heritage"2. Mila Popovi} @ivan~evi}, Problems of microor-ganisms in the storages of the National MuseumBelgrade Both papers are in print.3. Collaborators of DIANA centre: Malena Stoj~ev,Maja Frankovi}, Milica Stojanovi}, Vesna @ivkovi},Danijela Kovjani}, Ana Marjanovi}, Nemanja Mrdji},Tamara Lujak, Dejan Kivi}, Rade Pajovi}, BojanGeorgijevski contributed to DIANA No. 7

4.INTERNATIONAL, REGIONAL AND LOCALACTIVITIES are aimed at: - Professional networking with international, region-al and local level museums and conservation insti-tutions- Based on the preventive conservation strategyconcept developed by DIANA Centre should pro-vide adequate place in the Balkan region, Europeand the world for our country by virtue of its cul-tural heritage

5. SEMINARSa) In close cooperation with the Yugoslav NationalCommittee of ICOM, DIANA participates in semi-nars and workshops on further development ofYugoslav museology, e.g. the October 2001 semi-nar held in Kru{evac under the general topic "Howto go on".

b) DIANA hosted the educational project "OneSchool - One Monument" that the MacedonianNGO SEISMO organised under the auspices of theCouncil of Europe (15-17 December 2001). Themodel of education established by DIANA Centrewas presented as one of the possible and positiveexamples for educating young people in safe-guarding cultural heritage.c) DIANA in cooperation with YU NC ICOM organ-ised the first seminar on preventive conservation"Keeping conditions of cultural property inYugoslavia" in the Gallery of Frescoes, February 3-5, 2002. The Seminar gathered over 150 expertsfrom all over Yugoslavia and was successful inmaking the public and responsible institutionsaware of the extremely difficult conditions of cultur-al property in the countryMila Popovi}-@ivan~evi} talked on two topics at theSeminar:-Preventive Conservation as the FundamentalMuseological Principle for Preservation of Culturalheritage-Problems of Microorganisms in the Storages ofthe National MuseumOctober 21-23, 2002 in the Gallery of Frescoes incooperation with YU NC ICOM a Seminar on"Museums and the Public" was held. The Seminardealt both with the education of museum profes-sionals but also with education of the publicthrough museum programmes. Seminar was aimedat supporting museums to- become important information, education andcommunication centres maintaining intensive andinteractive relationship with the public- open to the public and visitors; include the pub-lic in all museum activities and programmes inorder to enhance the care for cultural heritage andits affirmation and preservation.This Seminar gave DIANA Centre an opportunity topresent its experience in education of new and ofthe existing museum staff in preservation as well asits work on raising the awareness of the publicabout the concept of preventive conservation,including the public in the preservation of culturalheritage, offering access to information on preven-tive conservation to the public. The future project designed by the young team ofDIANA centre (Vesna @ivkovi}, Ana Kocjan andBojan Georgijevski) "The Young in Museum" wasalso presented at this seminar.d) Within the framework of the InternationalConference on Environmental Technologies,Renewable Resources and Ethics of Sustainabilitybased on the project Sustainable Research andEducation via Interdisciplinariness and Harmony forthe World Solar Program 1996-2005 held 21 - 26October 2002 in the Gallery of Frescoes, DIANAorganised a day programme "Excursion to theHarmony - Arts as the Sustainability Resource".Mila Popovi}- @ivan~evi} talked on Spirituality,Materiality and Formality - Archaeological Objects

e) Project "Belgrade 2002" lasted from October 30till November 7, 2002 as joint venture with StudioArt Centres International (SACI), Florence. ForAmerican art history students we organized in theGallery of Frescoes a programme that helped themlearn about the fundamental achievements andcertain features of our cultural heritage and our carefor its preservation. They attended lectures on:- Serbian mediaeval art and culture (MarijaMatej~i}, DIANA Centre)- The importance of preventive conservation imple-mentation in preserving our cultural heritage andthe role of DIANA Centre (Mila Popovi}-@ivan~evi})- Paths of Amber through Europe in archaeologi-cal epochs (Aleksandar Palavestra, Faculty ofPhilosophy) and worked in two workshops:- "Byzantine Icons" (Dragan Zdravkovi}, Faculty ofApplied Arts)-"Conservation of Ceramics" (Mila Popovi}-@ivan~evi}, DIANA Centre)

This project brought to DIANA Centre several per-sons important in European culture, e.g. MaryBeckinsale, well known art historian and theoreti-cian, director of the SACI and Roberta Lapucci,renown restorer-painter, famous for her conserva-tion of Caravaggio paintings for which she wasawarded by UNESCO.It has been agreed that the project should be con-tinued in 2003 and on, and the cooperationbetween SACI and DIANA Centre include exchangeof experience and experts in conservation and pre-ventive conservation.e) On December 23, 2002 a consultation on"Preparing Strategic Plans of MuseumDevelopment" was held at the Gallery of Frescoesof National Museum Belgrade. The meeting was ini-tiated by many museums in our country wishing toavail themselves of the knowledge and experienceof the National Museum in order to prepare reor-ganization in their own museums. Members of theStrategic team of the National Museum Belgrade,eminent experts in reorganization of cultural institu-tions and representatives of the Ministry of Cultureand Information took part in the meeting.

Visits of foreign experts:During 2002 many eminent experts visited DIANACentre and participated in our basic and special-ized programmes of education:

Lester Borley, National Trust of Scotland, UKSandra Davison, Davison Studio, UKRobin Symonds, Museum of London, UKPatrick Boylan, UNESCOMark Francis, Durham University, UK

Regional CooperationDuring 2002 many eminent experts from formerYugoslav republics participated in our specializedprogrammes of education:Tomislav [ola, Zagreb University, CroatiaJana [ubi}-Prislan, Gori{ki Museum, Society ofConservators of SloveniaJanja Slabe, National Museum Ljubljana, Slovenia

Local cooperationThis kind of cooperation was developing on part-nership principles by giving and receiving special-ist services between DIANA centre and RegionalMuseum in Pan~evo, Town Institute for Protection inPan~evo, Regional museums in Kru{evac andUìce, Faculty of Metallurgy and Technology,Chemical Faculty, Department for Physical

Mosaics: the preparations have been started forconservation of mosaics stored in the Gallery ofFrescoes: collecting and studying of existingdocumentation, detailed descriptions of condi-tions and taking photographs of the materialand acquiring all relevant information and con-sultations necessary for the work that is plannedto start by the end of 2003. The work should bedone in cooperation with the Museum in Arlesand with Patrick Blanc who is one of the lead-ing experts in Europe today in conservation ofmosaics.

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"Uloga DIJANA Centra u uspostavljanju preven-tivne za{tite u na{oj zemlji", Galerija fresaka, avgust2002. Objavljeni stru~ni tekstovi u 2002. godini: Mila Popovi}-@ivan~evi}, Five Years on-The DIANACenter for Conservation, Conservation News, No77, mart 2002, London.Mila Popovi}-@ivan~evi}, The way DIANA func-tioned in 2001, DIANA 7, mart 2002.Mila Popovi}-@ivan~evi}, "Preventivna za{tita kao

osnovni muzeolo{ki princip o~uvanja kulturnognasle|a", "Problem mikroorganizama u depoimaNarodnog muzeja", seminar "Uslovi ~uvanja kul-turnih dobara u Jugoslaviji", februar 2002. (oba tek-sta su u pripremi za {tampu).

Stalni saradnici DIJANA Centra: Malena Stoj~ev,Vesna @ivkovi}, Maja Frankovi}, Milica Stojanovi},Danijela Kovjani}, Ana Marjanovi}, Nemanja Mr|i},Tamara Lujak, Maja Frankovi}, Dejan Kivi}, RadePajovi}, Bojan Georgievski napisali su zapaènestru~ne tekstove iz razli~itih oblasti za{tite za pub-likaciju DIJANA 7.

ME\UNARODNE, REGIONALNE I LOKALNEAKTIVNOSTI

Ciljevi ovih aktivnosti DIJANA Centra su:-stru~no umreàvanje sa me|unarodnim, regional-nim i lokalnim muzejima i institucijama za{tite-koncept DIJANA Centra zasnovan na strategijipreventivne za{tite treba da omogu}i da na{azemlja kroz svoje kulturno nasle|e dobije svojemesto u Balkanskoj regiji, Evropi i svetu

SEMINARI

Sara|uju}i sa Jugoslovenskim nacionalnim komite-tom ICOM-a, DIJANA je u~estvovala na Seminaruu Kru{evcu po~etkom oktobra 2001. godine. Naseminaru pod nazivom "Kako dalje" u~esnici su sebavili problemima jugoslovenske muzeologije.Od 15. do 17. decembra 2001. godine, DIJANA jebila doma}in projekta edukacije "Jedna {kola jedanspomenik" koji organizuje NGO SEISMO izMakedonije u saradnji sa Evropskim savetom.Model edukacije koji je uspostavljen u DIJANI bioje prezentovan na ovom skupu kao jedna odmogu}nosti i pozitivnih primera edukacije mladih uza{titi kulturnog nasle|a. Od 3. - 5. februara 2002. godine u Galeriji fresa-ka, DIJANA je zajedno sa YU NC ICOM-om orga-nizovala prvi Seminar o preventivnoj za{titi "Uslovi~uvanja kulturnih dobara u muzejima Jugoslavije".Seminar je okupio preko 150 stru~njaka iz muzeja

{irom Jugoslavije i uspeo je da pokrene javnost iodgovorne institucije na suo~avanje sa krajnjezabrinjavaju}im stanjem pokretnih kulturnih dobarau na{oj zemlji.Mila Popovi}-@ivan~evi} je na ovom Seminaruu~estvovala sa dva rada:-"Preventivna za{tita kao osnovni muzeolo{ki prin-cip o~uvanja kulturnog nasle|a"-"Problem mikroorganizama u depoima Narodnogmuzeja" Od 21.-23. oktobra 2002. godine u Galeriji Fresaka,zajedno sa YU NC ICOM-om organizovan je sem-inar "Muzeji i publika", koji je pruìo realnu slikustanja ovih delatnosti u muzejima Jugoslavije i kojitreba da pomogne {irokom i dinami~nom otvaran-ju muzeja prema javnosti i publici.Od 21. do 26. oktobra 2002. godine u okvirume|unarodne konferencije "Enviromental technolo-gies, Renewable Resources and Ethics ofSustainability" projekta "Research and Education

ISTRA@IVA^KI RADFizi~ko-hhemijska laboratorija

Tokom 2002. godine DIJANA Centar je, zahvaljuju}i saradnji sa Metalur{ko-tehnolo{kim fakultetom,Hemijskim Fakultetom - PMF i Institutom za ispitivanje materijala, obavio deo poslova na:- istraìva~kom radu na nekim materijalima za konzervaciju (kompatibilnost, hidrofobi~nost): OHO IIspec, Epoksi smole: Plastic Coating, Aubelbond, Paraloid B-72 i Paraloid B- 67 i dr. - istraìvanje destruktivnih proseca na kulturnim dobrima- istraìvanju i pronalaènju najadekvatnijih na~ina spre~avanja i usporavanja procesa propadanja: pro-gresivne dehidracije povr{ine stakla i }ilibara, raspadanje povr{ine keramike i kamena i dr. - istraìvanju starih tehnologija keramike: gruba eneolitska keramika, i nedovoljno pe~ena keramikabronzanog doba- istraìvanju uslova ~uvanja kulturnih dobara (klima, temperatura, vlaga, svetlost, bolesti i dr.) Pripremljen je preliminarni elaborat, a u pripremi je i Projekat o osnivanju fizi~ko-hemijske labaratorije uNarodnom muzeju, koji se radi zajedno sa Katedrom za fizi~ku hemiju PMF.

Objects prepared for exhibitionPredmeti pripremljeni za izlo`bu

19

Chemistry- Faculty of Natural Sciences andMathematics, Faculty of Mining and Geology,Department for Microbiology of the Faculty ofNatural Sciences and Mathematics, Institute forTesting Materials, Institute for Health Protection ofSerbia, Meteorological Institute of Serbia, Faculty ofApplied Arts, etc.

FINANCING

One could say that from the very beginning wehave been applying a new method in financing theculture that contains basically new marketing prin-ciples. Widening the group of friends around DIANACentre through sponsors and donors we manageto promote the awareness of the importance ofcultural heritage beyond museum world. Permanently

opening our activities to broadest public,we are raising the awareness of the publicof its own cultural heritage and care nec-essary for its preservation.Since the beginning, this kind of workhelped us build and develop a network ofsponsors and donors. We participate incompetitions and participation programmes(UNESCO).Work for other museums has become asignificant part of our work, and seniors arenow becoming reliable assistants.DIANA Centre continues with the marketingapproach to raising funds for its activities anddevelopment. We successfully raised funds fromour donors and sponsors for participation expens-es of foreign lecturers and experts, acquiring partof costly equipment, instruments, tools and mate-rial for work, literature, etc.Regretfully, part of the operating expenses andexpenses for adaptation of the premises that wereto be financed by the Ministry of Culture had to becovered mainly by the National Museum Belgradeitself.In 2002 the activities of DIANA Centre were sup-ported by:UNESCO - ParisGovernment of Republic of Serbia - Ministry ofCultureSydney Franklin II Trust, LondonLeventis Foundation, LondonEkstra Mimark, BelgradeGetty Conservation Institute, L.A.Media - ZemunUKIC, LondonFrench Cultural CentreArchaeological InstituteInstitute for Protection of Cultural Monuments ofSerbiaInternational Academy Project- Intermuseum Conservation Association, OhioSACI, FlorenceIn spite of a fairly developed network of donors andsponsors, due to its dynamic development andwidening the scope of its activities DIANA Centre is

constantly faced with financing problems for itsdaily activities, particularly when it relates toengagement of domestic experts and collaboratorsof DIANA Centre. Our donations are mainly grant-ed for acquiring material for work, equipment, tools,instruments, books and publications, scholarshipsfor specializations and foreign experts.

OTHER ACTIVITIES

-In April/May 2002 Mila Popovi}-@ivan~evi} tutoredthe paper for promotion of Dejan Petrovi} from theRegional Museum â~ak "Conservation of askyphos from the Antique collection of the NationalMuseum Belgrade "-Mila Popovi}-@ivan~evi} regularly participated inthe work of the Management Board of the NationalMuseum Belgrade. She was particularly engaged

in Self-evaluation Report, Institutional Evaluationand the Strategic Plan of Development of theNational Museum Belgrade -Mila Popovi}-@ivan~evi} took part in the work ofthe High Committee for Reconstruction of theNational Museum Belgrade and particularly in thesubcommittee for internal reorganization and sys-tematization of working posts of the Museum-Mila Popovi}-@ivan~evi} is active participant aschairperson in all activities of the Yugoslav NationalCommittee of ICOM both in the country andabroad-Mila Popovi}-@ivan~evi} actively participated inpresentations of the new Strategic Plan of theNational Museum Belgrade and internal organisa-tion in mass media (newspapers, magazines, TVand radio broadcasts, etc.) either as author of arti-cles and contributions or as participant in specialTV and radio broadcasts.

When it is too hot insideRad u dvori{tu tokom letnjih vru}ina

Cleaning of a Roman glass balsamariumî{}enje rimkog balsamariuma

HOW TO GO ON?As there is no similar institution in our environs,DIANA Centre is willing to share its knowledge,experience, energy and capacities with all inthis region having interest in and need forthem.Our final goal is that DIANA Centre turns intoRegional Centre for Preventive Conservation.

20

via Interdisciplinariness and Harmony for the WorldSolar Program 1996-2005", u Galeriji Fresaka, uCentru DIJANA organizovan je poseban programpod nazivom "Excursion to the Harmony - Arts asthe Sustainability Resource". Mila Popovi}-@ivan~evi} je za ova skup pripremila rad:"Spiritualnost, materijalnost i forma arheolo{kihpredmeta".Od 30. oktobra - 7. novembra 2002. godine, uokviru Projekta "Beograd 2002" ,u DIJANA Centrusu organizovana predavanja i radionice zaameri~ke studente umetnosti i konzervacije izStudio Art Centres International (SACI) iz Firence.Cilj ovog projekta je da se ameri~ki studenti i pro-fesori iz Firence upoznaju sa osnovnim tekovinamai nekim specifi~nostima na{eg kulturnog nasle|a ibrigom za njegovo o~uvanje. U okviru programakoji se odvijao u Galeriji fresaka odràna su pre-davanja: "Srpska srednjevekovna umetnost i kultura" (MarijaMatej~i}, DIJANA Centar)."Va`nost primene preventivne za{tite u o~uvanjuna{e kulturne ba{tine i uloga DIJANA Centra unjenoj primeni" (Mila Popovi-@ivan~evi}, DIJANA Centar)"Putevi }ilibara u Evropi u arheolo{kim epohama"(Aleksandar Palavestra, Filozofski Fakultet)Tako|e su organizovane i radionice:"Vizantijska ikona" (Dragan Zdravkovi}, FPU)"Konzervacija keramike" (Mila Popovi}-@ivan~evi},DIJANA Centar). Tokom boravka na{ih kolega iz Firence uspostavl-jena je zna~ajna saradnjasa DIJANA Centrom, koja}e se ubudu}e ogledati urazmeni iskustava istru~njaka iz konzervacije ipreventivne za{tite. U real-izaciji ovog projektau~estvuje nekolikozna~ajnih imena evropskekulture, kao {to su MeriBekenstal, poznati teo-reti~ar umetnosti i direktor-ka SACI-a, i RobertuLapu~i, renomirani slikarrestaurator, poznata pokonzervaciji slikaKarava|a, za koju je dobi-la i jednu od presti`nihUNESCO-vih nagrada. Dogovoreno je da se ovajprojekat nastavi i u 2003.godini i dalje, a u toku sui pripreme za razvijanjedirektne saradnje izme|uSACI-a i DIJANA Centra.Od 21. do 23. novembra2002. godine u GalerijiFresaka odràn je Seminar "Muzeji i publika".Seminar se bavio problemima edukacije muzejskihkadrova, ali i edukacijom javnosti kroz muzejskesadràje. Seminar treba da pomogne da se, uskladu sa razvojem nove muzeologije i strate{kimopredeljenjima, muzeji:- formiraju kao sna`no informativno, edukativno ikomunikativno sredi{te koje }e biti u intezivnojinteraktivnoj vezi sa publikom- {iroko otvore prema javnosti i publici, da uklju~ejavnost u sve muzejske aktivnosti i sadràje u ciljupoja~anja brige za kulturno nasle|e i njegovu afir-maciju i o~uvanje.U okviru tog Seminara DIJANA je predstavila svojaiskustva i rad na pribliàvanju koncepta preventivneza{tite javnosti, uklju~ivanju javnosti u brigu zao~uvanje kulturnog nasle|a i omogu}avanje

javnosti da ima pristup informacijama oPreventivnoj za{titi. Na Seminaru je posebno predstavljen projekat timaiz DIJANA Centra (Vesna @ivkovi}, Ana Kocjan iBojan Georgievski) "Deca u muzeju".Savetovanje "Kako pripremiti strate{ki plan razvojamuzeja" je odràno u Galeriji fresaka, 23. decem-bra 2002. godine. Ovo Savetovanje su iniciralimnogobrojni muzeji iz na{e zemlje, kako bi iskoris-tili iskustva i ste~ena znanja Narodnog muzeja zapripremanje procesa reorganizacije u svojoj sredi-ni. U Savetovanju su u~estvovali, pored Strate{kogtima za razvoj Narodnog muzeja i eksperti za reor-ganizacije institucija kulture i predstavniciMinistarstva kulture i informisanja.

PARTNERSTVO

Me|unarodna saradnjaU Oksfordu, od 20. do 24.aprila 2002. godine, uE{molijan Muzeju, Mila Popovi}-@ivan~evi} jeu~estvovala na Redovnoj Godi{njoj konferencijiSekcije za keramiku i staklo UKIC-a (UnitedKingdom Institute for Conservation), ~iji je redovnidugogodi{nji ~lan. Tema Konferencije je bila"Propadanje tro{ne keramike i stakla" i tokomnjenog trajanja, pred kolegama iz celog sveta,prikazani su posteri o iskustvima konzervacijetro{ne keramike u DIJANA Centru i prezentovan jenovi broj DIANA Newsletter 7.U Londonu, 26.i 27. aprila, u Viktorija i Albert

Muzeju, Mila Popovi}-@ivan~evi} je prisustvovala IIGodi{njoj skup{tini Care of Collections Forum(CCF), asocijacije iz V. Britanije, koja se stara ouspostavljanju preventivne za{tite kulturnih dobarau muzejima, arhivima i bibliotekama. Ovom prilikomMila Popovi}-@ivan~evi} je primljena u redovno~lanstvo CCF, {to je rezultiralo uspostavljanjemkontakata sa kolegama i razmenu dokumentacije,iskustava i literature. U svim forumima koji imajuveze sa preventivnom za{titom u svetu, DIJANACentar ve} indetifikovan kao prepoznatljiv sistem ijedan od onih koji su dobro etablirani usprovo|enju teorije preventivne za{tite u praksu. U Solunu, oktobra 2002. godine, Maja Frankovi},saradnica DIJANA Centra, u~estvovala je naKonferenciji Me|unarodnog komiteta za konzer-vaciju mozaika (ICCM).

Posete inostranih stru~njaka Tokom 2002. godine u DIJANA Centru je gostovaove}i broj eminentnih stru~njaka koji su u~estvovaliu realizaciji osnovnih ili specijalizovanih programaedukacije:-Lester Borli, iz Nacionalnog trasta [kotske, V.Britanija -Sandra Dejvison iz Dejvison strudija, V. Britanija-Robin Sajmonds, Muzej grada Londona, V.Britanija -Patrik Bojlan, UNESKO, V. Britanija-Mark Frensis, Univerzitet u Duramu, V. Britanija

Regionalna saradnjaU realizaciji programa DIJANA Centra su 2002.godine su u~estvovali i stru~njaci iz biv{ihjugoslovenskih republika: -Tomislav [ola, Univerzitet u Zagrebu, Hrvatska-Jana [ubi}-Prislan, Gori{ki Muzej, Dru{tvo konz-ervatora Slovenije, Slovenija-Janja Slabe, Narodni muzej Ljubljana, Slovenija

Lokalna saradnjaSaradnje na lokalnom nivou je realizovana na prin-cipu partnerskih odnosa i to kroz pruànje speci-jalisti~kih usluga DIJANA Centra i obrnuto: Narodnimuzej u Pan~evu, Gradski Zavod za za{tituspomenika kulture u Pan~evu, Narodni muzeji uKru{evcu i Uìcu, Hemijski Fakultet PMF, Katedraza fizi~ku hemiju PMF, Metalursko-Tehnolo{ki fakul-tet, Rudarsko geolo{ki fakultet, Katedra za mikrobi-

ologiju PMF, Instit za ispiti-vanje materijala, Zavod zaza{titu zdravlja Srbije,Meteorolo{ki zavod Srbije,FPU i dr.

KAKO SE FINANSIRAMO

Od samog po~etkaDIJANA Centar se finansirau skladu sa novim na~i-nom finansiranja u kulturi iza{titi u SCG, koji u osnovisadrì nove marketin{keprincipe. [ire}i krug prijatelja okoDIJANA centra, prekosponzora, donatora idrugih, svest o zna~ajukulturnog nasle|a {iri sevan muzejskog kruga.Kroz stalno otvaranje na{ihaktivnosti prema javnosti,"uvla~imo" javnost u prob-leme za{tite, trudimo se dajavnost postane svesnasopstvenog kulturnog

nasle|a i brige neophodne za njegovo o~uvanje. Ovakav rad je omogu}io formiranje i razgranavan-je ~itave mreè sponzora i donatora. U~estvujemou konkursima i programima participacije UNESCO-a.Po~eli smo vrlo ozbiljno da radimo za druge muze-je i stariji polaznici ve} postaju saradnici. U 2002. godini DIJANA Centar je nastavio da razvi-ja marketin{ki na~in finansiranja svojih aktivnosti irazvoja. Uspevali smo da koriste}i sredstva dona-tora i sponzora pokrijemo tro{kove boravka iu~e{}a inostranih profesora i eksperata, nabavkudela opreme, instrumenata, alata i materijala za rad,knjiga, literature i dr.Naàlost, deo teku}ih tro{kova, odràvanja svakod-nevnog rada i adaptacije prostora, koji je trebalo dabude pokriven iz redovnih sredstava Ministarstvakulture Srbije, nije nadokna|en i uglavnom je zbog

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RREEOORRGGAANNIISSAATTIIOONN OOFF TTHHEERREEOORRGGAANNIISSAATTIIOONN OOFF TTHHEENNAATTIIOONNAALL MMUUSSEEUUMM BBEELLGGRRAADDEE NNAATTIIOONNAALL MMUUSSEEUUMM BBEELLGGRRAADDEE Biljana Rami}, prospective Ph.D.University of Arts, Belgrade

Reforms in society require reforms in culture aswell. In the period of transition we are currently in,all cultural institutions have to reorganize, to adapttheir existence and acting to the societal changes.As result, the period of transition makes the cultur-al and art institutions face the need for changingtheir organisational structure and methods of workand management.Their previous methods of work were inappropriateas they were outdated and relating to the earliersocial and political system. Therefore new organi-sational structures were needed that would providehigh quality, modern and responsible managementin order to achieve good results. This howevermeans that the process of restructuring institutionsof culture and art in our country is at stake. Theseinstitutions are expected to set their activities with-in the context of European cultural trends.The research was done as part of doctoral studiesand aimed creating conditions for new quality ofwork and development of institutions of culture andarts. Particularly challenging was the fact that thiswas a kind of pioneer work, especially when reor-ganization, internal reconstruction of cultural institu-tions was concerned.Cultural policy defining the development prioritiesand establishing a cultural model is the basis fordetermining the position of institutions of cultureand arts. It is not an easy answer to find which isthe most appropriate, most reliable and mostneeded cultural model in the countries undergoingthe transition. However, it is crucial that the defini-tion of a new model is not a dogmatic one and itshould not deny completely former society. Theemphasis should be on culture as an issue ofnational importance, as vital to be incorporated inthe international cultural developments on the equality basis.It is a must for culture to be implemented into allaspects of society, that the entire society caresabout its cultural heritage. That is the best way for

the heritage to be preserved, understood and pre-sented.It was not by chance that the National MuseumBelgrade was chosen as a starting point, as it isthe institution that is the safeguard of cultural her-itage. Its condition is the best indicator of condi-tions in other cultural institutions as well. Thereforethe National Museum Belgrade is the cultural insti-tution of the greatest societal and national impor-tance, it is the central museum institution in thecountry playing the significant role in safeguardingand presenting cultural heritage and a specific rolein education. The need for changes in the organi-sation and functioning of the system is conditionedin the first place by the need for the administrativestructure and museological activities to be adjust-ed to modern trends in social development and toprinciples of modern museology.The reorganization process of the National MuseumBelgrade is a long lasting, meticulous and phase,but indispensable one. Targeted education of theemployees was done through workshops, led byBiljana Rami}, MA in management and animationin culture and Mila Popovi}-@ivan~evi} Popovi}-@ivan~evi}, museum councillor, member of theManagement Board of the National MuseumBelgrade. Her experience in the work of DIANACentre for Preventive Conservation was of greatestsignificance for this project. Nada Seferovi}, seniorofficer in the Ministry of Culture was also memberof the team.The process was not an easy one, showing humanweaknesses and even destructive elements. All thephases usual for the life cycle of a project weresuccessfully accomplished and the theory of proj-ect management was actually confirmed.I Phase: ConceptII Phase: PlanningIII Phase: RealizationIV Phase: ControlV Phase: EvaluationVI Phase: Termination

These phases developed in the following way:I Phase of enthusiasmII Phase of expectation

III Phase of disillusionment, panicIV Phase of searching for the culpritV Phase of punishmentVI Victory

How did we work? We applied the followingmethodological procedure: SWOT analysis, aspopular and relatively inexpensive means in strate-gic planning, helped us to define strengths, weak-nesses, opportunities and threats. Its aim was tohelp Museum define its critical points and usethese elements in organisational changes: to sup-port its strengths, minimize its weaknesses, elimi-nate and decrease threats and obstacles and max-imize the use of its opportunities. Based on thisanalysis, the employees carried out self-evaluation,which required exactness of data and ability to facethe weaknesses and faults in the previous work, i.e.face the facts. This phase of self-evaluation wasrather painful and provoked some angry reactions.The National Museum Management Board thenprepared the evaluation based on these self-eval-uation reports - actually assessment of the NationalMuseum condition. Evaluation indicated numerousweaknesses mainly as result of poor communica-tion, coordination and teamwork within theMuseum. Threats could be eliminated or dimin-ished and very important and prevailing opportuni-ties were stated.The further step was preparation of the StrategicDevelopment Plan of the National MuseumBelgrade. Every department offered its own devel-opment vision and mission and according to themformulated its long-term goals, development strat-egy, main programmes and expected results.Departments made plans for their activities andprojects within time frame indicating necessaryresources and financial possibilities. The motivationplans were also given as well possibilities for liais-ing with potential and permanent partners toachieve the effects of decentralization, and enablean independent and autonomous cooperationbased on mutual interests. Finally, the evaluationmechanisms were set, as well as those related tothe assessment of the job done, follow up andcontrol, particularly the financial one.The Strategic Development Plan of the NationalMuseum Belgrade is a three-year one and its aimis to establish new quality of development and workof the Museum by planned actions, activities, andtactics and to mobilize the personnel, promote andsupport initiatives. The goal of strategic planningand the new internal organisational structure is topass from the institutional logics of existence to thelogic of projects. This means that the NationalMuseum and museums, but also institutions of cul-ture in general should adopt the logics of planning,visions of future, long-term strategic developmentplanning. In practice this should be carried outthrough long-term strategic projects, not throughindividual departmental planning. Through theseprojects departments should become parts of aninstitution as a whole. The aim is to provide theintegrative function of management, to make a staffact along the same lines, to have the same or sim-ilar ideas, goals and tasks.The strategic development plan of the NationalMuseum Belgrade defines the new strategy, newdevelopment guidelines aimed at becoming part ofnew European strategy for safeguarding moveablecultural property and implementing modern princi-ples of museology. Museums of Europe adoptedpreventive conservation as general strategy anddevelop their concepts and practices along theselines, which imply multidisciplinary management

Discussing a retouching methodDiskusija oko retu{a

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toga padao na teret Narodnog muzeja. U finansiranju aktivnosti DIJANA Centra u 2002.godini u~estvovali su:- UNESKO, Pariz- Sidni Franklin II Trast, London- Leventis Fondacija, London- Media Zemun, Zemun- Ekstra Mimark, Beograd- Geti Konzervatorski Institut, Los An|eles- UKIC, V. Britanija- Francuski kulturni Centar Beograd- Arheolo{ki Institut- Zavod za za{titu Spomenika kulture RepublikeSrbije- SACI, Firenca- International Academy Project, London- Intermuseum Conservation Association, Ohajo- Ministarstvo kulture Republike SrbijeI pored veoma razgranate mreè donatora i spon-zora, zbog dinami~nog razvoja i {irenja svojihaktivnosti, DIJANA Centar konstantno ima problemesa finansiranjem svog svakodnevnog rada, poseb-no onog dela koji se odnosi na pokrivanjeangaòvanja doma}ih eksperata i saradnikaDIJANA Centra. Na{e donacije se uglavnomodnose, a to DIJANA Centar uspe{no realizuje, namaterijal za rad, opremu, alat, instrumente, knjige istipendije za specijalizacije i inostrane eksperte.

OSTALE AKTVNOSTI

U toku aprila i maja 2002. godine, Mila Popovi}-@ivan~evi} je bila mentor Dejana Petrovi}a izNarodnog muzejaa u a~ku, u izradi stru~nog radaza vi{e zvanje iz konzervacije keramike:"Konzervacija skifosa iz Gr~ke zbirke Narodnogmuzeja u Beogradu". Mila Popovi}-@ivan~evi} je u~estvovala u raduUpravnog odbora Narodnog muzeja. Posebno jebila angaòvana oko izrade Autoevaulacije,Evaulacije i Strate{kog plana razvoja Narodnogmuzeja. Mila Popovi}-@ivan~evi} u~estvuje u radu Visokogodbora za rekonstrukciju Narodnog muzeja iposebno je angaòvana u Pododboru zaunutra{nju reorganizaciju i sistematizaciju radnihmesta Muzeja. Mila Popovi}-@ivan~evi} je aktivno uklju~ena, kaopredsednik komiteta u sve aktivnostiJugoslovenskog nacionalnog komiteta ICOM-a, una{oj zemlji i inostranstvu. Mila Popovi}-@ivan~evi} je aktivno u~estvovala uprezentacijama Strate{kog plana Narodnog muze-ja i procesa unutra{nje reorganizacije u sredstvimainformisanja i medijima (novine, ~asopisi, TV i radioemisije i sl.) i to sa informativnim tekstovima iprilozima, ali i u~e{}em u posebnim emisijama naTV i radiju.

RREEOORRGGAANNIIZZAACCIIJJAA RREEOORRGGAANNIIZZAACCIIJJAA NNAARROODDNNOOGG MMUUZZEEJJAA UUNNAARROODDNNOOGG MMUUZZEEJJAA UUBBEEOOGGRRAADDUUBBEEOOGGRRAADDUUMr Biljana Rami}Doktorant Univerziteta umetnosti u Beogradu

Reforme u dru{tvu nu`no zahtevaju i reforme u kul-turi. U periodu tranzicije u kome se trenutno nalaz-imo, sve institucije kulture moraju da se reorga-nizuju, prilagode svoje postojanje i poslovanjedru{tvenim promenama. Dakle, u periodu tranzicijei institucije kulture i umetnosti suo~avaju se sapotrebom promene organizacione strukture i na~inarada i rukovo|enja.Njihov dosada{nji na~in rada je neodrìv, jer je pre-vazi|en i vezan za prethodni dru{tveno-politi~kisistem. Potrebne su nove organizacione strukture,sa kvalitetnim, modernim kadrovskim menad`men-tom, koji daje rezultate, jer preuzimanje odgov-ornosti postaje na~in na koji funkcioni{u i instituci-je kulture i umetnosti. Dakle, u pitanju je ~itav pro-ces restruktriranja institucija kulture i umetnosti nana{im prostorima, od kojih se o~ekuje da svoj radusaglase sa evropskim kulturnim tokovima.Namera doktorske disertacije "Organizacionarekonstrukcija institucija kulture i umetnosti u tranzi-ciji", (Univerzitet umetnosti u Beogradu, mentor prof.dr Milena Dragi}evi} [e{i}), je da doprinesepronalaènju na~ina za stvaranje uslova za novi,savremeni na~in rada, a samim tim i bolji kvalitetrada i efikasniji razvoj ustanova kulture i umetnos-ti. Tako|e, poseban izazov predstavlja ~injenica daje to pionirski rad, posebno u reorganizaciji iunutra{njoj rekonstrukciji kulturnih institucija, kojimase do sada ni nauka, a ni kulturna politika nisubavile.Osnova za pozicioniranje institucija kulture i umet-nosti je kulturna politika, koja odre|uje prioriteterazvoja i uspostavlja kulturne modele. Pitanjenajprihvatljivijeg, najpouzdanijeg i najpotrebnijegkulturnog modela, u zemljama koje prolaze krozperiod tranzicije, je pitanje koje nije lako. Ipak,klju~ni momenat oko koga treba da bude koncen-trisana svaka ideja o stvaranju novog modela jeste:bez dogmatizma, bez potpunog negiranja onoga{to je bilo u prethodnom periodu, sa akcentom na

stvaranju kulture kao ne~ega {to ima nacionalnizna~aj, a {to treba uklopiti u tokove me|unarodnihkulturnih zbivanja na bazi ravnopravnosti.Neophodno je da kultura bude ugra|ena u svesfere dru{tva, da, na primer, celo dru{tvo brine osvom kulturnom nasle|u; tako }e ga najboljerazumeti, sa~uvati i drugima predstaviti.Nije slu~ajno {to se po~elo od Narodnog muzejau Beogradu, jer je re~ o instituciji za za{titu kul-turnog nasle|a, a stanje u ovoj ustanovi kulture jenajbolji pokazatelj poloàja kulturnih institucija kodnas. Narodni muzej predstavlja instituciju kulture odizuzetnog dru{tvenog i nacionalnog zna~aja, cen-tralnu muzejsku ustanovu u zemlji, koja ima va`nuulogu za{tite i prezentacije kulturnog nasle|a iposebnu ulogu edukacije. Proces reorganizovanjau Narodnom muzeju je izuzetni profesionalni izazov.Neophodnost promena u na~inu organizovanja ifunkcionisanja uslovljena je pre svega potrebom dase administrativna struktura i muzeolo{ki rad pri-lagode savremenim tokovima dru{tvenog razvoja,kao i principima savremene muzeologije. Proces reorganizacije Narodnog muzeja je dugo-trajan, mukotrpan i sastoji se od vi{e faza, ali jeneophodan. Permanentna edukacija zaposlenihodvijala se kroz rad stru~nih radionica, kao poseb-no koncipiran timski rad. Radionice su vodileBiljana Rami}, magistar nauka iz oblastimenad`menta i animacije u kulturi i Mila Popovi}-@ivan~evi}, muzejski savetnik, ~lan Upravnog odb-ora Narodnog muzeja, {ef i idejni tvorac DIANACentra za preventivnu za{titu (~ija su pozitivnaiskustva i me|unarodna afirmacija bili dragoceni zaovaj proces). Deo tima je bila i Nada Seferovi}, vi{istru~ni saradnik Ministarstva kulture.Proces se odvijao od faze odu{evljenja do fazerazo~arenja (a bilo je "i malih i velikih ljudskih sla-bosti", "delovanja destruktivnih elemenata"). Veomazna~ajno je bilo dugogodi{nje poznavanje kolekti-va Mile Popovi} @ivan~evi}, kao i "pogled sa strane"Biljane Rami}. Prolazili smo sve faze, koje ina~e~ine ìvotni ciklus projekta i zaista smo, na tajna~in, potvrdili teoriju projektnog menad`menta.I Faza: Koncepcija, kako }e se raditiII Faza: PlaniranjeIII Faza: RealizacijaIV Faza: KontrolaV Faza: Evaluacija

KAKO DALJE?

Po{to u na{em okruènju ne postoji institucijasli~nog profila, DIJANA Centar je spreman daponudi svoje znanje, iskustvo, energiju ikapacitete svima u ovoj regiji, koji za to imajupotrebe i interesovanje.Na{ cilj je da DIJANA Centar uskoro postaneRegionalni centar za preventivnu za{titu kulturnihdobara.

23

(governing and han-dling) to reduce theloss of cultural her-itage. DIANA Centrehas already beenimplementing theseprinciples.Museums have beenundergoing signifi-cant changes in thecontemporary world,their role in the socialdevelopment beco-ming a primary one.They have becomeindicators of culturaldevelopment leveland an importantfactor of cultural pol-icy participating in itsdevelopment. TheNational MuseumBelgrade is the cen-tral institution in thecountry as stated bythe Law on CulturalProperties and is anactive factor in cre-ation of museologi-cal and cultural pol-itics. The objective of the Strategic Plan is to helpand enable the National Museum to take over thissignificant role and to become a most importantmuseological centre in the Balkans, a prominentmuseological institution of regional significance. Inaccordance with this, the long-term objectives ofthe National Museum Belgrade are:1. Affirmation of the national patrimony as insepa-rable part of the Balkan, European and world cul-tural heritage through systematic, conceptual andjustified enrichment of museum funds and theiractive, diversified modern presentation.2. Becoming part of the general strategic develop-ment policy, applying principles of preventive con-servation, new methodological and theoreticalapproach that represents one of the basic elementsin the European strategy of safeguarding culturalproperty.3. National Museum as an important information,education and communication medium intensivelyinteracting with the public.These long-term objectives will be carried outthrough the following development strategies:1.Reconstruction and adaptation of the NationalMuseum Belgrade premises and museums withinits framework, storages, display rooms, workshops,offices, etc. Improving the working conditions.2.Reorganization of the process of work in alldepartments, units and services of the Museum inorder to establish a new, functional organisationalstructure aimed at providing effective, modernmuseological practices in line with European stan-dards and professional requests.3.Institution based scientific research - establishingand development of a scientific unit. Museum col-lections' accessibility and subject of research ofbroader professional public (postgraduate anddoctorate studies).4.Establishing preventive conservation as the basicand primary principle in protection of museumobjects.5.Opening of the Museum to the public: participa-tion of the public in all programmes and actions ofthe Museum as part of the increased care for cul-tural heritage and its safeguarding; development of

international relations and active participation of itsstaff in professional museum associations.The following results should be achieved after theStrategic Plan is carried out:-The Museum should exert strong influence on cul-ture and public life through its activities;-New, well-designed, permanent display andtheme exhibitions should help create new commu-nicational museum event, i.e. the synthesis whosecontents can be analyzed from various standpointsand levels. New display should offer to the visitorscomprehensive explanation of the past;-The aim of the new digital documentation systemis uniformity of data, i.e. common standards and

terminology both on thedomestic and interna-tional level, accessibilityof data, close commu-nication between thesubjects within theMuseum and within themuseum community ingeneral;-Scientific researchshould result with:a) Comprehensivetreatment of archaeo-logical material (museo-logical and scientific);b) Systematic enrich-ment of collections;c) Participation in rele-vant projects;d) Advancement of pro-fessionals and betterstatus within the profes-sion;e) Giving up of stereo-type images about thepast.-Printed, digital, visualpresentations shouldsupport high quality andvaried presentation of

cultural property and museological activities;- New forms of education of the public are expect-ed to form new public and to change the age andprofessional structure of it as well as to foster newattitude of broader public toward cultural heritageand its preservation- Implementation of preventive conservation princi-ples would lead to building adequate environmen-tal conditions for safeguarding cultural property, todecreasing endangerment to objects and prolong-ing their life, stopping and slowing destructiveprocesses and minimizing the threats to museumcollections. It will help establish adequate condi-tions for storing, treatments and presentation of the

heritage, better working conditions for independ-ence in work, acquire new equipment and applynew methods in treatment, study and protection.- Completing and extending museum collectionsshould help adequate presentation of historicperiods and cultures. In the same time thisshould help increase the number of importantand extremely important cultural objects.- Presentations of lasting values of cultural her-itage should lead to increasing the number ofvisitors, to development of adequate attitudetoward cultural heritage and to raising the glob-al historical awareness.The process of reorganization of the NationalMuseum Belgrade has not been finished yet.However, the main part of the work is done.What is in front of us now is the systematizationof working posts, organisation of centres andwriting of books of rules and regulations. As itwas expected, the process provoked attention ofother museums in the country and as result aconsultation about the methods for preparingstrategic plans was organised. The meetinggathered around 100 professionals from muse-ums in Serbia.The end objective of all these efforts was to pro-vide broader and systemic support of the stateand society for the work of the Museum, and ofits missionary function to safeguard and preservecultural heritage.

Display of Roman glassRimsko staklo

Mediaeval glass from KotorSrednjovekovno staklo iz Kotora

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VI Faza: TerminacijaOve Faze su se razvijale na slede}i na~in:I Faza entuzijazmaII Faza o~ekivanjaIII Faza razo~arenja, panikeIV Faza traganja za krivcem, ko je kriv?V Faza ka`njavanjaVI Faza pobede, a priznanja obi~no dobijaju onikoji nisu ni u~estvovali u svemu ovome.Kako smo radili? Po odre|enom metodolo{kompostupku SWOT analiza (strength, weakness,opportunities, threats) - popularna i relativno jed-nostavna metoda u strate{kom planiranju, pomoglanam je da defini{emo snage, slabosti, mogu}nostii pretnje vezane za stanje u Muzeju. Njen cilj je bioda pomogne Muzeju u otkrivanju kriti~kih strate{kihfaktora i upotrebi te elemente za organizacionepromene: da oja~a snage, minimalizuje slabosti,elimini{e ili smanji pretnje i prepreke i maksimalnoiskoristi mogu}nosti. Po toj analizi zaposleni suuradili autoevaluaciju koja zahteva ta~nost podata-ka i spremnost da se otvoreno sagledaju slabosti imane dosada{njeg rada, dakle suo~avanje sa~injenicama. Sada, kada je to iza nas, moè se re}ida je faza autoevaluacije bila dosta bolna i da jeizazvala burne reakcije.Na osnovu autoevaluacije Upravni odbor Narodnogmuzeja je uradio evaluaciju - procenu stanjaNarodnog muzeja. Evaluacija je pokazala da suuzrok brojnim slabostima uglavnom me|usobnalo{a komunikacija i koordininacija, nepostojanjetimskog rada. Prepreke nisu nere{ive, neke moguda se smanje, neke da se elimini{u, ali su uo~enepreovla|uju}e i vrlo zna~ajne mogu}nosti. Slede}i korak je izrada Strate{kog plana razvojaNarodnog muzeja. Princip rada po postoje}imodeljenjima i odsecima je baziran na tabelarnommodelu. Svako odeljenje je odre|ivalo svoju viziju imisiju razvoja, i u skladu sa tim dugoro~ne ciljeve,razvojne strategije, glavne programe, o~ekivanerezultate. Odeljenja su planirala svoje aktivnosti iprojekte, stavljaju}i ih u vremenski raspored, sapotrebnim resursima i finansijskim mogu}nostima.Dat je i motivacioni plan, kao i plan povezivanja sapotencijalnim i stalnim partnerima, kako bi sepostigli efekti decentralizovanja, nezavisne isamostalne saradnje, zasnovane na obostranominteresu. Tako|e, utvr|eni su i mehanizmi evaluaci-je, tj. procene dobro ili lo{e ura|enog posla, kao ipra}enje ili kontrola, posebno finansijska.Strate{ki plan razvoja Narodnog muzeja obuhvataperiod od tri godine. Plan treba, predvi|enim akci-jama, planiranim aktivnostima i razra|enim taktika-ma, da obezbedi novi kvalitet razvoja i rada Muzeja,da mobili{e snage i forsira stalnu inicijativu. Zadatakstrate{kog planiranja i nove unutra{nje organiza-cione strukture jeste prelazak sa institucionalnelogike postojanja na projektnu logiku. A to zna~i daNarodni muzej i muzeji uop{te, kao i sve instituci-je kulture, moraju da imaju logiku planiranja, vizijubudu}nosti, dugoro~ne strate{ke planove razvoja.U praksi, to }e se sprovoditi kroz dugoro~nestrate{ke projekte, a ne kroz individualne planoveodeljenja, ve} }e se odeljenja kroz te projekteugra|ivati u celinu institucije. Cilj je da se postigneintegrativna funkcija menad`menta, da ~itav kolek-tiv "di{e" na isti na~in, da ima iste ili sli~ne ideje,ciljeve i zadatke.Strate{ki plan razvoja Narodnog muzeja odre|ujenovu strategiju, nove smernice razvoja, sa ciljemuklapanja u novu evropsku strategiju za{tite pokret-nih kulturnih dobara i ugra|ivanja savremenih prin-cipa razvoja muzeologije. Muzeji Evrope su preven-tivnu za{titu usvojili kao svoju i op{tu strate{ku poli-tiku i tako razvijaju koncept i na~in rada, a to zna~i

multidisciplinarno upravljanje (rukovo|enje i ruko-vanje), kako bi se redukovali gubici kulturneba{tine. DIJANA Centar ve} radi po tim principima.Dakle, u savremenom svetu muzeji su doìvelivelike promene i dobili va`nu ulogu u razvojudru{tva, tako da se smatraju najmerodavnijimpokazateljima kulturnog nivoa, i va`nim ~iniocemkulturne politike i u~estvuju u njenom planiranju. PoZakonu o kulturnim dobrima, Narodni muzej jemati~na muzejska ustanova u zemlji i aktivan je~inilac u kreiranju muzeolo{ke i kulturne politike. CiljStrate{kog plana je da pomogne i omogu}iNarodnom muzeju da preuzme na sebe tu va`nuulogu, kao i da postane najva`niji muzeolo{ki cen-tar na Balkanu, istaknuta muzejska institucija, nelokalnog ve} regionalnog zna~aja. U skladu sa timsu dugoro~ni ciljevi Narodnog muzeja:-Afirmacija nacionalne ba{tine, kao neodvojivogdela balkanske, evropske i svetske kulturne ba{tine- kroz sistematsko, koncepcijski opravdanoboga}enje muzejskih fondova i njihovu aktivnuvi{eslojnu savremenu prezentaciju.-Uklju~ivanje u op{tu strate{ku politiku razvoja prin-cipa preventivne za{tite, novog metodolo{kog iteorijskog pristupa, koji predstavlja jedan odosnovnih elemenata evropske strategije za{tite kul-turnih dobara.-Narodni muzej kao vaàn informativno-edukativnii komunikacijski medij, u intenzivnoj interakciji sapublikom.

Dugoro~ni ciljevi bi}e ostvareni kroz slede}e ele-mente razvojne strategije:-Rekonstrukcija i adaptacija prostora Narodnogmuzeja i muzeja u sastavu, depoa, izlo`benih pros-tora, radionica, kancelarija i dr. - pobolj{anje uslo-va rada.-Reorganizacija procesa rada u svim odeljenjima,odsecima i slu`bama Muzeja, kako bi seuspostavila nova, funkcionalna organizaciona struk-tura, u cilju sprovo|enja efikasne, moderne muze-olo{ke prakse, u skladu sa evropskim standardimai profesionalnim regulativama.-Institucionalno uklju~ivanje nau~no-istraìva~kog rada - formiranje i razvojnau~ne jedinice. Muzejske zbirkesu dostupne i predmet suistraìvanja {ire stru~nejavnosti (magistarske i dok-torske studije).-Instituisanje preventivneza{tite kao osnovnog ipolaznog principaza{tite muzejskih pre-dmeta.-[iroko otvaranjeMuzeja prema jav-nosti: uklju~ivanjejavnosti u sve pro-grame i aktivnostiMuzeja, u ciljupoja~ane brige za kul-turno nasle|e i njegovuza{titu; razvijanje me|u-narodnih kontakata i aktivnouklju~ivanje stru~njaka ustrukovne muzejske asocijacije.Sprovo|enje i realizacija Strate{kog planaomogu}i}e slede}e rezultate:-Muzej }e svojom delatno{}u vr{iti snaàn uticaj nakulturu i javni ìvot.-Nova, osmi{ljena, stalna postavka i tematskeizlo`be treba da dovedu do kreiranja novog komu-nikacijskog muzeolo{kog pristupa, odnosno sinteze~iji sadràj moè biti analiziran sa vi{e razli~itih

nivoa i stajali{ta i nudi tuma~enja koja otkrivajunova zna~enja kulturnih dobara. Nova postavkatreba da ponudi posetiocima kompleksnorazumevanje predstavljanja pro{losti.-Cilj novog dokumentacionog digitalnog sistema jejednoobraznost podataka, odnosno jedinstvenistandardi i terminologija na doma}em i me|unar-odnom nivou, {iroka pristupa~nost podataka, tesnakomunikacija svih subjekata unutar Muzeja i unutarmuzeolo{ke struke uop{te.-Kroz nau~no-istraìva~ki rad o~ekuje se:a) sveobuhvatnija obrada arheolo{kog materijala(muzeolo{ka i nau~na),b) sistematsko boga}enje zbirki,v) u~e{}e u relevantnim projektima,g) usavr{avanje stru~njaka i kvalitetan status unutarstruke id) odustajanje od prakse preno{enja stereotipnihideja o pro{losti.-[tampana, digitalna, vizuelna prezentacija trebada dovede do kvalitetnije, obimnije, vi{eslojneprezentacije kulturnih dobara i muzeolo{kihaktivnosti.-Od nove edukacije o~ekuje se i nova publika iizmena starosne i profesionalne strukture i druga~ijiodnos {ire javnosti i prema kulturnoj ba{tini injenom o~uvanju.-Primena principa preventivne za{tite dove{}e dostvaranja pogodnog okruènja za ~uvanje kulturnihdobara, doprine}e smanjenju ugroènosti predmetai produètku ìvota, zaustavljanju i usporavanjudestruktivnih procesa i smanjenju rizika po muzeo-lo{ke zbirke. Omogu}i}e formiranje adekvatnihuslova za deponovanje, obradu i prezentacijuba{tine, pobolj{anje uslova rada stru~njaka,odgovornost stru~njaka, samostalnost u radu,nabavku nove opreme i primenjivanje novih meto-da u obradi, prou~avanju i za{titi.-Popunjavanje i {irenje muzejskih zbirki treba dadovede do adekvatnog predstavljanja razli~itih peri-oda i kultura, ali tako|e i da pove}a broj kulturnihdobara koja se progla{avaju dobrima od velikog i

izuzetnog zna~aja.-Predstavljanjem trajnih vred-

nosti kulturne ba{tine trebada poraste broj posetilaca,da se formira i razvijeadekvatan odnos premakulturnoj ba{tini idoprinese razvojuglobalne istorijskesvesti.Proces reorganizacijeNarodnog muzeja jo{uvek nije zavr{en.Ipak, glavni deo poslaje ura|en. Sledi rad nasistematizaciji radnih

mesta, organizaciji cen-tara i izradi pravilnika i

uputstava. Proces je, premao~ekivanju, izazvao pa`nju

ostalih muzejskih ustanova uzemlji i na njihovu inicijativu orga-

nizovano je Savetovanje o pripremistrate{kog plana u muzejima.

Savetovanje je odràno u Galeriji fresaka, udecembru 2002.godine, sa velikim brojem zain-teresovanih u~esnika (oko 100) iz celokupne muze-jske mreè Srbije. Cilj proseca reorganizacije Narodnog muzeja jezadobijanje ve}e sistemske podr{ke dràve idru{tva u radu muzejskih ustanova, za{titi io~uvanju kulturnog nasle|a, {to predstavljasvojevrsni misionarski zadatak.

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CCOODDEE OOFF EETTHHIICCSSCCOODDEE OOFF EETTHHIICCSSFFOORR CCOONNSSEERRVVAATTOORRSSFFOORR CCOONNSSEERRVVAATTOORRSSTatjana Velenik. art historianDanijela Stojiljkovi}, student of archaeology

From the very beginning of Diana Centre, it wasproved necessary to establish the professionalethics standards (principles) that will set the limitsfor the conservation treatment and diminish directinterventions on objects with the purpose of theiradequate protection. The cooperation with eminentworldwide experts made us aware of the need tosolve the problem urgently. They suggested anumber of solutions based on their own experi-ence, which could be applied to specific work con-ditions in Diana Centre. The special course onglass conservation, taught by Sandra Davison, from17-28 June 2002, stimulated us to start solving thisproblem. Namely, there were significant differencesin conservation work here and in the world thatwere difficult to overcome. While trying to define thecode of ethics of Diana Centre, we found thereexisted no universal conservation code implyingboth basic European standards and real workingconditions in our country.The researches we had been doing during the lastsummer school (July 2002.) in Diana Centre, con-firmed there existed inadequate approach towardsconservation and protection of archaeological andart objects, and necessity to define the code ofethics that would reorganize the existing situation.Even a superficial review of mentioned conditionpoints out where the problems are: the keeping andstoring conditions, working conditions, security andconservation treatments themselves are all far fromthe minimum of proscribed standards for protectionof cultural heritage and adequate care, which givesadditional importance to the need for establishingthe code of ethics. The mentioned problems exist inevery institution that is engaged in protection(museums, archives, galleries, private collections)The main goal of this project is to help create a newsystem of responsibility in conservation and pre-ventive protection of archaeological and art objects,and in accordance with precisely defined stan-dards. This should help us adapt our work to mod-ern criteria of museology and thus become part ofEuropean strategic project of preventive protection.Code of ethics should be used as a guide for con-servation professionals, and at the same time itshould determine professional relationship betweenconservators on one and the clients, colleaguesand the public on the other. The defining will enablethese groups to appreciate the professionalism ofconservators and recognize the ethical priorities oftheir work. It would also allow institutions engagedin preventive conservation, to regulate conduct ofconservators since the violation of set standardswould lead to legal consequences.As the main task of every conservator is to alwaysserve the object he is working on, with the purposeof safeguarding and conserving cultural property,this code would provide the conservator with anumber of generally accepted norms, which wouldguide him in carrying out his professional work.It would consist of four main parts:1.Code of ethics (The purpose, Rulebook on pro-fessional conduct of conservators, Rulebook onpersonal responsibility for the collections,Professional relationship)2.Guidance for Practice (Interpretation of the prin-ciples stated in the Code of ethics)3.Glossary (Definitions of terms used in the docu-ment)The realization of the project would be done trough

3 phases:I phase is related to collecting of theorical andresearch material with purpose to create the work-ing version of Code of ethics for conservatorsII phase is related to publications and promotion ofthis codeIII phase is related to the education of profession-als based on the accepted codeThe defining of this code means that it can be sub-ject to revising in order to meet the needs of dif-ferent institutions and in accordance with presentcircumstances in museology. However its applica-tion will slow down and stop deterioration of objectsand diminish the risk of repeating inadequate con-servation treatments in the future.It should be pointed out that so far, therewere noattempts to define rules of professional ethics inconservation and we were not able to find a simi-lar initiative started by a related institution.Therefore, Code of ethics for conservators and itsapplication in institutions engaged in safeguardingwould significantly contribute to raising the aware-ness on the true meaning of our cultural heritage.We expect this to contribute to the affirmation of ourcountry in the world as well." The code provides a general statment of profes-sional ethics, respect for which is regarded as min-imal requrement to practise as a member of muse-um profession"(1)

Endonetes1. ICOM Code of Professional Ethics adopted in1986 in Buenos Aires, 1996, ICOM, Paris, 22,Preamble

MMUUSSEEUUMM WWIITTHHOOUUTT MMUUSSEEUUMM WWIITTHHOOUUTT OOBBSSTTAACCLLEESSOOBBSSTTAACCLLEESSAna Kocjan, art historianMilica Mari}-Stojanovi}, chemistBojan Georgievski, student of archaeologyAna Vuji}, student of Academy SOC for Arts andConservation

The existing situation in our museums confirms thatwe are significantly lagging behind Europeanmuseums. This also refers to persons with disabil-ities, who are particularly taken care of in museumactivities all over the world. However, in our muse-ums there is no organized working or educatingsystem for persons with disabilities. This evenmeans that such persons have difficulties to entermuseum buildings or to visit exhibition halls. Aware of the lack of interest for integrating personswith disabilities in museum life as well as of the lackof care for their including in cultural courses, col-laborators of Diana Centre worked out anddesigned a project "Museum without Obstacles".This project will include work with small groups ofdisabled people: persons with physical handicaps,persons with damaged hearing, blind and weaklyeyesight persons.When various types of handicaps are considered,it was not possible to make one programme for allthese people. Therefore, we have opted for diverseworking methods. The films about history, cultureand civilization should be titled - aimed for deafpersons and persons with damage of hearing andinterpretative - for the needs of the blind. There areplans to enable these visitors to work with art materi-als:they should be offered to make objects follow-ing archeological patterns, make copies of arche-ological objects and learn about certain conservation

treatment. Visits to exhibition halls will be ade-quately organized. Blind and weakly eyesight per-sons will be able to touch exhibits, while curatorsexplain the exhibits and the general design of theexhibition. The deaf and weakly hearing persons willuse palm computers information. The precondition for these programmes is to facil-itate approaching the building. Therefore, the firststep will be to avoid physical obstacles by buildingramps made in accordance with standards. Thesecond condition will be to adapt cloakroom facil-ities for persons with disabilities. Acquainting with museum objects - pictures,sculptures and other items - would influence theircreativity, art skills, support their understanding cul-ture and their creativity be expressed in such artis-tic materials as clay, plaster, etc.Inviting them to the museum world should be achance for them to exit the "house - asylum" andan opportunity to take a part in the life of the com-munity. Persons with disabilities should becomeused to visit museums in order to become activeparticipants in their society. In other words, theseprogrammes have to become an integral part ofmuseum life. Every museum should work out itsown programmes for these people and museumexperts should specialize in working with personswith handicaps. That should change the formerpassive role of our museums: they will transforminto museums for all.Due to the problems this project is dealing with, awhole set of activities has been worked out to doc-ument his realization. Before beginning of theseprogrammes a web site should be posed. Keepingin mind that project was intended for persons withdisabilities as well as for museums' employees, thecontent of presentation should be twofold. On onehand, people with handicaps will get informationabout museum activities. On the other, museumemployees will find necessary information aboutactivities aimed for people with handicaps. This willalso be the place where they can share theirknowledge and experience with other colleagues.Finally, in order to secure the continuity of the proj-ect and its future implementation, all workshops andactivities would be recorded and presented to public.Project "Museum without Obstacles" could inspireother solutions for including persons with disabili-ties into society activities and widen their educationin other culture fields: history, literature, music,drama, etc. In other words, these diverse pro-grammes could be adapted for persons with othertypes of handicaps and support their including intomuseum activities.

KKIIDDSS AATT MMUUSSEEUUMMKKIIDDSS AATT MMUUSSEEUUMMVesna @ivkovi}, curatorAna Kocjan, art historianBojan Georgievski, student of archaeology

The overall atmosphere in society in the periodbehind us had impacted the museology as wellcausing loss of motivation for work of museum pro-fessionals. Due to the years long lack of interest inmuseums, a serious deterioration of workingconditions occurred, which resulted in low quality andintensity in work with public, especially adolescents.Current situation shows that there is no organizedsystem for educating kids through museum activi-ties, apart from few individual programs in certainmuseums. These facts, including a limited andrigid school system, resulted in misconception

PPrroojjeeccttss

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EETTII^KKII KKOODDEEKKSS EETTII^KKII KKOODDEEKKSS ZZAA KKOONNZZEERRVVAATTOORREEZZAA KKOONNZZEERRVVAATTOORREETatjana Velenik, istori~ar umetnostiDanijela Stojiljkovi}, apsolvent arheologije

Od samog osnivanja DIANA Centra, bilo je jasno daje neophodno utvrditi profesionalne eti~ke standarde,koji }e postaviti granice konzervatorskog tretmana iumanjiti direktne intervencije na samom predmetu saciljem odgovaraju}e za{tite. Saradnja sa eminentnimsvetskim stru~njacima ukazala nam je na akutnost togproblema. Oni su nam predlagali razna re{enja uskladu sa svojim iskustvima, a koja su ipak pri-menjiva na specifi~ne radne uslove DIANA Centra.Specijalisti~ki kurs iz konzervacije stakla, koji jevodila Sandra Dejvison, u periodu od 17. - 28. juna2002. godine, podstakao nas je da krenemo ure{avanje ovog problema, jer se pokazalo da pos-toje te{ko premostive razlike u konzervatorskomradu institucija za{tite kod nas i u svetu. Pripoku{aju da defini{emo Eti~ki kodeks DIANACentra, ustanovili smo da nema univerzalnogKodeksa na Evropskom nivou; stoga je potrebnonapraviti na{u verziju Eti~kog kodeksa, koji }e bitiu skladu sa osnovnim evropskim standardima, ali isa realnim uslovima rada u na{oj zemlji.Istraìvanja koja smo vr{ili u vreme letnje radioniceDIANA Centra (jul 2002. godine), potvrdila su nead-ekvatan pristup u oblasti konzervacije i za{tite arhe-olo{kih i umetni~kih predmeta, i neophodnostdefinisanja Eti~kog kodeksa, koji }e iz osnovapromeniti trenutno stanje.I povr{an pregled stanja u na{oj zemlji ukazuje gdesu problemi: uslovi ~uvanja i pohranjivanja pred-meta, uslovi rada u konzervatorskim radionicama,bezbednosne mere i sami aktivni konzervatorski pos-tupci daleko su od propisanih minimalnih standar-da za{tite kulturnih dobara i adekvatne brige onjima, {to dodatno ukazuje na postoje}i problemnedefinisanog Eti~kog kodeksa. Navedene te{ko}eprisutne su u svim institucijama koje se bave za{titom(muzeji, arhive, galerije, privatne kolekcije i zbirke). Primarni cilj ovog projekta je stvaranje novog sis-tema odgovornosti u pristupu konzervaciji i preven-tivnoj za{titi arheolo{kih i umetni~kih predmeta, a uskladu sa jasno definisanim principima - da bismo seprilagodili savremenim kriterijumima muzeologije i takouklju~ili u u evropski strate{ki projekat preventivneza{tite.Eti~ki kodeks treba da posluì kao vodi~ u konzer-vatorskoj profesiji, a u isto vreme da defini{egranice profesionalnog odnosa izme|u konzervato-ra sa jedne strane, i klijenata, kolega i javnosti sadruge. Njegovo definisanje omogu}i}e pomenutojciljnoj grupi da ceni profesionalizam i eti~ke prior-itete u poslu konzervatora. Zahvaljuju}i ovim prav-ilima, i same institucije koje se bave za{titom mo}i}e da prate i procenjuju rad konzervatora, a svakokr{enje profesionanih odgovornosti povla~i}eodgovornost i pokretanje dicipliskog postupka.Kako je zadatak svakog konzervatora da bude uslu`bi predmeta na kome radi, a u cilju za{tite ikonzervacije kulturne ba{tine, ovaj kodeks bi pruìokonzervatoru izvestan broj op{te prihva}enih normikoje bi ga usmeravale u tome.Kodeks bi se sastojao od ~etiri glavna poglavlja:1. Eti~ki kodeks (Svrha kodeksa; Pravilnik o profe-sionalnom pona{anju konzervatora; Pravilnik oli~noj odgovornosti za zbirke; Profesionalni odnosi)2. Priru~nik za prakti~nu upotrebu (Tuma~enje prin-cipa navedenih u Eti~kom kodeksu)3. Pojmovnik (Definicija kori{}enih stru~nih termina)Realizacija projekta bi se odvijala u tri faze:

I faza - Odnosi se na prikupljanje teorijskog iistraìva~kog materijala za izradu radne verzijeEti~kog kodeksa za konzervatoreII faza - Odnosi se na publikaciju i promocijuKodeksaIII faza - Podrazumeva edukaciju stru~nih kadrovana osnovu usvojenog kodeksaDefinisanje Kodeksa podrazumeva da }e sedodatno dora|ivati i pro{irivati, kako bi zadovoljiopotrebe pojedinih institucija za{tite, s obzirom napostoje}e okolnosti i trenutno stanje u muzeologiji,ali }e njegova primena svakako usporiti i zaustavitistopu propadanja i smanjiti rizik da se ubudu}emnogi primeri neadekvatne za{tite ne ponove. Treba naglasiti da do sada nije bilo poku{aja da sedefini{u pravila profesionalne etike u ovoj oblasti -nismo upoznati sa sli~nom inicijativom neke srodneustanove ili organizacije. Prema tome, definisanjeEti~kog kodeksa za konzervatore i njegova prime-na u institucijama za{tite, doprineli bi pove}anjusvesti o zna~aju na{e kulturne ba{tine, kao i afir-maciji na{e zemlje u svetu. "Kodeks daje op{ti prikaz profesionalne etike, apo{tovanje te etike smatra se minimalnim uslovomda neko moè raditi kao ~lan muzejske profesije."

MMUUZZEEJJ BBEEZZ PPRREEPPRREEKKAAMMUUZZEEJJ BBEEZZ PPRREEPPRREEKKAAAna Kocjan, istori~ar umetnostiMilica Mari}-Stojanovi}, hemi~arBojan Georgievski, student arheologijeAna Vuji}, apsolvent Akademije SPC za umetnostii konservaciju

Postoje}e stanje u na{im muzejima potvr|uje dasmo u ogromnom zaostatku u odnosu na evropskemuzeje. Uklju~ivanje osoba sa invaliditetom umuzejske aktivnosti je uobi~ajena praksa u svetu.Me|utim, u na{im muzejima jo{ uvek ne postojiorganizovani sistem rada i edukacija lica sa inva-liditetom. Ovim osobama nije obezbe|ena nimogu}nost pristupa muzejskim zgradama, kao nibezbedan obilazak muzejskih postavki.Uo~avaju}i nedostatak interesovanja za integraci-

ju osoba sa invaliditetom u muzejski ìvot, kao inebrigu dru{tva o njihovom uklju~ivanju u tokovekulture, saradnici DIANA Centra osmislili su irazradili programe projekta "Muzej bez prepreka".Ovaj projekat obuhvata rad sa manjom grupomosoba sa hendikepom: licima sa telesnim inva-liditetom, licima sa o{te}enim sluhom, slepima islabovidima. S obzirom na razli~ite vrste hendikepa, nije bilomogu}e napraviti jedinstven program za ova lica. Uskladu sa tim, predvi|ene su razli~ite metode radau realizaciji projekta. Projekcije filmova o istoriji, kul-turi i civilizaciji bi}e titlovane - zbog prilago|avanjagluvim i nagluvim osobama, odnosno simultanoprevo|ene - zbog prilago|avanja slepim osobama.Zatim, planiran je rad sa umetni~kim materijalima:modelovanje predmeta od gline prema arheolo{kimuzorcima, izrada kopija arheolo{kih predmeta iupu}ivanje u tajne konzervatorskog tretmana.Tako|e }e i obilazak izlo`bene postavke bitiprimeren potrebama osoba sa hendikepom. Slepimi slabovidim osobama }e biti omogu}eno dadodiruju eksponate, a kustosi i stru~ni saradnici }eim davati posebna obja{njenja vezana sa izlo`bu.Gluvim i nagluvim osobama informacije }e biti dos-tupne putem palm ra~unara. Omogu}avanje pristupa ustanovi u kojoj se pro-gram realizuje svakako je prvi uslov za sprovo|enjeovih programa. Stoga je savla|ivanje fizi~kih

prepreka prvi korak - neophodno je postavljanjerampi koje su napravljene u skladu sa postoje}imstandardima. Druga aktivnost je prilago|avanjesanitarnog ~vora potrebama lica sa invaliditetom.Direktnim upoznavanjem sa muzejskim predmetima(slike, skulpture i ostale muzealije), uti~e se narazvijanje kreativnosti lica sa invaliditetom, njihovihumetni~kih ve{tina, omogu}uje im se razumevanjekulture i motivi{u se za rad sa konkretnim umet-ni~kim materijalima (glina, gips...). Uklju~ivanje usvet muzeja predstavlja jo{ jedan doprinos izlaskuiz "ku}nih azila" i u~estvovanju u javnom ìvotuzajednice u kojoj ìve. Lica sa invaliditetom trebada postanu stalni posetioci muzeja, kako bi seaktivno uklju~ili u tokove kulture, a samim tim i udru{tvo uop{te. S druge strane, ovakvi programimoraju da postanu sastavni deo muzejskog ìvota.Svaki muzej treba da osmisli svoj program rada saovim osobama, uz pomo} kojih se mogu specijal-izovati muzejski stru~njaci za rad sa licima sahendikepom. Samim tim bi se promenio dosada{njipasivni stav muzeja u na{oj zemlji - postali bimuzeji namenjeni svima.Zbog problematike kojom se bavi projekat "Muzejbez prepreka", razra|en je niz aktivnosti s ciljem dase prati njegova realizacija. Pre po~etka rada naovim programima, potrebno je izraditi veb sajt.Po{to je projekat usmeren ka osobama sa inva-liditetom i ka muzejskim radnicima, sadràj morabiti dvojak. U prvom delu prezentacije nalazi}e seinformacije vezane za aktivnosti muzeja namenjenelicima sa hendikepom. U drugom delu, muzejskiradnici }e dobiti korisne informacije o radu saosobama sa invaliditetom, ali }e to biti i mesto nakome }e razmeniti sli~na iskustva i znanja sakolegama. Tako|e, sve informacije bitne za real-izaciju projekta bi}e zabeleène u dnevnik rada.Kona~no, da bi se obezbedio dalji razvoj projektai njegova primena u budu}nosti, sve radionice iaktivnosti bi}e snimljene i prezentovane javnosti.Projekat "Muzej bez prepreka" moè da podstakneosmi{ljavanje drugih na~ina uklju~ivanja lica sainvaliditetom u dru{tvene aktivnosti, kao i pro{iren-je edukacije osoba sa hendikepom na ostala poljakulture: istorija, knjièvnost, muzika, dramska umet-nost... S druge strane, ovi programi, zbog svojeraznolikosti i pristupa~nosti, mogu da se prilagodeuklju~ivanju lica sa drugim vrstama hendikepa umuzejske aktivnosti.

DDEECCAA UU MMUUZZEEJJUU DDEECCAA UU MMUUZZEEJJUU Vesna @ivkovi}, kustosAna Kocjan, istori~ar umetnostiBojan Georgievski, student arheologije

Celokupna atmosfera u dru{tvu u proteklom perio-du odrazila se i u muzeologiji, {to je prouzrokova-lo gubitak motivacije u radu muzejskih stru~njaka.Usled dugogodi{nje nezainteresovanosti nadle`nihinstitucija prema muzejima do{lo je dopogor{avanja uslova rada, {to je za posledicuimalo i opadanje kvaliteta i intenziteta u radu sapublikom, naro~ito mla|eg uzrasta. Trenutnasituacija je takva da, osim nekoliko izdvojenih pro-grama u pojedinim muzejima, ne postoji organizo-vani sistem edukacije dece kroz muzejskeaktivnosti. Svi ovi faktori, uklju~uju}i i ograni~enosti krutost {kolskog sistema, kao rezultat su imalimuzej shva}en kao nametnutu {kolsku obavezu. Po{tuju}i principe savremene muzeologije, evrops-ki muzeji imaju razvijene sloène programeuklju~ivanja mladih razli~itog uzrasta u muzejske

PPrroojjeekkttii

27

of museum as an imposed school obligation.Respecting principles of modern museology,European museums developed complex programsfor including in museum activities young people ofall ages. The fact that the British Ministry ofEducation designed a project called "Museum andGallery Education Programme" emphasizes theimportance of this segment in museum activities.During its development, DIANA Centre forPreventive Conservation established educationalsystem that includes an active approach towardseducation of young experts in the field of conser-vation, museology, preventive conservation, and ineducation of general public. Aimed at attractingand educating broadest public, in 2002 for the firsttime, public workshops were organised at DIANA.The program offered to the public possibility tolearn more about specific segments of work onmuseum material. And the response was great,particularly by kids.Realizing the lack of systematic approach in edu-cation of children and the need for systematicallyorganized work with the aim to change current sit-uation, DIANA Centre designed the project "Kids atMuseum", which could help teachers in their work.This was designed as a pilot project that includeswork with small groups of school children, from 8to 9 years of age. The aim was to stimulate theirinterest in museum as an institution. Project con-sists of programs organized as workshops, whichwould enable an active, less formal interactionbetween kids and museum. Children shouldbecome permanent participants in museum life, ifwe want to change misconceived picture of muse-um as a passive institution. They could produce anobject and with it go through all the processeswhich an object undergoes in a museum - learnabout its safeguarding (storages), conservation(conservation workshop) and making copies.Finally, with our help, children would organize anexhibition - making invitations, posters, and exhibi-tion designs. This would offer them possibility toexperience such an event.Children can build a full and completely new pic-ture of museum institutions by learning about the museum

as a complex entity (e.g. demystification of muse-um profession, learning how depots, documenta-tion and administration function).It is also necessary to set a solid foundation forwork of specialized departments in museums thatare supposed to deal with this segment of educa-tion. Our goal is to represent a model, which couldbe applied in every museum institution, regardlessof its specialty, and which will offer a good start forcontinuous work in educating children about muse-ums. This would finally lead to creation of generalstrategy for education of both children and adults.We can also contribute to the creation of positiveattitude towards culture, science, heritage, andartistic values, by getting children acquainted withmuseum and museum objects in dynamic andunconventional fashion. This will help childrenunderstand and recognize the significance of ourcultural heritage in relation to other segments of life,as well as its place in world cultural heritage.Due to complexproblems the projectis dealing with, awhole set of activitieshas been developedto document itsprogress as pre-cisely as possible.Before the beginningof the program aweb cite should beposted. Keeping inmind that the projectwas intended bothfor the kids and forthe adults, especial-ly museum employ-ees, the content ofthe presentationshould be twofold.The part designed forthe kids will enablethe visitors to getsome informationregarding the muse-

um activities for the children and to access aseries of features designed to bring museumcloser to younger public. The other part of thepresentation will be designed for museumemployees and will offer some informationabout pedagogical methods used by teach-ers. This will also be the place where they canshare their knowledge and experience withother colleagues and even get the latest infoon this topic. The presentation will offer mon-itoring the progress of the project, with com-plete documentation, daily logs and personalremarks of assistants in the project, as well asof the kids participating in it.Before and after the project, a survey identical atthe beginning and at the end of the process willbe conducted. Kids will be asked to answerquestions on their comprehension of the muse-um. By comparing the results, we shall be ableto formulate precise conclusions about the influ-ence the project had on children's idea of amuseum.A daily log will be kept during the work, and itwill contain the programs, degree of their real-ization, impressions of the kids and the assis-tants as well as the other information relevant tothe completion of the project.After project's completion, results could be usedas a basis for creation of strategy for educationof kids in museums, especially concerning project's

applicability to all the museums.Besides there is an opportunity of working withabandoned children and children with disabilities.Existence and continuing development of the website could initiate the creation of a central place forexchanging information and experience regardingthis topic.Finally the project could become a profitable activ-ity. (Some European museums carry out similaractivities and such workshops are organized askindergartens, daycare, etc.)Project will not reach its goal if it stays on the levelof individual work with kids; therefore it shouldbecome a solid foundation for systematic educa-tion of children in museums. This would finally helpbringing up new museum public, with developedawareness of protection of cultural heritage andunderstanding of museums and their activity androle.

First steps of a young ”conservator” with help of a “colleague”...Prvi koraci mo`da budu}eg ”konzervatora” uz pomo} “kolege”...

...or with help of a father

...ili uz pomo} roditelja

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aktivnosti. înjenica da je britansko Ministarstvoprosvete sa~inilo projekat "Museum and GalleryEducation Programme", nagla{ava zna~aj ovog seg-menta muzejske delatnosti. Tokom svog razvoja, DIJANA - Centar za preventivnuza{titu, izgradila je sistem edukacije koji podrazumevaaktivan pristup prema obrazovanju mladih stru~njaka uoblasti konzervacije, muzeologije, preventivne za{tite, alii obrazovanju publike. Sa ciljem da privu~e i obrazujene samo stru~nu javnost, DIJANA je u 2002. godini poprvi put organizovala radionice (upoznavanje publike sapojedinim procesima rada na muzejskom materijalu),koje su izazvale veliko interesovanje, a posebno dece. Uo~avaju}i nedostatak sistemati~nog pristupa uedukaciji dece i potrebu za sistematski organizovanimradom koji }e uticati na promenu sada{njeg stanja,DIJANA Centar je osmislio projekat nazvan "Deca umuzeju" koji bi trebalo da posluì kao osnova u peda-go{kom radu.U pitanju je probni projekat, koji obuhvata rad sa man-jom grupom {kolske dece, uzrasta od 8 do 9 godin,asa ciljem podsticanja njihovog interesovanja za muzej kao instituciju. Projekatse sastoji od programa po sistemu radionica koji bi omogu}ili aktivan, manjeformalan me|usobni odnos dece i muzeja. Deca treba da postanu stalniu~esnici u ìvotu muzeja, kako bi se promenila slika muzeja kao pasivne insti-tucije. Sa predmetom koji bi sami napravili pro{li bi sve procese koje prolazipredmet u muzeju - upoznavanje sa na~inom ~uvanja umetnina (depoi), nji-hovom za{titom (na~ini konzervacije) i izradom kopija. Na kraju ovog progra-ma oni sami, uz na{u pomo}, organizovali bi izlo`bu - pravljenje pozivnica,plakata, osmi{ljavanje postavke i mogu}nost da osete atmosferu takvogdoga|aja. Kroz upoznavanje muzeja u celini (demistifikacija muzejskih profesija, raddepoa, dokumentacije, administracije) deca mogu da izgrade potpunu i

druga~iju sliku muzejske ustanove. Isto tako neophodno je postaviti i zdravu osnovu za temeljan rad specijalizovanihodeljenja u muzejima, koja bi se bavila ovim segmentom edukacije. Na{ cilj jepredstavljanje modela koji se moè primeniti u svim muzejskim ustanovama, bezobzira na to kakvom delatno{}u se bave, ~ime se pru ila osnova za dalji radna polju edukacije dece u muzejima, kao i pokrenula izrada op{te strategijenovog na~ina edukacije ne samo dece, ve} i odraslih.Tako|e, upoznavanjem dece sa muzejem i muzealijama, na dinami~an inekonvencionalan na~in, kroz igru, mogu}e je uticati na formiranje poziti-vanog odnosa prema kulturi, nauci, ba{tini i umetni~kim vrednostima. Ovimse sti~e temelj na osnovu kog }e deca mo}i da razumeju i prepoznajuzna~aj na{eg kulturnog nasle|a u odnosu na sve ostale segmente ìvota,kao i na njegovo mesto u odnosu na svetsku kulturnu ba{tinu.Usled kompleksnosti problematike koju obuhvata projekat, razra|en je ~itavniz aktivnosti sa ciljem da se {to realnije dokumentuje njegov razvoj. Presamog po~etka rada na programu, potrebno je izraditi veb sajt. Budu}i daje projekat istovremeno usmeren i ka deci i ka odraslima, odnosnozaposlenima u muzeju, sadràj prezentacije mora biti dvojak. Postoja}e deoposve}en deci, gde }e posetioci mo}i da dobiju informacije koje su vezaneza aktivnosti muzeja posebno namenjena deci, ali }e sadràti i ~itav nizsadràja koji bi im pribliìli muzej. Drugi deo prezentacije }e biti namenjenmuzejskim radnicima, koji }e ovde na}i korisne informacije koje se ti~upedago{kog rada, ali }e biti i mesto na kome }e razmeniti iskustva i znan-ja sa kolegama i eventualno dobiti najnovije informacije u vezi sa ovomtemom. Na prezentaciji }e se nalaziti i deo koji }e pokrivati ~itav tok pro-jekta i na njemu }e se na}i sva dokumentacija, dnevnici rada i subjektivnaiskustva saradnika na projektu, kao i same dece koja u njemu u~estvuju.Na po~etku i na kraju projekta, u anketi, identi~noj na po~etku i na krajurada, deca }e odgovarati na niz pitanja o svom shvatanju muzeja. Naosnovu upore|enih rezultata dobi}emo konkretnu informaciju o uticaju pro-jekta na de~iji doìvljaj muzeja.Tokom rada }e se voditi dnevnik u koji }e se upisivati programi, stepen nji-hove realizacije, utisci dece, utisci saradnika, kao i sve ostale informacijerelevantne za realizaciju projekta.Nakon zavr{etka rada na realizaciji projekta, rezultati se mogu iskoristiti kaoosnova za stvaranje strategije edukacije dece u muzejima, ~emu doprinosii primenljivost projekta na sve muzeje.

Tako|e, pruà se mogu}nost za rad sa decom bez roditeljskog staranja idecom sa posebnim potrebama. Postojanje i dalji razvoj Veb sajta moè inicirati stvaranje centralnog mesta zarazmenu informacija i iskustava u vezi sa ovom temom. Kona~no, projekat moè postati profitabilna aktivnost. (Poput sli~nih aktivnostirealizovanih u nekim evropskim muzejima, gde se radionice ovakvog tipaorganizuju kao obdani{ta, dnevni boravak i sl.) Projekat }e dosti}i svoj cilj ako ne ostane na nivou jednokratne akcije, ve}postane osnova za sistematsku edukaciju dece u muzejima, ~ime bi sepokrenulo formiranje nove muzejske publike, sa izgra|enom sve{}u o za{titikulturnog nasle|a i razumevanjem za muzeje i njihovu delatnost i ulogu.

International Museum Day... and childrenMe|unarodni dan muzeja... i deca

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SSEEMMIINNAARRSSSSEEMMIINNAARRSSprepared byVesna @ivkovi}, curatorZvezdana Popovi}

Referring to the conclusions accomplished duringthe seminar "How to go on" held in Kru{evac inOctober 2001, YU NC ICOM, in collaboration withDIANA Centre for Preventive Conservation, organ-ized, in 2002, at the Gallery of Frescoes, severalseminars discussing actual problems of Yugoslavmuseology.Problems of cultural properties safeguarding con-ditions, museums relations with the public, condi-tions of museums documentation and its develop-ment, reorganization process in institutions ofprotection (National Museum Belgrade as anexample), as well as possibilities for improvinggeneral conditions of Serbian andMontenegrin museums were major topics ofthe seminars.Foreign experts, whose experiences werevaluable for our efforts to comply with con-temporary museological trends, also took partin the seminars (France, Rumania, Slovenia,Macedonija).Great number of participants, which positivelysurprised seminars organizators, as well asthe energy of our colleagues shown in theseminar activities, confirms that such eventsshould be organized regularly. Furthermore, itwas obvious that museums workers weremost willing to improve their area of work.

KEEPING CONDITIONS OF CULTURAL PROPERTY IN YUGOSLAVIA SEMINAR

The aim of the Seminar was to establish the stateof the institutions which protect moveable culturalproperty and to pass conclusions and proposals,based on analysis of the current state, on how toimprove conditions for safeguarding cultural prop-erty and define professional duties of conservators,as well as duties and tasks of safeguarding insti-tutions and the obligations of the state and thefounders in protecting cultural property.Contributions of representatives indicated the con-ditions for keeping cultural property and conditionsof conservation as main problems in the institu-tions:

Museum buildings- The buildings are dilapidated and structurallyunsound, subject to water leakage- Poor electrical and water installations, lack ofcentral heating- Museum buildings are unsuited to museum pur-poses- Fire protection systems, burglar alarms andflooding protection systems are not installed- Local authorities' and other bodies' lack of carefor the fate of cultural heritage sites-The lapidaria are not covered

Storages - storing, keeping and maintaining cultural property- Lack of storages or keeping in inadequate spaces- Inadequate environmental conditions in storages,or exposure to the elements due to inadequatemicroclimatic conditions in many museums - con-stant destruction of objects- Lack of instruments for monitoring environmentalconditions - thermohygrographs- Poor working conditions for experts and keeping

of objects (moisture, room walls not whitewashed,lack of heating and ventillation...)- Storages lack technical equipment (cramped andoverburdened, without adequate shelves, packag-ing...)- Storages lack protection from fire, flooding, etc.- The problem of desalination of objects kept inmuseums in the coastal part of the country

Displaying of cultural property- Lack of permanent exhibitions (due to inadequateexhibition space)- Outdated exhibitions- Lack of basic exhibition equipment (displaycases, panels, audio and video equipment, educa-tional systems, etc.)

- Impossibility to maintain adequate environmentalconditions in exhibition rooms (objects are oftenexposed to outside temperatures or air pollution)- Inadequate transportation, handling and theimpossibility to apply modern transportation meth-ods (lack of adequate means of transport, climate-controlled transportation cases, lack of adequatepackaging etc)

Documentation on cultural property- Lack of application of a joint museum documen-tation system- Lack of basic documentation on cultural property- Lack of basic documentation equipment (com-puters, photographic equipment...)

Conservation- The majority of cultural property in museumshave not been conserved (even some objectsunder the protection of the UNESCO are not exhib-ited since they have not been conserved).- Many museums do not have their own conser-vation workshops- The conservation treatments is most often inter-mittent , rather than continued, systematic and pre-ventive- Impossibility to apply basic methods of preven-tive conservation treatments of cultural property- Impossibility to apply certain methods of conser-vation- Lack of professionally trained conservators inmuseums for important groups of cultural property(paper, mosaics, archeological wood, photo-graphs...)- Conservation is sometimes performed by non-experts- Lack of expert control over performed conserva-tion tasks

- Lack of professional education and disorganisa-tion of expert training in the country, as well asimpossibility to improve and specialise in nationaland foreign institutions- Lack of equipment in conservation laboratoriesand poor working conditions- Lack of funds for the work of conservation work-shops- Lack of understanding on the part of museummanagement for the work and needs of conserva-tion workshops, frequent lack of understanding onthe part of curators for obligatory conservation pro-ceduresIt was also shown that almost no museum inYugoslavia fulfilled prescribed conditions for keep-ing cultural property - according to criteria for the

normal functioning of museums. Still, theproblem of creating adequate conditions forsafeguarding objects, for example in work-shop storages, can be successfully solved(as is demonstrated by the positive experi-ences of the Jewish Historical Museum).As for conditions of keeping cultural proper-ty, it was concluded that the present situationin our museology has reached a critical point.This is certainly a consequence of long-last-ing poverty and isolation from the world, butalso of the lack of organised care of theGovernment, of the founders and of societyas a whole for providing conditions for safe-guarding cultural property.It was, however, noted that a part of respon-sibility lies with museum experts themselves,since they had not adapted their activities intime to the development of museology andto the new role of museums in society, as well

as for the lack of strategic plans of developing asystem of preventive conservation in our country.

Suggestions for improving conditions for safeguarding cultural propertyProfessional duties of conservators- Setting priorities and creating programmes ofrepairing/adapting buildings used by institutions ofprotection-Organising the keeping of materials in storagesaccording to types of materials- Organising permanent professional seminars,conferences and exchanges of experiences (on thetransportation of cultural property, documentation,health protection, inadequate conservation treat-ments...)- Creating professional guidelines in the field ofpreventive conservation- Setting measures for protection of health of con-servators (analysis of harmful materials that con-servators work with, organising regular healthcheck-ups for conservators, insisting on the impor-tance of health and pension benefits)- Organising professional education of conserva-tors- Organising supplying with highest quality andreliable equipment and materials for work, from asingle central place- Founding a Section for safeguarding moveablecultural property as part of the Serbian Society ofConservators

Duties and tasks of conservation institutionsDevelopment of a strategy of preventive conserva-tion within museums, through permanent care ofcultural property, which involves:- Reorganising cultural institutions and adaptingthem to the new conception and social role ofmuseums in today's world

SSeemmiinnaarrss

Guiding Seminar participants through the Gallery of FrescoesUpoznavanje u~esnika seminara sa Galerijom fresaka

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SSEEMMIINNAARRIISSEEMMIINNAARRIIpripedileVesna @ivkovi}Zvezdana Popovi}

U skladu sa zaklju~cima donetim na seminaru "Kako dalje", odrànom uKru{evcu, oktobra 2001. godine, Jugoslovenski nacionalni komitet IKOM-a, je,u saradnji sa DIJANA Centrom za preventivnu za{titu, tokom 2002. godine, uGaleriji fresaka organizovao niz seminara posve}enih aktuelnim problemimajugoslovenske muzeologije. Na seminarima su razmatrani problemi uslova ~uvanja kulturnih dobara,odnosi muzeja prema javnosti i publici, stanje i pravci razvoja muzejske doku-mentacije, proces reorganizacija u ustanovama za{tite (primer Narodnogmuzeja), kao i mogu}nosti pobolj{anja op{teg stanja u kome se muzeji Srbijei Crne gore nalaze.U radu seminara u~estvovali su i stru~njaci iz inostranstva (Francuska,Rumunija, Slovenija, Makedonija), ~ija iskustva su nam dragocena u napori-ma za uklju~ivanje u savremene muzeolo{ke tokove.Veliki broj u~esnika, koji je na svim seminarima prevazi{ao o~ekivanja orga-nizatora, kao i elan sa kojim su kolege u~estvovale u radu, govori o potrebida se sli~ni skupovi organizuju redovno. Pokazalo se i da su muzealci sprem-ni da uloè maksimalne napore za pobolj{anje struke.Seminar "Uslovi ~uvanja kulturnih dobara u muzejima Jugoslavije"Cilj Seminara je bio da se ustanovi stanje u kome se nalaze ustanove za{titepokretnih kulturnih dobara i da se na osnovu analize postoje}eg stanja done-su zaklju~ci i predlozi o na~inu pobolj{anja uslova za{tite kulturnih dobara idefini{u profesionalne obaveze konzervatora, obaveze i zadaci ustanovaza{tite i obaveze dràve i osniva~a u za{titi kulturnih dobara.Iz izlaganja predstavnika pokazalo se da su glavni problemi u institucijamauslovi ~uvanja kulturnih dobara i uslovi konzervacije:

Muzejske zgrade - Zgrade su dotrajale i naru{ene u konstruktivnom smislu, sa problemomproki{njavanja i vlage - Lo{e elektri~ne i vodovodne instalacije, nedostatak centralnog grejanja -Muzejske zgrade ne odgovaraju muzejskim namenama. - Nisu instalirani protivpoàrni sistemi, sistemi za{tite od kra|a i od poplava- Nebriga lokalnih vlasti i nadle`nih organa za sudbinu ambijentalnih celinakulturnih dobara - Lapidarijumi nisu natkriveni - Depoi - sme{taj, ~uvanje i odràvanje kulturnih dobara - Nepostojanje depoa ili sme{tanje u neodgovaraju}e prostore- Neodgovaraju}a mikroklima u depoima ili je u reìmu spoljne klime zbogneodgovaraju}ih mikroklimatskih uslova mnogi muzejski - konstantnopropadanje premeta - Nedostatak instrumenata za merenje mikroklime- termohigrografa - Lo{i uslovi za rad stru~njaka i ~uvanje predmeta (vlaga, neokre~ene pros-torije, bez grejanja, ventilacije...)- Prostori depoa tehni~ki neopremljeni (sku~en i prenatrpan, bez odgovara-ju}ih polica, ambalaè...)- Depoi bez za{tite od poàra, poplava i dr.- Problem eliminisanja soli u muzejima na moru

Izlaganje kulturnih dobara- Nedostatak stalnih postavki (zbog nedovoljnog izlo`benog prostora) - Zastarele postavke - Nedostatak osnovne opreme za izlo`be (vitrine, panoi, audio i video opre-ma, edukativni sistemi i dr.)- Nemogu}nost da se odràvaju mikroklimatski uslovi u izlo`benim prostori-ma (predmeti su ~esto u re imu spoljnih temperatura ili izloèni aerozaga|enju) - Neodgovaraju}i transport, manipulacija i nemogu}nost primene savremenihuslova transporta (nedostatak odgovaraju}ih prevoznih sredstava, sanduka zatransport sa mikroklimom, nedostatak odgovaraju}e ambalaè i dr.)Dokumentacija o kulturnim dobrima- Neprimenjivanje jedinstvenog muzejskog dokumentacionog sistema- Nedostaje osnovna dokumentacija o kulturnim dobrima- Neodostatak osnovne opreme za dokumentaciju (kompjuteri, fotooprema...)

Konzervacija - Najve}i deo kulturnih dobara u muzejima nije konzerviran (~ak ni neki objektipod za{titom UNESKOa nisu izloèni, jer nisu konzervirani) - Mnogi muzeji nemaju svoje konzervatorske radionice- êsto se sprovodi samo povremena konzervacija, ne kontinuirana, sistem-

atska i preventivna - Nemogu}nost primene osnovnih metoda preventivnih konzervatorskih tret-mana kulturnih dobara- Nemogu}nost primene nekih metoda konzervacije - Nedostatak profesionalno obu~enih konzervatora u muzejima za va`negrupe kulturnih dobara (papir, mozaik, arheolo{ko drvo, fotografija...) - Konzervaciju rade i nedovoljno stru~na lica- Nedostatak stru~ne kontrole nad obavljenim konzervatorskim poslovima - Nedostatak profesionalnog obrazovanja i neorganizovanost stru~ne obukeu zemlji i nemogu}nost usavr{avanja i specijalizacija u doma}im i straniminstitucijama - Neopremljenost konzervatorskih laboratorija i lo{i uslovi za rad - Nedovoljan priliv sredstava za rad konzervatorskih radionica- Nedovoljno razumevanje rukovode}eg kadra za rad i potrebe konzerva-torskih radionica, ~esto nerazumevanje kustosa za obavezan konzervatorskipostupak

Pokazalo se i da skoro nijedan muzej u Jugoslaviji ne ispunjava propisaneuslove ~uvanja kulturnih dobara - prema kriterijumima za normalnofunkcionisanje muzejske delatnosti. Ali i da se problem stvaranja pogodnihuslova ~uvanja na primer u depoima, moè uspe{no re{iti (pozitivano iskust-vo Jevrejsko-istorijskog muzeja). Kada je re~ o uslovima ~uvanja kulturnih dobara, zaklju~eno je da sada{njasituacija u na{oj muzeologiji dostigla kriti~nu ta~ku. To je svakako posledicadugogodi{njeg siroma{tva i zatvaranja prema svetu, ali i odsustva organizo-vane brige Vlade, osniva~a i dru{tva, za bezbednost uslova ~uvanja kulturnihdobara.Konstatovano je me|utim da deo odgovornosti snose i sami muzealci zbogneblagovremenog prilago|avanja svojih delatnosti i aktivnosti sada{njimtokovima razvoja muzeologije i novoj ulozi muzeja u dru{tvu, kao i zbognepostojanja strate{kih planova razrade sistema preventivne za{tite kod nas.

Predlozi za pobolj{avanje uslova za{tite kulturnih dobaraProfesionalne obaveze konzervatora- Utvr|ivanje prioriteta i izrada programa sanacije/adaptacije zgrada ustano-va za{tite - Organizovanje sme{taja materijala u depoima prema vrstama materijala - Organizovanje stalnih stru~nih seminara, savetovanja i razmene iskustava (otransportu kulturnih dobara, dokumentaciji, za{titi zdravlja, o neadekvatnimkonzervatorskim tretmanima...)- Izrada stru~nih upustava u oblasti preventivne za{tite- Utvr|ivanje mera za za{titu zdravlja konzervatora (analiza {tetnih materija sakojima konzervatori rade, organizovanje redovnih zdravstvenih kontrola konz-ervatora, insistiranje na neophodnosti beneficiranog radnog staà).- Organizovanje stru~ne edukacije kadrova u konzervaciji- Organizovanje snabdevanja najkvalitetnijom i proverenom opremom i mater-ijalima za rad, iz jednog centralnog mesta- Osnivanje Sekcije za za{titu pokretnih kulturnih dobara, u okviru Dru{tvakonzervatora Srbije

Obaveze i zadaci ustanova za{tite- Razra|ivanje strategije preventivne za{tite u okviru muzeja, kroz stalnu briguo kulturnim dobrima, {to podrazumeva:

SSeemmiinnaarrii

Seminar ”Museums and the Public”Seminar ”Muzeji i publika”

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- Creating adequate conditions for the safeguard-ing of cultural property- determining the causes of destruction, stoppingand slowing down processes of deterioration- Implementing active conservation by applyingmodern non-destructive conservation treatments- Creating a plan of preservation of cultural prop-erty in emergency situations (disasters, wars orcivilian conflicts)- Professional and efficient performance of conser-vation activities, eliminating carelessness- Development of a strategy for the collecting cul-tural property, setting the status and evaluation ofcultural property and collections, creation of a gen-eral register and documentation on cultural proper-ty, setting general standards- Inclusion of all people employed in preservationof cultural heritage (according to their functions andresponsibilities) in the application of preventive con-servation- Organising professional seminars and exchangesof experiences at home and abroad- Constant "pressure" against state bodies, appro-priate Government insitutions and the media toensure adequate care for cultural property and thestressing of their importance for the development ofsociety.

Obligations of the state and founders in the preservation of cultural property- An Act on cultural property should clearly regu-late the obligations of the Government, thefounders and local authorities regarding the keep-ing and financing the prreservation of cultural prop-erty.- Demand that relevant government bodies shouldrespect existing legislation relating to the preserva-tion of cultural property, and fully implement all theforeseen measures- Insist that the Ministry of Culture should take anactive stance in monitoring the state and situationin preventive conservation; inform the Ministry reg-ularly about problems and activities in this field.- Maintain constant contact between relevant pro-fessional services from the Ministry of Culture andmuseums (as well as other conservation institutions).- Form expert committees at the Ministry of Culture(these must include conservators and curators),which would examine in detail the state in conser-vation institutions.- Create a project, with clearly defined priorities anda global strategy of the reorganisation of thepreservation of cultural property and conservationinstitutions.- Form a commission at the Ministry of Culture to(independently or in conjunction with the StateRevision Commission at the Ministry ofConstruction) authorise projects aiming toassign/adapt objects to be used to safeguard cul-tural heritage; the commission would be made upof experts from the field of preservation of culturalproperty.- Cooperate with the Ministry of Culture on creat-ing a Register of stolen cultural property as soonas possible; translate it into all major languagesand forward it through Interpol to police forcesaround the world; create a permanent and regular-ly updated Internet site for the Register- Cooperate with the Ministry of Culture on renew-ing the proposal of forming a special service at theMinistry of the Interior to deal with the problem oftheft of cultural property- Cooperate with the Ministry of Culture to legislatethat a certain percentage of lottery receipts shouldbe channelled to protect cultural heritage

- Passage of legislation to regulate theseparation of Museums operating aspart of cultural centres and workers'education centres, if they fulfil the con-dition of owning a collection.

The participants of the conference sug-gested the following activities, in accor-dance with European recommendations(European Preventive ConservationStrategy Project, ICROM, 2001):Invite the Ministries of Culture of Serbiaand Montenegro to form a group ofexperts to create a permanent charterwhich would be the basis of a futureConvention on preventive conservationin Serbia and Montenegro.Develop a strategy of preventive con-servation to be adopted by theMinistries of Culture of Serbia and Montenegro, aswell as Ministries from other countries in the region.Promote a general concept of cultural propertysafeguarding, which should involve active participa-tion of politicians, professionals and the public, inorder to develop sense of responsibility for culturalproperty.Make it easier to establish educational programmesand educational materials based on existingsources.Develop recommendations for planning museumstrategy, which would include preventive conserva-tion, based on available models and experiences.Provide access to the Internet according to criteriawhich apply to European museums.Create a network of institutions which would betasked with collecting and disseminating informa-tion on preventive conservation, including existingorganisations (such as national museological asso-ciations, ICOM, the Preventive ConservationWorkgroup of the ICOM International Committee ofConservators, ICCROM)Share experiences with other institutions about ini-tiatives to sensitise the media and the public andincrease efforts in these areas.

SEMINAR "MUSEUMS AND THE PUBLIC"

LecturesThe Seminar opened lectures held by guests fromthe Direction of Museums of France - Paris, MarieFrance Noel and Sylvie Midali, who stressedFrance's planned cultural policy towards museums,thanks to which work with the public is stimulatedto a great extent, both on the local and the nation-al levels. In the lecture entitled "Museums andnational/regional identity", Marie France Noelstressed the need to safeguard national identity,which the museum fulfils by keeping its own iden-tity. Sylvie Midali also spoke about the policy ofFrench museums in working with the public. Simonida Miljkovi}, whose project of creative work-shops and exhibitions aimed at people with specialneeds received European awards, related the valu-able experiences of Macedonian museums. Thecommon opinion was to organise a meeting withour Macedonian colleagues, whose experience ineducational programmes should be related to ourmuseums.Olivera Star~evi} from the Museum of the City ofBelgrade related her experiences in developingmuseum education in museums in Munich andpointed out the importance of their institutionalisa-tion at the national level.

Presentation of programmes realised by museums

Programmes realised by museums were presentedunder the working title "Programmes you are proudof": - Discussion towards the necessity of creatingwell-planned educational programmes, in co-oper-ation with experts outside the basic field of activity,with educators, psychologists, artists- It is showed that all museums accept new levelsof presentation and the real necessity of profes-sional approach in building image and visual iden-tity in order to increase visitor numbers.

Presentation of new projectsThe presentation of new projects was organisedthrough the "New ideas, new projects" thematicslot:- Discussion about permanent museum exhibitionsadapted to new ways of presentation - Discussion about the potentials of cultural com-plexes - Discussion about the possibilities of interactivepresentation of educational programmes for chil-dren - The need to provide conditions for persons withspecial needs is stressed- Discussion about the need to regulate longermuseum working hours with the public and thework of museum shops and cafeterias - A presentation of members of a non-govern-mental organisation (Group 484) which co-oper-ates, in cultural heritage programmes, with endan-gered groups of population- The Association of Turismologists of Serbia pre-sented the results of European Heritage Day. Thusour countryfor the first time participated with otherEuropean countries in marking European HeritageDays in late September of each year

Work in workshops

Workshop A - Dialogue with the media The aim of the workshop was to discuss, in coop-eration with editors and journalists of culture sec-tions:- Existing relationship between the media andmuseums - Obstacles in communication with the media- Improving the cooperation of museums and themedia- Museums attractiveness as a topic for the media- Possibilities of presenting programmes of muse-ums in Serbia (outside of Belgrade)- Development and adoption of basic principles offorming all kinds of information for different mediacategories (TV, daily press, specialised magazines,internet presentations etc).

Seminar ”Museums and the Public”Seminar ”Muzeji i publika”

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- Reorganizacija u ustanovama kulture i prilago|avanje novoj koncepciji idru{tvenoj ulozi muzeja danas u svetu - Stvaranje pogodnih uslova za ~uvanje kulturnih dobara- Utvr|ivanje uzroka destrukcije, zaustavljanje i usporavanje procesapropadanja,- Sprovo|enje aktivne konzervacije kroz primenu savremenih nedestruktivnihkonzervatorskih tretmana- Izrada plana za{tite kulturnih dobara u vanrednim situacijama (elementarnenepogode, ratni ili civilni sukobi)- Profesionalno i efikasno obavljanje delatnosti za{tite, eliminisanje nebrige inemara - Razrada strategije za prikupljanje kulturnih dobara, odre|ivanje statusa iprocene kulturnih dobara i kolekcija, izrada generalne registracije i doku-mentacije kulturnih dobara; uspostavljanje op{tih standarda - Uklju~ivanje svih zaposlenih na poslovima za{tite kulturnog nasle|a (shod-no njihovim funkcijama i odgovornostima), u primenu preventivne za{tite - Organizovanje stru~nih seminara, razmene iskustava u zemlji i inostranstvu- Specijalizacije i obuka stru~njaka iz oblasti preventivne za{tite- Stalni "pritisak" na dràvne organe, odgovorne institucije Vlade i sredstvainformisanja da se obezbedi adekvatna briga o kulturnim dobrima i isticanjenjihovog zna~aja za razvoj dru{tva. Obaveze dràve i osniva~a u za{titi kulturnih dobara- Zakonom o kulturnim dobrima jasno regulisati obaveze Vlade, osniva~a ilokalnih vlasti koje se ti~u ~uvanja i finansiranja za{ite kulturnih dobara- Zahtevati od nadle`nih dràvnih organa da po{tuju postoje}u zakonsku reg-ulativu iz oblasti za{tite kulturnih dobara i da dosledno sprovode sve pred-vi|ene mere- Insistirati na aktivnom stavu Ministarstva kulture u pra}enju stanja i situacijeu preventivnoj za{titi; redovno informisati Ministarstvo o problemima i aktivnos-tima iz ove oblasti.- Odràvati stalni kontakt izme|u nadle`nih stru~nih slu`bi Ministarstva kulturei muzeja (i drugih institucijama za{tite) - Formirati stru~ne komisije Ministarstva kulture (obavezno uklju~iti konzerva-tore i kustose), koje bi detaljno ispitale stanje u ustanovama za{tite. - Izraditi projekat sa jasno odre|enim prioritetima i globalnom strategijom reor-ganizacije za{tite kulturnih dobara i ustanova za{tite.- Formirati Komisiju pri Ministarstvu kulture, (koja bi samostalno ili saDràvnom revizionom komisijom pri Ministarstvu gra|evina) davala saglasnostza idejne projekte o dodeljivanju/adaptacijama objekata za namene za{tite kul-turnog nasle|a; komisiju bi ~inili eksperti iz oblasti za{tite kulturnih dobara - Sa Ministarstvom kulture {to pre izraditi Registar ukradenih kulturnih dobara,prevesti na sve svetske jezike i preko Interpola dostaviti policijama u svetu;uraditi stalnu i redovno aùriranu Internet prezentacija tog registra - Sa Ministarstvom kulture obnoviti predlog za formiranje specijalizovaneslu`be pri MUP-u, koja bi se bavila problemom kra|e kulturnih dobara- Regulisati otkup vrednih i skupih kulturnih dobara- Sa Ministarstvom kulture pokrenuti inicijativu odre|eni procenat od dobiti odigara na sre}u usmeri na za{titu kulturnog nasle|a- Dono{enje propisa kojim bi se regulisalo izdvajanje Muzeja koji su u sas-tavu kulturnih centara i radni~kih univerziteta, u posebne ustanove, ukolikoispunjavaju uslov - posedovanje zbirke.U~esnici skupa su predloìli slede}e aktivnosti, u skladu sa preporukama na

evropskom nivou (European Preventive Conservation Strategy Project, ICROM,2001):Pozvati Ministarstva kulture Srbije i Crne Gore da formiraju grupu eksperata zastvoranje trajne povelje, koja bi ~inila osnovu budu}e Konvencije preventivneza{tite u Srbiji i Crnoj Gori. Razviti strategiju preventivne za{tite koju treba da usvoje Ministarstva kultureSrbije i Crne Gore, ali i iz zemalja regiona. Promovisati op{ti koncept za{tite kulturnih dobara, u koji treba aktivno da seuklju~e politi~ari, profesionalci i javnost, kako bi se razvila odgovornost za kul-turna dobra. Olak{ati etabliranje obrazovnih programa i edukativnog materijala baziranih napostoje}im izvorima.Razviti preporuke za planiranje strategije muzeja, koje uklju~uju preventivnuza{titu, na osnovu raspoloìvih modela i iskustva.Omogu}iti pristup Internetu po istim kriterijumima koji vaè za muzeje u Evropi.Stvoriti mreù institucija ~ija }e obaveza biti da sakupljaju i {ire informacije opreventivnoj za{titi, uklju~uju}i postoje}e organizacije (kao {to su nacionalnastrukovna muzeol{ka udruènja, ICOM, Radna grupa za preventivnu za{tituInternacionalnog konzervatorskog komiteta ICOM-a, ICCROM-a).Podeliti iskustva sa drugim institucijama o inicijativama za animiranje medija ijavnosti i poja~ati te aktivnosti.

SEMINAR "MUZEJI I PUBLIKA"

PredavanjaPredstavnice Direkcije muzeja Francuske - Pariz, Mari Frans Noel i Silvi Midaliukazale su na osmi{ljenu kulturnu politiku Francuske dràve u odnosu namuzeje, kojom se stimuli{e rad sa publikom, kako na lokalnom, tako i naop{tem planu. Mari Frans Noel je istakla potrebu o~uvanja nacionalnog iden-titeta, koje muzeji ostvaruju o~uvanjem sopstvenog identiteta, dok je Silvi Midaligovorila o na~inu rada francuskih muzeja sa publikom.Iskustva Muzeja Makedonije prenela je Simonida Miljkovi}, ~iji je projekatkreativnih radionica i izlo`bi namenjenih osobama sa posebnim potrebamanagra|ivan na evropskom nivou. Zajedni~ki je stav da se organizuje susret sakolegama iz Makedonije, ~ije iskustvo na planu edukativnih programa trebapreneti i u na{e muzeje.Olivera Star~evi} iz Muzeja grada Beograda prenela je svoja iskustva o razvo-ju muzejske edukacije u minhenskim muzejima i ukazala na zna~aj njihoveinstitucionalizacije na nacionalnom nivou.

Prezentacija ostvarenih programa Realizovani programi u muzejima su predstavljeni kroz tematski blok, pod rad-nim naslovom "Programi na koje ste ponosni":- Diskutovano je o potrebi kreiranja dobro osmi{ljenih edukativnih programa,u saradnji sa stru~njacima van osnovne delatnosti - sa pedagozima, psi-holozima, umetnicima…- Zaklju~eno je da svi muzeji prihvataju nove nivoe prezentacije i realnunu`nost profesionalnog nastupa u izgradnji imidà i vizuelnog identiteta, kakobi se ostvarila ve}a pose}enost

Prezentacija novih projekataPrezentacija novih projekata odvijala se kroz tematski blok "Nove ideje, noviprojekti": - Predstavljene su stalne muzejske postavke, prilago|ene novim vidovimaprezentacije - Ukazano je na potencijale kulturnih kompleksa - Ukazano je na mogu}nosti interaktivne prezentacije edukativnih programa zadecu - Istaknute su potrebe obezbe|ivanja uslova za osobe sa posebnim potre-bama- Istaknuta je potreba regulisanja duèg radnog vremena muzeja sa publikomi rada muzejskih prodavnica i kafeterija - Predstavili su se ~lanovi nevladine organizacije (Grupa 484), koja kroz pro-grame o kulturnom nasle|u sara|uje sa ugroènim grupama stanovni{tva. - Udruènje turizmologa Srbije predstavilo je rezultate organizovanja Danaevropske ba{tine, ~ime se na{a zemlja po prvi put uklju~ila u krug evropskihzemalja koje krajem septembra svake godine obeleàvaju Dane evropskeba{tine.

Rad u radionicama

Radionica A - Dijalog sa medijima Cilj ove radionice je bio da, u saradnji sa urednicima i novinarima kulturnihrubrika, razmotri:- Postoje}i odnos medija i muzeja

Different cultures brought togetherDodir razli~itih kultura

33

- Presentation of various kinds of media promotions- Comments and discussions about the existingmuseum programme promotions- Development of an "ideal" model of museum pro-gramme promotions- Possibilities of maintaining contacts, agreementon closer cooperation with journalists, suggestionsfor follow-up meetingsLinks between museums and the mediaAt the very beginning it became obvious that thetwo professions, both working with the same aim,did not understand each other: museums need themedia to reach the public - the essence of amedia approach is to attract the public, while high-quality, content-rich museum programmes can beuseful for media to capture the very same public.

Journalists' observations - The importance of local and state media wasdefined, as was the importance of personal contactswith representatives of all profiles of media. Very fewmuseums have personal contacts with journalists.- Museum experts are not organised: in museums,it is not known who is responsible for which actionor activity, journalists often do not know whom toaddress if they want to make a feature or interview;PR services at museums do not have collected andorganized information i.e. prepared for journalists- Museums are not familiar with the nature ofmedia development and the way media function -dailies, newsrooms, weeklies, culture sections innewspapers… - they all have different approachesto cultural events. Museums must know who is whoin the media, on TV, who people from newsroomsare, who the editors are, who the critics are, whowrites larger reviews, who prepares special featuresand museum features- In the same way that the media must follow thedevelopment of museology, museums must followdevelopments in the media. Museums shoulddevelop educational programmes about the devel-opment of museology - the media must follow thedevelopment of museology, and, vice versa, cura-tors must follow developments in the media - Museum staff are inactive with regard to themedia - Museum experts must make more sus-tained efforts in getting the media's and public'sinterest - Lack of a planned advertising and PR pro-gramme and a lack of proper museum PR per-sonnel, who could give correct information, andprepare adequate programmes for journalists - Every curator sometimes has to be a PR officerand present information about his area of work to

media- A friendly relationship betweenmuseum workers and journalistsis necessary- It is necessary to have regularcontacts with journalists, not onlyto the exhibition opening- Museums should always havevarious information prepared forjournalists, from short to detailedones - It was concluded that museumsin the interior should firstly activatethe participation of the media andpublics in their own communities,since museums should first playtheir social role in their own com-munity- Museums in the interior mustfind ways of enhancing their con-tacts with the media in Belgrade

(contact with central museum - PR service,address book, correspondents etc.). It was shownthat museums in the interior, which actively arousedthe interest of local media, also managed to attractthe interest of media in the capital and in othermajor cities (Prijepolje Museum). - Museums often share the director's attitudetowards media, instead that every employee workson better museum presentation to the public- Museums must define the way in which theiractivities should be presented to the media

Museums' observations- Local media are not active enough and are notinterested in culture- Media are often not interested even in exclusiveevents - There are no specialised journalists- Museums expressed their need for better, wider,higher-quality and wider representation of theirwork in the media and for the inclusion of muse-ology into the media's planning of programmes -permanent features on TV about the state of cul-tural treasures and conditions of work in museums. - Need for support from the Ministry of Culture andPublic Information - The Ministry of Culture mustinfluence the media's programme policy, andexpand and determine space which should be leftto museums in media- A good journalist does not make only the news,a journalist should also be creative and the muse-um's task is to incite them to be creative - It was suggested to organise a joint conferenceentitled "Museum PR and the media", which wouldestablish common criteria for co-operation (com-mon approach, media address book, help of theMinistry of Culture in establishing contacts withmedia editors...).- Media campaigns: museums should createattractive actions and the media must help in find-ing sponsors for reconstructions and activities.

What museums must do to attract public?The general conclusion - everything must start frommuseum programmes and the way that they arepresented - problem is the way in which museumspresent their cultural policy and programmes toattract media and public. A museum must have aclear strategy: who it is communicating with andhow it is communicating and must offer well-thought-out programmes, which will always findways of being interesting to the media. - Create interesting programmes that are under-stood by everybody. It is recommended to start with

what is interesting - one can often introduce moreserious programmes and contents through com-mercial programmes- Contact with children's and entertainment pro-grammes is lacking - it is necessary to createmuseum programmes for this type of feature, forexample quizzes- A visit to the museum must offer an experience,intrigue feelings and awaken emotions- A museum event must offer something unex-pected - factor of surprise - Cultural events have to be made into interestingsocial events- Exclusive fashion shows (jewellery, etc) shouldtake place in museum spaces, which could lead tothe people from media generally

Workshop B - Museums - sources of knowledge(attended by guests from France) - It was noted that a number of our museums can-not meet basic requirements of modern museolo-gy. - Presentation of strategic development projects ofFrench museums (they, in some respects, corre-spond to strategic development projects underpreparation in certain museums in our country) - Presentation of the analysis of immediate sur-roundings, which sets out the conditions underwhich certain programmes and projects are adjust-ed to suit the public. This program is survey-basedand analyses the museum's position in the localcommunity and the natural and societal surround-ings, its relations with its existing public, the inflowof new, expected public, as well as the museum'srelations with the wider environment- It was agreed to establish institutional co-opera-tion with the Ministry of Education and Sport of theRepublic of Serbia with the aim of educating teach-ers, introducing compulsory visits to museums andthe inclusion of students in museum educationprogrammes - Curators-educatorts will work on preparing rele-vant programmes and publishing museums plans,brochures, workbooks and catalogues intended forstudents and teachers- There was emphasized the problem of lack oftechnical equipment of educational services andthe need for insisting on quality teamwork withcurators in all phases in order to apply the educa-tional role of museums in society in the best pos-sible way

Workshop C - Museums - sources of freecreativity- Participants experienced a possible creativeworkshop, and then went on to agree on a theo-retical concept of a workshop in a museum - Creation of a miniature structural scheme of apossible programme, which contains an analysis ofthe current situation and the reasons, the desiredstate and defined aims, set principles and methodsof work and target group. - Individual planning of a possible workshopaccording to the set scheme.

CONCLUSION

The following activities were agreed on:1. The lectures of all participants and the widersummaries of work in the Workshops will be pub-lished and sent to participants. 2. The relevant parts of the material we receivedfrom our colleagues of the Direction of Museums ofFrance will be translated and will form an integralpart of the published material from the Seminar.

Seminar participants at workU~esnici seminara u toku rada

34

- Prepreke u komunikaciji muzeja sa medijima- Mogu}nosti pobolj{anja saradnje muzeja i medija- Atraktivnost muzeja kao medijska tema- Mogu}nosti prezentacije programa muzeja u Srbiji (izvan Beograda)- Razradu i usvajanje osnovnih principa oblikovanja svih vrsta informacija zarazli~ite medijske kategorije (TV, dnevna {tampa, stru~ni ~asopisi, internetprezentacije i sl.)- Razli~ite vidove medijskih promocija- Postoje}e promocije muzejskih programa - Razradu "idealnog" modela promocija muzejskih programa- Mogu}nost ostvarivanje kontakata, ugovaranja bliè saradnje sa novinarima,predloge za slede}e susrete

Veze muzeja i medijaUkazano je na uzajamno nerazumevanje dve profesije, koje imaju isti cilj -privu}i publiku. Muzejima su potrebni mediji da bi do{li do publike - su{tina nastupa u medi-jima je privla~enje publike, a kvalitetni i sadràjni muzejski programi mogu dakoriste medijima, da bi osvojili tu istu publiku.

Zapaànja novinara-Definisan je zna~aj lokalnih i dràvnih medija, kao i va`nost li~nih kontakatasa predstavnicima medija svih profila. Vrlo mali broj muzeja ima li~ne kontak-te sa novinarima-Ukazano je na neorganizovanoststru~njaka u muzejima - u muzeji-ma se ne zna ko je odgovoran zakoju akciju ili delatnost; novinar~esto ne zna kome da se obrati,ako ho}e da napravi emisiju ili raz-govor; PR slu`be u muzejimanemaju sabrane, organizovaneinformacije tj. pripremljene zamedije -Istaknuto je da muzeji ne pozna-ju prirodu razvoja medija i na~infunkcionisanja medija -dnevni lis-tovi, informativne redakcije,nedeljnici, kulturne rubrike... - svioni imaju druga~iji pristup kulturo-lo{kom doga|aju - muzeji morajuda znaju ko je ko u medijima, koje iz informativne redakcije, ko suurednici, kriti~ari, ko daje {ireprikaze, ko pravi posebne emisije,emisije o muzejima... -U muzejima treba razviti edukativneprograme o razvoju muzeologije -mediji treba da prate razvoj muzeologije, i obrnuto, kustosi treba da praterazvoj medija.-Ukazano je na neaktivnost muzealaca prema medijima - stru~njaci iz muze-ja moraju vi{e i upornije da se angaùju oko animiranja medija i javnosti-Ukazano je na nepostojanje osmi{ljenog marketing i PR programa i nanedostatak pravih osoba na mestu PR menadèra u muzejima, koje }e datiprava obave{tenja i pripremiti adekvatne programe za novinare-Svaki kustos iz muzeja mora ponekad da bude i PR i da prezentuje medi-jima potrebne podatke iz svoje oblasti -Potrebno je negovati prijateljski odnos izme|u muzejskih radnika i novinara-Potrebno je redovno kontaktirati sa novinarima, ne samo kada je otvaranjeizlo`be-Potrebno je uvek imati spremne informacije za novinare u vi{e varijanti, odkratke informacije do onih op{irnijih -Zaklju~eno je da bi muzeji u unutra{njosti morali najpre da se aktiviraju nau~e{}u lokalnih medija i publike u svojoj sredini, jer muzeji svoju dru{tvenuulogu u javnom ìvotu treba prvo da odigraju u svom okruènju -Istaknuto je da muzeji u unutra{njosti moraju da na|u na~ina da poja~aju isvoje kontakte sa medijima u Beogradu (kontakt sa mati~nom muzejskomku}om - slu`ba PR, adresar, preko dopisnika i dr.) Pokazalo se da su muzejiu unutra{njosti, koji su imali aktivnu ulogu u animiranju lokalnih medija, uspelida animiraju i medije iz prestonice i drugih ve}ih gradova (Muzej u Prijepolju). -Muzeji ~esto imaju stav prema medijima koji ima direktor muzeja, umesto dasvi zaposleni rade na {to boljem predstavljanju {to {iroj javnosti -Muzeji moraju da defini{u na~in na koji treba da predstavljaju svoje aktivnostiu medijima

Zapaànja muzeja-Lokalni mediji nisu dovoljno aktivni i ne pokazuju dovoljno interesovanja -Mediji su ~esto nezainteresovani ~ak i za ekskluzivne doga|aje u muzejima-Nema specijalizovanih novinara-Muzeji su izrazili potrebu da njihov rad bude bolje, kvalitetnije i vi{e zastu-pljen u medijima, i da se muzeolo{ke teme uklju~e u programsko planiranjemedijskih ku}a - stalne emisije na TV o stanju kulturnih dobara i uslovimarada u muzejima -Iskazana je potreba za podr{kom Ministarstva kulture i javnog informisanja -Ministarstvo kulture mora da uti~e na programsku politiku informativnih ku}a,i pro{iriti i odrediti koliki se prostor mora ostaviti muzejima u medijima-Istaknuta je potreba da novinar ne pravi samo informaciju - treba da budekreativan, a podsticanje na kreativnost novinara je stvar muzeja-Predloèno da se organizuje zajedni~ki skup "Muzejski PR i mediji", na kome}e se uspostaviti jedinstveni kriterijume saradnje (objedinjen nastup muzeja,adresar medija, pomo} ministarstva kulture u ostvarivanju kontakata muzejasa urednicima medija...). -Medijske kampanje: muzeji treba osmisle atraktivne akcije, a mediji treba daim posvete pa`nju, kako bi se privukli sponzori za rekonstrukcije i aktivnosti

[ta muzeji treba da rade da privuku publiku Op{ti zaklju~ak - sve po~inje muzejskim programima i na~inom njihoveprezentacije - problem je u na~inu na koji muzeji prezentiraju svoju kulturnupolitiku i sadràje, da bi privukli medije i javnost. Muzej mora da ima jasnu

strategiju - kome se obra}a i kako obra}a,i treba da ponudi dobro osmi{ljene pro-grame, kojima }e uvek na}i na~ina dazainteresuju medije.-Potrebno je praviti zanimljive programe,koje svi razumeju. Preporu~uje se da sepo|e od onoga {to je zanimljivo - ~estose preko komercijalnih sadràja moèplasirati ozbiljniji program i sadràj .-Istaknuto je da nedostaje kontakt sade~ijim i zabavnim redakcijama - potreb-no je osmisliti muzejske programe za ovuvrstu emisija, na primer kviz-Poseta muzeju mora da postane doìvl-jaj, da probudi emocije-Muzejski doga|aj mora da pruì ne{toneo~ekivano - faktor iznena|enja-Od kulturnih doga|aja treba praviti intere-santne dru{tvene doga|aje, hepeninge-Eksluzivne revije (nakit i sl.) treba da seodigravaju u muzejskim prostorima, {to bidovelo ljude iz medija uop{te, a ne samo

iz kulturnih redakcija

Radionica B - Muzeji - izvori znanja (uz u~e{}e go{}a iz Francuske)-Konstatovano da izvestan broj na{ih muzeja ne moè da zadovolji osnovnenorme savremene muzeologije. -Predstavljeni su projekti strate{kog razvoja francuskih muzeja (u izvesnoj merise poklapaju sa planovima strate{kog razvoja koji su ve} u pripremi u poje-dinim muzejskim institucijama u na{oj zemlji)-Predstavljena je analiza neposrednog okruènja muzeja, koja podrazumeva iuslove rada muzeja, pod kojima se odre|eni programi i projekti prilago|avajupublici u Francuskoj. Ovaj program je anketnog tipa i analizira poziciju muze-ja u lokalnoj zajednici, prirodnom i dru{tvenom okruènju, odnosu ka posto-je}oj publici, prilivu nove, o~ekivane publike i odnosa muzeja prema {iremokruènju. -Istaknuta je potreba da se uspostavi institucionalna saradnja sa Ministarstvomprosvete i sporta Republike Srbije na edukaciji nastavnog kadra, uvo|enjuobavezne posete muzejima i uklju~ivanju u~enika u programe muzejskeedukacije -Kustosi pedagozi angaòva}e se na pripremi adekvatnih programa i pub-likovanju muzejskih planova, bro{ura, radnih svezaka i kataloga namenjenihu~enicima i nastavnicima-Istaknut je problem tehni~ke neopremljenosti pedago{kih slu`bi i potrebainsistiranja na kvalitetnom timskom radu sa kustosima u svim fazama, radi {tobolje primene edukativne uloge muzeja u dru{tvu

Radionica C - Muzeji - izvori slobodnog stvarala{tva -U~esnici su iskustveno pro{li kroz mogu}u radionicu kreativnog tipa, a zatimteorijski uobli~ili koncepciju programa radionice u jednom muzeju -Izrada mini-{eme strukture mogu}eg programa, koja sadrì analizu trenutnog

Exchange of museums’ publicationsRazmena muzejskih publikacija

35

3. The ICOM Yugoslav National Committee and theMuseum Society of Serbia will take specific stepsto realise the proposed Seminar under the title"Museum PR and the media".4. The recommendation of the Ministry of Cultureand Public Information for a better solution of theissue and status of shops and cafeterias within themuseums was taken before the Co-ordinationBoard of Central Museums of the Republic ofSerbia, where measures to realise it have alreadybeen taken.

CONFERENCE ON PREPARING STRATEGIC PLANS FOR MUSEUMS

This was a chance to share with the museum pro-fessionals the experience of the National MuseumBelgrade in preparing the Strategic DevelopmentPlan of the National Museum Belgrade, as well asthe methods used in designing the internal reor-ganisation in order to work and function better andin a more modern way. This was also an opportu-nity to exchange experiences, views and opinionson how to improve museum work and adapt it tomodern social developments.Recommendation to every museum shouldbe to go through this process and set anew strategy of the future development. Inthis way the museum system of Serbia willhelp the Ministry of Culture in formulatinggeneral strategy of cultural development,especially the part covering safeguardingand preserving our cultural heritage, andraise the awareness of the public about theneed to deal with it in a systemic andmore comprehensive way.

SEMINAR "FROM DOCUMENTATIONCARD TO THE USER"

The seminar consisted of two parts. Thefirst dealt with activities and existing CIDOC(ICOM's Committee for Documentation)standards for documentation, and thepresentation of existing systems created inSerbian institutions, as well as in those fromSlovenia and Romania. The second part of theseminar was divided into six workshops -Archaeology, Ethnology, Art History andContemporary Art, Information Centres (Multimediaand the Internet), Standards in Documentation, andConservation.

Aims of the seminar:Defining a precise model of museum and museo-logical activities, work methodology, principles,standards and legislation in museum activities inthe Republic of Serbia.Forming a unified museum information system,which would enable functioning of the museumnetwork. The project should be carried out by theMinistry of Culture and Public Information of theGovernment of Serbia.

Workshop 1 - ArchaeologySubject: Database development, standards andtheir application in documenting sites and archae-ological items.

CONCLUSIONS:

- Respect all standards of classical documentation,i.e. documentation required by law. Basic obligato-ry (minimum) data represent the basis for all furtherwork (scientific-professional/research documenta-

tion; electronic documentation and database devel-opment; digital documentation and presentation).- Standards for a minimum of processing must beset (according to standards adopted by MDA andCIDOC) - identification and definition of archaeo-logical materials.- A commission should be formed to create a dic-tionary of terms. - A commission should be formed to set selectionstandards, as well as those for determining whatmaterial can form a study collection.- Analytical databases for documenting and pro-cessing archaeological items should be introducedinto work methodology as soon as possible, withthe documenting and selection of items whichshould form part of a museum collection - The obligation of every founder is to ensure thatmuseums work in conditions required for perform-ing their first and most important activity - docu-menting their collections. For basic documentation,museums need assets to create catalogue entriesand obligatory photographic documentation. Theduty of every founder is also to ensure that allmuseums should use new technologies to improve

the way they perform their obligatory work - doc-umenting collections, and, above all, to improve theway museums communicate to each other withinthe Serbian network of museums, and the way theycommunicate with the public - collections shouldbe accessible not only to experts, but also to thewider public. Minimal computer package: comput-er, modem, scanner, printer, digital camera.- Set into motion an initiative to legalise digital doc-umentation (possibility to enact legislation makingdigital documentation equal to conventional docu-mentation), as well as an initiative to legislativelyregulate the right of using and protecting digitalfiles.- Training in computers, processing and documen-tation software use should be systematic.- It is possible to organise computer courses, aswell as specialist courses for processing specifickinds of archaeological objects at Petnica.- It is possible to introduce, as part of courses inMethodology of Archaeological Research, cours-es/lectures on basic processing of cultural heritageproperty - use of the museum information systemand standards in processing.- In order to ensure that museums in Serbia functionin the best possible way (expert assistance), thatthe network is optimised, and that communicationis improved, a Committee of the Museum Network ofSerbia should be formed, which should include,besides museum representatives (central, regional

- according to the initiative of the Ministry of Cultureand Public Information and/or the NationalMuseum) a representative of YU NC ICOM.- Sanctions for ignoring regulation in force shouldbe introduced, up to the radical measure of revok-ing licences.- We join the initiative to set up a network of cul-tural institutions (similar to the network of academ-ic institutions).

Workshop 2 - Ethnology (Ethnography andAnthropology)Subject: Documenting tangible and intangible cul-tural heritage Workshop guests: Alenka Simikic, SlovenianMuseum of Ethnography, Ljubljana

Ms. Alenka Simikic introduced electronic docu-menting of ethnographic objects in all its phases,in other words the complete documentation proce-dure used by the Slovenian Museum ofEthnography, which is done on computers usingthe appropriate software "International EthnologicalStandards in the Process of Documentation of the

Slovenian Museum of Ethnography".

CONCLUSIONS:

1. Organise a meeting of ethnologists anddocumentarists from museums in Serbia, inmid-March, where talks will be held andagreement reached on:a) the quality of the ethnographical record. Sofar, it satisfies the minimum prescribed stan-dards, but there are opinions that it should beexpanded with additional entries and data inaccordance with standards in ethnology pre-pared by the Ethnology Working Group ofCIDOC b) the creation of a dictionary of ethnography;c) categorisation of objects;d) ways of documenting intangible heritage,bearing in mind that no standards are appli-cable to them and no procedure for theirdocumentation has been prescribed.

Documenting and protection of intangible heritageare necessary for the protection and fostering ofcultural identity.2. The Museum of Ethnography Belgrade is,according to the existing legislation, obliged to offerprofessional assistance to colleagues in ethno-graphic sections of museums in Serbia, which it isexpected to do so. Relating to museum documen-tation, the Museum of Ethnography in Belgradeshould:a) ascertain the existing state of ethnographic doc-umentation in museums across Serbia;b) organise courses, or training, for curators frommuseums across Serbia, in order for documenta-tion to be updated and standardised;c) take part in the further creation of the MISS (onbehalf of ethnologists and the EthnographicMuseum Belgrade in Belgrade, we proposeMiroslav Mitrovic as representative and coordina-tor);d) foresee the possibility of creating a unified soft-ware solution for ethnographic material and docu-mentation;e) assign the budget and financial indicators for thepurchase of necessary equipment which would beused at the Ethnographic Museum Belgrade andethnographic sections of museums in Serbia inperforming tasks relating to the documentation ofethnographical items;f) start the documentation of ethnographic material

Seminar participants at workU~esnici seminara u toku rada

36

stanja i razloge, èljeno stanje i definisane ciljeve,utvr|ene principe i metode rada kao i strukturuciljnih grupa-Samostalno projektovanje mogu}e radionice poformiranoj {emi

ZAKLJUÂK Dogovorene su slede}e aktivnosti:Predavanja izlaga~a i prikazi rada Radionica bi}epublikovani i poslati u~esnicima. Deo materijala koji smo dobili od koleginica izDirekcije muzeja Francuske bi}e prevedeni i ~ini}esastavni deo publikovanog materijala sa SeminaraJugoslovenski nacionalni komitet IKOM i Muzejskodru{tvo Srbije preduze}e konkretne korake za real-izaciju predloènog Seminara "Muzejski PR i medi-ji".Preporuka Ministarstva kulture i javnog informisan-ja za adekvatnije re{avanje pitanja i statusa pro-davnica i kafeterija unutar Muzeja izneta je naKoordinacionom odboru Mati~nih muzeja RepublikeSrbije, u okviru kog su ve} preduzete mere za real-izacijuSavetovanje "Priprema strate{kog plana umuzejima" Cilj savetovanja je bilo prezentovanjeprocesa izrade Strate{kog plana razvojaNarodnog muzeja u Beogradu, kao i upoz-navanje sa metodologijom na~ina izradeunutra{nje reorganizacije, potvr|enom upraksi - kako bi se poslovalo i funkcionisa-lo bolje i savremenije. Ovo je bila i prilikada se razmene zajedni~ka iskustva, stavovii razmi{ljanja o tome kako pobolj{atimuzeolo{ki rad i prilagoditi se savremenimtokovima dru{tvenog razvoja.Preporuka je da svaki muzej pro|e ovajproces i odredi novu strategiju budu}egrazvoja. Na taj na~in }e muzejski sistemSrbije pomo}i Ministarsvu kulture uodre|ivanju op{te strategije razvoja kulture,posebno segmenta za{tite i o~uvanja kul-turnog nasle|a i nametnuti se javnosti, dase njome bavi na sistemski i sveobuhvat-niji na~in.Seminar "Od kartona do informacije za korisnike" Seminar se sastojao iz dva dela. Prvi se odnosiona aktivnosti i postoje}e standarde CIDOC-a(Komitet za dokumentaciju ICOM-a) za doku-mentaciju i prezentaciju postoje}ih sistema, koji sukreirani u institucijama u na{oj zemlji, kao i uSloveniji i Rumuniji. Drugi deo seminara je organi-zovan u okviru {est radionica - Arheologija,Etnologija, Istorija umetnosti i savremena umetnost,Informacioni centri (multimedija i internet), Standardiu dokumentaciji i Konzervacija.

Ciljevi seminara:Definisanje jasnog modela muzejske i muzeolo{kedelatnosti, metodologije rada, principa, standarda izakona u muzejskoj delatnosti, na nivou RepublikeSrbije.Formiranje jedinstvenog muzejskog informacionogsistema i funkcionisanje muzejske mreè; realizaci-ju ovog projekta treba da omogu}i Ministarstvo kul-ture i javnog informisanja Vlade Srbije.

Radionica 1 - ArheologijaTema: razvoj baze podataka, standarda i njihovaprimena u dokumentovanju lokaliteta i arheolo{kihpredmeta.

Zaklju~ci:-Po{tovati sve standarde klasi~ne dokumentacije, tj.po zakonu obavezne dokumentacije. Osnovu za

svaki dalji rad predstavljaju osnovni obaveznipodaci (za nau~no-stru~nu/istraìva~ku doku-mentaciju, elektronsku dokumentaciju i razvoj bazapodataka, kao i digitalnu dokumentaciju iprezentaciju) -Utvrditi standarde za minimum obrade (premausvojenim standardima MDA i CIDOC) - identi-fikacija i definisanje arheolo{ke gra|e -Formirati komisiju za arheolo{ki terminolo{ki re~nik-Formirati komisiju za utvr|ivanje standarda u trijaì,kao i standarde koji odre|uju koji materijal ~inistudijsku zbirku.-Upotrebu analiti~kih baza podataka za dokumen-tovanje i obradu arheolo{ke gra|e bi trebaloodmah ugraditi u metod rada, istovremeno saistraìva~kim dokumentovanjem i odabirom pred-meta, koji }e biti deo muzejske zbirke -Obaveza osniva~a je da muzejima omogu}iuslove za obavljanje osnovne obavezne delatnosti- dokumentovanje zbirki. Za osnovnu doku-mentaciju to su finansijska sredstva za izradu kar-tona i izradu obavezne foto-dokumentacije-Obaveza osniva~a je da svim muzejima omogu}i

kori{}enje novih tehnologija, radi {to boljeg ostvari-vanja obaveznog posla dokumentovanja zbirki, apre svega komunikacije unutar muzejske mreèSrbije i komunikacije sa publikom/javno{}u, i radiomogu}ivanja pristupa~nosti zbirki, ne samostru~njacima ve} i {iroj javnosti (minimalnira~unarski paket: ra~unar, modem, skener,{tampa~, digitalna kamera).-Pokrenuti inicijativu za legalizaciju digitalne doku-mentacije (kako bi digitalna dokumentacija bilaravnopravno tretirana sa klasi~nom dokumentaci-jom u zakonu), kao i inicijativu za pravno reg-ulisanje prava kori{}enja i za{tite digitalnog zapisa.-Obuka za kori{}enje ra~unarske opreme i progra-ma obrade i dokumentovanja gra|e bi morala dabude sistematska-Mogu}e je organizovati ra~unarske kurseve, kao ispecijalisti~ke kurseve obrade posebnih vrsta arhe-olo{kog materijala u Petnici-U okviru kurseva na predmetu Metodologija arhe-olo{kih istraìvanja, mogu}e je uvesti kurs/preda-vanja o osnovnoj obradi kulturnih dobara -kori{}enje muzejskog infromacionog sistema istandarda u obradi.-Radi kvalitetnijeg funkcionisanja muzeja u Srbiji(stru~na pomo}), optimalizacije mreè i boljekomunikacije trebalo bi formirati Odbor muzejskemreè Srbije, u kome bi pored predstavnika muze-ja (centralnog, mati~nih, regionalnih - po inicijativi iliuredbi Ministarstva kulture i/ili Narodnog muzeja)

morao da bude i predstavnik JU NK IKOM-a.-Trebalo bi uvesti sankcije za nepo{tovanje vaè}ihpropisa, sve do radikalne mere - oduzimanjelicence za rad-Pridruùjemo se inicijativi da se formira mreà kul-turnih institucija (sli~no mreì akademskih instituci-ja)

Radionica 2 - Etnologija (etnografija i antropologi-ja)Tema: dokumentovanje materijalnih i nematerijalnihkulturnih dobaraGost radionice: Alenka Simiki}, Slovenski etnograf-ski muzej, Ljubljana

Alenka Simiki} je predstavila elektronsko dokumen-tovanje etnografskih predmeta u svim fazama,odnosno kompletan dokumentacijski postupak, kojise primenjuje u Slovenskom etnografskom muzeju,a obavlja se na ra~unarima i u odre|enom pro-gramu - "Me|unarodni etnolo{ki standardi u pro-cesu dokumentacije Slovenskog etnografskogmuzeja"

Zaklju~ci:1.Organizovati sastanak etnologa - muzeala-ca i dokumentarista iz muzeja u Srbiji, sredi-nom marta, na kome }e se razgovarati idogovoriti o:a)kvalitetu etnografskog kartona - on za sadazadovoljava minimum propisanih standarda,ali postoje mi{ljenja da ga treba pro{iritirubrikama i dodatnim podacima, u skladu sastandardima u etnologiji koje je pripremilaRadna grupa za etnologiju CIDOC-a b) izradi etnolo{kog re~nikac) kategorizaciji predmetad) na~inima dokumentovanja nematerijalnihkulturnih dobara, s obzirom na to da za njihne postoje standardi, niti je propisan na~in zanjihovo dokumentovanje2.Etnografski muzej u Beogradu je duàn,prema postoje}em zakonu, da pruà stru~nupomo} kolegama u etnografskim odeljenjima

muzeja Srbije. U vezi sa muzejskom dokumentaci-jom, Etnografski muzej u Beogradu, treba da:a) utvrdi postoje}e stanje u etnografskoj doku-mentaciji muzeja u unutra{njostib) organizuje kurseve, odnosno obuku kustosa izunutra{njosti, kako bi se dokumentacija aùrirala iujedna~ilac) u~estvuje u daljoj izradi MISS-a d) predvidi mogu}nost izrade jedinstvenog pro-gramskog re{enja za etnografski materijal i doku-mentaciju.e) formira budèt i finansijske pokazatelje zanabavku neophodne opreme, koja bi se koristi-la u Etnografskom muzeju u Beogradu i etno-grafskim odeljenjima muzeja u Srbiji u obavljan-ju poslova u oblasti dokumentacije etnografskihpredmeta.f) pokrene dokumentovanje etnografske gra|eza koju postoji saznanje da se nalazi u muzejima vanSrbije (Petrograd, Berlin, Be~, Pariz, Ljubljana i dr.).

3. Ministarstvo kulture treba:a) da se zakonom odredi prema dokumento-vanju muzejskih predmeta u novoj tehnologijib) da zakonom obezbedi odgovornost etnograf-skih odeljenja muzeja Srbije u odnosu namati~ni muzej (nezavisno finansiranje ne sme dauslovljava i nezavisnost i profesionalnu odgov-ornost)c) da novim zakonom o za{titi kulturnih dobarabude predvi|eno postojanje muzeja na

Seminar ”From Documentacion Card to the User”Seminar ”Seminar od kartona do informacije za korisnike”

37

known to be kept in museums outside Serbia (StPetersburg, Berlin, Vienna, Paris, Ljubljana etc.).3. The Ministry of Culture and Public Information ofthe Republic of Serbia should:a) pass legislation to determine its status towardsdocumentation of museum objects using newtechnolgoies;b) pass legislation to ensure the responsibility ofethnographic sections of museums in Serbia inrelation to the central museum (independentfinancing must not reflect on independence andprofessional responsibility);c) foresee by the new act on the protection of cul-tural heritage the existence of open-air museums(which have existed in the world for over 100 years,in our country for 20 years, but are still not recog-nised in legislation). After they are foreseen by law,the "Staro Selo" open-air museum in Sirogojnoshould be made central museum for all open-airmuseums being prepared (Rajac breweries,Brankovina etc.) because of specific documentationrelating both to tangible and intangible cultural her-itage.

Workshop 3 - Art history and Modern artSubject: "Ways and methods of documenting his-toric works, artworks and pieces of modern art"

CONCLUSIONS:- Besides professionals engaged in administeringcollections, it is necessary to employ as curators-librarians and curators-documentarists from appro-priate fields who have passed adequate stateexaminations.- It is necessary to keep traditional records togeth-er with introducing digitalised documentation, tradi-tional records being the basis for all new kinds ofelectronic documentation forms.- In standardising photographic documentation, thefollowing must make up a documentation set: ablack-and-white negative (6 x 9 cm), two contactcopies, a photograph for the work's record and acolour slide for A-grade listed works. Digital pho-tography cannot replace traditional documentation,but is recommended to be used parallel with tra-ditional methods for ease of manipulation.- Minimum CR data is still eight entries, accordingto ICOM recommendation.- Teaching on legislation on standardisation anddigitalisation of museum collections and activitiesshould be part of the curriculum at the Faculty ofPhilosophy (Museology)- Use legislation to establish deadlines for muse-ums, i.e. the time scale of work on creating thecentral protective institution and process data forthe Central Register. Therefore we suggest that anexpert commission should be formed to implementand control the proposed time scale.- Use legislation to establish deadlines for muse-ums, i.e. the time scale of work on creating thecentral protective institution and process data forthe CR. Therefore we suggest that an expert com-mission should be formed to implement and con-trol the proposed time scale.- Use legislation to set a deadline for formingDocumentation Centres at central museums, withthe aim of making them independent and laterforming a single Museum Information andDocumentation Centre.- It is essential to establish standards for basic cat-alogue data for museum catalogues, including asa must also catalogues of exhibited works.- Since there are museums in Serbia with unsolvedproblems in the area of keeping professional doc-umentation, we propose that further education of

future curators should be made obligatory for cen-tral museums.

Workshop 4 - Information centres, multimedia, internetSubject: Improving communication with users;Internet, namely, the issue of museum internet sites(Since issues of documentation, standardisationand informatisation came to greatest prominence atthe Seminar, the aspect of communication withusers still did not come to the fore) - Various opinions about the tasks of museum websites - from mere fun to professional resources andinformation. - The problem was pointed out of presumably"serious", or professional, content being translatedinto the form of an internet site which demandscertain "attractiveness". - To consider who the users of a museum site are- determining the "target group", is a matter ofanalysing user profile, as well as what the muse-um wants to achieve by going online.- In order to achieve the golden mean, as well asfor content which would not fall below the levelcharacteristic for the cultural mission of the muse-um to be presented in a form suited to the medi-um, i.e. in a clear and informative, but also inter-esting way, it is necessary to use teamwork to cre-ate the structure of the museum site. On the otherhand, it is a matter for technical experts to point outtechnical demands and standards of performancefor an internet presentation to museum officials.- It was pointed out that museums actually had lotsof experience in communicating with users (exhibi-tion/programme activities and publishing) - theseexperiences cannot be ignored in creating a futuresite. - "Information centres" should be understood ascentralised databases on cultural treasures, at thelevel of the central institution and central museums,which would be accessible, in an ordered way,mostly to expert circles (the core of the first suchcentre is already the Central Register at the centralmuseum institution)- The accessibility of these data must be institu-tionally ordered, with a system of requests and per-missions by pre-determined user categories, whichwould be technically supported with a protectionsystem and access passwords.- "Multimedia" aims are mostly educational, pre-sentational and popularising. Multimedia is actuallya new form of electronic publishing. The basic mul-timedia form of presenting museum content is thecreation of thematic CD-ROMs. As with Internetsites, this area also poses problems requiring care-ful planning and creation of content and aims ofsuch electronic materials.- All ways of electronic communication with usersshould be approached in a planned way and usingteamwork, so that the whole pallette of museumactivities can take part in them, ranging from doc-umentarists, through curators of programmes andpublishing activities, to public relations and infor-mation technology experts. A more thoroughapproach means a more rational use of museumresources, but also more adequate communicationof institutions such as museums.

Workshop 5 - Standards in documentationMr. Virgil Nitulescu, a guest from Romania, held alecture on CIDOC, i.e. on workgroups dealing withstandards.An example of standards by type of cultural prop-erty was set out by Mirjana Jevremovic from theMuseum of Science and Technology, the way of

entering data and the sections which are specificbut give complete information about a technicalcultural property.

CONCLUSIONS:

- The National Museum Belgrade and the Ministryare obliged to send a letter to the founders of themuseum to the effect that they must provide a min-imum of technical equipment (a Pentium 4 com-puter, a laser printer, a scanner and a digital cam-era) in order to create a database, as this is a pri-ority of modern museology.- The Ministry is obliged to provide the necessaryequipment for central museums and the NationalMuseum Belgrade.- Central museums are obliged to form expertteams to set standards and possible applicationsof international standards for all types of itemsclassed as cultural heritage.- The National Museum Belgrade and coordinatorsfrom central museums are obliged to form a teamwhich should unify proposed standards and,together with the project team, create a model ofthe Museum Information System of Serbia (MISS).- The Government of Serbia and the Ministry ofCulture and Public Information are obliged to pro-vide financial support for the creation and realisa-tion of the MISS, as it is matter of national interest.- The Ministry is obliged to verify this project, enti-tled "Central Register of Moveable Items of CulturalHeritage in the Museums of Serbia".- Museums in Serbia are obliged to enter dataabout items they keep into the Central Register bythe end of 2003. - the priority task of protection isthe forming of a database of museum collectionsof the Central Register.- The National Museum and central museums areobliged to define standards for the volume of dataon items under prior protection.- The Ministry is obliged to enact legislation to sup-port such defined standards.- The National Centre for Digitalisation is obliged toensure the uniformity of physical cultural data -identification number for every cultural object - Establish standards for font- The National Centre for Digitalisation is obliged toset standards for the resolution of digital photo-graphs, as they are the acepted documents inmuseum documentation.- Establish standard - Latin or Cyrillic script- The Ministry of Culture is obliged to approve anew job description - Database Administrator - for allcentral museums, due to the necessity of keepingmuseum documentation in an up-to-date manner.

Workshop 6 - ConservationSubject: application of a unified information systemin conservation-Define, standardise conservation documentation. - Adapt this documentation, i.e. make it usable forelectronic form- Electronic form must be compatible with MISS.We must set the minimum of data available to MISS- We must have the possibility to develop multi-media databases, with the stress on image, videoand audio recordings- We must have the possibility to develop all thesemultimedia databases in a more developed form- Organise a panel discussion with electronicsexperts to see where technology stands today, totalk about issues of quality of digital recordings,what is the basic strategy of developing digitalphotography and documents, in order to be readyin time for what is to come.

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otvorenom. Po{to budu predvi|eni zakonom, muzejna otvorenom "Staro selo" u Sirogojnu odrediti kaomati~ni u odnosu na sve muzeje na otvorenom koji su upripremi (Raja~ke pivnice, Brankovina, itd.), zbog specifi~nedokumentacije koja se odnosi i na nepokretna i na pokretnakulturna dobra.

Radionica 3 - Istorija umetnosti i savremena umetnostTema: Na~ini i metodi dokumentovanja istorijskih,umetni~kih i dela savremene umetnosti

Zaklju~ci:-Pored stru~nih lica na poslovima vo|enja zbir-ki, neophodno je da i na mestu kustosa-bib-liotekara i kustosa-dokumentacije obaveznobudu angaòvna lica iz odgovaraju}e struke, sapoloènim stru~nim ispitom.-Neophodnost paralelnog vo|enja klasi~ne doku-mentacije i digitalizovane dokumentacije (klasi~nadokumentacija - osnova za svaki novi vid elek-tronske forme dokumentacije) -Prema standardizaciji foto dokumentacije, kompletdokumentacije mora da ~ini: crno-beli negativ (6 x9 cm), dve kontakt kopije, fotografija za karton delai jedan kolor slajd, za dela A kategorije. Digitalnafotografija ne moè da zameni klasi~nu doku-mentaciju, ali se preporu~uje paralelno i digitalnosnimanje zbog mogu}nosti manipulacije.- Minimum podataka za Centralni registar ostajeosam odrednica po preporuci IKOM-a.- U okviru nastavnog programa Filozofskogfakulteta (predmet muzeologija) uvesti obaveznopoznavanje zakonskih propisa o standardizaciji idigitalizaciji muzejskih zbirki idelatnosti.- Ustanoviti zakonski rok za muze-je, tj. dinamiku rada na sprovo|enjuroka za centralnu ustanovu za{tite,u okviru koga }e se obraditi podaciza Centralni Registar. Predlaè seformiranje stru~ne komisije za spro-vo|enje i kontrolisanje predvi|enedinamike rada.- Formirati Dokumentacione centrepri mati~nim muzejima, s ciljem dase osamostale i prerastu u jedin-stveni Muzejski informaciono-doku-mentacioni centar.- Neophodno je ustanoviti stanadardeosnovnih katalo{kih podataka zamuzejske kataloge, uklju~uju}iobavezno katalog izloènih dela- Po{to postoje muzeji u Srbiji sanere{enim problemima u oblastivo|enja stru~ne dokumentacije,predlaèno je da se u okviru ispun-javanju obaveza mati~nih muzeja oraganizuje do-edukacija budu}ih kustosa.

Radionica 4 - Informacioni centri, multimedija, internetTema: usavr{avanje na~ina komunikacije sakorisnicima; internet - muzejski internet sajtovi (po{tose ispostavilo da su glavne teme Seminara pitanjadokumentacije, standardizacije i informatizacije, aspektkomunikacije sa korisnicima ipak nije bio u prvomplanu)

-Razli~ita shvatanja zadataka muzejskog internetsajta - od puke zabave do resursa stru~nih informacija. -Problem preno{enja "ozbiljnih" tj. stru~nih sadràja,u formu internet sajta, koji zahteva izvesnu meru"atraktivnosti". -Razmotriti ko su korisnici muzejskog sajta -

odre|ivanje "ciljne grupe" je stvar analizekorisni~kog profila, kao i to {ta muzej svojimpojavljivanjem na internetu èli da postigne-Neophodno je timsko projektovanje strukturemuzejskog sajta - da sadràji ne bi pali ispodnivoa karakteristi~nog za kulturnu misiju muzeja, ada budu izloèni u formi prilago|enoj mediju, (pre-gledan i informativan, ali i zanimljiv na~in). Sa drugestrane, na tehni~kim stru~njacima je da muzejimaukaù na tehni~ke zahteve i norme izrade internetprezentacije.-Ukazano je da muzeji zapravo imaju bogatoiskustvo u oblasti komunikacije sa korisnikom(izlo`bena/programska i izdava~ka delatnost) - ovaiskustva su nezaobilazna u projektovanju budu}egsajta. -"Informacioni centri" - centralizovane baze podata-ka o kulturnim dobrima, na nivou centralneustanove i mati~nih muzeja, koje bi na ure|enina~in bile dostupne korisnicima, prevashodnostru~nim krugovima (jezgro prvog ovakvog centrave} predstavlja Centralni registar u centralnojmuzejskoj ustanovi)-Dostupnost ovih podataka mora biti institucional-no ure|ena, sistemom zahteva i dozvola za prist-up po utvr|enim kategorijama korisnika, {to bi biloi tehni~ki podràno, sistemom za{tita i lozinki zapristup-Svrha "multimedije" je prevashodno pedago{kog,prezentacionog, te popularizatorskog karaktera -novi oblik elektronskog izdava{tva. Osnovna multi-medijalna forma prezentacije muzejskih sadràja jeizrada tematskih CD ROM-ova. Kao i kod internetsajtova, i ovde se javljaju zahtevi za pa`ljivim plani-

ranjem i projektovanjem sadràja i namene ovakvihelektronskih izdanja.-Svim vidovima elektronske komunikacije sakorisnicima je poèljno pristupiti planski i timski,tako da se ~itava lepeza muzejskih aktivnosti unjih uklju~i, od dokumentarista, preko kustosaprogramskih i izdava~kih delatnosti, dostru~njaka za odnose sa javno{}u iinformati~ara. Temeljitiji pristup zna~i racionalnijekori{}enje muzejskih resursa, ali i adekvatnijukomunikaciju institucija kakve su muzeji.

Radionica 5 - Standardi u dokumentacijiGospodin Virgil Nitulesku, gost iz Rumunije, odràoje predavanje o radnim grupama CIDOC-a, koje sebave standardima. Primer o standardima po vrstama kulturnih dobara

iznela je Mirjana Jevremovi} - Muzej nauke itehnike, na~in unosa podataka i rubrike koje suspecifi~ne, a daju kompletnu informaciju otehni~kom kulturnom dobru.

Zaklju~ci:- Obaveza Narodnog muzeja u Beogradu iMinistarstva kulture i javnog informisanja je daupute pismo osniva~ima muzeja, da su du`ni daobezbede minimum tehni~ke opreme za obradu iunos podataka za Centralni registar pokretnih kul-turnih dobara Srbije - Obaveza Ministarstva kulture je da obezbedipotrebnu tehni~ku opremu za mati~ne muzeje iNarodni muzej u Beogradu- Mati~ni muzeju su du`ni da formiraju stru~ni timza utvr|ivanje standarda i primenu me|unarodnihstandarda, po vrstama kulturnih dobara- Narodni muzej u Beogradu i koordinatori mati~nihmuzeja su du`ni da osnuju tim za objedinjavanjepredloènih standarda i, zajedno sa projektantskimtimom, da formiraju model Muzejskog informa-cionog sistema Srbije (MISS) - Obaveza Vlade Srbije i Ministarstva kulture je daobezbede finansijska sredstva za izgradnju i real-izaciju MISS-a, s obzirom da se radi o dràvnominteresu.- Obaveza Ministarstva kulture je verifikacija pro-jekta "Centralni registar pokretnih kulturnih dobaramuzeja Srbije"- Obaveza muzeja Srbije je da do kraja 2003.godine unesu podatke u Centralni regstar za svojmuzejski fond- prioritetni zadatak za{tite formiranjebaze podataka muzejskih zbirki Centralnog registra

- Obaveza Narodnog muzeja i mati~nihmuzeja je da defini{u standarde za opsegpodataka za kulturna dobra koja uìvajuprethodnu za{titu. - Obaveza Ministarstva je da uradi zakonskuregulativu tih definisanih standarda.- Obaveza Nacionalnog centra za digital-izaciju je da obezbedi uniformnost fizi~kogpodatka kulture - dobijanje mati~nog brojaza svako kulturno dobro - Utvrditi standard za font- Obaveza Nacionalnog centra za digital-izaciju je da utvrdi standard za rezoluciju dig-italne fotografije - Utvrditi standard - upotreba latinice ili }irilice- Obaveza Ministarstva kulture je da odobrinovi profil stru~nog lica - administrator bazepodataka, u svim mati~nim muzejima, zbognephodnosti vo|enja savremene muzejskedokumentacije

Radionica 6 - KonzervacijaTema: Primena jedinstvenog informacionog

sistema u konzervaciji

Zaklju~ci:- Definisati i standardizovati konzervatorsku doku-mentaciju - Prilagoditi konzervatorsku dokumentaciju upotre-bi i u elektronskoj formi- Elektronska forma mora biti kompatibilna MISS-u- odrediti minimum podataka koji }e biti dostupniMISS-u- Omogu}iti razvijanje multimedijalne baze podata-ka, sa akcentom na slici, video i audio zapisima - Omogu}iti razvijanje novih formi baza podataka- Organizovati panel diskusiju sa ekspertima, opitanjima kvaliteta digitalnih zapisa i o osnovnimstrategijama razvoja digitalne fotografije i dokume-nata, kako bi smo bili u toku sa onim {to novatehnologija moè da pruì u na{oj oblasti.

Seminar ”From Documentacion Card to the User”Seminar ”Seminar od kartona do informacije za korisnike”

39

UUSSEE OOFF RRAAMMAANNUUSSEE OOFF RRAAMMAANNMMIICCRROOAANNAALLYYSSEESS IINNMMIICCRROOAANNAALLYYSSEESS IINNCCOONNSSEERRVVAATTIIOONNCCOONNSSEERRVVAATTIIOONNJelena Petrovi}, student of Physical ChemistrySilvio Ke~ke{, student of Physical Chemistry

Analyses of the artefacts, that represent the world'scultural heritage, to be more precise analyses oftheir pigments, give answers to many questionssuch as:-When was the work of art was made-Which pigments did the artists use, their chemicalcontent-The origin of the pigment-Setting the terms for preserving the work of art-Verifying the authenticity We can distinguish between two ways of painting:by using colours or pigments. We can get a goodpicture of what pigments are by imagining smallpieces of coloured stone compressed into a platemade up of a transparent plastic mass. It is obvi-ous that there is no chemical reaction between thepieces of stone and plastic; the plastic is only thereto keep the pieces together. This is the way allpaints are made. These colours consist of colouredparticles, pigments, which are kept together by cer-tain bonding materials, such as e.g. flaxen oil orsome plastic that bond fast in contact with air.Those coloured particles-pigments, which are usedto make colours, are usually simple chemical ele-ments or compounds. Chemical colours colourmaterial by forming a direct chemical bond with themolecules of the material.The content of the pigments, used in the makingof precious works of art, have always been a chal-lenge, both for artists and scientists. The identification of the materials used for creatinga work of art has played an important role in thescientific disciplines. Different work was made bydifferent pigments. The type of the pigment thatwas used depended in first place on the period oftime when the work of art was created; it depend-ed on the natural resources of the pigment usedfor painting, i.e. it depended on the location of theorigin of the work. The analyses of pigments todayare based on analyzing the vibrational spectra rely-ing on the method of the "finger print" - the mosteffective analysis occurs to be the Raman microscopy. The Raman microscopy is an ideal analyticalmethod for pigment analysis because it is specific,sensitive, lacks interference. It also allows in situanalysis and is nondestructive. Its advantagescompared to other methods are listed in the table. The modern Raman microscopy is largely applied

in analyzing and researching pigments because itenables us to work in situ. Besides that it hasshown high sensitivity and spatial resolution.Using a microscope it is possible to localize a smallsurface, then to make a spectrum of the chosenspot. In case we need to analyze a mixture of pig-ments with this technique, we choose the pigmentof interest (figure2).The bases of the method of the "finger print" relieson the fact that each compound has a character-istic Raman spectrum and that no two compoundscan give the same Raman spectrum! This can beelaborated on the example of two visually almostidentical blue pigments- azurite and azurite. Theirspectra are shown on the pictures 3 and 4.Two visually similar pigments can be clearly distin-guished by their characteristic Raman spectra. Thedescribed pigments are different compounds andthe analysis of their spectra can identify the pig-ments. The identification is made comparing theexperimental data with the standard spectra. The described method allows a quick and preciseidentification of the unknown pigment. The Ramanspectroscopy can further be used for analyzingceramic, porcelain and coloured glass as well asfor solving many other problems that occur whenrestoring and conserving works of art.The facts revealed in this text are based on theresearch paper "The use of Raman microscopy inconservation and verification of the authenticity ofthe works of art" which was presented at the DIANACenter for Conservation on 11.12.2002. Theresearch was done using foreign work onresearching the pieces of art. We appreciate great-ly the help of Prof. Dr. Ubavka Mioc as well as herassistant Ljiljana Damjanovic M. Sc. during ourwork on the subject.The Raman microscope and the analyses madeusing this instrument could largely help andimprove the working conditions for our conserva-tors and also open a door for cooperation with for-eign centers of this kind. We sincerely hope thatDIANA Centre will own such an instrument in thenearer future.

References:

1. S. Mentus, U. Mio~, Odabrane metodefizi~kohemijske analize, Fakultet za fizi~ku hemiju,Beograd, 1993.2. R. J. H. Clark, Pigment Identification on MedievalManuscripts by Raman Microscopy, J. Mol. Struct.,347, 417-428 (1995)3. H. G. M. Edwards, D. W. Farwell, E. M. Newton,F. Rull Perez, S. Jorge Villar, Raman spectroscopicstudies if a 13th century polychrome statue: iden-

tification of a "forgotten" pigment, J. RamanSpectrosc., 31, 407-413 (2000)4. L. Burigo and R. J.H. Clark, Comparative pig-ment analysis of modern Egyptian papyri and anauthentic one of the 13th century BC by Ramanmicroscopy and other techniques, J. RamanSpectrosc., 31, 395-401 (2000)

SSPPEECCTTRROOSSCCOOPPIICC MMEETTHHOODDSS IINNSSPPEECCTTRROOSSCCOOPPIICC MMEETTHHOODDSS IINNIINNVVEESSTTIIGGAATTIIOONN OOFFIINNVVEESSTTIIGGAATTIIOONN OOFFPPRREEHHIISSTTOORRIICC PPIIGGMMEENNTTSS AANNDD PPRREEHHIISSTTOORRIICC PPIIGGMMEENNTTSS AANNDD TTHHEEIIRR SSOOUURRCCEESSTTHHEEIIRR SSOOUURRCCEESSA.Rosi}, Faculty of Mining and Geology,Department for CrystallographyM.Stojanovic, National Museum Belgrade, Diana Centre for Preventive ConservationZ.Nedi}, Faculty of Physical Chemistry, University of Belgrade, U.B. Mio~, Faculty of Physical Chemistry, University of Belgrade

The prehistoric site of Vin~a was discovered at thebeginning of the 20th century (Miloje Vasi}, 1931-1934) in the territory of the City of Belgrade on theright bank of the Danube River. It is established thatthe cultural layer of 10 m thickness belongs to theNeolithic culture which flourished in South-EasternEurope between 5200 – 4200 B.C. New excava-tions began in 1988 under the auspices of theSerbian Academy of Sciences and Arts. The samples of ceramics with red pigment on themare from the layer representing the end of thisNeolithic culture. Identification of the red pigmentwhich covers some fragments of these ceramicsand determination of its origin is the aim of thisinvestigation. Analysis of the pigment covering theceramics and analysis of samples of “coloredearth” from the excavation site were carried out. Inthese investigation several spectroscopic methods:X-ray powder diffraction (XRPD), Infrared (IR) andMicro-Raman spectroscopy were used.Results of the examination of pigments on theceramic show that two kinds of pigments were

Tecchniique In siitu Specciifiicciityy Sensiitiiviityy Spaatiiaall Resollutiion

Immuniityy to Interferencce

SEM / bad good excellent good

XXRF / good good good good

XXRD / good fair poor poor

Raamaan yes excellent excellent excellent good

IR yes good good fair bad

UUV/VIS yes poor good fair fairOptiiccaallMiiccrosccopyy

yes bad good good good

Strengts and Weaknesses of the Main Techniques available for Pigment Analysis

Figure 1. Examination in situSlika 1. Izvo|enje analize in situ

Figure 2. Microscopic photograph of pigmentsmixture Slika 2. Mikroskopski snimak sme{e pigmenata

EExxaammiinnaattiioonnss AAnndd IInntteerrddiisscciipplliinnaarriittyy

40

PPRRIIMMEENNAA RRAAMMAANNSSKKEE PPRRIIMMEENNAA RRAAMMAANNSSKKEE MMIIKKRROOAANNAALLIIZZEE UU MMIIKKRROOAANNAALLIIZZEE UU KKOONNZZEERRVVAACCIIJJIIKKOONNZZEERRVVAACCIIJJIIJelena Petrovi} , apsolvent Fakulteta za fizi~kuhemiju Silvio Ke~ke{, apsolvent Fakulteta za fizi~ku hemiju

Analize umetni~kih dela, koja predstavljaju svetskokulturno nasle|e, tj. njihovih pigmenata, dajuodgovore na mnoga pitanja kao {to su:-kada je delo nastalo;-koje su pigmente umetnici koristili, tj. hemijski sas-tav pigmenata;-poreklo pigmenata;-odre|ivanje uslova za ~uvanje umetni~kih dela;-utvr|ivanje autenti~nosti dela,itd.Moèmo razlikovati dve vrste sredstava za bojenje:pigmente i boje. Pribli`nu sliku o tome {ta su pig-mentne boje, moèmo dobiti ako zamislimo koma-di}e obojenog kamena zbijene u jednoj plo~i odprovidne plasti~ne mase. Jasno je da ne dolazi dohemijske reakcije izme|u komadi}a kamena i plas-ti~ne mase, ve} da plasti~na masa drì komadi}ekamena na okupu. Na ovom principu se prave sveslikarske boje. Te boje se sastoje od obojenih~estica pigmenata, koje se ~vrsto drè na okupupomo}u vezivnih sredstava, kao {to su npr. lanenoulje ili neka plasti~na masa, koja se brzo steè navazduhu. Te obojene ~estice-pigmenti, koji seupotrebljavaju za pravljenje boja ~esto su sasvimproste hemijske supstance, kao {to su grafit (crna),razni oksidi gvo`|a (crvena), oksidi kobalta (plava),kadmijum sulfid-CdS (ùta), olovo sulfat-PbSO4(bela) i naravno me{avine ovih hemijskih jedinjenjai elemenata. Hemijske boje neku materiju bojeobrazuju}i direktnu hemijsku vezu sa njenimmolekulima.Sastav pigmentnih boja, kori{}enih pri izradi vred-nih istorijskih dela, oduvek su predstavljale velikiizazov, kako za nau~nike tako i za umetnike.Va`na uloga nau~nih disciplina bila je identifikacijamaterijala kori{}enih u izradi umetni~kih dela.

Razli~ita dela su ra|ena razli~itim pigmentima. Tippigmenata, koji je kori{}en zavisi prvenstveno odvremenskog razdoblja kada je umetni~ko delonastalo, da li su kori{}eni sinteti~ki pigmenti, zatimod prirodnih nalazi{ta pigmenata, koji su kori{}eniza bojenje, tj. od podneblja na kome je delo nasta-lo. Dana{nje analize pigmenata zasnivaju se naanalizi vibracionog spektra po metodi "otiska prsta"od kojih se kao najefikasnija pokazala Ramanskamikroanaliza.Ramanska mikroanaliza je idealna metoda za pig-mentnu analizu, jer je odlikuje specifi~nost,osetljivost, odli~no prostorno razlaganje, odsustvointerferencije. Ova metoda, tako|e, omogu}ava radin situ ("na licu mesta") i nedestruktivna je. Njeneprednosti u odnosu na druge tehnike date su utabeli.Ramanska mikroanaliza je jedna od najpogodnijihmikroanaliti~ka metoda kojom je mogu}e analiziratimale povr{ine mikrometarskih dimenzija in situ.Pomo}u mikroskopa mogu}e je lokalizovati malupovr{inu, a zatim snimiti spektar odabranog mesta.U slu~aju kada je potrebno analizirati sme{u pig-menata pomo}u ove tehnike bira se pigment kojise èli analizirati (sl.2).Su{tina metode "otiska prsta" zasniva se na ~injeni-ci da svako jedinjenje ima svoj karakteristi~anramanski spektar i da dva razli~ita jedinjenja nemogu imati iste ramanske spektre. Ovo se moèprikazati na primeru dva vizuelno skoro identi~naplava pigmenta-azurita i lazurita, ~iji su ramanskispektri prikazani na slikama 3 i 4.Dva vizuelno sli~na pigmenta jasno se mogu raz-likovati na osnovu karakteristi~nih ramanskih spek-tara. Prikazani pigmenti su razli~ita hemijska jedin-jenja (sl.3 i 4) i daju karakteristi~ne ramanske spek-tre ~ijom analizom moèmo identifikovati analiziranipigment. Identifikacija se vr{i pore|enjem saprethodno snimljenim standardnim spektrima. Opisani postupak omogu}ava veoma brzu i pre-ciznu identifikaciju nepoznatog pigmenta. Poredanalize pigmenta Ramanska spektroskopija moèse primeniti i za analize keramika, porcelana i obo-jenog stakla. Ova metoda moè pomo}i i prire{avanju drugih problema, koji se javljaju prirestauraciji i konzervaciji umetni~kih dela.Ramanska mikrosonda i analize koje se njomevr{e, u mnogome bi olak{ale i pobolj{ale usloverada na{im restauratorima i konzervatorima i otvo-rile vrata za saradnju sa stranim centrima, koji sebave istom problematikom. Iskreno se nadamo da}e u skorijoj budu}nosti jedan takav instrumentposedovati i Centar DIJANA.înjenice iznete u ovom tekstu baziraju se na radu"Primena ramanske mikroskopije pri konzervaciji iodre|ivanju autenti~nosti umetni~kih dela", koji jepredstavljen u Centru za konzervaciju DIJANA

11.12.2002.god. Rad je ura|en na osnovu stranihradova koji se bave problematikom izu~avanjaumetni~kih predmeta. Veliku zahvalnost dugujemoprof.dr Ubavki Mio~, kao i predmetnom asistentumr Ljiljani Damjanovi}, za pomo} pri obradi teme.

Literatura:

1. S. Mentus, U. Mio~, Odabrane metodefizi~kohemijske analize, Fakultet za fizi~ku hemiju,Beograd, 1993.2. R. J. H. Clark, Pigment Identification on MedievalManuscripts by Raman Microscopy, J. Mol. Struct.,347 (1995) 417-428.3. H. G. M. Edwards, D. W. Farwell, E. M. Newton,F. Rull Perez, S.Jorge Villar, Ramanspectroscopic studies if a 13thcentury polycromestatue: identification of a "forgotten"pigment, J. Raman Spectr., 31 (2000) 407-413.4. L. Burigo and R. J. H. Clark, Comparative pig-ment analysis of modern Egyptian papyri and anauthentic one of the 13th century BC by Ramanmicroscopy and other techigues, J. Raman Spectr.,31 (2000) 395-401.

SSPPEEKKTTRROOSSKKOOPPSSKKEE SSPPEEKKTTRROOSSKKOOPPSSKKEE MMEETTOODDEE UU IISSTTRRAA@@IIVVAANNJJUU MMEETTOODDEE UU IISSTTRRAA@@IIVVAANNJJUU PPRRAAIISSTTOORRIIJJSSKKIIHH PPIIGGMMEENNAATTAA IIPPRRAAIISSTTOORRIIJJSSKKIIHH PPIIGGMMEENNAATTAA IINNJJIIHHOOVVIIHH NNAALLAAZZII[[TTAANNJJIIHHOOVVIIHH NNAALLAAZZII[[TTAAA. Rosi}, Rudarsko Geolo{ki Fakultet, Univerzitet uBeogradu, M. Stojanovic, Narodni muzej Beograd, DIANACentar za preventivnu za{titu Z. Nedi}, Fakultet za fizi~ku hemiju, Univerzitet uBeograduU. B. Mio~, Fakultet za fizi~ku hemiju, Univerzitet uBeogradu

Praistorijsko nalaziste Vin~a otkriveno je po~etkomXX veka (Miloje Vasic, istraìvanja 1931.-1934.) nateritoriji grada Beograda, na desnoj obali Dunava.Nepobitno je dokazano da kulturni sloj, debljinedeset metara, pripada neolitskoj kulturi, koja je svojprocvat u jugoisto~noj Evropi imala izme|u 5.200 i4.200 godine stare ere (BC).Nova istraìvanja su zapo~eta 1998. godine, podegidom Srpske akademije nauka i umetnosti.Strategija ovih istraìvanja je interdisciplinarnost,kako bi se upotpunila saznanja o na~inu ìvota itehnolo{kom razvoju drevnih stanovnika Vin~e.Uzorci keramike sa crvenim pigmentom na sebi, okojima je ovde re~, poti~u iz sloja koji ozna~avaposlednje dane ìvota ove neolitske civilizacije.

Tehniikaa In siitu Specciifii~nost Osetlljjiivost Prostorno raazllaaggaanjje

Odsustvoiinterferencciijje

SEM / lo{a dobra odli~no dobro

XXRF / dobra dobra dobro dobro

XXRD / dobra zadovoljava lo{e lo{e

Raamaan da odli~na odli~na odli~no dobro

IC da dobra dobra zadovoljava lo{e

UUV/VIS da lo{a dobra zadovoljava zadovoljavaOptii~kaa miikroskopiijjaa

da lo{a dobra dobro dobro

Prednosti i nedostaci tehnika koje se koriste za analizu pigmenata

Figure 3. Raman spectre of azuriteslika 3. Ramanski spektar of azurita

Figure 4. Raman spectre of lazuriteslika 4. Ramanski spektar lazurita

IIssppiittiivvaannjjaa ii iinntteerrddiisscciipplliinnaarrnnoosstt

azurit2CuCO3·Cu(OH)2

lazuritNa8[Al6Si6O24]Sn

41

found: cinnabar (HgS) and the red ochrepigment, hematite (a-Fe2O3).From data of XRPD analysis of samples of“colored earth” shows that the main con-stituent is quartz with small amounts of min-erals from the group of feldspars, phyllosili-cates and carbonates. Only in one sample of“colored earth” a small amount of hematitewas found in combination with quartz, pagio-clase from the feldspar group, phyllosilicate inthe form of mica, chlorite and smectite andcarbonates: calcite and dolomite.One sample of the pigment that covers theceramics also contained hematite, in combi-nation with quartz, phyllosilicates and a smallquantities of kaolinite and smectite, and somecarbonates such as calcite and dolomite. From this it can be concluded that the sam-ples of “colored earth” do not correspond tothe samples of pigment because of the differ-ence in mineral composition, and thereforecannot be considered as the raw material forcoloring ceramics that was used there.Some other samples of ceramics were exam-ined wiith IR and micro-Raman spectroscopy.These methods allow identification of the typeof body of ceramics and coloring red pigmenton the surface. On the basis of vibrationspectra, IR and micro-Raman, as red pig-ment as hematite, a-Fe2O3, (bands at 220,286, 402 and 491 cm-1) cinnobar (bands at252, 283 and 342 cm-1) were identified.The possibility of finding cinnabar as rawmaterial for this pigment is very certain. Some10 km south-east of Vin~a, on Avala Mountainexisted a mine of cinnobar-mercury what canbe taken as a local mineralogical source.Data of XRPD and vibration analysis are in agreement dealing with body ofceramic. a-quartz and kaolinite are dominant component of the body. Thepresence of carbonate such as calcite and dolomite have been confirmedwith methodes of vibration spectroscopy too. The strategy of these investigations is interdisciplinary.

OORRGGAANNIICC AANNDD IINNOORRGGAANNIICC MMAATTEERRIIAALLSS IINN OORRGGAANNIICC AANNDD IINNOORRGGAANNIICC MMAATTEERRIIAALLSS IINN CCOONNSSEERRVVAATTIIOONNCCOONNSSEERRVVAATTIIOONNMilica Stojanovic, chemist

During conservation and restoration of archaeological objects, the conserva-tors are in contact with various materials.For cleaning we use distilled water, alcohol, acetone, etc.For consolidation there is OHO II spec. in acetone (for ceramics) or Plasticcoating for glass.For bonding - different epoxy , ester and cyan glues are in use.For reconstructions - for ceramics we use plaster and for glass we use esterand epoxy resins.For painting - pigments in combination with acrylic diluents for ceramics andpolyester and epoxy colorants from "Duga" Industry of Paints and Varnishes.All together these materials can be classified as organic and inorganic. Whatare actually these organic and inorganic compounds?INORGANIC substances, their mixtures and materials made of these are thesubstances like: metals (iron Fe, copper Cu, calcium Ca...), their oxides (Fe2O3

that is element of corrosion, CuO, etc.), their bases (NaOH, Ca(OH)2, etc.) andnonmetals (S sulphur, O2 oxygen, H2 hydrogen) their oxides (SO2 sulphurdioxide, CO2 carbon dioxide, H2O water) their acids (H2SO4 sulphuric acid,H2CO3 carbonic acid, H3PO4 phosphoric acid) and the salts of these acids

that result from interchange of hydrogen atom with metallic ion i.e. CaCO3 cal-

cium carbonate known as lime, CaSO4 calcium sulphate known as gypsum,CuCO3 cupric carbonate known as green patina on the copper. To this groupbelong most of the materials that we are dealing with in DIANA as ceramics,glass, stone, metals and there all are complex mixtures of inorganic compounds.

ORGANIC substances are those that originate from the living matter, such asderivatives of petrol, wood, bees waxes, flowers, or better said from plants and

animals. These substances are mainly madeof carbon and hydrogen (carbohydrates), oxy-gen, phosphorus, nitrogen and sulphur. To thisgroup of compounds belong most of the dilu-ents that we use in conservation and restora-tion (alcohol, acetone, white spirit and allglues and consolidates).Why is that important? Because working withvarious materials in conservation we are facedwith the question of their solubility (how can Iremove the excess of gypsum or glue; can Iuse certain diluents on specific material; whichdiluents shall I use to dissolve certain pig-ments, etc.). There we can rely on a rule inchemistry that simply states "similar is dissolv-ing in similar". Similarity in this case refers tothe polarity of certain substances i.e. to prop-erties of chemical bonds in compounds.However, we can generally say that theorganic compounds dissolve easily in organ-ic diluents while inorganic dissolve in inorgan-ic diluents. So the consolidant such as anorganic resin is going to dissolve most easilyin organic diluents such as alcohol, acetone,etc. On the other hand, corrosion, as resultreaction of metal surface with the gasses inatmosphere and is by its nature oxide ofmetal or its salt, will certainly dissolve in someinorganic acid. The same refers to all kinds ofcarbonates. They are also dissolving in acids.But in conservation the things are not so sim-ple as it seams because we must always beaware of unwanted processes. So if we treatmetal crust with a very strong acid, that acid

will react with metal! It needsto know material we are dealing with, the mate-rial we use and the experience in order to decide on the kind of treatmentthat is the best. Here, we have just mentioned some elementary facts that areof interest in the work of conservators.

WWHHYY SSUURRVVEEYY??WWHHYY SSUURRVVEEYY??Mark M Francis.Archaeological Surveyor

How did a British archaeologist find himself living in Belgrade and giving alecture on geophysical survey at the DIANA Centre? In 1997 I took theM.A.Degree in Archaeological Survey at Durham University. Why did I choosesurvey? Walking up and down a muddy field in Yorkshire, in freezing cold rain,with a machine going bleep is not every archaeologists idea of fun. But whenthe machine in question is a Fluxgate gradiometer, designed for geophysicalsurvey, and the recordings made reveal the plans of a previously unknownRoman villa all without excavation you can begin to understand why I choseto be an archaeological surveyor. While I enjoy excavation, for me, the realchallenge is to be able to study the landscape and using a variety of surveytechniques from topographical survey, fieldwalking, aerial survey to geophysi-cal survey, to provide possible answers to what changes have taken placeover time. The skill is being able to ask the right questions. Why are the fieldboundaries that shape, how old is this wall? What are those small humps inthe ground? By making maps, of both the surface and sub-surface remainssurvey helps provide many of the answers to archaeological questions of pastuse of the landscape and settlement patterns and allows excavation be car-ried out in a more directed fashion. Since 1998 I have worked in both rescuearchaeology and on research projects in the U.K, the Irish Republic, in EasternEurope and the Near East. Only last year I helped complete the geophysicalsurvey of the Iron Age mountain top city at Kerkenes Dag, in central Turkey.The site is 2.5 km2 and under the direction of Dr. G. Summers, a completemap of the entire city has been made. This would be impossible without mod-ern survey techniques (www.metu.edu.tr./home/wwwkerk/). So that for me isWhy Survey? And how did I come to be living in Belgrade? Well back in myfirst season in Turkey in 2000 I met my wife Natasa from Belgrade. Since mov-ing to live here I must say how warm the welcome has been from my fellowarchaeologists, especially those at the Diana Centre, the later always makingthe Centre feel like a second home on my visits.

Mark Francis at field surveyMark Frencis u toku terenske prospekcije

42

Sastav i poreklo crvenog pigmenta koji se nalazi nakeramici bili su predmet na{eg ispitivanja. Ura|enesu analize sloja pigmenta koji se nalazi na samojkeramici i analize uzoraka "obojene zemlje". Metodekoje su koris}ene su X-difrakciona spektroskopijapraha (XRPD), IC-spektroskopija, a jedan uzorakpigmenta sa keramike je snimljen Mikro-Ramanskom spektroskopijom.Na osnovu rezultata dobijenih ispitivanjem pigmen-ta na keramici, ustanovljeno je da je re~ o dve vrstepigmenta. U pojedinim slu~ajevima kori{}en jecinobarit, HgS, dok je u drugim slu~ajevimakori{}en pigment gvo`|a, crveni oker ?-Fe2O3.[to se ti~e rezultata dobijenih ispitivanjem uzoraka"obojene zemlje", X-difrakcionom spektroskopskomanalizom praha ustanovljeno je da su glavni sasto-jci kvarc i male koli~ine minerala iz grupe feldspa-ta, slojevitih silikata i karbonata. Samo je u jednomuzorku zemlje prona|en hematit ?-Fe2O3 i to uzkvarc, plagioklas iz grupe feldspata, slojevite silikateliskuna, hlorit i smektit, i od karbonata kalcit idolomit.Jedan od uzoraka pigmenta koji se nalazi nakeramici sadrì tako|e ?-Fe2O3 hematit, u kombi-naciji sa kvarcom, od slojevitih silikata ilitom, kaolin-itom i smektitom i od karbonata kalcitom i dolomit-om, {to je potvr|eno i IC-spektroskopijom.Iz ovoga se da zaklju~iti da uzorak "obojene zeml-je" po svom sastavu ne odgovara uzorku pigmen-ta, tj. re~ je o razli~itim kombinacijama minerala, tese ne moè smatrati sirovinom koja je ovdekori{}ena za bojenje keramike.Jo{ nekoliko uzoraka keramike je ispitivano IC iMikro-ramanskom spektroskopijom. Ove metodeomogu}avaju identifikaciju same keramike, kao ipigmenta na njenoj povr{ini. Na osnovu vibracionihspektara, IC i mikro-Ramanskom spektroskopijom,kao crveni pigmenti idenifikovani su hematit ?-Fe2O3 (trake na 220, 286, 402 i 496 cm-1) i cinober

HgS (trake na 252, 283 i 342 cm-1).

Mogu}nost nalaènja cinobera kao sirovine zadobijanje pigmenta je veoma izvesna. Na udal-jenosti od desetak km jugoisto~no od Vin~e, na

Avali, postojao je rudnik ìve, {to se moè smatratilokalnim minerolo{kim nalazi{tem.Podaci dobijeni XPDR i vibracionim analizama suusagla{eni {to se ti~e same keramike. Njeni dom-inantni sastojci su ?-kvarc i kaolinit. Prisustvo kar-bonata, kao {to su kalcit i dolomit, tako|e jepotvr|eno metodom vibracione spektroskopije.Strategija ovih istraìvanja je interdisciplinarnost.

OORRGGAANNSSKKII II NNEEOORRGGAANNSSKKIIOORRGGAANNSSKKII II NNEEOORRGGAANNSSKKIIMMAATTEERRIIJJAALLII MMAATTEERRIIJJAALLII UU KKOONNZZEERRVVAACCIIJJIIUU KKOONNZZEERRVVAACCIIJJIIMilica Stojanovi}, hemi~ar

Tokom konzervacije i restauracije arheolo{kih pred-meta, konzervatori se susre}u sa razli~itim vrstamamaterijala.Za ~i{}enje se koriste voda, alkohol, aceton itd.Za konsolidaciju - OHO II spec u acetonu (zakeramiku) ili Plastic coating za staklo.Za lepljenje - razli~iti lepkovi epoksi, estarskih ilicijano smola.Za nadogradnju - kod keramike gips, a za staklopoliestri i epoksi smole.Za bojenje - razli~iti mineralni pigmenti u kombi-naciji sa akrilnim rastvara~em, a za staklo poli-esterske i epoksi boje ("Duga" - fabrika boja i lako-va).U principu svi ovi materijali mogu se podeliti naorganske i neorganske. [ta su zapravo neorgans-ka, a {ta organska jedinjenja?NEORGANSKE supstance, njihove sme{e i mater-ijali koji se od njih prave su supstance koje mogubiti : metali (gvo`|e Fe, bakar Cu, kalcijum Ca ...), njihovi oksidi (Fe2O3 koji je sastavni deo r|e, CuOi sli~no), njihove baze (NaOH, Ca(OH)2 i sli~no) inemetali (sumpor S, kiseonik O2, vodonik H2), nji-hovi oksidi ( sumpor dioksid SO2, ugljen dioksidCO2, voda H2O), njihove kiseline (sumpornaH2SO4, ugljeni~na H2CO3, fosforna H0PO4) i soli tihkiselina, nastale zamenom vodonika metalnim jon-ima (kalcijum karbonat CaCO3 poznatiji kao kre~,magnezijum karbonat MgCO3, poznatiji kao gips,kupri karbonat CuCO3, zelena patina na bakru ). Uovu grupu spadaju uglavnom svi materijali sa koji-ma se u DIANI susre}emo: keramika, staklo, metal,kamen (i svi su sloène sme{e neorganskih sup-stanci).

ORGANSKE supstance su one koje vode porekloiz ìve materije - drve-ta, p~ela, cve}a,uop{te biljaka i ìvotin-ja, zatim derivati nafte,itd, a po svom sastavusu to jedinjenja ugljeni-ka sa kiseonikom, fos-forom, azotom isumporom, ali presvega sa vodonikom(ugljovodonici). U ovugrupu jedinjenja spadajumnogi rastvara~i koji sekoriste u konzervaciji irestauraciji (alkohol,aceton, vajt spirit, kao iuglavnom svi lepkovi ikonsolidanti).Za{to je to va`no? Zato{to pri kori{}enju razli~itihmaterijala pri konzervacijidolazimo do pitanja nji-hove rastvorljivosti (kako}emo skinuti vi{ak gipsa

ili lepka, da li se odre|eni rastvara~ sme primeniti nanekom materijalu, u kojem rastvara~u da razbla imodre|enu boju ? itd). Tu se moèmo osloniti na jednopravilo koje u hemiji jednostavno glasi "sli~no se rast-vara u sli~nom". Sli~nost se u ovom slu~aju odnosi napolarnost neke supstance tj. na karakteristike hemijskeveze, ali najuop{tenije ovde moèmo re}i da }e seorganske supstance najlak{e rastvarati u tako|e

organskim supstancama, a neorganske u neorgan-skim. Tako }e se, napr. konsolidant koji je na baziorganskih smola sigurno rastvarati u nekom organ-skom rastvara~u: alkoholu, acetonu i sl. A r|a, koja jerezultat hemijskih procesa koji se de{avaju usled reak-cija metala sa gasovima iz okoline i koja je po svomsastavu ili oksid metala ili neka njegova so, sigurno }ese rastvarati u neorganskoj kiselini. Isto va i i za svevrste karbonata - i oni se rastvaraju u kiselinama.Naravno, u konzervaciji stvari nisu ni izdaleka tako jed-nostavne, jer se uvek mora voditi ra~una i o neèljen-im procesima. Tako napr. kiselina kojom bismo rastvo-rili neku r|u sa metala uvek }e da deluje i na sammetal. Potrebno je poznavanje osobina materijala kojimse rukuje i veliko iskustvo da bi se odredio pravilantretman. Za sada smo naveli samo neke elementarne~injenice, koje su od neposrednog zna~aja za radkonzervatora.

ZZAA[[TTOO IISSPPIITTIIVVAANNJJEE TTEERREENNAA??ZZAA[[TTOO IISSPPIITTIIVVAANNJJEE TTEERREENNAA??Mark M. Frensis,Arheolog-geodeta

Kako se desilo da britanski arheolog po~ne da ìviu Beogradu i da, u DIANA Centru, drì predavan-ja o geofizi~kom ispitivanju? Godine 1997. mag-istrirao sam na temu arheolo{kog ispitivanja terenana Univerzitetu u Daramu. Za{to sam izabrao ispi-tivanje terena? Hodanje po blatnjavom terenu uJork{iru, po ki{nom i hladnom vremenu, saaparatom koji bip}e, nije ba{ zabavno za jednogarheologa. Me|utim, kada je taj aparat Fluksgejtovgradiometar, namenjen geofizi~kim ispitivanjima ikada snimci koje uz pomo} njega dobijate otkrijutemelje do tada nepoznate rimske vile i to beziskopavanja, onda po~inje da biva razumljivo za{tosam izabrao ovaj poziv. Iako uìvam i u iskopa-vanjima, za mene je pravi izazov u mogu}nostianaliziranja terena i kori{}enja raznih geodetskihtehnika, od topografskog ispitivanja, prelaènja ter-ena, visinskog merenja, pa do geofizi~kog ispiti-vanja, kako bi se na{li odgovori na pitanja kakvesu se promene tu de{avale tokom vremena.Ve{tina je postaviti prava pitanja. Za{to su graniceterena u tom obliku, koliko je star ovaj zid? [tapredstavljaju one male izbo~ine u zemlji? Naosnovu sastavljenih mapa povr{inskih ostataka ionih ispod povr{ine, ispitivanje terena omogu}avapronalaènje odgovora na mnoga arheolo{kapitanja vezana za kori{}enje terena u pro{losti,naseobine, kao i konkretna iskopavanja. Od 1998.godine radio sam na razli~itim za{titnim iskopavan-jima, kao i na istraìva~kim projektima u VelikojBritaniji, Republici Irskoj, Isto~noj Evropi i naBliskom Istoku. Tek pro{le godine sam sa kolega-ma zavr{io geofizi~ko ispitivanje grada iz gvoz-denog doba, na vrhu planine u Kerkenes Dagu, ucentralnoj Turskoj. Lokalitet je povr{ine 2,5 km2, apod rukovodstvom dr G. Samersa napravljena jekompletna mapa grada. To bi bilo nemogu}e bezsavremenih tehnika ispitivanja terena(www.metu.edu.tr./home/ wwwkerk/) Dakle, zbogtoga se vr{i ispitivanje terena. Ali, otkud ja uBeogradu? Pa, pri svom prvom angaòvanju uTurskoj 2000. godine upoznao sam svoju sada{njusuprugu Nata{u iz Beograda. S obzirom da samse doselio ovamo, moram da pomenem topludobrodo{licu svojih kolega arheologa, posebnoonih u DIANI, koji su u~inili da se prilikom svojihposeta Centru ose}am kao kod ku}e.

Looking at ceramics structurePosmatranje strukture keramike

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SSOOMMEE IISSSSUUEESS OOFFSSOOMMEE IISSSSUUEESS OOFFCCEERRAAMMIICCSS CCEERRAAMMIICCSS TTRREEAATTMMEENNTTSS TTRREEAATTMMEENNTTSS Ivana Stojkovi}, student of archaeology

Old conservations are problem that Ihave most often faced in my formerwork in DIANA Centre. I had an oppor-tunity to deal with objects with mistakesmade during earlier conservation workthat could not be eliminated.First of all, I want to mention regret-fully in a negative sense the privatecollection from Bela Crkva. Two dish-es belonging to this beautiful collec-tion were damaged because frag-ments were marked by numbersengraved with some sharp tool orsigned with black marker. The excusethat the owner is only an amateurarcheologist cannot be acceptedbecause the one who declares him-self as an antique lover is not allowedsuch negligence. As an even more dramatic case Iwould mention the collection fromKotor, since professionals made themistakes. Here the glue was burnedin order to make fragments stickfaster. During the treatment of the col-lection, we have successfully removedthe glue but could not solve theproblem with the burned edges of thefragments. When we speak about mistakes con-servators cannot repair, carelessnessof archeologists at site should bementioned. Here comes inadequatecleaning at site by scrubbing ceram-ics with rough brushes or sinkingmaterial into the water for a longerperiod of time. Such treatments couldcause loss of ornaments or complete

destruction of the porous structure,especially with fragile ceramics.As a positive example of professionalwork at site it is worth mentioning theteam at the site of Konopiste.Ceramics that have not been treatedwere carefully packed in boxes linedwith straw. Thanks to such a treat-ment, material came to Diana Centrewithout any damages. This text is not aimed at criticizing orpassing judgments only. I am con-vinced that human factor can causeeven greater damage then fire orflood. That is the reason why I appealfor more adequate treatment at siteas well as for better cooperationbetween archeologists, curators andconservators.

CCOONNSSEERRVVAATTIIOONN OOFFCCOONNSSEERRVVAATTIIOONN OOFFGGLLAAZZEEDD MMEEDDIIAAEEVVAALLGGLLAAZZEEDD MMEEDDIIAAEEVVAALLPPOOTTTTEERRYYPPOOTTTTEERRYYIvana Stojkovi}, student of archaeologySla|ana Novkovi}

The important role of ceramics in asociety and its everyday use resultedin technological and usage modern-ization. Glazed mediaeval pottery hasbeen used in all social classes. Itsclay structure, craftsman skills andway of treatment varied though.When process of cleaning is con-sidered this kind of mediaevalceramics has an advantage because itis mainly well fired and can be washedeasily using flexible brushes in deion-ized detergent dissolved in water.Although it is well fired one shouldtake care about its glaze as it can betotally destroyed if inadequate sharp

brushes are used. If ceramics is notwell fired one should apply mechani-cal cleaning with dentistsl tools andalcohol and acetone mixture. Paraloid B72 (5% solution) is used inconsolidation of glazed ceramics.Fragments are consolidated whenbubbles stop coming out to thesurface of the solution.Ceramics has to be com-pletely dried if the treat-ment is to be proceeded. For the next phaze - gluing,OHO glue is used (manufac-tured by Grme~). It is consid-ered adequate since the processof its setting is slow, it is verystrong, and can easily be dissolvedin acetone, if corrections are necessary.Clay is used in reconstruction of moulds.Missing parts are made of Plaster ofParis, mixed with Polyvinyl acetate(0,75%) dissolved in distilled water.Reconstructed parts are treated withfiles, scalpels and emery papers.When Plaster is fully treated, it iscoloured with a paint slightly brighterthan the one of ceramics. Forretouching one could use Acryliccolours or earthen pigments mixedwith dissolved Polyvinyl acetate (20%)in distilled water. This concentration ofPolyvinyl acetate helps acieve theshine that resembles the originalshine of the glaze.Finally, the ceramic surface is coatedwith Paraloid B-72 (5% solution) dis-solved in acetone. In the processbrushes are used. Thus the coloursare fixed and they are conformed tothe original ceramics.Each and every object is most spe-cific and requires adequate treatment,in accordance with the problem con-servator is dealing with.

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PPRROOBBLLEEMMII PPRROOBBLLEEMMII NNEEAADDEEKKVVAATTNNOOGG NNEEAADDEEKKVVAATTNNOOGG TTRREETTMMAANNAA KKEERRAAMMIIKKEETTRREETTMMAANNAA KKEERRAAMMIIKKEEIvana Stojkovi}, student arheologije

Stara konzervacija je problem na kojisam naj~e{}e nailazila u svom dosa-da{njem radu u DIANA centru. Imalasam prilike da se bavim predmetimana kojima nisu mogle biti otklonjenegre{ke od prethodnih konzervacija iligre{ke nastale jo{ na terenu. Prva zbirka koju bih elela da pomen-em, u ovom, na àlost, negativnomkontekstu, je privatna zbirka iz BeleCrkve. Dve posude iz ove prelepekolekcije uni{tene su tako {to su frag-menti obeleàvani brojevima koji subili urezani nekim o{trim predmetom iliispisivani crnim markerom. Kaoopravdanje ne moè se uzeti ~injeni-ca da je vlasnik zbirke arheolog-amater, jer onaj ko sebe naziva "lju-biteljem starina", ne sme sebi dadozvoli ovakav nemar.Kao drasti~niji slu~aj pomenu}u zbirkuiz Kotora, jer se radi o gre{kama pro-fesionalaca. U ovom slu~aju je, da bise fragmenti {to brè zalepili, paljenlepak koji ih je spajao. Prilikom kon-zervacije uspe{no smo otklonili lepak,ali sa nagorelim ivicama fragmenatanismo uspeli ni{ta da u~inimo. Kada se govori o gre{kama kojekonzervator ne moè da otkloni,treba pomenuti i nemar arheologa naterenu. Na àlost, uobi~ajeniprimeri neadekvatnog ~i{}enjana terenu su ribanje keramikegrubim ~etkama i potapanjepredmeta u vodu na duì peri-od. Ovakvo tretiranje moè dovestido nestanka ornamenata, a u

drasti~nijim slu~ajevima i do potpunoguni{tenja porozne strukture, posebnotro{ne keramike.Kao pozitivni primer stru~nog rada naterenu, sa kojim sam ja upoznata,treba pomenuti ekipu sa lokalitetaKONOPI[TE. Keramika koja nije treti-rana, pa`ljivo je upakovana u kar-tonske kutije napunjene slamom, takoda je materijal potpuno neo{te}en sti-gao u DIANA centar.Ovaj tekst nije ni kritika ni osuda, alimislim da ljudski faktor nanosi vi{e{tete arheolo{kom, uop{te kulturnomblagu, nego poàri ili poplave. Zatoapelujem da se primenjuje adekvatnijitretman na terenu, kao i bolja sarad-nja arheologa, odnosno kustosa ikonzervatora.

GGLLEE\\OOSSAANNAA GGLLEE\\OOSSAANNAA SSRREEDDNNJJOOVVEEKKOOVVNNAASSRREEDDNNJJOOVVEEKKOOVVNNAAKKEERRAAMMIIKKAAKKEERRAAMMIIKKAAIvana Stojkovi}, student arheologijeSla|ana Novkovi}

Posve}ivanje pa`nje keramici, njenauloga u dru{tvu i svakodnevnokori{}enje dovelo je neminovno donjene modernizacije u tehnolo{kom iupotrebnom smislu. Gle|osana sred-njovekovna kermaika je kori{}ena usvim slojevima dru{tva i razlikovala seu fino}i strukture gline, zanatskojve{tini i na~inu obrade. Kod procesa ~i{}enja ovakvekeramike velika je pogodnost {to jeuglavnom dobro pe~ena i moè slo-bodno da se pere u rastvoru destilo-vane vode i dejoniziranog deterdè-nta, uz pomo} mekih ~etkica. Me|u-tim, treba voditi ra~una o gle|i koja

moè trajno da se uni{ti pri upotrebineodgovaraju}ih, odnosno o{trih~etki. Ako je keramika slabije pe~ena~i{}enje je mehani~ko, uz kori{}enjerastvora alkohola i acetona (odnos50%-50%) i zubarskih alatki. Pri konsolidaciji gle|osana keramika sepotapa u 5% rastvor Paraloida B-72 uacetonu. Fragmenti su konsolidovanikada mehuri}i vazduha prestanu daizlaze na povr{inu. Keramika mora dabude potpuno suva da bi mogla daljeda se tretira.Za slede}u fazu - fazu lepljenja koristise OHO lepak (proizvodi Grme~). Onse pokazao kao adekvatan, jer se nesteè suvi{e brzo, ~vrst je i mogu}ega je rastvoriti acetonom, ako supotrebne korekcije.Pri rekonstrukciji predmeta za kalupse koristi glina, a delovi koji nedosta-ju izra|uju se od gipsa, ume{anog u0,75% rastvor polivinil acetata u des-tilovanoj vodi. Delovi koji su rekon-struisani obra|uju se turpijama, skalpe-lima i brusnim papirima razli~ite fino}e. Na potpuno obra|en gips nanosi seboja za nijansu svetlija od originalneboje keramike. Za retu{ se koristeakrilne boje ili zemljani pigmenti, ras-tvoreni u 20% rastvoru polivinil aceta-ta u destilovanoj vodi. Ovakvom kon-centracijom polivinil acetata postiè sesjaj boje, koji imitira sjaj glazure.Zavr{na konsolidacija se vr{i nano{e-njem 5% rastvora Paraloida B-72 uacetonu, ~etkicom.U finalnoj fazi, ovim se postiè fiksir-anje boje i ujedna~enje sa original-nom keramikom.Veoma je bitno naglasiti da je svakipredmet specifi~an i da zahtevaodgovaraju}i tretman, u skladu saproblemom koji je postavljen predkonzervatora.

KKoonnzzeerrvvaacciijjaa kkeerraammiikkee

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TTHHEE CCOONNSSOOLLIIDDAATTIIOONN PPRROOCCEESSSSTTHHEE CCOONNSSOOLLIIDDAATTIIOONN PPRROOCCEESSSSSandra Davison FIIC, ACR

The process of consolidation is widely used in con-servation, as a means of giving structural strengthto objects, which have deteriorated to such anextent, that they are in danger of disintegrating(collapsing). Examples of such objects might below-fired ceramics, heavily decayed glass and softstone, such as limestone and sandstone, whichcrumble to a powder. In a material requiring con-solidation, many of the primary and/or secondarybonds that hold it together, have been broken tothe extent that the structure can no longer supportits own weight (or any other forces it has to resist),and retain its shape. Consolidation is an artificialway or repairing the damage caused by naturalprocesses.In theory, the process of consolidation should bereversible, but in practice it is unlikely that a con-solidant could be removed from a fragile object,without resulting its collapse. This is becauseremoval would leave the fabric of the object unsup-ported; because solvents swell when dissolved;and because it is unlikely that a fragile object couldwithstand immersion in solvent long enough toremove the solid. Consolidation should therefore becarried out when absolutely necessary for theobject's survival. The question of whether to con-solidate before, after or during the cleaning of anobject is difficult. Pre-consolidation may make sub-sequent removal of any surface dirt more difficult,on the other hand, it may not be possible to cleanan object before it has been consolidated. It issometimes possible to consolidate an object dur-ing the cleaning process, by applying consolidanton a soft brush to small areas as they are cleaned.Each object will have to be judged on its ownmerit. If the object is in fragments, a single frag-ment can be consolidated to see how the materi-al reacts to the process. Consolidation will alter thenature of the material, so that samples required foranalysis must be taken before treatment. It will alsoirreversibly darken the material.The term consolidant is used to define a resin usedfor the purpose of consolidation, and consolidationsystem to define the liquid in which the consolidantis applied, whether it is molten, in solution, or as apolymer pre-treatment (see below). When choos-ing a consolidation system, the conservator mustbear in mind the condition of the decayed objectto be treated, the nature and properties of theresins and solvents to be used, and the way inwhich the consolidation will be carried out: spray-ing, dripping, painting, partial or total immersion, orvacuum impregnation (Figure 1). Repairs using anadhesive soluble in the same solvent as that usedto dissolve the consolidant, must obviously be car-ried out after consolidation (or they will fall apart).The first requirement of a consolidation system (thesolid and the solvent) is that it can impregnate theobject and harden there to bind the object togeth-er. In other words, it has to start out in liquid formand end up as a solid. It is necessary for a con-solidant to wet the surface of the pores of thematerial on which it is being used (i.e. to break thesurface tension), not only to make a satisfactoryadhesive bond, but also to enable it to penetratethe object. The liquid may have to penetrate verylong, tiny crevices and pores in an object. (If aporous object is visualized as a bundle of capillarytubes with one end standing in liquid, it can beimagined how a liquid consolidant will be drawninto a porous material by means of capillary action).

Although the surface tension determinesthe extent to which a consolidating liq-uid penetrates a porous solid, other factorsaffect the rate of penetration, mainly theviscosity of the liquid, and the size of thepores of the object to be consolidated.The viscosity of a liquid is a measure ofits mobility (runniness), thus water ismore mobile (less viscous) than treacle.The viscosity of all liquids decreases i.e.they become more runny, as the tem-perature is raised. The porosity of amaterial (i.e. an object) can be thoughtof as the percentage of pore space in atotal volume (of an object)- that is, thespace not occupied by solid matter. It ispossible that not all pores are connect-ed with one another or with the surface,so that they may not be accessible tothe liquid consolidant. (Figure 2, left) Theeffective porosity is the pores spaceconnecting directly or indirectly with thesurface, and clearly for good penetrationthe effective porosity should be as highas possible. The rate of flow of a liquidin a porous material increases withpressure, and also with the cross-sec-tional area of a pore: as the viscosity ofthe liquid increases or as the length of the poreincreases, the rate of flow decreases. The degreeto which the flow rate actually varies throughchanges in pore dimension, pressure and viscosi-ty of liquid is an intrinsic property of the porousmedium and is called is permeability. If the perme-ability of an object is zero then there can be noflow, and the substance is said to be impermeableor impervious (Figure 2, right). Examples of imper-vious materials are stoneware, porcelain and hardrocks such as granite. Thus it follows that animpervious object cannot be consolidated (anddoes not need to be), as when the solvent evap-orates, the solid will be deposited on the surface ofthe object as a surface coating or lacquer.Since the intrinsic impermeability (dimensions of thepores) of an object to be consolidated cannot bealtered, other factors - viscosity or pressure - willhave to be varied to ensure the best penetration ofconsolidant. Viscosity can be altered by choice ofmaterial, by dilution in a less viscous solvent (or inmore solvent), and by temperature change. If nec-essary, the consolidant can be introduced into anobject, under vacuum (i.e. by reduced pressure).Reduced pressure is used primarily to remove airfrom the pores and capillaries of a decayed object,which would otherwise impede the penetration ofthe consolidation system. Also to introduce a lowpressure into the pores, so that when the assem-bly is returned to atmospheric pressure, more ofthe consolidant system is forced into them by pres-sure differential. The pressure should be reducedand increased slowly to prevent a fragile objectfrom collapsing.A consolidant has to be applied as a liquid, andthis can be done by (i) melt-freeze, evaporation ofa solvent carrier, and (iii) chemical reaction betweenconsolidant liquids. (i)The melt-freeze method has limited applicationfor deep penetration because most of the materi-als which could be used, such as waxes, have highviscosities when molten, and, further, their viscosityincreases as they cool - which they do rapidlywhen they enter an object. The high temperaturesnecessary to keep wax molten during impregnationmay damage the object.(ii) Consolidation using solids in solution is a com-

mon technique, and in most cases, the solid is apolymeric material dissolved in water of an organ-ic solvent e.g. Paraloid B-72® (methyl methacrylatecopolymer) dissolved in acetone. (It may some-times be necessary to consolidate initially using alow percentage solution e.g 5% to gain good pen-etration, followed by a higher percentage e.g. 10%to provide greater strength). This is of course aconvenient ay of reducing the viscosity; the maindrawback is that the consolidant tends to be drawnback to the surface of the object as the solventevaporates, as the result of capillary action withinthe pores of the object.Problems can also arise because the evaporationof a solvent can cause the collapse of fragile mate-rials (most likely to occur in organic materials).(iii) An example of the process of consolidation,which involves a chemical reaction (polymerization)of chemicals within the pores of an object, isimpregnation of stone with organosilanes. Theprocess is irreversible.An object may appear shiny after consolidation,which is the result of too much resin having beendeposited on the surface. This excess resin can becarefully removed using small swabs of cotton woolwetted with the solvent used for dissolving theresin. After consolidation by immersion, an objectshould be placed on a surface to which it will notstick, in a closed container in an atmosphere of thesolvent carrier, to slow down the evaporation of sol-vent (see Figure 1h), and so retaining more of theresin within the body of the object, rather then nearand on its surface (Figure 4).

Figure 1 Different methods for consolidating porousobjects. (a) brushing, (b) spraying, (c) dipping, (d)adding the consolidation system beside an object,(e) partial immersion, (f) total immersion, (g) vacu-um impregnation, (h) drying an object after consol-idation.Slika 1 Razli~iti metodi konsolidacije poroznih pred-meta: a) premazivanje, b) raspr{ivanje, c) uranjan-je, d) postavljanje konsolidacionog sistema poredpredmeta, e) parcijalno potapanje, f) potpuno pota-panje, g) vakuumska impregnacija, h) su{enjepredmeta nakon konsolidacije.

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PPRROOCCEESS KKOONNSSOOLLIIDDAACCIIJJEEPPRROOCCEESS KKOONNSSOOLLIIDDAACCIIJJEESandra Dejvison FIIC, ACR

U konzervaciji se proces konsolidacije, u velikojmeri, upotrebljava kao na~in da se u~vrsti struktu-ra predmeta koji je do te mere o{te}en da mu pretiopasnost od raspadanja. Takvi primeri su slabope~ena keramika, te{ko o{te}eno staklo i mek{ikamen, kao {to su kre~njak i pe{~ar, koji se pret-varaju u prah. Kod materijala koji zahteva konsoli-daciju, mnoge primarne i/ili sekundarne veze kojeih drè na okupu, pokidane su do te mere dastruktura vi{e ne moè da podnese sopstvenuteìnu (ili neku drugu silu kojoj treba da se odupre)i zadrì sopstveni oblik. Konsolidacija je, dakle,ve{ta~ki na~in da se popravi {teta koju izazivajuprirodni procesi.U teoriji, proces konsolidacije bi trebalo da budepovratan, ali u praksi bi konsolidant te{ko mogaoda bude uklonjen iz tro{nog predmeta, a da se onne raspadne. Problem je u tome {to bi uklanjan-jem konsolidanta predmet ostao bez "oslonca", jerse rastvaranjem pove}ava volumen rastvara~a, atro{ni predmet najverovatnije ne bi podneo pota-panje u rastvara~u, dovoljno dugo da bi se ukloni-la ~vrsta supstanca.Zbog toga bi konsolidaciju trebalo primeniti samoukoliko je to apsolutno neophodno za opstanakpredmeta. Na pitanje da li konsolidovati pre, nakonili za vreme ~i{}enja predmeta te{ko je dati odgov-or. Konsolidovanje unapred bi moglo da oteà fazuuklanjanja povr{inske ne~isto}e, a s druge strane -mo`da je nemogu}e o~istiti predmet pre nego {toje konsolidovan. Ponekad je mogu}e konsolidovatipredmet za vreme procesa ~i{}enja, tako {to sekonsolidant nanosi mekom ~etkicom na manjepovr{ine koje su prethodno o~i{}ene. Neophodnoje izvr{iti pojedina~nu procenu za svaki predmet.Ako je predmet fragmentovan, mogu}e je konsoli-dovati jedan fragment, kako bi se procenila njego-va reakcija na tretman. Konsolidacija menja prirodumaterijala, tako da je uzorke za analizu potrebnoodvojiti pre tretmana. Pored toga, ona nepovratnopotamnjuje materijal.Termin konsolidant ozna~ava smolu koja se koristiza konsolidaciju, a konsolidacioni sistem je te~nostu kojoj je upotrebljen konsolidant, bez obzira da lise radi o rastvara~u ili polimernom pripremnomtretmanu (vidi ispod). Pri izboru konsolidacionogsistema, konzervator mora da vodi ra~una o stan-ju predmeta koji se tretira, o prirodi i svojstvimasmole i rastvara~a koji se koriste, kao i o na~inusprovo|enja konsolidacije: raspr{ivanje, kapljanje,premazivanje, parcijalno ili potpuno potapanje ili,pak, vakuumska impregnacija (slika 1). Jasno je dalepljenje u kome se koristi lepak rastvorljiv u istomrastvara~u koji se primenjuje i za rastvaranje kon-solidanta, mora da se izvede nakon konsolidacije -u protivnom ne}e dràti.Prvi zahtev u vezi sa konsolidacionim sistemom(~vrsta supstanca i rastvara~) je da on impregnirapredmet i otvrdne u njemu, kako bi povezao delovepredmeta u celinu. Drugim re~ima, on mora napo~etku da bude u te~nom, a na kraju u ~vrstomstanju. Mora da razbije povr{inski napon materijalakoji se tretira, ne samo da bi se dobio zadovol-javaju}i spoj, nego i da bi se omogu}ilo njegovoprodiranje u strukturu predmeta. Te~nost }e mo`damorati da prodire kroz veoma duge i uske puko-tine i {upljine u predmetu. (Ako zamislimo porozanpredmet kao snop cev~ica koje su jednim svojimkrajem uronjene u te~nost, mogu}e je i zamislitikako te~ni konsolidant prodire u materijal putemkapilarne sile). Premda povr{inski napon odre|uje

meru prodiranja te~nog konsolidanta u poroznu~vrstu masu, postoje i drugi faktori koji ograni~avajuprodiranje, a radi se, prevashodno, o viskoznostite~nosti i veli~ini pora konsolidovanog predmeta.Viskoznost te~nosti predstavlja meru njenepokretljivosti, te je tako voda pokretljivija (manjeviskozna) od {e}ernog sirupa. Viskoznost svihte~nosti se smanjuje sa pove}anjem temperature.Poroznost materijala (tj. predmeta) se moè pos-matrati kao procenat poroznog prostora u celokup-nom volumenu predmeta, dakle prostora koji nepopunjava ~vrsta supstanca. De{ava se i da nisusve pore povezane me|usobno ili sa povr{inom istoga su nepristupa~ne za te~ni konsolidant (slika2, levo). Efektivna poroznost je porozni prostor kojije direktno ili indirektno povezan sa povr{inom ijasno je da za dobru prodornost efektivnaporoznost treba da bude {to ve}a. Stepen prodi-ranja te~nosti u porozni materijal raste sa pritiskom,a tako|e i sa popre~nim presekom pore - kako sepove}ava viskoznost te~nosti ili duìna pore,pove}ava se i stepen prodiranja. Stepen do koga

mera prodiranja varira u zavisnosti od veli~ine pore,pritiska i viskoznosti te~nosti, predstavlja prirodnuosobinu poroznog materijala koja se naziva pro-pustiljivost. Ako je propustljivost predmeta nula,onda je prodiranje nemogu}e, i za tu supstancu sekaè da je nepromo~iva ili nepropusna (slika 2,desno). Primeri nepropusnog materijala su kamenisudovi, porcelan i tvrdi kamen, poput granita. Iztoga sledi da nepropusni materijali ne mogu da sekonsoliduju (niti za to postoji potreba), jer kadarastvara~ ispari, ~vrsta supstanca }e se zadràti napovr{ini predmeta kao obloga ili lak.S obzirom da se prirodna nepropustljivost (veli~inapore) predmeta koji se konsoliduje ne moè men-jati, neophodno je uticati na druge faktore -viskoznost i pritisak - da bi se obezbedila {to boljeprodiranje konsolidanta. Na viskoznost se moèuticati izborom materijala, rastvaranjem u manjeviskoznom rastvara~u (ili u ve}oj koli~ini rastvara~a)i promenom temperature. Ako je potrebno, konsol-idant moè da se primeni i pod vakuumom (tj. podsmanjenim pritiskom). Smanjenje pritiska se koristiprvenstveno da bi se uklonio vazduh iz pora i kapi-lara o{te}enog predmeta, jer bi on, u protivnom,spre~io prodiranje konsolidacionog sistema. Onotako|e sluì da se smanji pritisak u porama, takoda, kad se pritisak ponovo normalizuje {to vi{erastvora u|e u pore, zahvaljuju}i toj razlici u pri-tisku. Pritisak treba postepeno smanjivati i pove}avatida bi se spre~ilo raspadanje tro{nog predmeta.Konsolidant treba da se primenjuje u te~nom stan-ju, a to moè da se vr{i na nekoliko na~ina: a)topljenjem-zamrzavanjem, b) isparavanjem rast-vara~a i c) hemijskom reakcijom me|u te~nim kon-solidantima.a) Metod topljenja-zamrzavanja se manje primen-juje za dublje prodiranje, jer ve}ina materijala kojimogu da se upotrebe, na primer voskovi, imajuveliku viskoznost prilikom topljenja, a osim toga,njihova viskoznost se pove}ava sa hla|enjem, {tose de{ava veoma brzo kada prodru u predmet.Visoke temperature koje su neoophodne da bivosak ostao rastopljen tokom impregnacije moguda o{tete predmet.b) Konsolidacija rastvorom je naj~e{}a i uglavnomse kao ~vrsta supstanca koristi neki polimernimaterijal otopljen u vodi ili nekom organskom rast-vara~u, npr. Paraloidu B-72® (metil metakrilatkopolimer) rastvoren u acetonu (ponekad je neophod-no prvo primeniti rastvor sa manjim procentom, npr.5%, radi boljeg prodiranja, a zatim ve}i procenat, npr.10%, da bi se dobila ~vrstina). To je, naravno, poz-itivna strana smanjenja viskoznosti; problem je utome {to, paralelno sa isparavanjem rastvara~a,konsolidant teì da se vrati na povr{inu predmetazahvaljuju}i kapilarnoj sili u porama predmeta.Tako|e, isparavanje rastvara~a moè da izazoveraspadanje tro{nih materijala ({to se naj~e{}ede{ava sa organskim materijalima).c) Primer za proces konsolidacije koja podrazume-va hemijsku reakciju (polimerizaciju) izme|u sup-stanci u porama predmeta je impregnacija kame-na organosilanima. Taj proces je nepovratan.Ponekad se predmet suvi{e sija posle konsolidaci-je, {to je posledica prevelike koli~ine smole koja sezadràla na povr{ini. Ovaj vi{ak smole moè da seukloni pa`ljivom primenom komadi}a vate nato-pljenih u isti onaj rastvara~ koji je kori{}en za kon-solidant. Ako je predmet konsolidovan potapanjem,nakon konsolidacije treba da se poloì na povr{inuza koju se ne}e zalepiti, u zatvorenom sudu i atmos-feri zasi}enoj rastvara~em, kako bi se proces ispara-vanja usporio (vidi sliku 1h) i na taj na~in zadràlave}a koli~ina smole u samoj strukturi, a {to manjeblizu povr{ine i na samoj povr{ini (slika 4).

Figure 2 A porous material (left) and an imperviousmaterial (right).Slika 2 Porozni materijal (levo) i nepropusni mater-ijal (desno).

Figure 3 Consolidation system in a porous object.Slika 3 Konsolidacioni sistem u poroznom predme-tu.

Figure 4 Introduction of a consolidation system intoa pore, and its rise up the pore as the solventevaporates (left), retaining more consolidant deep-er in the body of an object, by slowing down therate of evaporation of the solvent (right).Slika 4 Prodiranje konsolidacionog sistema u porui njegovo vra}anje uz poru prilikom isparavanjarastvara~a (levo), zadràvanje ve}e koli~ine konsol-idanta dublje u strukturi predmeta putem uspora-vanja procesa isparavanja rastvara~a (desno).

KKoonnzzeerrvvaacciijjaa ssttaakkllaa

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NNEEWW AAPPRROOAACCHH TTOOWWAARRDDSS NNEEWW AAPPRROOAACCHH TTOOWWAARRDDSS CCOONNSSEERRVVAATTIIOONN OOFF GGLLAASSSSCCOONNSSEERRVVAATTIIOONN OOFF GGLLAASSSSTamara Lujak, student of archaeologyNemanja Mr|i}, student of archaeology

During 2002 Summer School a two week course on conservation of glass washeld by Ms Sandra Davison, FIIC, ACR. Course consisted of theoretical lec-tures and practical conservation work. Lectures included: technology of glass,deterioration of glass, protection of glass objects, documentation, removing oldconservations, cleaning, consolidation, bonding, restoration and retouching. Alllectures were followed by practical work. It was done both by practicing onand experimenting with modern glass (jars and bottles) and by conservingoriginal ancient vessels - from Roman collection of the National MuseumBelgrade and mediaeval glass from Kotor.After the lectures we discussed practical properties of adhesives and theirreaction under different circumstances and in various environments. MsDavison's practical experience all over the world was especially valuable forus. All topics are followed by practical work: experiments with colours, usingdental wax, scolding of restored fragments, and health protection during work,etc. This was a perfect way for beginners to learn both basics and advancedelements of glass conservation; to senior students everything was like reminderand knowledge gap filling. A lot of new things was discovered which do notcome from book but from simple long-term experience. Practice of Ms Sandra Davison is to work with her students on contemporarymaterial. But teaching us was somewhat different. Urgent need for practicallyconserved vessels, and constant problems we had been meeting for yearsrequired fast solutions. Of course this was an ideal opportunity to replace ournumerous improvisations with professional solutions applied by one of themost eminent conservators. Therefore we worked both on Roman and medi-aeval glass, and had chance to experience all phases of treatment. Earlierproblems that we had with high humidity and temperatures appeared again(we wrote about that in the previous issue of DIANA). Those we had to solveas we went on, but for most of them the only solution is adequate equipmentin laboratories, especially for environmental control. Every object is a story of its own and each problem will be discussed sepa-rately in the following issues of DIANA. Here we will mention only a few. Fourglass vessels from the Roman collection of the National Museum which wereregistered as well preserved were actually fakes (forgeries). More than twentyyears ago they were bought from a private collector. That was established dur-ing the process of cleaning when under layers of dirt emerged traces of adhe-sive mixed with irridescence. Some of the fragments which were joined inwholes did not belong to the same vessel. Main question was what to do withthem: to clean them and separate fragments that belonged to different ves-sels or to leave them as they were. Separating fragments was not an inter-esting solution. There are many objects of those types in museum collections,and these are because of that specific. Also they are unique example of theway forgeries can be made and more valuable as they are. Problem was ana-lyzed with collection curator and the second solution - to leave them the waythey were - was accepted. Objects were conserved and every action of forg-er was visible. We think that the story which each unique object can tell ismore important then the one which one unknown specimen tries to passdrowned into typological mass.Mediaeval glass from Kotor was somewhat different problem. Those objects

were used for long before they were thrown away in awell. All parts of vessels were highly iridized and full ofdirt. They arrived for treatment in bad condition and inhighly fragmented state. After basic conservation it wasdecided that only few reconstructions were acceptable.Although full reconstructions were considered, that ideawas soon abandoned because of risk for the glass. Butsince those objects are to be displayed in permanentexhibitions, several ways for covering holes and assem-bling unlinked parts are to be developed: special light-weight frames, moulds and support bases.Disputes over acceptability of total reconstructions havebeen going on for quite some time. Until the presentall kinds of methods were used. For quite some timeall kinds of major reconstruction were undertaken torepresent glass objects: reconstruction with plaster,

wax, or sometimes with polyester. They were often joined with metal wires.New approach to take minimum action on the object is being considered, butnot yet widely accepted. Desire to have a shiny attractive "complete" object inglass showcase is still predominant over its safety. We hope that awerenes ofboth conservators and curators will focus on what is best for the object - theonly thing that matters.

Glass conservation -Summer School 2002(1-2), Lecture of MsDavison, June 2002 (4)One of forged objects - twosides general view (3a,c) and details (b,d)

Kurs konzervacije stakla -Letnja {kola 2002 (1-2),Predavanje gospo|eDejvison, juni 2002 (4)Jedna od falsifikovanihposuda - pogled sa dvestrane (3a,c) i detalji (b,d)

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NNOOVVII PPRRIISSTTUUPP KKOONNZZEERRVVAACCIIJJII SSTTAAKKLLAANNOOVVII PPRRIISSTTUUPP KKOONNZZEERRVVAACCIIJJII SSTTAAKKLLAATamara Lujak, apsolvent arheologijeNemanja Mr|i}, apsolvent arheologije

Pro{log leta, tokom juna, odràn je dvonedeljni kurskonzervacije stakla, koji je vodila gospo|a SandraDejvison, FIIC, ACR. Kurs se sastojao iz teoretskog iprakti~nog dela. Predavanja su obuhvatila slede}eoblasti: Tehnologija proizvodnje stakla, Na~inipropadanja stakla, Za{tita staklenih predmeta,Dokumentacija, Uklanjanje prethodnih materijala zarestauraciju, Na~ini ~i{}enja, Konsolidacija, Lepljenje,Restauracija i retu{. Sva predavanja su imala prakti~nuprimenu. Treba naglasiti da se prakti~an rad odvijaona dva na~ina: na savremenom materijalu - fla{e,tegle, (eksperimenti i probe), i na originalnim muze-jskim predmetima - iz Rimske zbirke Narodnogmuzeja u Beogradu, i srednjovekovnim predmetima -iz Kotora. Diskutovalo se i o osobinama lepkova i njihovompona{anju u razli~itim klimatskim uslovima, kao i omaterijalima za restauraciju koji se koriste u konzer-vaciji, o njihovim {tetnim uticajima i o bibliografiji koja je dostupna. Bogatoiskustvo gospodje Dejvison bilo je od posebnog zna~aja za nas. Sve oblastipre|ene u teoriji propra}ene su prakti~nim radom: eksperimenti sa bojama ilepkovima, kori{}enje dental voska, bru{enje restauriranih delova, za{tita konz-ervatora na radu, itd. Ovo je bila sjajna prilika za polaznike koji se prvi putsusre}u sa staklom, da se upoznaju sa njegovom istorijom i na~inima obrade,kako u osnovama tako i u naprednijim aspektima rada. Starijim polaznicimasu predavanja dobro do{la kao podsetnik, za "popunjavanje praznina" u znan-ju. Mnogo toga novog u tehnici obrade staklenih predmeta je otkriveno tokomovog kursa.Praksa Sandre Dejvison je da sa polaznicima kursa radi na savremenommaterijalu. Me|utim, kurs u na{im uslovima je bio specifi~an. Potrebe prak-ti~nog rada, kao i problemi sa kojima se godinama susre}emo, nalagali subrzo re{enje. Naravno, ovo je bila i prilika da se izbegnu brojne improvizaci-je na koje smo bili prisiljeni, a da po~nu da se primenjuju re{enja iskusnogkonzervatora. Stoga smo radili na rimskom i srednjovekovnom staklu: proces~i{}enja, lepljenja, konsolidacije, restauracije. Problemi koje smo imali savla`no{}u i visokim temperaturama ponovo su se manifestovali (o njima je bilore~i u pro{lom broju ~asopisa). Re{avali smo ih u hodu, ali se potvrdilo da bijedino re{enje za ve}i deo problema bilo savremeno opremanje laboratorija, ito pre svega ure|ajima za kontrolu klime.Svaki od predmeta, naravno, bio je pri~a za sebe, i o svakom problemu bi}episano ponaosob u slede}im brojevima ~asopisa. Ovde }e se navesti samoneki: najvi{e problema su nam zadale ~etiri posude iz rimske zbirke Narodnogmuzeja u Beogradu, koje su kupljene i upisane u inventarske knjige kao orig-inali, jedna ~ak kao novi tip posude, dok su u stvari - falsifikati. To je ustanovl-jeno u procesu ~i{}enja, kada su ispod slojeva zemlje i prljav{tine otkrivenitragovi lepka i fragmenti posuda koje ne pripadaju jednom predmetu. Postavilose pitanje - kako dalje postupati: da li o~istiti i ukloniti nadogra|ene delove,ili samo o~istiti predmete i ostaviti ih onakve kakvi su stigli u Muzej? U dogov-oru sa kustosom zbirke, odlu~ili smo se za drugu varijantu. Predmeti su konz-ervirani, ali tako da je svaka akcija konzervatora vidljiva, kao i na~in na koji jekonzervacija izvedena. Smatramo da je takav predmet unikat, upravo zbograzli~itih tretmana kojima je bio izloèn, i da je tako postao "poseban", a netek jedan od mnogih primeraka, "utopljenih u tipolo{koj masi". Srednjovekovno staklo iz Kotora je duè vreme bilo u upotrebi, a potomodba~eno u bunar i zazidno. Svi delovi posuda su visoko iridirali i bili puniblata i prljav{tine. U Galeriju fresaka su dopremljeni u fragmentovanom stan-ju. Nakon osnovnog konzervatorskog tretmana postavilo se pitanje rekon-strukcije. Zaklju~eno je da je staklo isuvi{e osetljivo za rekonstruisanje u onojmeri u kojoj je to bilo planirano. Staklo je pretanko i krhko. Zbog razloga za{titepredmeta (da ne bi do{lo do razlepljivanja i daljeg pucanja posuda) odusta-lo se od planirane rekonstrukcije. Ali s obzirom da je staklo namenjeno izla-ganju, uzeto je u obzir nekoliko na~ina da se omogu}i prezentacija: ramoviod lakih materijala, diskretni kalupi ili posebno konstruisana postolja. Rasprava - da li je opravdano raditi totalne rekonstrukcije, ve} dugo je aktuel-na. Do sada se radilo na najrazli~itije na~ine: pomo}u gipsa ili voska, uz ~estokori{}enje ìce, koja nije uvek bila od ner|aju}eg materijala. Ve} dugo se raz-matra pristup "minimalne intervencije", ali jo{ nije ni blizu op{te prihva}enogpravila. @elja za sjajnim "celim" sudom u muzejskoj vitrini jo{ uvek dominiranad njegovom bezbedno{}u. Nadamo se da }e se svest kustosa i konzer-vatora usredsrediti na ono {to je u su{tini i najva`nije - na bezbednost pred-meta, umesto na atraktivnost izme|u stakala muzejskih vitrina.

Working with Ms DavisonSummer 2002 (5,8), Two forged objecs fromRoman Collection. generalview (6) and detail (6a), general view of the secondwith implemented fragmentsand handle (7) and detailswith added rim - insideview (7a) and outside view(7b)

Rad sa gospo|om Dejvison,leto 2002 (5,8),Dva falsifikovana predmetaiz Rimske zbirke. Ceo sud(6a) i detalj trbuha (6).Druga posuda sa pridodatimfragmentima (7) i detaljidodatog oboda saunutra{nje (7a) i spoljne

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CCOONNSSEERRVVAATTIIOONN OOFF TTHHEE GGRRAAVVEESSTTOONNEESS OONNCCOONNSSEERRVVAATTIIOONN OOFF TTHHEE GGRRAAVVEESSTTOONNEESS OONNTTHHEE GGRRAAVVEEYYAARRDD NNEEAARR TTHHEE LLOOGG CCHHUURRCCHH IINNTTHHEE GGRRAAVVEEYYAARRDD NNEEAARR TTHHEE LLOOGG CCHHUURRCCHH IINNTTAAKKOOVVOOTTAAKKOOVVOOLjiljana Proti}, preparator

The log church in Takovo was built in 1975, on the location of an older build-ing from 1724. It is of great importance because of its relation to the SecondSerbian Uprising. On that very place, on Palm Sunday, Milo{ Obrenovi} andthe rebels took communion and went to fight against the Turks (1).The graveyard existed even before the log church was built. Later, in 1888,bishop Nikoman ordered the graveyard to be transferred and old graves tobe levelled in order to enlarge the chuchyard. In agreement with the peopleof that area, priest Stanojlo as debt payment took over from Pavle Smiljani}one meadow that spread behind the chuchyard to the village road, and addedthe meadow to the churchyard (2). Since that moment, until the beginning of 2002, there were no graves aroundthe church but for the meadow and the church fence. Graves were behind itand the hedges, in weeds, hidden by the trees. On February 25th 2002, epis-copal council decided, in cooperation with the Institute for the Protection ofCultural Monuments from Kraljevo, that gravestones shold be put back to theiroriginal place they were transferred from and that protected area around thechurch should be conserved. The bishop of @i~a, Stefan, blessed the endeav-our (3).Works began straight away, immediately after receiving the permission. Teamof workers from the museum, in cooperation with the Public Company "17.septembar", cleared away the area around the graves. Gravestones were takenfrom the ground with an excavator and placed in the meadow near the church,to be cleaned. Most of them were in vertical position, but others were placedhorizontaly. Works were successfully performed and the gravestones wereready for further conservation processes.

Description of the Gravestones before conservation and their conditionPhotographs of all gravestones were taken before the treatment, separatelyand as a group. The part, which was above the ground, could be seen onsome of the stones, but on those under the ground, letters and ornamentswere apsolutely illegible and the type of the stone could not be defined. Thefirst layer of dirt was blasted clean with water and ordinary synthetic brusheswere used. This made possible to determine the type of stone. It was estab-lished that the gravestones were mainly made of sandstone, but some weremade of Studenica marble. The colour and ornaments though allowed for theassumption that different kinds of sandstone were used.Vin~a quarry: behind the Vinska hill, ever since the Middle Ages, reddish andgrayish stone, porous and of good resistance, has been quarried. It was dugfrom large beds, and cut off from separated pieces - "singles". And in spiteof small rounded cavities, it is considerably compact and with no cracks, thusbeing resistant to frost and sun impacts. It can be easily shaped and cleaved,but because of its grain structure and roughness evening of the surface is dif-ficult, and it is liable to moss and lichen. Many of the gravestones, excavat-ed near the log church are made of this type of stone.Studenica marble: the oldest quarries are in Studenica area. From the marblequarried near Studenica, white, dropstone-like, blue and striped, the oldestmonuments on the territory of south-west Serbia were made. The artisansworking with marble from Rado~elo and êmerno used to make small, flat,cross-like gravestones, which the carriers took on horse pack-saddles throughvillages around Studenica and along the river Ibar, and farther west to Zlatibor,to the north to Rudnik, Suvobor and Maljen. Gravestones made of that typeof marble were found in this graveyard.In Ra{i}i - stone from @abljak, Piva and Golonj was used. Stone from all threeof these quarries is similar - fine and sharp sand-stone, which "keeps" lettersand colour good. It is sharp and hard, so it is good also for whetstones andgrindstones. It can be yellowish or grayish. Among the excavated gravestonesthere are both of these types.At Kloko~ - firm, flintstone granite was also extracted west from Arilje. Itappears in several colours: blue-yellowish, red-bluish, green-whitish. It is notsuitable for cutting in artistic representations and patterns, so only the shortinscriptions were cut into this type of stone.@ivica sand-stone - Fine-grain stone of only one type, suitable for fine andcoarse cut, could keep and "hold" colour well. Separation, cleaving off andpeeling are difficult to be performed, so the gravestones made of this stone-type are long-lasting.Bio{tan quarry - There are two different types of stone. Yellow "half-breed" and"white" limestone. The yellow one is considerably soft, it can be well processed,

Drawing and photograph of a gravestone before conservationCrte` i fotografija spomenika pre konzervacije

CCoonnsseerrvvaattiioonn ooff SSttoonnee

50

KKOONNZZEERRVVAACCIIJJAA SSPPOOMMEENNIIKKAA NNAA GGRROOBBLLJJUU KKOODDKKOONNZZEERRVVAACCIIJJAA SSPPOOMMEENNIIKKAA NNAA GGRROOBBLLJJUU KKOODDCCRRKKVVEE BBRRVVNNAARREE UU TTAAKKOOVVUUCCRRKKVVEE BBRRVVNNAARREE UU TTAAKKOOVVUULjiljana Proti}, preparator

Crkva brvnara u Takovu, sagra|ena je 1975. godine, na mestu starijegra|evine iz 1724. godine. Od izuzetnog je zna~aja, jer je vezana za podizan-je Drugog srpskog ustanka. Na tom mestu, 1815. godine, na Cveti, Milo{Obrenovi} i ustanici, pri~estili su se i krenuli u borbu protiv Turaka (1).Groblje je postojalo i pre izgradnje crkve brvnare. Kasnije, tj. 1888. godine,episkop Nikoman je naredio da se groblje izmesti, i da se zaravne starigrobovi, da bi se pro{irila porta. U dogovoru sa narodom tog kraja, PopStanojlo je, od Pavla Smiljani}a iz Takova, na ime duga, uzeo livadu koja seprostirala iza porte do seoskog puta i prisajedinio je porti (2). Od tog vremena pa do po~etka 2002. godine oko crkve brvnare nije bilogrobova, ve} samo livada i ograda oko crkve. Grobovi su bili iza crkve i vrzine,zarasli u korov, a od drve}a su se jedva nazirali. Godine 2002, 25. februara,episkopski upravni odbor donosi odluku, u saradnji sa Zavodom za za{tituspomenika kulture u Kraljevu, da se spomenici postave na mesto odakle suizme{teni i da se uredi za{ti}eni prostor oko crkve. Episkop ì~ki Stefan dajeblagoslov (3).Sa radovima se krenulo odmah po dobijanju dozvole. Ekipa radnika iz muze-ja, u saradnji sa javno-komunalnim preduze}em "17. septembar", iskr~ila jeprostor oko grobova. "Skipom" su va|eni spomenici iz zemlje i preme{tani nalivadu kod crkve da bi se o~istili. Ve}ina spomenika je bila u vertikalnompoloàju, ali bilo ih je dosta i horizontalnom. Radovi su uspe{no obavljeni ispomenici su bili spremni za dalje konzervatorske radove.

Opis spomenika pre konzervacije i identifikacija stanjaSvi spomenici su pre tretiranja fotografisani pojedina~no i u grupi. Na poje-dinima se mogao videti deo koji se nalazio iznad zemlje, ali na onima koji subili ispod zemlje, slova i ornamentika su bili potpuno nepregledni, a vrstakamena se nije mogla utvrditi. Pod jakim mlazom vode i obi~nim sinteti~kim~etkicama skinut je prvi sloj zemlje, da bi se videlo o kojoj vrsti kamena seradi.Utvr|eno je da su spomenici su naj~e{}e izra|eni od kamena pe{~ara,a ima i studeni~kog mermera. Prema boji i ornamentici moè se zaklju~iti daima vi{e vrsta pe{~ara. Vin~anski majdan - iza brda Vinska, jo{ od srednjeg veka, va|en je crvenkastii sivobagreni sivasti kamen, {upljikavog sastava i dobre otpornosti. Iskopavanje iz {irokih leì{ta, a isecan je iz izdvojenih komada - samaca. I pored sitnihokruglastih {upljina, prili~no je zbijen i bez naprslina, pa je postojan i na mrazui na suncu. Lako se se~e i cepa, ali se zbog zrnaste strukture i hrapavostioteàno gla~a, a podloàn je imahovini i li{aju. Veliki brojspomenika izva|enih kod crkvebrvnare izra|en je od ove vrstekamena.Studeni~ki mermer - najstarikamenolomi su u studeni~komkraju. Od studeni~kog mramornogplo~ara belog, sigavog, modrog iprugastog, izra|ivani su najstarijispomenici na podru~ju jugoza-padne Srbije. Od njega su mno-gobrojni mramurari sa Rado~ela iêmerna, pravili male pljosnatekrsta{e, koje su kiridìje na kon-jskim samarima raznosili po stu-deni~kim i priibarskim selima, pa idalje, na zapad do Zlatibora, nasever do Rudnika, Suvobora iMaljena. Na ovom groblju suprona|eni spomenici od te vrstemermera.U Ra{~i}ima - àblja~ki, pivlja~ki igolonjski kamen. Kamen je iz svatri iskopi{ta sli~an - sitan i ljutpeskovik, koji dobro "drì" slova iboju. O{tar je i tvrd, pa je dobar iza tocila i bruseve. Javlja se u dveboje: ùkastoj i sivkastoj. Me|uiskopanim spomenicima ima i jed-nih i drugih.

Takovo gravestones after conservationTakovski spomenici nakon konzervacije

KKoonnzzeerrvvaacciijjaa kkaammeennaa

View of gravestones after the treatmentPogled na spomenike posle tretmana

51

moss can not held easily, but whenshaped into squared stones, it is verydurable. Older gravestones (madebefore 1780) are made of this kind ofstone, and usualy bear no inscriptions,only the cross and ornaments, shapedlike triangles and cog-wheels, andsometimes like old fashioned pistols.White limestone, if its surface is evened,gets the look of fine-grain marble.Braneti~ quarry - In Gornji Braneti~ hill,gray-white and gray-green limestone isquarried, and it could also be blue oryellow. On the border towards Ru~i}i, dark, grained dropstone used to beexcavated. Some gravestones, in older graveyards, are made of it. During thetreatment of this type of stone, grains in size of hazelnuts crackle, so it is dif-ficult to be worked with. It has coarser structure, considerably porous, absorbswater and moss can held easily (4).

Causes of destructionSurfacesof the gravestones were very dirty, particularly the underground parts.Gravestones, which were placed verticaly, were "attacked" by moss and lichen.Lichens can cause the material to dissasemble physicaly and chemicaly.Secretion of lichens, as the product of their methabolism, reacts with carbon-dioxid, causing chemical reaction which destroys the limestone. Secretion oflichens easily penetrates the stone leaving ugly stains. Mechanical damagesappear because of the nature of stone to absorb water, which leads to break-

ing and to porousness of the stone. The thickness of the layer of dirtiness canbe as far as 1 cm - over the whole surface of the stone (5).Cleaning: mechanical and chemicalCleaning was performed mechanically: water and with brushes made of syn-thetical fibres were applied. Moss and lichens can easily be removed withscalpel. This treatment, during the cleaning, was very efficient, but yellow stainsremained on spots where the lichens were, and black traces remained onthose spots where the moss used to be. It was not possible to remove thosetraces mechanicaly, because they penetrated the structure of stone for overseveral millimeters. We tried to soften the stains with sepiolit and tried to pullthem out to the surface. Further, the Complexon "3" was applied and whenthe layer of the dirt was softened (after one hour), stains were carefullyremoved with scalpel. The next procedure was to cover the gravestone withfoam (baby-soap and water). The foam was spread with the sponge, rubbedin and (after 15 minutes) rinsed out with water. This procedure was repeated2-3 times, until the dirt was completely rinsed out. Finaly, stains dissapearedand the gravestone regained its original look.Cleaning of sand-stone, which was underground, was done in two phases:mechanlcal cleaning and washing the gravestones. With metal spatulas thelayers of mud and other rough dirt were removed from the stone. With wood-en sticks smaller hollows, cracks, letters and all other parts which were cutinto the stone, were cleaned. Rougher brushes were used for cleaning the flatand solid surfaces, and gentle painting brushes were used for delicate spots(with the loosely conected crystals). The whole surface of the stone was rinsedwith water and gentle brushes. After the stone had been washed, well pre-served colouring was discovered, which was not vosible before the tratment.The gravestones were covered with Opal paste dissolved in water, and richfoam was spread with sponge. After 5-10 minutes, the stone was rinsed thor-oughly with water and its original look appeared. The treatment was repeat-ed 2-3 times. This procedure was followed with drying.

Preventive conservationAfter the drying, the gravestones were protected with 3% solution of acrylic

dispersion.

Gravestone with ornamentsGravestones were decorated withcross as ornament, covered withdecorative details and with no let-ters. Cross was definitely the mostcommonly used element on grave-stones. Late gravestones ofDraga~evo 19th century school,were usually decorated with cross-es. In the most developed samples,various shapes can be recognized,and those are: Greek cross - themost common, Latin - rarer, Calvarycross - considerably often repre-sented, St. Andrew's cross - espe-cialy used in some areas, and alsothe ankh. Evolution in shaping ismost often reached by variations inarms of the cross and with theirmultiplying. By using the motifs ofcross, circle and square, craftsmancreated numberless rich, decorativeimages, scattered over all of grave-stones and graveyards of Serbia(6).

Gravestones have been photographed and protected.

Endnotes:

1. Zbornik Muzeja rudni~ko-takovskog kraja, text "Crkve brvnare takovskogkraja", edited by Rado{ Ga~i}, art historian.2. Text from the chronicle l889, priest Stanojlo Kova~evi}3. Memorandum of the Institute for Protection of Cultural Monuments, Kraljevo,from 25.05.2002, no.116, and memorandum of the Episcopal Council4. Radojko Nikoli}, Kamenopisci narodnog obraza, â~ak 1998.5. Ljubinko M. Dragi}evi}, Savremeni materijali u za{titi spomenika kulture,Republic Institute for Protection of Cultural Monuments , Beograd 1996.6. Nikola Dudi}, Stara groblja i nadgrobni belezi u Srbiji, Beograd 1995.

Takovo graveyard gravestonesbefore conservation (above) andafter conservation (right)

Nadgrobni spomenici na groblju uTakovu pre konzervacije (iznad) iposle konzervacije (desno)

52

Na Kloko~u - zapadno od Arilja va|en je itvrdi, kremeniti granit. Ima ga u vi{e boja:plavo-ùt, crvenkasto-modar, zeleno-beo. Nijepogodan za urezivanje likovnih predstava i {ara,pa su na njega usecani samo natpisi i to kratki.@ivi~ki pe{~ar - Jednovrstan sitnozrnac, pogo-dan je za sitan i krupan rez i dobro prima i"drì" boju. Teè se razdvaja, cepa i lju{ti, takoda su spomenici izra|eni od ovog kamenadugotrajni.Bio{tanski majdan - Ima dve vrste kamena.@u}kasti "me{anac" i "belucavi" kre~njak.@u}kasti je prili~no mek, moè se dobroobra|ivati, mahovina se na njega lako hvata,ali, uobli~en u tesanike, dosta je izdr`ljiv. Starijanadgrobna obele`ja (do 1780. godine)napravljena su od ovog kamena, a obi~no subez natpisa, sa krstom i trouglasto-zup~astomornamentikom i ponekom kuburom. Belikre~njak - tvrdik gla~anjem dobija izgled sit-nozrnog mermera.Braneti}ki majdan - U Gornjim Braneti}ima, uvelikom brdu, vadi se sivo-beli i sivo-zelenkasti pe{~ar tociljnak, a ima ga iplavkaste i ù}kaste boje. Na granici premaRu~i}ima, iskopavan je taman, zrnasti siga{,od koga su izra|ena obele`ja na starijimgrobljima. Pri obradi ove vrste kamena pr{tizrnevlje veli~ine le{nika, pa je teàk za rad.Krupnijeg je sastava, dosta je porozan, upijavodu i mahovina se lako prima (4).

Uzroci propadanjaSpomenici su jako zaprljani po celoj povr{ini, anajve}i stepen zaprljanosti je uo~ljiv kod onihdelova koji su bili pod zemljom. Spomenici koji su bili u vertikalnom poloàju"napadnuti" su mahovinom i li{ajem. Do fizi~ke i hemijske razgradnje kamenogmaterijala dolazi pod uticajem li{ajeva, tako {to sekret li{ajeva, kao proizvodnjihovog metabolizma, reaguje sa ugljendioksidom. Tada dolazi do reakcijeusled koje se kre~nja~ki materijal razara. Sekret li{ajeva lako prodire u kameni stvara neestetske fleke. Mehani~ka o{te}enja nastaju zbog osobine kamenada upija vodu, usled ~ega olazi do pucanja i poroznosti kamena. Debljina slojaprljav{tine je i do jednog centimetra - preko cele povr{ine spomenika (5).

î{}enje: mehani~ko i hemijskoî{}enje je izvo|eno mehani~ki: vodom i ~etkama od sinteti~kih vlakana.Mahovina i li{ajevi su lako odstranjivani skalpelom. Ovakav postupak pri~i{}enju je bio veoma efikasan, ali su namestima gde su bili li{ajevi ostale ù}kastemrlje, a na mestima gde je bila mahovinaostali su crni tragovi. Te tragove nije bilomogu}e otkloniti mehani~kim putem, jer suprodrli u strukturu kamena do dubine ve}eod nekoliko milimetara. Sepiolitom jepoku{avano da se ove fleke razmek{aju iizvuku na povr{inu. Dalje je sledilonano{enje kompleksona "3" i kada je slojprljav{tine razmek{an (nakon sat vremena),fleke su pa`ljivo odstranjene skalpelom.Slede}i postupak je bio oblaganje spomeni-ka penom (bebi sapun i voda). Pena jenano{ena sun|erom, utrljavana i (nakon 15minuta) ispirana vodom. Postupak jeponovljen 2 do 3 puta, sve dok seprljav{tina ispirala. Kona~no, fleke su nestalei spomenik je dobio svoj prvobitni izgled.î{}enje pe{~ara, koji je bio pod zemljom,odvijao se u dve faze: mehani~ko ~i{}enje ipranje spomenika. Metalnim {paknamaodstranjivane su naslage zemlje i drugihgrubih ne~isto}a sa kamena. Drvenim{tapi}ima su o~i{}ena manja udubljenja,naprsline, slova i svi uklesani delovi. Za~i{}enje ravnih i ~vrstih povr{ina kori{}enesu grublje ~etke, a slikarske mekane ~etke

za ne`ne delove (sa lo{e vezanim kristalima).Vodom i mekim ~etkama ispirana je ~itavapovr{ina kamena. Pranjem kamena, na vi{emesta je otkrivena dobro o~uvana boja, kojanije bila uo~ljiva pre tretiranja. Spomenici suoblagani Opal pastom razmu}enom u vodi, abogata pena nano{ena je sun|erom. Nakon 5do 10 minuta, pod jakim mlazom vode, kamenje ispiran i dobijao je svoj prvobitani izgled.Postupak je ponavljan 2 do 3 puta. Nakontoga sledilo je su{enje.

Preventivna za{titaPosle su{enja spomenici su za{ti}eni 3%rastvorom akrilne dispezije.

Spomenik sa ornamentom Ornament na spomeniku je krst, ukra{endekorativnim detaljima bez slova. Krst jesvakako najzastupljeniji dekorativni element nanadgrobnim spomenicima. Kasni spomenicidraga~evske {kole XIX veka, obavezno suukra{eni krstom. I u najrazvijenijim varijantamamogu se razaznati oblici, a to su: Gr~ki krst -kao najrasprostranjeniji, Latinski - re|i,Golgotski krst - dosta zastupljen, Andrijin krst- posebno upotrebljavan u nekim krajevima, aisto tako i Egipatski krst. Nadgradnja u obliko-vanju naj~e{}e se postiè razli~itom obradomkrakova krsta i njihovim umnoàvanjem.Koriste}i motive krsta i kruga ili krsta i kvadra-ta majstori su stvarali bezbroj bogatih dekora-tivnih predstava, razazustih po svimspomenicima i grobljima Srbije (6). Spomenik je fotografisan i za{ti}en.

NAPOMENE

1. Zbornik Muzeja rudni~ko - takovskog kraja, tekst "Crkve brvnare takovskogkraja", priredio istori~ar umetnosti Rado{ Ga~i}2. Tekst iz letopisa od 1889. godine, pop Stanojlo Kova~evi}.3. Dopis zavoda za za{titu spomenika kulture iz Kraljeva, od 25.02.2002.godine, br. 116, kao i dopis Episkopskog upravnog odbora4. Radojko Nikoli}, Kamenopisci narodnog obraza, â~ak, 1998. 5. Ljubinko M. Dragi}evi}, Savremeni materijali u za{titi spomenika kulture,Republi~ki zavod za za{titu spomenika kulture Beograd, 1996.6. Nikola Dudi}, Stara groblja i nadgrobni belezi u Srbiji, Beograd, 1995.

Gravestones after conservationNadgorbni spomenici nakon konzervacije

Gravestones after conservationNadgrobni spomenici posle konzervacije

53

VVIISSIITTIINNGG MMUUSSEEUUMMSS AANNDD VVIISSIITTIINNGG MMUUSSEEUUMMSS AANNDD CCOONNSSEERRVVAATTIIOONN IINNSSTTIITTUUTTIIOONNSS IINN IITTAALLYY CCOONNSSEERRVVAATTIIOONN IINNSSTTIITTUUTTIIOONNSS IINN IITTAALLYY Mila Popovi}-@ivan~evi}, councillor of the National Museum Belgrade

From 8th till 20th February 2003 I visited several renowned museums and con-servation institutions in Italy. During this visit, I made some contacts andreached an agreement on cooperation between Italian and our national insti-tutions, especially the National Museum and DIANA Centre for PreventiveConservation.

ROMEMUSEO NATIONALE ROMANO - permanent exhibition in an adapted spaceof an old building with optimal conditions for displaying objects. Having inmind museums in our country, it was especially interesting to see how thenumismatic material and other tiny objects were displayed in special show-cases with movable magnifying glasses. The information on the display oforganic material, such as graves from the Roman period, are also of greatimportance since the objects are displayed in special showcases with per-manent electronic environmental control which is also visible for the public.Documentation, which covers all the elements of discovering these objects, isalso presented, including even the results of the DNA analyses.MUSEO DELLE TERME DI DIOCLEZIANO - I have visited the ConservationDepartment dealing with conservation of archaeological material from all overthe city of Rome. The head of Department is Dr. Giovanna Bandini, distin-guished expert and the author of many articles on ceramics conservation.The opportunity for specialization and training in conservation of stone mon-uments in exterior (problem of microbes, moss, mold, deterioration, etc), con-servation of small stone sculptures in interior and metal conservation.The experts of the Conservation Department of Museo delle Terme showedspecial interest in our knowledge and experience in conservation of glazedand painted Roman majolica and fragile Roman provincial ceramics.VATICAN MUSEUMS - I visited Physical and Chemical laboratory, theDepartment for Conservation of archaeological material and the Departmentfor Conservation of Sculpture. I was given detailed information on methodol-ogy and management of these departments. It was the head of laboratory,Prof. Vladevica Santamaria, well known by his researches in the field of con-servation, who informed me of the work of Physical and Chemical Laboratory.I had an opportunity to see some complex laboratory activities and equipment,to find out about extraordinary results in interdisciplinary researches of authen-ticity and old appearance of the well-known archaeological objects, such asthe marble statue of emperor August.ICCROM (International Centre for the Study of the Preservation and Restorationof Cultural Property). My visit to ICCROM was especially significant for thepreservation of cultural heritage in our country in general, for the NationalMuseum and for DIANA Centre. I had a very fruitful meeting with the generalmanager, Dr. Nicholas Stanley-Price, who agreed that the cooperation with ourcountry in development of the conservation of cultural heritage should be per-manent. They are willing to be intensively engagedin this matter. Nevertheless, our country has to coverall the unpaid financial dues towards ICCROM,meaning for the years 2002 and 2003.I have been thoroughly informed of the activities ofICCROM and had meetings with leading experts ofthis institution. Dr Stanley-Price mentioned thatICCROM had been following the development ofDIANA Centre for a long period of time already andtogether with his colleagues showed a great deal ofinterest for the way DIANA Centre had been devel-oping and evolving into a system of preventive con-servation. They suggested expert assistance in fur-ther defining, organizing and implementation ofDIANA into our museology. They pointed out the factthat preventive conservation had an integrative char-acter and that its future development had to be ofthe same kind. They are also planning to publish anarticle on the development of DIANA Centre in theirpublication.Having in mind preventive conservation, we agreedthat education, especially that of museum profes-sionals, had to start as soon as possible, so that theycould, in the future, pass this knowledge not only tothe people working in museum institutions, but alsoto students and museum visitors. In the very nearfuture, ICCROM's experts for preventive conserva-tion will organize an intensive course on the outlines

of preventive conservation for museum professionals in DIANA Centre. In June2003, together with Canadian Institute For Conservation, ICCROM will organ-ize an expert course on preventive conservation in Ottawa, for 20 museumprofessionals from all over the world, including the representative of DIANACentre, curator Vesna @ivkovi}. After this course, DIANA Centre will have anobligation to organize another course for museum workers and students. Itwas suggested to us to organize a three weeks course where ICCROM'sexperts would continue with training for our museum workers.In the year 2004, ICCROM is planning to organize a regional professionalcourse on preventive conservation in DIANA Centre. Together with ICCROM'sexperts we decided to make a program of cooperation in the conservationfield for the students and associates of DIANA Centre, who would have anopportunity to attend the expert courses organized by ICCROM. In that way,there is a possibility for us to organize with ICCROM the courses of conser-vation in field and conservation of stone. Since ICCROM took part in recon-struction of important museum institutions worldwide, they promised to helpus in preparing basic theses for the project of reconstruction and reorganiza-tion of museum institutions.I had very useful discussions about specialized projects, significant for the devel-opment of museology. I have been given the literature and information for educa-tion programs on cultural heritage for children, school children, families, other cul-tural institutions and media.A part of the discussion with ICCROM's experts referred to their strategyconcerning immovable cultural heritage. It was pointed out that the proj-ects of preventive conservation have to deal with integrative preventiveconservation of cultural heritage, referring not only to movable, immovable andintangible heritage, but also including its surrounding and legislation. In thissense, they showed an interest for the project of the Museum of MetallurgySartid in Smederevo, with industrial archaeology, conservation and forming amuseum of the old steal factory in Smederevo as subject. I left with ICCROMthe preliminary documentation concerning this project.It was suggested that the experts from our country should start attendingtechnical-architectural conservation courses organized by ICCROM in thenear future (in Venice, Oslo, Finland, Japan and so on).My visit to the library was especially important. National Museum's publications,which I brought with me, represented the first serious step in collecting literaturefrom our country for the ICCROM's library. We have agreed that there was a needfor the regular exchange of publications between ICCROM and museums and con-servation institutions in our country.For DIANA Centre, it is of utmost significance that ICCROM is going to sendus all the literature on preventive conservation and conservation that we need,but still do not posses.It should be mentioned that on 26th February ICCROM already published,among other news on its web sitxe (http://www.iccrom.org/), a text about thisvisit with a photo. ISTITUTO CENTRALE per il RESTAURO (I.C.R) represents one of the mostimportant conservation institutions in the world. Accompanied by their experts

and managers, I have visited the most importantservices and sectors of I.R.C. Their basic activity isdivided into education, research work, advisoryfunction, and documentation. I was thoroughlyinformed about the way the education functioned,especially the way that educational programs wereorganized. The education is divided in 4 basic groups:A - painting, B - archaeological objects, C - stone andD - textile. Training in any of these groups lasts for4 years, it is independent and is not attached to theUniversity. The expenses of the training for each stu-dent are completely covered by Italian Government,but for that reason the selection is very rigid.Research activity is conducted in three laboratorieswith the most eminent experts working in them -physical, chemical and microbiological. Nearly all theactivities of these laboratories deal with preventiveconservation. Physical laboratory functions throughseveral sections and the most important are techni-cal and optical. Microbiological laboratory is espe-cially active in environmental conditions sector.Research centre has its information sector whichcollects all the information (generally, for the instru-ments and equipment, analyses of deterioration ofmaterial, etc. - Data banks). All the information fromData bank is transferred to the Central Institute forDocumentation, which is a separate institution.Especially useful documentation concerning preven-

Mila Popovi}-@ivan~evi} and Roberta Lapucci infront of Archaeological museum, ElbaMila Popovi}-@ivan~evi} i Roberta Lapu~iispred arheolo{kog muzeja na Elbi

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UU PPOOSSEETTII MMUUZZEEJJIIMMAA II UU PPOOSSEETTII MMUUZZEEJJIIMMAA II IINNSSTTIITTUUCCIIJJAAMMAA ZZAA[[TTIITTEE UU IITTAALLIIJJII IINNSSTTIITTUUCCIIJJAAMMAA ZZAA[[TTIITTEE UU IITTAALLIIJJII Mila Popovi}-@ivan~evi}, savetnik Narodnog muzeja u Beogradu

Od 8. do 20. februara 2003. godine boravila sam u vi{e zna~ajnih muzejskihinstitucija i institucija za{tite u Italiji. Tokom ovog stru~nog boravka uspostavi-la sam kontakte i dogovorila saradnju izme|u italijanskih i na{ih institucija,posebno Narodnog muzeja i DIJANA Centra za preventivnu za{titu.

RIMMUSEO NATIONALE ROMANO - stalna postavka u adaptiranom prostorustarog zdanja, sa optimalnim mikroklimatskim uslovima izlaganja. Za na{emuzeje posebno je zanimljiv na~in prezentovanja numizmati~kog materijala iminijaturnih predmeta, u specijalizovanim vitrinama sa pokretnim lupama.Va`na su i saznanja o izlaganju organskog materijala, npr. grobova iz rimskogperioda, u vitrinama sa stalnom elektronskom kontrolom klime, koju i publikamoè da vidi na ekranu. Prezentovana je i dokumentacija koja prati sve ele-mente otkrivanja ovih nalaza, uklju~uju}i ~ak i rezultate DNK analiza.MUSEO DELLE TERME DI DIOCLEZIANO - obi{la sam Konzervatorsko odel-jenje koje se bavi za{titom arheolo{kog materijala sa cele teritorije grada Rima.Rukovodilac ovog va`nog Odeljenja je dr \ovana Bandini, vrlo ugledanstru~njak i autor brojnih tekstova o konzervaciji keramike. Za na{e stru~njake uop{te, kao i za saradnike DIJANA Centra, veoma jezna~ajna mogu}nost specijalizacije i obuke iz konzervacije kamenih spomeni-ka u eksterijeru (problemi mikroorganizama, mahovine, bu|i, degradacije i sl.),konzervacije kamene skulpture manjih dimenzija u enterijeru i konzervacijemetala. Pokazalo se da su stru~njaci Konzervatorskog odeljenja Museo delle Termeposebno zainteresovani za na{a saznanja i iskustva u konzervaciji gle|osanei slikane rimske majolike i tro{ne rimske provincijske keramike. VATIKANSKI MUZEJI- posetila sam Fizi~ko-hemijsku laboratoriju, Odeljenje zakonzervaciju arheolo{kog materijala i Odeljenje za konzervaciju skulpture.Dobila sam detaljna obave{tenja o metodologiji i organizaciji posla ovih odel-jenja. Sa radom Fizi~ko-hemijske laboratorije me je upoznao rukovodilac lab-oratorije profesor Santamarija, poznati istraìva~ iz oblasti za{tite. Bila sam uprilici da vidim sloèna labaratorijska snimanja i opremu, da se upoznam sarezultatima interdisciplinarnog prou~avanja autenti~nosti i nekada{njeg izgledapoznatih arheolo{kih dela, kao {to je npr. mermerna statua imperatoraAvgusta. ICCROM (International Centre for the Study of the Preservation andRestauration of Cultural Property). Poseta ICCROM-u je bila posebno zna~ajnaza budu}e aktivnosti na polju za{titu kulturnog nasle|a u na{oj zemlji, zaNarodni muzej i za DIJANA Centar. Imala sam veoma koristan susret sa gen-eralnim direktorom dr Nikolasom Stenli Prajsom, koji se sloìo da saradnja sana{om zemljom na razvoju za{tite kulturnog nasle|a mora da ima trajni karak-ter. U ICCROM-u su izrazili spremnost da se intenzivnije angaùju oko toga.Me|utim, neophodno je da na{a zemlja namiri svoje zaostale finansijskeobaveze prema ICCROM-u i to za 2002. i 2003. godinu.Detaljno sam se upoznala sa svim aktivnostima ICCROM-a i obavila razgov-ore sa vode}im ekspertima ove va`ne institucije. Dr Stenli Prajs je naglasio daICCROM ve} duè vremena prati razvoj DIJANA Centra i zajedno sa svojimsaradnicima pokazao interesovanje za na~in na koji se DIJANA Centar tokomgodina razvijao u sistem koji primenjuje preventivnu za{titu. Pedloìli sukonkretne akcije i stru~nu pomo} za njeno dalje definisanje, organizovanje iprimenu u na{oj muzeologiji. Posebno su naglasili da je preventivna za{titaintegrativna, i da njen razvoj mora da ide u tom smeru. U redovnoj publikacijiICCROM-a objavi}e tekst o razvoju DIJANA Centra. Kada je re~ o preventivnoj za{titi, dogovorili smo se da edukacija, naro~itomuzejskih profesionalaca mora da zapo~ne {to pre, kako bi oni kasnije moglida prenose znanje ne samo zaposlenima na poslovima za{tite, ve} i studen-tima i muzejskoj publici. Uskoro }e eksperti za preventivnu za{titu iz ICCROM-a u DIJANA Centru organizovati intezivan kurs za muzejske profesionalce, oosnovama sistema preventivne za{tite. U junu 2003. godine ICCROM iKanadski institut za konzervaciju organizuju u Otavi specijalisti~ki kurs izPreventivne za{tite, za 20 profesionalaca iz muzeja iz celog sveta, na kome}e u~estvovati predstavnik DIJANA Centra, kustos Vesna @ivkovi}. Posle OtaveDIJANA Centar }e biti u obavezi da organizuje kurs za muzejske radnike i stu-dente. Predloèno je da organizujemo kurs u trajanju od tri nedelje, tokom kogbi stru~njaci ICCROM-a nastavili sa obukom na{ih muzealaca.Tokom 2004. godine ICCROM planira organizaciju regionalnog profesionalnogkursa iz Preventivne za{tite u DIJANA Centru.Sa ekspertima ICCROM-a je dogovoreno da se napravi program saradnje izoblasti za{tite, za polaznike i saradnike DIJANA Centra, koji }e imati priliku dau~estvuju u specijalisti~kim kursevima koje ICCROM organizuje. Tako, ve}ovog leta, postoji mogu}nost da u na{oj zemlji organizujemo sa ICCROM-om

kurseve konzervacije na arheolo{kom iskopavanju i konzervacije kamena. S obzirom da je ICCROM u~estvovao u rekonstrukcijama velikih svetskihmuzeja, obe}ali su da }e nam pomo}i oko pripreme osnovnih teza za pro-jektne zadatke rekonstrukcije i reorganizacije muzejskih institucija.Vodila sam veoma korisne razgovore o specijalizovanim projektima zna~ajnimza razvoj muzeologije. Dobila sam literaturu i informativni materijal o eduka-tivnim programima o kulturnom nasle|u za malu decu, za {kolsku decu, zacelu porodicu, za druge kulturne institucije i za medije. Jedan deo razgovora sa stru~njacima ICCROM-a odnosio se na njihovustrategiju o za{titi nepokretnog kulturnog nasle|a. Nagla{eno je da se projektipreventivne za{tite moraju baviti integrativnom preventivnom za{titom kulturnognasle|a, koja pored toga {to obuhvata pokretno, nepokretno i nematerijalno,mora uklju~iti i okolinu koja ga okruùje i zakonodavstvo. U tom smislupokazali su interesovanje za projekat Muzeja crne metalurgije - Sartid izSmedereva, koji se bavi industrijskom arheologijom, za{titom i formiranjemmuzeja od stare fabrike ~elika u Smederevu. Predala sam preliminarnu doku-mentaciju o ovom projektuPredloèno je da na{i stru~njaci po~nu da se uklju~uju u tehni~ko-arhitek-tonske konzervatorske kurseve, koje u narednom periodu ICCROM organizu-je (u Veneciji, Oslu, Finskoj, Japanu i sl.)Poseta biblioteci je bila posebno zna~ajna. Publikacije Narodnog muzeja kojesam im predala prestavljaju za sada prvo ozbiljno prikupljanja literature iz na{ezemlje u biblioteci ICCROM-a. Dogovorili smo se da se mora uspostavitiredovna razmena publikacija izme|u ICCROM-a, muzeja i institucija za{tite una{oj zemlji.Za DIJANA Centar je posebno zna~ajno to {to }emo od njih dobiti svu liter-aturu o preventivnoj za{titi i konzervaciji koja nam je potrebna, a koju jo{ uvekne posedujemo.Treba napomenuti da se ve} 26. februara na Web site ICCROM-a(http://www.iccrom.org/) u vestima za februar pojavio tekst o poseti ICCROM-u.INSTITUTO CENTRALE per il RESTAURO (I.C.R.) predstavlja jednu od najz-na~ajnijih institucija za{tite u svetu. Sa njihovim stru~njacima i rukovodiocimaobi{la sam sve najva`nije slu`be i sektore I.C.R. Njihova osnovna delatnost jepodeljena na edukaciju, istraìvanje, savetodavnu ulogu i dokumentaciju. Vrlo detaljno sam se upoznala sa na~inom na koji se odvija edukacija, aposebno sa na~inom na koji se realizuju njihovi programi. Edukacija je podel-jena u ~etiri osnovne grupe: A - slikarsto, B - arheolo{ki predmeti, C - kameni D - tekstil. [kolovanje na svakoj od ovih grupa traje ~etiri godine, nezavis-no je i nije povezano sa Univerzitetom. Tro{kove {kolovanje svakog studentau potpunosti pokriva italijanska dràva, ali je zato pri upisu selekcija veomastroga. Istraìva~ka aktivnost se sprovodi kroz rad tri laboratorije: fizi~ke, hemijske imikrobiolo{ke - u kojima rade najeminentniji stru~njaci. Skoro sve aktivnosti tihlaboratorija okrenute su ka preventivnoj za{titi. Fizi~ka laboratorija deluje kroznekoliko sekcija, a najva`nije su tehni~ka i opti~ka. Mikrobiolo{ka laboratorijaje posebno aktivna kroz mikroklimatski sektor. Istraìva~ka aktivnost ima svojInformativni sektor, gde se slivaju sve informacije (op{te, one koje se ti~uinstrumenata i opreme, ispitivanja deterioracije materijala itd- banke podata-ka/Data Banks). Ina~e sve informacije iz banke podataka slivaju se u Centralniinstitut za dokumentaciju, koji je zasebna institucija. Izuzetno koristan doku-ment, koji se ti~e preventivne za{tite, jeste projekat Karte rizika za teritoriju celeItalije, a obuhvata sve nesre}e i {tetne uticaje, kao {tu su zemljotresi, poplave,poàri, aerozaga|enja i sl. Dogovori postignuti tokom poseta tim laboratorijima

Roberta Lapucci, SACI

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tive conservation itself is the project called The risk cards for the whole Italianterritory, which refers to all possible accidents, such as earthquakes, floods,fires, air pollution and the like. The agreements reached during the visit tothese laboratories will give us an opportunity of permanent cooperation and con-sultations in these important research fields of conservation of cultural heritage.Advisory function of this institute represents its engagement and help offeredto other institutions in the country, abroad, but also in the Institute itself. In thissense, the archaeological and artistic material from other museums and insti-tutions is conserved in I.C.R. completely free of charge. These objects aretreated by students who work for free and the rest of expenses - for materi-al, equipment and expert personnel - are covered by the Italian Government.The Government is responsible for everything in the field of conservation ofcultural heritage; hence it pays all the activities of I.C.R. This way of organiz-ing conservation includes, of course, rigid coordination with the state con-cerning the programs and priorities of the conservation throughout the country.

FLORENCESACI (Studio Art Centers International), an American art school (for Americanstudents). The name of Mary Beckinstale, the headmaster, is well knownamong art historians. The school covers all forms and aspects of art (draw-ing, painting, photograph, ceramics, sculpture, multimedia, graphic design,history of art, landscape design and conservation). The conservation sectorcovers artistic and archaeological objects and is run by Roberta Lapucci, awinner of one of the UNESCO's awards for the conservation of Carriage'spaintings. The conservation training is carried out in cooperation with theregional Centre for Conservation, University of Florence and regionalLaboratory. Within the educational program, that is with students, this sectorcarries out very important work throughout the country, not just Tuscany: sig-nificant religious and other types of objects, individual pieces of art, archaeo-logical material from several different museums and undersea researches.They also organize expert courses such as "Conservation of archaeologicalobjects" which will take place in Elba this summer.During my stay in Florence, I gave three lectures in SACI and ArchaeologicalMuseum: "Preventive Conservation as Fundamental Museological Principle","Preventive Conservation and the Role of DIANA Centre", "SafekeepingConditions of Inorganic Materials - Microbiological Contamination ofArchaeological Objects in Museum Storages".I have agreed with SACI on planning a long-term cooperation through therealization of joint projects that would also include exchange of professors andstudents. SACI would like the first cycle of lectures of DIANA Centre inFlorence to be based on our experience with the diseases of artistic andarchaeological objects. They have shown special interest for the methods ofconservation of fragile ceramics, nowadays successfully conveyed in DIANACentre. On the other hand, their experience with con-servation of glazed ceramics and stone shall be a sig-nificant contribution of SACI to the advanced training ofcollaborators in DIANA Centre. Universita Internazionale dell'Arte in Florence has highlyelaborated programs of studies in museology, preventiveconservation and conservation of all kinds of materials.

The part covering education and specialized courses on preventive conserva-tion is of particular significance for DIANA Centre.Museo Archeologico Nazionale deals with the archaeology of the Roman peri-od. The interest for the publications of our National Museum showed the lackof information about our work and results referring to this period. There wasgreat deal of interest for all the aspects of the Roman period in our territory,especially for the way Roman culture influenced local population. I have spo-ken with Anna Rastreli, the chief of collections section, and we came up withan idea that National Museum should organize an exhibition in Florence, deal-ing with this topic. We also agreed on establishing an active exchange of pub-lications and information between two museums.Centro Restauro Archaeologico has a regional character; it is very wellequipped and gathers some of the most significant names in the area of pre-ventive conservation. Marcello Miccio and Renzo Giachetti stand out asexperts in conservation of antique bronze sculpture. This area is of greatimportance to us because our country lacks experts in this kind of archaeo-logical material. One of the most significant aspects of this Centre at themoment is the new conservation of the well-known statue of Minerva. I mademyself personally familiar with complex process of reconservation applying themost advanced method of examination and application of an active conser-vation treatment. The Minerva sculpture had been through a number of con-servation treatments, first one in 16th century and the latest in the beginningof the 20th. It is worth mentioning that the complete documentation on thosetreatments was saved and transferred onto digital media.The regional research laboratory is a new laboratory directly under jurisdictionof Ministry of Cultural Heritage and Activities. It is very well equipped and, withhighly trained staff, is able to perform the most demanding physical andchemical research on archaeological and artistic material, conservation mate-rial, biological research, climate and its impact. etc.The project of founding and completing the laboratory was entirely done byEUROPLAN.

UNESCO - VeniceI had a meeting with Marie-Paule Roudil, the chief of cultural section, whopointed out that UNESCO sincerely wanted to take greater part in organizingthe protection of cultural heritage in our country, especially in Kosovo andMetohija. We concluded that the problem of protecting the monuments ofKosovo and Metohija could be very difficult and serious, and that without fur-ther delay, should be coordinated with competent governmental institutions inour country. Mrs. M. P. Roudil also expressed UNESCO's readiness to support strategical-ly oriented and completed projects. She emphasized their understanding ofsignificance of preventive conservation and its influence on surrounding coun-

tries in the region.Therefore, a project like DIANA Centre could take upa prominent place in the long-term strategy ofUNESCO in the Balkan region. She was very pleasedthat the activities of DIANA Centre are already clearlyoriented in that direction and she expressed hope thatits development and participation in regional and inter-national cooperation would continue in the set direc-tion.ELBA ISLAND - This visit was made possible by myhosts from SACI - Florence. Elba has a very richarchaeological museum and well equipped conserva-

tion workshops. These workshops mainly work during summer with studentsand collaborators from SACI. Various archaeological materials could be foundthere (ceramics, glass, metal...) from different periods and many cultures. Thematerial comes mostly from sunken ships in the sea around Elba.Consequently, the conservation of material from undersea archaeological sitesis the specialty of these workshops. Therefore, they are equipped with spe-cial tools for complicated process of desalination and adaptation of archaeo-logical objects in specific chambers after the treatment, which I had a chanceto witness. POPULONIA is an archaeological park in Tyren bay where we can witnesscontinuing life in a village from the Stone Age, through the Neolithic, Copper,Bronze and Iron Ages, through Greek and Roman period, right up to theMiddle Ages. Apart from very rich and diverse archaeological material, thebasic characteristics of this open-air museum represent tumuli and necrop-olises from the earliest times. Archaeological Park takes up huge space andorganized tour could last from 1 hour to couple of days. Besides, the parkalso has a centre for archaeological experiments, including various workshopslike the one on ceramics production from different ages, for children and adults.Populonia, Nekropolis

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omogu}i}e nam stalnu saradnju i konsultacije u ovim va`nim oblastimaistraìvanja za{tite kulturnog nasle|a. Savetodavna uloga tog instituta podrazumeva njegovo angaòvanje i pomo}drugim institucijama, u Italiji, inostranstvu, ali i u samom Institutu. U okviru ovihaktivnosti, arheolo{ki ili umetni~ki materijal iz drugih muzeja i institucija sekonzervira u I.C.R, bez ikakve finansijske nadoknade. U institutu rade i stu-denti, ~iji rad je besplatan, a ostale tro{kove (materijal, oprema i stru~noosoblje) pokriva dràva. Vlada je odgovorna za sve na polju za{tite kulturnognasle|a i zato pla}a sve aktivnosti I.C.R. Naravno, ovakav na~in organizovan-ja za{tite podrazumeva strogu koordinaciju sa dràvom, u vezi sa programi-ma i prioritetima, kada je re~ o konzervaciji na teritoriji cele Italije.

FIRENCASACI (Studio Art Centers International), ameri~ka {kola za umetnost, za stru-dente iz Amerike. Ime Meri Bekinstal, direktora {kole, poznato je u svetu istori-je umetnosti u ~itavoj Evropi. [kola se bavi razvojem svih oblika umetnosti(crte`, slikarstvo, fotografija, keramika, skulptura, multimedija, grafi~ki dizajn,istorija umetnosti, dizajn pejzaà i konzervacija). Sektor koji se bavi konzer-vacijom obuhvata umetni~ke i arheolo{ke predmete i njime rukovodi RobertaLapu~i, koja je za konzervatorski rad na Karava|ovim slikama dobila jednu odUNESKO-vih nagrada. Edukacija iz konzervacije se sprovodi u saradnji saregionalnim Centrom za konzervaciju, Univerzitetom u Firenci i regionalnomLaboratorijom. U sklopu edukativnog programa, taj odsek, sa svojim studen-tima, realizuje veoma zna~ajne poslove u celoj Italiji, a ne samo u regiji Toskana:na zna~ajnim crkvenim i drugim objektima, na pojedina~nim umetni~kim deli-ma, arheolo{kom materijalu iz vi{e muzeja i sa podvodnih istraìvanja. SACI organizuje i specijalisti~ke kurseve, kao {to je "Konzervacija arheolo{kihpredmeta", koji }e ovog leta biti odràn na ostrvu Elba. Tokom boravka u Firenci odràla sam tri predavanja u SACI-u i Arheolo{kommuzeju: "Preventive Conservation as Fundamental Museological Principle","Preventive Conservation and the Role of DIANA Center", "SafekeepingCondition of Inorganic materials-microbiological contamination ofArchaeological Objects in Museum Storages"Sa kolegama iz SACI-a smo se dogovorili da sa~inimo zajedni~ki plandugoro~ne saradnje i to kroz realizaciju zajedni~kih projekta, koji }epodrazumevati i razmenu profesora i studenata. U SACI-u su posebno zain-teresovani da prvi ciklus predavanja DIJANA Centra u Firenci bude baziran nana{im iskustvima sa bolestima umetni~kih i arheolo{kih predmeta. Posebnointeresovanje pokazuju za metode za{titetro{ne keramike koja se danas uspe{nosprovodi u DIJANA Centru. S druge strane, njihova iskustva na konz-ervaciji gle|osane keramike i kamena }ebiti zna~ajan doprinos SACI-a nausavr{avanju znanja saradnika u DIJANACentru.Universita Internazionale dell'Arte uFirenci ima veoma razvijene programestudija iz muzeologije, preventivne za{titei konzervacije svih vrsta materijala. ZaDIJANA Centar je posebno zna~ajan deokoji se odnosi na edukaciju i specijal-

isti~ke kurseve iz Preventivne za{tite.Museo Archeologico Nazionale se bavi arheologijom rimskog doba.Interesovanje za publikacije Narodnog muzeja, koje sam odnela na poklon,ukazao je na to da nisu upoznati sa na{im radovima i rezultatima koji seodnose na taj period. Pokazali su veliko interesovanje za sve ono {to sede{avalo na na{im prostorima u rimskom periodu, posebno za na~in na kojise rimska kultura reflektovala i kako je uticala na doma}e stanovni{tvo.Razgovarala sam sa Anom Rastreli, rukovodiocem Odeljenja za kolekcije.Predloèno je da u Firenci na{ Narodni muzej realizuje izlo`bu koja bi se bav-ila ovom tematikom. Tako|e smo se dogovorile da se mora uspostaviti raz-mena publikacija i informacija izme|u dva muzeja.Centro Restauro Archeologico ima regionalni karakter, veoma je dobro opreml-jen i okuplja nekoliko veoma poznatih imena iz sveta za{tite. Tu se posebnoisti~u Mar~elo Mi}o i Renco \aketi, eksperti za konzervaciju anti~ke skulptureod bronze. Ova oblast je za nas posebno va`na, jer u na{oj zemlji skoro danema stru~njaka za ovu vrstu arheolo{kih predmeta. U ovom momentu, jedanod najzna~ajnijih poduhvata tog Centra je nova konzervacija poznate bron-zane statue Minerve. Detaljno sam se upoznala sa kompleksnim procesomobnovljene konzervacije u kojoj se koristi najsavremenija metodologija ispiti-vanja i primene aktivnog konzervatorskog tretmana. Skulptura Minerve je dosada pretrpela ve}i broj konzervatorskih intervencija, od kojih je prva bila kra-jem 16. veka, a poslednja po~etkom 20. veka. Vredi napomenuti da jesa~uvana konzervatorska dokumentaciji o svim tim intervencijama i da samimala prilike da je vidim u digitalnoj formi. Regionalna Istraìva~ka Laboratorija je nova laboratorija, koja je direktno podnadzorom Ministarstva za kulturna dobra i aktivnosti. Veoma dobro opremlje-na, sa visokoobu~enim kadrovima, laboratorija je u mogu}nosti da se bavinajsloènijim fizi~ko-hemijskim istraìvanjima arheolo{kog i umetni~kog mater-ijala, materijala za konzervaciju, biolo{kim istraìvanjima, ispitivanjima klime injenog uticaja, i sl. Ceo projekat, od osnivanja do realizacije ove Laboratorijeuradio je EUROPLAN. UNESCO- VenecijaImala sam sastanak sa Mari-Pol Rudil, {efom Sektora za kulturu, koja jenaglasila da UNESCO zaista èli da se vi{e i organizovanije uklju~i u za{titukulturne ba{tine u na{oj zemlji, posebno na Kosovu i Metohiji. Zaklju~ili smoda je problem za{tite spomenika na Kosovu i Metohiji veoma ozbiljan i teàk,i da se proces za{tite bez odlaganja mora organizovati u saradnji sanadle`nim organima Vlade i institucijama u na{oj zemlji.Gospo|a Rudil je tako|e izrazila spremnost da UNESCO podrì strate{kiopredeljene, zaokruène projekte. Istakla je da UNESCO shvata zna~aj pre-ventivne za{tite i da je ona izuzetno va`na kada je re~ o kulturnom nasle|uu zemljama jugoisto~ne i srednje Evrope. Zbog toga projekat kao {to jeDIJANA Centar moè da na|e istaknuto mesto u dugoro~noj strategijiaktivnosti UNESCO-a u balkanskoj regiji. Izrazila je zadovoljstvo ~injenicom dasu se aktivnosti DIJANA Centra u tom smislu ve} jasno definisale, i nadu da}e se njen razvoj i uklju~ivanje regionalne i me|unarodne saradnje nastaviti usmeru koji je zapo~et. OSTRVO ELBA - Posetu Elbi organizovali su moji doma}ini iz SACI-a izFirence. Elba ima bogat Arheolo{ki muzej, i solidno opremljene konzervatorskeradionice. Te radionice uglavnom rade samo tokom leta i to sa studentima isaradnicima iz SACI-a. Re~ je o veoma raznorodnom arheolo{kom materijalu(keramika, staklo, metalni predmeti i sl.), iz raznih perioda i raznih kultura.Materijal uglavnom poti~e sa potopljenih brodova iz mora oko Elbe.Specifi~nost ovih radionica je konzervacija materijala izva|enog sa podvodnihmorskih arheolo{kih lokaliteta. Radionice su tako i opremljene - imala sam pri-like da vidim posebnu opremu i komplikovane na~ine ispiranja soli u bazen-ima ili adaptaciju arheolo{kih predmeta u specijalnim komorama nakonzavr{etka tretmana. POPULONIA je arheolo{ki park u Tirenskom zaliv,u koji prikazuje kontinuitetìvota naselja od kamenog doba, neolita, bakarnog, bronzanog i gvozdenogdoba, gr~kog i rimskog perioda, do srednjeg veka. Pored raznovrsnog

arheolo{kog materijala, karakteristi~ni zataj muzej na otvorenom su tumuli i grob-nice iz naranijih vremena. Arheolo{ki parkzauzima veliki prostor, i poseta je takoorganizovana da ture mogu da traju odjednog sata do nekoliko dana. Park imai Centar za arheolo{ke eksperimente, usklopu koga deluju razne radionice, kao{to je npr. radionica za decu ili odrasle zaizradu keramike iz arheolo{kih epoha.

Voyage to ElbaPut na Elbu

Meeting with ICCROM staffSastanak sa predstavnicima ICCROM-a

57

TTRRAAIINNIINNGG IINN MMOOSSAAIICC CCOONNSSEERRVVAATTIIOONNTTRRAAIINNIINNGG IINN MMOOSSAAIICC CCOONNSSEERRVVAATTIIOONNAARRLLEESS 22000022 AARRLLEESS 22000022 Maja Frankovi}, conservator

In 2002, the cooperation between DIANA Centre, Archaeological Centre of Varand French Cultural Centre continued, as well. My visit, as a part of this coop-eration, was dedicated to my training in conservation and restoration ofmosaics in Antic Museum of Arles (Musée de l' Arles antique). The projectwas supported by the Ministry of Culture and Public Information of theRepublic of Serbia and the Ministry partly financed my stay in France.My training took place within the Atelier for mosaics restoration in the muse-um in Arles and lasted three months, from March 26th to June 28th, 2002.The aims of the training were archaeological cultural heritage preservation'sethic and different conservation and restoration technics that are used in anticmosaics protection. Atelier for mosaics conservation and restoration of the museum in Arles wasfounded in 1992, with the objective to answer needs of safeguard, mainte-nance and presentation of cultural property from the region of Arles. The Atelieris in charge of the pavements in the museum and other pavements that areconserved in situ. It also participates in pavement protection on Frencharchaeological missions abroad, especially in Mediterranean. The ConservationAtelier is under the direction of Patrick Blanc.My training in mosaics conservation consisted of every day's practical restora-tion work on pavements treated in the atelier. The restoration practice cametogether with detailed explanations given to me by Patrick Blanc and otherconservators. Furthermore, the entire documentation from the atelier andmuseum library was at my disposal.During the three months training I gained theoretical knowledge concerningmosaics lifting, transfer to a new movable support and basics of in situ con-servation.I participated in different conservation and restoration phases. First, I workedon a roman mosaic in opus tessellatum technic coming from the site of Arlesantique and then on the restoration of an opus signinum from the collectionof Historical Museum in Marseille. I participated in mosaic cleaning, consoli-dation, filling of lacunaes and reintegration of tesseraes in cuts made duringmosaic lifting.My training included study visits to other conservation ateliers and researchlaboratories. I had an extraordinary opportunity to visit The Centre of RomanWallpainting Study (Centre d'etudes sur la painture murale romaine) inSoisson, The restauration Atelier of the Museum of Saint-Romain-en-Gal inVienne, Historical Monuments Research Laboratory (Laboratoire de recherchedes Monuments historiques)in Champs-sur-Marne and The French Center ofResearch in Museum Restoration (Centre de recherche et de restauration desmusées de France) in Louvre. During these visits I was able to see differentscientific researches methods concerning conservation and restoration of cul-tural property. I also learned a lot about investigations that are made onobjects themselves and new materials and procedures researches that can beused in conservation and in restoration. I visited archaeological sites like Pontdu Gard, Glanum and Barbegal. During my training in Arles, Mrs VeroniqueBlanc allowed me to use the Centre Camile Jullian specialisedlibrary in Aix-en-Provence.Training in Arles turned out to be a very important and valuableexperience for me. I was fortunate to work with and learn fromexperts who gladly shared their knowledge. In Patrick Blanc and hisassociate Marie-Laure Courboulés I found a great support to con-tinue working in this field. They are also interested to continue thecooperation with DIANA and to help the development of mosaicconservation in our country.Apart from the professional knowledge that I gained, I returned fromFrance with a great will to continue further training in mosaic con-servation. Unfortunately, due to the general situation in our country, the mosaics from theNational museum collection are in stored in depos for decades, waiting to beexposed. Although there is a will among museum professionals to restore andexpose these mosaics, there are still no conditions to do that - the restora-tion of mosaics is a complex work that requires team work, adequate equip-ment and, above all, considerate financial means.Almost a year passed since my return from France and still there is no pos-sibility for me to continue further training. I hope that it will not go in vain andthat soon it will be possible to practice mosaic conservation like it is doneabroad.

TTrraaiinniinngg

58

Archaeological Site ofSaint Romain-en-GalThe Town of ArlesPont du Gard

Arheolo{ki lokalitet SaintRomain-en-GalGrad ArlPont du Gard

OOBBUUKKAA IIZZ OOBBLLAASSTTII KKOONNZZEERRVVAACCIIJJEE MMOOZZAAIIKKAAOOBBUUKKAA IIZZ OOBBLLAASSTTII KKOONNZZEERRVVAACCIIJJEE MMOOZZAAIIKKAAAARRLL 22000022..AARRLL 22000022..Maja Frankovi}, konzervator-restaurator

Saradnja izme|u Dijana Centra, Arheolo{kog centra u Varu i Francuskog kul-turnog centra, nastavljena je i u 2002. godini. Ovog puta radilo se o mojojstru~noj obuci iz oblasti konzervacije i restauracije mozaika u Muzeju antike uArlu. Projekat je podràlo i Ministarstvo kulture Republike Srbije, tako {to jefinansiralo moj boravak u Francuskoj.Sta` u Ateljeu za restauraciju mozaika muzeja u Arlu trajao je tri meseca, od26. marta do 28. juna 2002. godine, i obuhvatao je obuku iz oblasti etikeo~uvanja arheolo{kog kulturnog nasle|a i razli~ite konzervatorske i restaura-torske tehnike, koje se koriste u za{titi anti~kih mozaika. Atelje za konzervaciju i restauraciju mozaika muzeja antike u Arlu formiran je1992. godine, sa ciljem da se odgovori na potrebe o~uvanja, odràvanja iprezentacije kulturnog nasle|a Arla i okoline. Atelje vodi brigu o mozaicimakoji se nalaze u muzejskoj kolekciji, kao i o onima koji se ~uvaju in situ.Istovremeno, stru~njaci Ateljea u~estvuju u za{titi mozaika u okviru francuskiharheolo{kih misija u inostranstvu, pre svega na Mediteranu. Konzervatorskiatelje je pod rukovodstvom gospodina Patrika Blana.Moja obuka iz konzervacije mozaika sastojala se od svakodnevnog prakti~nograda na restauraciji mozaika ~iji je tretman trenutno bio u toku u ateljeu.Detaljnim obja{njenjima Patrika Blana i ostalih konzervatora dopunjavana sumoja teorijska znanja. Na raspolaganju mi je bila celokupna dokumentacija izateljea i muzejska biblioteka. Tokom tromese~nog staà stekla sam teorijska znanja koja se ti~u ''skidanja''mozaika sa arheolo{kog terena, njegovog postavljanja na novu, prenosivupodlogu, kao i sa osnovnim principima konzervacije in situ.

U~estvovala sam u razli~itim fazama rada na konzervaciji irestauraciji jednog rimskog mozaika ra|enog u tehnici opus tes-sellatum, koji poti~e sa arheolo{kog nalazi{ta anti~kog Arla i narestauraciji jednog opus signinum, mozaika iz kolekcijeIstorijskog muzeja grada Marseja. Radila sam na mehani~kom~i{}enju, konsolidaciji mozaika, pripremi i postavljanju maltera,kojim se popunjavaju nedostaju}i delovi i reintegraciji kockica urezove, napravljene prilikom uklanjanja mozaika sa arheolo{koglokaliteta. Deo staà ~inile su i posete drugim konzervatorskim ateljeima i

istraìva~kim laboratorijama muzeja Francuske. Imala sam izuzetnu priliku daposetim Centar za istraìvanje anti~ke zidne slike u Suasonu (Centre d'Etudessur la painture murale romaine), Atelje za restauraciju muzeja Saint-Romain-en-Gal (Atelier de restauration du Musée de Saint-Romain-en-Gal) u Vjenu,Istraìva~ku laboratoriju istorijskih spomenika u Champs-sur-Marne(Laboratoire de recherche des Monuments historiques à Champs-sur-Marne) iCentar za istraìvanje i restauraciju muzeja Francuske, u Luvru (Centre derecherche et de restauration des musées de France). Prilikom ovih posetaupoznala sam se sa metodama i vrstama nau~nih istraìvanja koja se ti~ukonzervacije i restauracije kulturnog blaga, ispitivanjima koja se vr{e na samimobjektima i ispitivanjima novih materijala i postupaka, koji se koriste u konz-ervaciji i restauraciji. U okviru obuke, posetila sam i arheolo{ke lokalitete Pont du Gard, Glanum iBarbegal. Tokom boravka u Arlu, gospo|a Veronik Blan omogu}ila mi je dakoristim i specijalizovanu biblioteku Centra Camile Jullian u Aix-en-Provence.Stru~na obuka u Arlu za mene je bila veoma va`no i korisno iskustvo. Imalasam sre}e da u~im od stru~njaka koji su bili potpuno spremni da mi prene-su svoje znanje. Od Patrika Blana i njegove saradnice Mari-Lor Kurbules dobi-la sam veliku podr{ku da nastavim sa radom i stru~nim usavr{avanjem. Onisu zainteresovani da nastave saradnju sa Dijana centrom i da pomognu konz-ervaciju mozaika u na{oj zemlji. Pored stru~nih znanja koja sam stekla, iz Francuske sam se vratila sa velikomèljom i voljom da nastavim sa radom u oblasti konzervacije mozaika istru~nim osposobljavanjem. Naàlost, op{ta situacija kod nas je takva da su mozaici iz zbirke Narodnogmuzeja ve} decenijama u depou i "~ekaju" da budu izloèni. Iako u muzejupostoji elja da se ovi mozaici restauiraju i izloè, za tako ne{to jo{ uvek nemauslova - restauracija mozaika je sloèn posao koji zahteva timski rad, odgo-varaju}e tehni~ke uslove, a pre svega zna~ajna finansijska sredstva. Pro{lo je skoro godinu dana od mog povratka iz Francuske, a nije bilomogu}nosti da ovde nastavim sa radom i usvr{avanjem. Ipak se nadam danije sve bilo uzalud i da }e uskoro i kod nas biti mogu}e da se bavimo konz-ervacijom mozaika na na~in na koji se to radi u svetu.

SSttrruu~~nnoo uussaavvrr{{aavvaannjjee

59

Work in Atelier forConservation in AnticMuseum of Arles

Rad u ateljeu zakonzervaciju Muzeja antike u Arlu

-Preparations of DIANA No 8 publication-Preparation of lectures to be held in Florence, Italy

Winter-Spring DIANA WorkshopPreparations of DIANA No 8 publication

Italy (Mila Popovi}-@ivan~evi})Rome: Museo nationale Romano, Museo delle TermeDiocleziano PROVERITIVatican Museums, ICCROM, Istituto Centrale per il Restauro(I.C.R.)Florence: SACI, Archaeological Museum, RegionalLaboratory, Universita Internazionale dell' Arte, CentroRestauro Archeologico. Lectures: Preventive Conservation asFundamental Museological Principle; Safekeeping Conditionsof Inorganic Materials - Microbiological Contamination ofArchaeological Objects in Museum StoragesVenice: UNESCO Regional Office for Science in Europe(ROSTE)Elba Island and Populonia Archaeological Park

Seminar on Museum Documentation "From DocumentationCard to User" (February 22 - 23)

- Winter-Spring DIANA Workshop- Programmes of cooperation with the French Cultural Centreand with Italy- DIANA No 8 - printing- YU NC ICOM Bulletin, printing- University of Arts, Belgrade: Interdisciplinary syllabus inmuseology (as scheduled)- After March 17 contacts with Dr. Nicholas Stanley Price,Director of ICCROM on cooperation programme in 2003- Organisation of visits to the Directorate of Museums ofFrance and the Louvre Museum in June

- Winter-Spring DIANA Workshop- University of Arts, Belgrade: Interdisciplinary syllabus inmuseology (as scheduled)- Visit of Patrick Boylan, chairperson of ICTOP: 31 March -8 April (with the Ministry of Culture)- preparation of panels and other information material onDIANA Centre to be presented at the annual meeting of UKIC

- Week marking the International Museum Day on Museumsand Friendship Building (16 - 22 May)- Forum on Publishing and Museum Libraries, in coopera-tion with the Publishing House "Clio"- Rewards for publishing endeavour in the field of museolo-gy- meeting museum donors and exhibition of select choiceof gifts- rewards to media and individuals for the best TV or radiobroadcast, article and the like covering museology and safe-guarding cultural heritage- Round table on the social significance of museums- International Museum Day (18th May) on Museums andFriendship Building: Central event at Sirogojno, Museum "OldVillage"- Mila Popovi}-@ivan~evi} visiting Slovenia (25-30 May) asguest of the Museological and Conservators Society.Lectures on DIANA Centre, Preventive Conservation on theregional level, Internal Organisation of the National MuseumBelgrade. Talks on regional cooperation (DIANA Centre andICOM)

- Visit to France (31st May - 14th June): Direction ofMuseums of France, Research Centre - Laboratories ofLouvre Museum, University Paris I, Antic Museum in Arles,etc)- ICOM Advisory Committee meeting, 2nd-5th June, Paris- 23rd June - 23rd August DIANA Summer School- Vesna @ivkovi} - participation in the ICCROM/CCIInternational Course Preventive Conservation: from CurrentIssues to Common Strategies, 2nd -20th June, Ottawa,Canada

- 23rd June - 23rd August DIANA Summer School- 26th July - 17th August Special Course in GlassConservation : Lisa PILOSI, Metropolitan Museum (26th July- 3rd August)

- 23rd June - 23rd August DIANA Summer School- 26th July - 17th August Special Course in GlassConservation: Sandra DAVISON, Davison Studio UK (3rd -17th August)- Dr. Robin Symonds, Museum of London: RomanCeramics in Europe

- 10th - 20th September : National Historical Museum ofthe Republic of Moldavia - Colloquium on Conservation,Restoration, Legislation in Museums- Slovenia, annual meetings of ICTOP (InternationalCommittee for the Training of Personnel), CIMUSET(International Committee for Museums of Science andTechnology) and MPR (International Committee for Marketingand Public Relations)

- 1st October - 15th December DIANA Autumn Workshop- writing report for 2003 and preparation of 2004 pro-grammes for the annual Assembly meeting of YU NC ICOM- October/November : joint meeting of 15 members of YUNC ICOM with Rumanian ICOM members (Timisoara)

- 1st October - 15th December DIANA Autumn Workshop- ICCROM Course in Preventive Conservation for profes-sional museum staff (three weeks)

- 1st October - 15th December DIANA Autumn Workshop- Annual Assembly of YU NC ICOM

JUNEJUNE

JULYJULY

AUGUSTAUGUST

SEPTEMBERSEPTEMBER

OCTOBEROCTOBER

NOVEMBERNOVEMBER

DECEMBERDECEMBER

CCAALLEENNDDAARR OOFF AACCTTIIVVIITTIIEESS IINN 22000033CCAALLEENNDDAARR OOFF AACCTTIIVVIITTIIEESS IINN 22000033

JANUARYJANUARY

FEBRUARYFEBRUARY

MARCHMARCH

APRILAPRIL

MAYMAY

ACKNOWLEDGMENTSACKNOWLEDGMENTS

UNESCO - ParisGovernment of Republic of Serbia - Ministry of Culture

Sydney Franklin II Trust, LondonLeventis Foundation, London

Ekstra Mimark, BelgradeGetty Conservation Institute, L.A.

Media - ZemunUKIC, London

French Cultural CentreArchaeological Institute Belgrade

Institute for Protection of Cultural Monuments of SerbiaInternational Academy Project

Intermuseum Conservation Association, OhioSACI, FlorenceYugoslav Airlines

60

- DIANA br. 8, pripreme- Pripremanje predavanja za Firencu

- ZIMSKO-PROLETNJA RADIONICA DIANA- DIANA br. 8, pripreme- ITALIJA (Mila Popovi} @ivan~evi}):Rim: Museo Nationale Romano, Muzeo delle TermeDiocleziano, Vatikanski muzeji, ICCROM, I.C.R. (InstitutoCentrale per il Restauro)Firenca: SACI, Arheolo{ki muzej, Regionalna Laboratorija,Univerzita Internazionale dell' Arte, Centro RestauroArcheologico. Predavanja:"Preventive Conservation as Fundamental Museological

Principle", "Preventive Conservation and the Role of DIANACentre", "Safekeeping Conditions of Inorganic Materials-Microbiological Contamination of Archaeological Objects inMuseum Storages"Venecija: UNESCO kancelarija za nauku Evrope (ROSTRA)Ostrvo Elba i Arheolo{ki park - Populonia- 22. i 23. februar: Seminar o muzejskoj dokumentaciji "Odkartona do informacije za korisnike"

- ZIMSKO-PROLETNJA RADIONICA DIANA- Program saradnje sa Francuskim kulturnim Centrom iItalijom- DIANA br. 8, {tampanje- BILTEN YU NC ICOM, {tampanje- -Univerzitet umetnosti, Interdisciplinarni Program iz muze-ologije (prema Rasporedu)- Posle 17. marta dogovori sa Nikolasom Stenli Prajsom(ICCROM) oko mogu}eg programa saradnje za 2003.- Organizovanje posete Direkciji muzeja Francuske i Luvru,za juni

- ZIMSKO-PROLETNJA RADIONICA DIANA- Univerzitet umetnosti, Interdisciplinarni Program iz muze-ologije (prema Rasporedu)- 31. mart - 8. april, Patrick Boylan, predsednik ICTOP-a (1. - 5.aprila, sa Ministarstvom kulture)- Pripremanje panoa i drugog info materijala za Godi{njukonferenciju UKIC-a, Sekcija za keramiku i staklo, 15.-28.(29.) april, London,

- 16. - 22. maj, YU NC ICOM u saradnji sa Muzejskimdru{tvom Srbije NEDELJA ME\UNARODNOG DANAMUZEJA, "MUZEJI I GRA\ENJE PRIJATELJSTVA" : Forum o izdava~koj delatnosti i muzejskim bibliotekama /

sa Izdava~kom ku}om "KLIO" Priznanja za najbolji izdava~ki poduhvat u domenu muze-

ologijeSusret sa darodavcima i izlo`ba najzna~ajnijih poklonaDodela priznanja medijskim ku}ama i pojedincima za

najbolju TV ili radio emisiju, novinski ~lanak i sli~no,posve}en muzeologiji i za{titiOkrugli sto o dru{tvenom zna~aju muzeja- 18. maj ME\UNARODNI DAN MUZEJA "MUZEJI IGRA\ENJE PRIJATELJSTVA" Centralna proslava uSirogojnu, Muzej Staro selo- 25. - 29. (30.) maj, Mila Popovi} @ivan~evi} u posetiMuzeolo{kom i Konzervatorskom dru{tvu Slovenije; preda-vanja: o DIANA Centru, o preventivnoj za{titi na regionalnomnivou, o unutra{njoj reorganizaciji Narodnog muzeja.Dogovori o regionalnoj saradnji (DIANA Centar i ICOM)

- 31. maj - 14. jun, Mila Popovi} @ivan~evi}, Pariz (DirekcijaMuzeja Francuske, Istraìva~ki Centar - Labarotorije MuzejaLuvr, University Paris I, Muzej antike u Arlu, i dr.)- 2. - 5. jun, Advisory Committe ICOM-a, Pariz- 23. jun - 23. avgust, DIANA LETNJA [KOLA - 2. - 21. jun, Vesna @ivkovi}, Specijalisti~ki kurs iz pre-ventvne za{tite - "Od aktuelnih pitanja do zajedni~kih strate-gija", ICCROM i Kanadski Institu za konzervaciju, Otava

- 23. jun - 23. avgust, DIANA LETNJA [KOLA- 26. jul - 17. avgust, Specijalisti~ki kurs konzervacije stak-la- 26. jul - 3. avgust, Liza Pilosi, Metropoliten muzej

- 23. jun - 23. avgust, DIANA LETNJA [KOLARobin Saymonds, Rimska keramika u Evropi- 26. jul - 17. avgust, Specijalisti~ki kurs konzervacije stak-la - 3. - 17. avgust, Sandra Dejvison, Dejvison studio, V.Britanija

- 10. - 20. septembar, Nacionalni istorijski muzej RepublikeMoldavije, kolokvijumi (dva dana): Konzervacija,Restauracija, Pravno zakonodavstvo u muzejima.- Slovenija, zajedni~ki Godi{nji sastanci ICTOP (InternationalCommittee for the Training of Personal) CIMUSET(International Committee for Museums of Science andTechnology) i MPR (International Committee for Marketingand Public Relations)

- oktobar - 15. decembar, DIANA JESENJA RADIONICA - priprema izvestaja za 2003. godinu i programa za 2004.godinu i drugih materijala za Skup{tinu YU NC ICOM-a- oktobar/novembar, Temi{var, zajedni~ki sastanak 15~lanova YU NC ICOM-a sa ~lanovima iz Rumunije

- oktobar -15. decembar, DIANA JESENJA RADIONICA ICCROM, Kurs preventivne za{tite za profesionalce, trajan-je: tri nedelje

- oktobar -15. decembar, DIANA JESENJA RADIONICA - Godi{nja Skup{tina YU NC ICOM-a

DDIIAANNAA KKAALLEENNDDAARR 22000033..DDIIAANNAA KKAALLEENNDDAARR 22000033..

JANUARJANUAR

FEBRUARFEBRUAR

MARTMART

APRILAPRIL

MAJMAJ

JUNJUN

JUL JUL

AVGUSTAVGUST

SEPTEMBARSEPTEMBAR

OKTOBAROKTOBAR

NOVEMBARNOVEMBAR

DECEMBARDECEMBAR

ZAHVALJUJEMOZAHVALJUJEMO [TO[TO SUSU NAMNAMPOMOGLIPOMOGLI

UNESKO, ParizSidni Franklin II Trast, LondonLeventis Fondacija, London

Media Zemun, ZemunEkstra Mimark, Beograd

Geti Konzervatorski Institut, Los An|elesIntermuseum Conservation Association, Ohajo

UKIC, V. BritanijaFrancuski kulturni Centar Beograd

Arheolo{ki Institut BeogradZavod za za{titu Spomenika kulture Republike Srbije

SACI, FirencaInternational Academy Project, LondonMinistarstvo kulture Republike Srbije

JAT

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DIANA Centre has many friends among individuals and institutions which from the very beginning stood by us, kept encouraging us. And we are gratefulto them all because without their support and understanding, it would not be possible to achieve the results we achieved. However, there is a trust in United Kingdom that was most supportive to Serbia in the period of economic and political sanctions, in the times when nobodythought and spoke well of our country. The Sidney Franklin Trust was convinced though that ordinary people had to be helped in order to survive, and theydid so by sending medicaments and equipment to hospitals here. The Sidney Franklin Trust also knew that cultural heritage of a people should be pro-tected and preserved regardless of current political events. And from the very beginning, Sidney Franklin Trust offered to DIANA Centre help for acquiringhigh quality conservation material and elementary working equipment. Thanks to this support DIANA Centre has been receiving every year since 1997 DIANACentre could acquire the best quality material for conservation of archaeological glass and ceramic objects in collections of the National Museum Belgradeand of other museums in our country. Thanks to understanding and help of the Sydney Franklin trustees, it was possible to save many exquisite samplesof prehistoric fragile and solid ceramics, Roman glass, terra sigillata or medieval Serbian beakers, cups…The yearly donations were modest, however what made them even more valuable was the fact that they were constantly granted, we could so to say "counton them", they were given with understanding and wish of our British friends to help us survive and develop, to not lose faith faced with difficulties. Andthis made those grants enormous to us. They showed we were not alone, that out there at large there were people who knew what we were doing andhow important it was. Important not only for us, for our country, but also for Europe, for the world. Cultural heritage can not be attributed to nations orstates. It belongs to us all and witnesses the development of our civilization. Thanks to the Sydney Franklin Trust DIANA Centre is becoming today an insti-tution of regional importance and with international reputation.

National Museum Belgrade, as centralmuseum institution for protection ofmoveable cultural property in Serbia,founded DIANA Centre for Conservationof Archaeological Objects with School in1997 to protect immense archaeologicaltreasures collected during 30 years ofsystematic research of the Djerdapregion. It is named after the adjacentRoman military camp (STATIO CATARA-CTARUM DIANAE) Since then DIANA developed and wasincorporated in the Museum as Depart-ment for Preventive Conservation -DIANA Centre in mid-2002Its seat is at the Gallery of Frescoes ofthe National Museum BelgradeWork started with the most numerousarchaeological objects - ceramics. In1998 conservation of glass and stonewere included and in 1999 first conser-vation of organic material (amber) wasmadeThrough education and training, timelyand high-standard professional protec-tion of archaeological objects is done DIANA is system of effective and mod-ern protection service that implies inter-disciplinary approach to preventive con-servationProject anticipates development ofDIANA into an international centre forconservation of archaeological objectsthat would cover the entire Balkan region

DIANA CARRIES OUT ITS OBJECTIVES THROUGH:Education i.e. building of future profes-sionals and specialization of thosealready working as suchConservation of archaeological material Establishing and cherishing strict ethicaland moral standards, professional spiritand conductTheoretical lectures include technologyof ceramics and glass, technology ofcorrosions, chemistry of conservationmaterials, basic museological principlesof protection, preventive/passive conser-vation, surveys of prehistoric, Roman,Greek and mediaeval ceramics, Englishand French for conservators, essentialsof ITPractical training includes application ofpractical conservation treatments, devel-

oping of specialised conservation know-how, skills and crafts. It consists of doc-umentation, conservation investigation,cleaning of ceramics and other archae-ological material, structure consolidation,bonding of fragments, restoration andfinal protection

TRAINEESStudents or graduates of archaeology,history of arts, ethnology, ceramics,sculpture, design, painting, etc.Conservators, technicians and archaeol-ogists from museumsStudents and collaborators of DIANA aredivided into working teams covering alltasks related to organisation, promotionand programme activities

LECTURERSDIANA gathers a permanent team ofeminent domestic and foreign lecturersand experts from specialised institutionsand faculties and other institutions incompliance with current curriculum.

DIANA cooperates closely with theNational Committee of ICOM, UNESCO,Laboratory for Conservation ofArchaeological Objects in Draguignan(France), the British Museum, UKInstitute for Conservation of Historic andWorks of Art (UKIC) and other domesticand foreign institutionsDIANA develops its Library that is alsoenriched by foreign professional publi-cations translated and published byDIANADIANA publication in English andSerbian is published regularlyDIANA Textbooks are designed as pro-fessional handbooksConservation Dictionary (English -Serbian) is under preparationYearly multimedia and Internet presenta-tions as well as CD ROM (English andSerbian version) and Conservation Exhi-bitions

All the activities of the DIANA Centre forConservation with the School have beencreated and organized by Mila Popovi}-@ivan~evi}, museum councillor- conser-vator at the National Museum Belgradeand head of DIANA Centre.

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DIJANA Centar ima mnogo prijatelja, mnogo pojedinaca i institucija koji su od po~etka bili uz nas, podràvali nas, hrabrili. I svima smo zahvalni, jer beznjihove podr{ke i razumevanja na{i rezultati ne bi bili toliko zna~ajni.No, u Velikoj Britaniji postoji jedna fondacija koja je mnogo u~inila za Srbiju u godinama sankcija, kada za na{u zemlju nije bilo ni dobrih re~i, ni razumevan-ja. Ta fondacija, Sidni Franklin Trast, bila je uverena da obi~nom narodu treba pomo}i da preìvi i slala je lekove i opremu u na{e bolnice. Sidni FranklinTrast je takodje bila svesna da je kulturno nasledje jednog naroda neophodno za{tititi i sa~uvati bez obzira na aktuelna politi~ka dogadjanja. I tako je, odsamog po~etka, fond Sidni Franklin odlu~io da finansijski pomaè nabavku osnovnog konzervatorskog materijala i najneophodnije opreme za rad DIJANACentra. Zahvaljuju}i ovoj pomo}i koju je DIJANA dobijala svake godine mogli smo da nabavljamo najkvalitetniji materijal za konzervaciju arheolo{kih pred-meta od keramike i stakla iz kolekcija Narodnog muzeja, ali i drugih muzeja u na{oj zemlji. Zahvaljuju}i razumevanju i pomo}i ~lanova ove fondacije, spasenisu i sa~uvani brojni izuzetni primerci preistorijske tro{ne i ~vrste keramike, rimskog stakla, terra sigillate, ili srednjevekovnih srpskih pehara, ~a{a…Iako godi{nje donacije nisu bile velike, one su bile stalne, bile su date sa razumevanjem i èljom na{ih prijatelja iz Velike Britanije da nam pomognu da seodrìmo i razvijemo, da ne posustanemo pred te{ko}ama. I zato su to bile ogromne sume za nas. Govorile su da nismo sami, da u svetu ima onih kojiznaju {ta radimo i koliko je to va`no. Va`no ne samo za nas, na{u zemlju ve} i za Evropu, za svet. Kulturno blago je nedeljivo na nacije i na dràve. Onopripada svima nama i svedo~i o razvoju cele na{e civilizacije. Zahvaljuju}i i Sidni Franklin fondaciji danas DIJANA Centar postaje institucija od regionalnog zna~aja i sa medjunarodnim ugledom.

Narodni muzej u Beogradu, kao centralnamuzejska ustanova za{tite u Srbiji, osno-vao DIJANU Centar za konzervaciju arhe-olo{kih predmeta sa {kolom 1997. godineradi za{tite arheolo{kog blaga sakupljenogtokom trideset godina sistematskogistraìvanja Djerdapa. Ime dato po nazivurimskog logora (STATIO CATARACTARUMDIANAE) u neposrednoj blizini Letnje {kolena Karata{u (Djerdap)Razvoj DIJANE nastavljen i sredinom2002. postaje Odeljenje za preventivnuza{titu-DIJANA Centar Narodnog muzejaSedi{te DIJANE je u Galeriji fresakaNarodnog muzeja u BeograduAktivnosti zapo~ele na najmnogobrojnijemarheolo{kom materijalu – keramici. Ve}1998 uklju~ena je konzervacija stakla ikamena, a 1999 prve konzervacije organ-skog materijala - }ilibara.Kroz nastavu i obuku vr{i se blagovreme-na i visoko profesionalna za{tita arheo-lo{kih predmeta DIJANA je sistem efikasne, dinami~ne isavremene za{tite koji podrazumeva inter-disciplinarni pristup preventivnoj za{titi Projektom je predvidjeno da se DIJANArazvije u medjunarodni centar za konzer-vaciju arheolo{kih predmeta koji bi pokri-vao region Balkana i {ire.

DIJANA REALIZUJE SVOJE CILJEVE KROZ:edukaciju, stvaranjem novih mladih kadro-va i specijalizacijom postoje}ih stru~njakakonzervaciju arheolo{kog materijalauspostavljanje i negovanje strogih moral-no-eti~kih normi, profesionalnog duha iesnafskog pona{anja

Teorijska predavanja obuhvatajutehnologiju keramike i stakla, tehnologi-ju korozije, hemiju materijala koji sekoriste u konzervaciji, osnovne muzeo-lo{ke principe za{tite,preventivnu/pasivnu konzervaciju, istori-ju praistorijske, gr~ke, rimske i sred-njovekovne keramike, engleski i fran-cuski za konzervatore, uvod u infor-matikuPrakti~na obuka predstavlja primenukonzervatorskih prakti~nih metoda, stican-

je specijalizovanih konzervatorskih znanja,ve{tina i zanatskog ume}a. ine je: doku-mentacija, konzervatorska ispitivanja,~i{}enje keramike i drugog arheolo{kogmaterijala, konsolidacija strukture, spajan-je fragmenata, restauracija i zavr{naza{tita

POLAZNICIStudenti ili arheolozi, istori~ari umetnosti,etnolozi, kerami~ari, skulptori, dizajneri,slikari i sl.Konzervatori, preparatori i arheolozi izmuzejaPolaznici i saradnici DIJANE podeljeni suu radne timove koji ostvaruju sve posloveoko organizacije, promocije i svih pro-gramskih aktivnosti

PREDAVAÎDIJANA okuplja stalni tim eminentnihdoma}ih i stranih predava~a i eksperata,iz specijalizovanih institucija i fakulteta uskladu sa svojim nastavnim programom

DIJANA tesno saradjuje sa Nacionalnimkomitetom IKOM-a, UNESKO-m, Labora-torijom za konzervaciju arheolo{kih pred-meta u Draginjanu (Francuska), Britanskimmuzejom, UKIC-om i drugim doma}im istranim institucijamaDIJANA intenzivno {iri svoju stru~nu bib-lioteku koja se oboga}uje i stranimstru~nim naslovima koje DIJANA prevodi iobjavljujeDIJANA redovno objavljuje informativnupublikaciju na engleskom i srpskom jezikuDIANADIJANA Radne sveske imaju karakterstru~nog priru~nikaU toku je izrada englesko-srpskogKonzervatorskog re~nikaSvake godine se prave multimedijalnaiInternet prezentacija, CD ROM u engleskoji srpskoj verziji i konzervatorske izlo`bepolaznika DIJANE

Sve aktivnosti DIJANE Centra za konzer-vaciju sa [kolom programski je osmislila iorganizovala Mila Popovi}-@ivan~evi},muzejski savetnik-konzervator Narodnogmuzeja u Beogradu, rukovodilac DIJANE

LLII^NNAA KKAARRTTAA DDIIJJAANNEELLII^NNAA KKAARRTTAA DDIIJJAANNEE

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MMiissssiioonn SSttaatteemmeenntt

DIANA Centre for Preventive Conservation applies devel-oped multidisciplinary approach in education and trainingof various types of students. Its highly structured theoret-ical and practical teaching covers museology, preventiveconservation, environmental condition, legal protection,and technology of materials, petrology, chemistry as wellas practical training. All this should make DIANA Centrea valuable promoter of preventive conservation approachin the country.One of the major tasks of DIANA centre is to raise pub-lic awareness of the preventive conservation philosophyand concept.As the nucleus of the new Preventive Conservation Centreof the National Museum Belgrade, DIANA Centre willshare its knowledge, experience and energy in preventiveconservation with all the relevant institutions and furtherdevelop the implementation of the preventive conserva-tion concept in safeguarding cultural heritage. DIANA Centre will constantly engage in fostering new,high quality staff with adequate multidisciplinary and spe-cific training who could be able to carry out modern,timely and professional activities in preventive conserva-tion of moveable cultural property.With the help of the National Committee of ICOM DIANACentre will cooperate with other museums in organisingseminars covering fundamental issues of adequateorganisation of preventive conservation of museumobjects in the country.In order to carry out these objectives DIANA will regular-ly organize Summer School courses, as well as conser-vation workshops (Autumn-Winter and Spring ones);organize translating and publishing of professional litera-ture; develop further cooperation with domestic and for-eign partners.It is also task of DIANA Centre to implement passive con-servation concept in museology, i.e. to establish optimalenvironment for museum objects and collections (safe-keeping conditions) as well as carry out active conserva-tion treatments of objects from the National MuseumBelgrade collections and from other museums and gal-leries.Due to specific conditions of its work, DIANA is only part-ly relying on the National Museum Belgrade servicesorganising its own promotion and public relation pro-grammes (internet presentations, publications, specificexhibitions, "open workshops", etc.)The basic aim of activities of DIANA Centre is to estab-lish a well organized intermuseum network in the Republicof Serbia and help that effective preventive conservationsystem is built in the museums themselves which wouldall serve the fundamental objective of raising generalawareness about the importance of our heritage and inturn contribute to building a positive image of the coun-try abroad.DIANA Centre will share its knowledge and experiencewith all interested and in charge of safeguarding move-able cultural property in the country and thereby con-tribute to its preservation for future generations as well asto the presentation abroad of the extraordinary culturaltreasures existing in this area.Bearing in mind that there exists no similar institution inthe region, DIANA Centre will offer its capacities, knowl-edge and good will to all interested in the Balkan regionwith the final aim of becoming a regional centre for pre-ventive conservation.

[email protected]

IIzzjjaavvaa oo mmiissiijjiiII

DIJANA Centar za preventivnu za{titu primenjuje razvijenmultidisciplinarni pristup u obuci razli~itih nivoa polaznika.Visoko strukturisana teorijska i prakti~na nastava pokrivamuzeologiju, preventivnu za{titu, mikroklimatske uslove,pravnu za{titu, tehnologiju materijala, petrologiju, hemiju,kao i kurseve za prakti~nu obuku stru~njaka. Na taj na~inDIJANA Centar postaje zna~ajan promoter koncepta pre-ventivne za{tite u zemlji.Jedan od bitnih zadataka DIJANA Centra je da javnostpostane svesna koncepcije preventivne za{tite.Kao nukleus novog Centra za preventivnu za{tituNarodnog muzeja, {to je nova pozicija u na{em sistemuza{tite, DIJANA Centar }e prenositi iskustvo, znanje ienergiju svim srodnim institucijama i dalje razvijati kon-cepciju preventivne za{tite u o~uvanju kulturnog nasle|a.DIJANA Centar }e i dalje raditi na formiranju novih,kvalitetnih kadrova, koji }e biti adekvatno (multidiscipli-narno i specifi~no) obrazovani i obu~eni da mogu dapreuzmu na sebe poslove savremene, blagovremene inajstru~nije preventivne za{tite pokretnih kulturnih dobara.Uz pomo} Nacionalnog komiteta IKOM-a i u saradnji sadrugim muzejima, DIJANA Centar }e organizovati semi-nare, koji treba da pomognu u organizaciji pravilne za{titemuzejskih predmeta. U tom cilju, DIJANA Centra }e redovno organizovati Letnju{kolu, konzervatorske radionice (jesenje-zimske i prolet-nje); organizova}e prevo|enje i objavljivanje stru~ne lite-rature; razvija}e saradnju sa doma}im i stranim partneri-ma.Vaàn zadatak DIJANA Centra je i primena pasivne kon-zervacije u muzeologiji, tj. ustanovljavanje optimalnogokruènja za muzejske predmete i zbirke (uslovi ~uvanja)i rad na aktivnim konzervacijama muzejskih predmeta izzbirki Narodnog muzeja, ali i iz drugih muzeja i galerija.Zbog specifi~nosti svojih delatnosti DIJANA Centar sesamo jednim delom oslanja na muzejske slu`be, i delomsama organizuje promotivne delatnosti i programe uokviru odnosa sa javno{}u (internet prezentacije, pub-likacije, posebne izlo`be i "otvorene radionice").Cilj svih aktivnosti je stvaranje dobro organizovaneme|umuzejske mreè u Republici, ali i efikasan sistemunutar samih muzeja vezan za preventivnu za{titu, koji biuspe{no afirmisao svest o zna~aju na{e ba{tine i timedoprineo afirmaciji na{e zemlje u inostranstvu.DIJANA Centar }e prenositi svoje znanje i iskustvo sviminstitucijama koje su zainteresovane i odgovorne zao~uvanje pokretnih kulturnih dobara i time doprineti daona budu za{ti}ena i sa~uvana za budu}e nara{taje, ali ida se me|unarodna zajednica upozna sa ovim izuzetnimkulturnim bogatstvom.Imaju}i u vidu da ne postoji sli~na institucija ove vrste uregionu, DIJANA Centar }e ponuditi svoje znanje,kapacitete i dobru volju svim zainteresovanima u regionuBalkana, sa krajnjim ciljem da se pretvori u regionalnicentar za preventivnu za{titu.

For further information please contactZa svee blièe infoormaccijjee moolimoo

Vas da koontaktiratee

Centar za preventivnu za{titu DIANACenter for Preventive Conservation DIANA

Galerija FresakaCara Uro{a 2011000 Beograd

Srbija i Crna Gora / Serbia and MontenegroTel. (381 11) 182-966, 621-491

Fax (381 11) 183-655

Editor-iin-cchief / Glavni urednikNikola Tasi}

Editor / UrednikMila Popovi}-@ivan~evi}

Editorial Board / Ure|iva~ki odborJim Black

Tatjana Cvjeti}aninMila Popovi}-@ivan~evi}

Pamela WarnerHelena JaesckeMalena Stoj~ev

Language Editors / LektoriMalena Stoj~ev (engleski)Zvezdana Popovi} (srpski)

Translated by / PrevodiociMalena Stoj~ev

Aleksandra Nikoli}Olga êkanovi}

Ana KocjanDanijela Stojiljkovi}

Ivana Stojkovi}Uro{ Vasiljevi}Silvio Ke~ke{Vesna @ivkovi}

Milica Stojanovi}Maja Frankovi}Nemanja Mr|i}

Design and TypsettingDizajn i pripremaNemanja Mr|i}

Ana Vuji}Maja Frankovi}

Circulation / Tira`1600

Published by / Izdava~National Museum BelgradeNarodni muzej Beograd

UDK 7.025.4+902/904ISSN 1451-11800

Documents

Centre For Preventive Conservation - National Museum ...2002).pdf · Centre For Preventive Conservation - National Museum Belgrade Centar za preventivnu zastitu - Narodni muzej Beograd