The Olavide Museum in Madrid, which was founded in the 19th century, preserves one of the most important collections in the world of three-dimensional dermatological models made of polychrome beeswax. These models have been used for the training of numerous generations of dermatologists in Spain. Unfortunately, many of the figures were preserved in precarious conditions during the time that the museum was closed in the middle of the 20th century, and some could not be found after its reopening. In this paper, we show a method for the recovery of a missing model of which only the original plaster cast remains. For this purpose, we use the combination of a structured light scanner and 3D printing, together with traditional techniques, to reproduce a copy of the original cast, in order to prevent its deterioration during the wax casting. As a result of this study, a highly realistic figure was obtained, which represented, in great detail, the small superficial reliefs of the skin lesions, as well as their colour. The conclusion of this research is that it is possible to recreate, with precision, a didactic model in beeswax from its mould, without the need to use the mould in the process, which avoids any risk of deterioration in the process.

The objective of this work is to present a new practical approach to digital photogrammetry in artistic diagnosis and virtual restoration. The study has been applied to an anatomical model of polychrome wax, dated from the 18th century. In the photographic record, the combination of light sources (visible and ultraviolet) has been used to obtain 3D models that serve as documentation tools to accurately map the state of conservation and to project the virtual restoration. The stages of the photogrammetric process are described along with the lighting strategy and colour management used to solve the problem of virtual registration on surfaces of objects with very bright finishes. The results obtained are promising, because they make it possible to obtain a 3D model with optimal record of the morphology of the sculpture to project virtual solutions within the decision-making model.

In recent years, 3D printing technologies have had a considerable impact on the field of conservation and restoration of cultural heritage. Professionals in this sector have been provided with exploratory tools for documenting, analyzing, intervening, and preserving objects and works of art that make up our history. This research focuses on finding the most suitable material along with the ideal printing position that could provide molds for the production of anatomical wax facsimiles that guarantee maximum quality and fidelity when compared to its original. These replicas and fragments allow conservator-restorers to volumetrically reintegrate while testing different options before applying direct treatment to the works. The results obtained from testing on different types of printing materials as well as the positives achieved from them are presented.

Three-dimensional models of anatomy in wax preserved in university museums are rare artifacts of extraordinary technical complexity. In recent years, interest in them has increased among scholars who consider them primary sources of heritage value to approach material culture and the history of science. The fragility of the sculptural material and the inadequate exhibition and storage conditions of many of these collections have caused the formation of pathologies whose conservation treatment is a great challenge for the restorer. In this regard, new 3D digital technologies have created a great impact on the documentation and analysis of interventions in the field of conservation and restoration of cultural heritage. This research aims to demonstrate the technical possibilities offered by 3D digital systems as support tools in curative conservation strategies to mechanically stabilize fragmented sculptural parts. For this case study, we chose an 18th-century obstetric anatomical model made by the Madrid Court sculptor Juan Cháez, and the modeler Luigi Franceschi who belonged to the anatomical cabinet of the Royal College of Surgery of San Carlos in Madrid. In this work, we demonstrate the digitization process carried out employing structured light scanners, digital modeling, and 3D printing. The aim is to create auxiliary structures suitable to support the various original pieces to be adhered while guaranteeing their exact position during the adhesive curing process as well as the volumetric reintegration of faults. In addition tensile and three point bending tests for the mechanical characterization of the selected thermoplastic impression materials are described. Finally, the qualities considered suitable for the most appropriate material for the purpose of the study are detailed. Promising results were obtained since the structures have made it possible to perform fragment adhesions in highly complex areas of the sculpture, ensuring maximum precision, safety, and efficiency during the process.

En este artículo se propone una posible alternativa a los métodos tradicionales empleados en tratamientos de conservación–restauración para soportes de tela pintados siguiendo el criterio de mínima intervención. Se ha diseñado un bastidor auxiliar con sistema magnético (BASM) para la corrección de deformaciones y la sujeción perimetral de la obra con carácter temporal. A lo largo del trabajo se detalla la construcción del mecanismo propuesto y se analizan las pruebas experimentales que se han hecho sobre maquetas. Por último, se muestra la metodología seguida para su aplicación en un caso de estudio con obra real. Los resultados obtenidos con los sistemas magnéticos son muy prometedores, siendo una alternativa metodológica sencilla, de bajo coste, eficaz, reversible y respetuosa con el original. Palabras clave: mínima intervención, pintura de caballete, conservación-restauración, imanes neodimio, soportes de tela, digitalización 3D.

Guided by the criterion of minimum intervention, this article proposes an alternative method to traditional procedures for the fixation of color and preparation layers in contemporary two-dimensional paintings based on the use of neodymium magnets. The first part describes the materials, experiments, and tests carried out on models with different types of deterioration to test the behavior of the magnets. The obtained data demonstrates specific solutions for the restoration of three contemporary two-dimensional works. The proposed method is simple to use, can be combined with other traditional methods, allows to reduce the manipulation of the object during the treatment, and proves to be minimally invasive and respectful of the original.