Department of Conservation & Technology

University of London
COURTAULD INSTITUTE OF ART

DEPARTMENT OF CONSERVATION & TECHNOLOGY
POSTGRADUATE DIPLOMA IN THE CONSERVATION OF

EASEL PAINTINGS
STUDENT HANDBOOK 2011-2012
POSTGRADUATE DIPLOMA IN THE CONSERVATION OF EASEL PAINTINGS

STUDENT HANDBOOK
CONTENTS
Page No.
1. Introduction to the Department and Resources
Welcome
Security
Personal and Academic Tutors
Department Library
Books/Periodicals
Student Projects
Courtauld Institute Libraries
Telephones and Fax
Bibliographies and bookshops
Other libraries and resources
1
2
3
4
4
5
5
6
7
Professional context
Professional organisations
Other courses in the Conservation of Easel Paintings
8
8-10
Computers and IT provision

Tips for safe and comfortable use of display screen equipment
11
11-12
2. Introduction to the Postgraduate Diploma in the Conservation of Easel Paintings

Day to day Routine
13
Scheduled Classes
13
Conservation Practice
14
Feedback
14
Studio Practice
16
General Studio Safety
17
Cleaning
17
Notices
18
Kitchen
18
Materials and Equipment
18
Ordering materials
19
Suppliers of basic tools, brushes etc.
20-21
3. Aims and Curriculum of the Course
Aims of each year of the Postgraduate Diploma course
First Year
Second Year
Third Year
The Curriculum of the Postgraduate Diploma course
First Year
Second Year
Third Year
22-23
24-26
27-28
29-31
32-35
36
4. Assessment and Examinations

First Year
Second Year
Third Year
37
37-38
38
39
Criteria used for Assessment

Overview
First Year
Second Year
Third Year
40
41
42-43
44-45
Student Guidelines for the Examinations

First Year Art History/First Year Science Exams.
First Year Open Exam.: Conservation General
Viva Voce Assessment of Practical Work
Procedure
First/Second/Third Year Schedules
Questions to be dealt with by the examiners
Written and Photographic Documentation
Student Guidelines and Instructions
Content
Black and white photography
X-radiographs
Digital images
CD Rom
Final Year Student Research Project: Guidelines and Instructions
Guidelines
Instructions for Completing the Research Project
5. Feedback
Formal structure
Practical Work
Written Work
Regular Rounds
Work in Progress Meetings
46
47
48-49
50
51
52-55
56-60
61-62
62
63
64
Forms used to assess work and provide feedback

Work in Progress
Seminars
Written and photographic documentation
65-66
67-68
69-70
Course evaluation forms

First Year course evaluation form
71
72-75
WELCOME TO THE COURTAULD INSTITUTE OF ART AND ITS DEPARTMENT OF

CONSERVATION AND TECHNOLOGY
We have prepared this handbook in an attempt to help you during your three years
here; it is intended to provide useful information at a time when everything may seem
rather confusing. The Courtauld Institute is unique and labyrinthine and you may find
Somerset House alone a challenge on your first day. The Handbook should also serve
as a continual point of reference. It includes the aims of each year and the criteria for
assessment, the structure of feedback, and the learning resources as well as copies of
the forms used for your evaluation of the course.
You will also be given a copy of the Departmental Health & Safety Code of Practice.
In addition, the Courtauld Institute Intranet (follow links from www.courtauld.ac.uk) and
the Courtauld Virtual Learning Environment (http://vle.courtauld.ac.uk/) are valuable
sources of information. You will find the latest versions of our departmental handbooks
on the VLE, as well as reading lists and information on lectures.
The Academic Office will have provided you with information when you registered
which includes maps to help you find your way around, and a staff list to help identify
who everybody is and what they do. If you have any questions for the Academic
Office, you should go to the Student Services Centre. It is located on the Mezzanine
floor of the East Wing and is open from 9.30 - 10.30 a.m.; 12.30 to 1.30 p.m. and 4.30
to 5.30 p.m., Monday to Friday
By the way, PLEASE NOTE that the term dates for the Postgraduate Diploma
course in the Conservation of Easel Paintings differ slightly from those posted by
the Academic Office on the Courtauld website for the Art History courses. As a
general rule our terms start two days later on the Wednesday rather than the
Monday.
Most of the activity within the Courtauld Institute is concerned with the History of Art.
This is a unique resource for conservation students and we hope that you will make
the most of it. The lecture timetable for the Art Historians in the Institute's Postgraduate
Handbook gives you a guide to lectures that are open for everyone to attend. As a
student at the Courtauld Institute, all the art history lectures and seminars that are
listed as open ones are also available to you. In addition the Research Forum has
a very exciting programme and it is worth keeping an eye on the main noticeboard
(just off the reception area) or the Research Forum VLE pages, for any interesting
events or lectures. Try to make the most of the opportunities on offer to you.
THE COURTAULD GALLERY
The Gallery is open and free to students (on production of their identity card) and over
time you will become familiar with the collections and the curatorial and technical staff
who may be also involved in decisions about paintings you work on. You too will be
involved in caring for and monitoring the environmental conditions in the Gallery and
the collection store.
Graeme Barraclough, the Paintings Conservator for the Courtauld Gallery Collection,
works in the Third Year Studio. Graeme will lead a number of sessions on collections
care, but he is not a tutor and will not be supervising your practical work, although he
will be involved in decisions about the treatment of Gallery paintings. His presence will
enhance the professional context in which you work. Please respect Graeme's space
and do not disturb his work
1
SECURITY
Because it houses paintings, the Department has restricted access by means of
security entrance cards. The security cards are precious and if by chance you lose
yours it should be reported IMMEDIATELY to a member of staff or to Security
(Ext. 2531).
If you need a new security card you should complete the request form available on the
Student Intranet/VLE/at Student Services. The replacement card will cost 10 and will
not be ready to collect from the Student Services Centre in less than 3 to 5 working
days. If more information is required, email Karen Frost, Academic Registry.
You may enter the Department from 9.00 a.m. when the burglar alarms are
switched off, and stay until 7.00 p.m. After 7.00 p.m. the security staff will ask you to
leave. You may not enter the Department outside these hours, nor at week-ends. Only
in special circumstances may permission be granted for a student to come in at weekends, but this must be prearranged with a member of staff, and the security office must
be notified in advance. This is an essential rule to safeguard the staffs general
responsibility for your work on paintings, the security of the premises and the
insurance of paintings on the premises. Studio hours, when staff will generally be
available to supervise practical work, are between 9.30 a.m. and 5.30 p.m.
Please respect the Department's security. If there is someone you do not recognise
in the Department, ask them who they are or if you can help them, or tell a
member of staff. Make sure doors are never left open unnecessarily. You are also
strongly advised to keep your personal valuables in a locked locker (lockers are
available in the Department).
PERSONAL AND ACADEMIC TUTORS

Each student in the Department is assigned a Personal and Academic Tutor with
whom you can discuss any problems, either personal or academic, in confidence. The
tutor will normally try to have a chat with you at the beginning and end of each term to
see how things are going. Feel free, however, to approach your tutor (or any other
member of staff) if you have any things that are troubling you. The personal tutor
system is really just a mechanism to allow problems to be dealt with. You may not
need to use it, but it is important that you know that this channel exists for the airing of
grievances.
Your tutor will also give you feedback on your academic progress and is available to
discuss this and related issues such as references, holiday work, job applications,
writing a curriculum vitae, funding applications. Your tutor will normally be the person
who gives you feedback after Work in Progress meetings and who reviews your
documentation before it is finally handed in. We do not use graded marking systems
and rely on dialogue with your tutor to register your development during the course, so
this is an important relationship. Remember to submit Documentation as soon as you
finish a treatment and allow time for comment and revision (see section 2).
Your tutor will also be overseeing your progress on paintings treatments and will be
the person to approach when there is a problem in execution, decision-making or
availability of resources that you cannot easily resolve for yourself. They will either
directly assist or guide you to the appropriate person. Your tutor will also support your
self-study and contextual research or guide you to the appropriate person.
Personal and academic tutors for the 2011/12 Academic Year:
Aviva Burnstock
Luciana Akerlund
Amy Griffin
Chloe Head
Alysia Sawicka
Maureen Cross
Douglas MacLennan
Fiona Rutka
Claire Shepherd
Elisabeth Reissner
Judith Lee
Cleo Nisse
Alison Stock
Pearl OSullivan
Roxy Sperber
Christina Young
Anna Cooper
Olympia Diamond
Sarah Freeman
Kristina Mandy
If you feel unhappy, for any reason, or would simply like to change your Personal and
Academic Tutor who has been assigned to you, please just say so, and the change will
be made without further discussion.
DEPARTMENT LIBRARY
The Department Library is shared with the Department of Wall Paintings, and it is a
wonderful and often idiosyncratic resource.
As the library is located outside the Main Library, its viability depends on you.
That means being very responsible about recording loans and returning books.
A Student Assistant (part time) will be responsible for C&T library enquiries and reshelving. She/he will be responsible for supplying keys to the project cupboards and
updating the card index. The name of the Student Assistant will be given at the start of
the academic year.
Books:
All books, except those marked with an asterisk by the class mark, may be borrowed
on short term loan. Books that are not for loan are books that are either irreplaceable
unusually heavily used or exceptionally expensive.
The books are grouped on the shelves according to subject area, and then in
alphabetical order. Books on scientific topics are on the shelves in the Microscopy
Room.
The books belonging to the Department of Conservation and Technology are
catalogued in the Main Library, but are also recorded in the red card index boxes,
arranged alphabetically by author. The index cards will tell you in which category the
book is to be found and whereabouts it should be on the shelves. The books
themselves have a white label on the spine which will tell you the subject area to which
they belong and the authors name. The card index is regularly updated by the
Department Student Assistant and if you have problems finding a book she should be
able to help. The Department of Wall Paintings catalogue their own books and they
have a complete list on computer.
If you take a book out of the library, whether it belongs to the Technology
Department or the Wall Paintings Department, please record the loan in the red
notebook provided
When you bring the book back please leave it on the chest of drawers in front of
the fireplace, so that the Student Assistant can check it back in. Be sure to cross your
name off in the loans list book.
Periodicals:
A complete list of periodicals held in the Department is to be found in the black
looseleaf folder on the chest of drawers in the fireplace. The latest issues of
periodicals will be found in the book stands close to the entrance to the Library. Back
issues are shelved, in alphabetical order, on the shelves to the left of the fireplace or in
the Library corridor, adjacent to the Microscopy Room.
Periodicals may not be removed from the library.
We subscribe to an unusually large number of periodicals and new ones are made
available to you immediately they arrive, so that we can all keep ourselves up-to-date
with the latest work. Obviously if copies are removed this is not possible. If unbound
4
copies are removed they are easily lost and binding can be delayed. If bound volumes
are not returned they are irreplaceable. Often periodicals are required for quick
reference, for double-checking, for inspiration and so on. Please ensure that this is
possible for everyone by putting them back in their place and leaving them in the
Library.
Student Projects:
One of the most valuable resources in the Department Library is a complete set of
Third Year student research projects, dating back to 1976, which are kept in the
Department Library. A complete list of the projects is to be found in the Library in the
black looseleaf folder, together with the list of periodicals. Each project is numbered or
has been designated with a letter of the alphabet. The projects are kept in the Library,
under lock and key, in the grey steel cupboards. If you wish to refer to one of the
projects you will need to complete an application form (copies are in the plastic
folder on the cupboard door) and apply to the Student Assistant or another
member of staff. When you have finished with the project, you should hand it back
to The Student Assistant.
Projects may not be photocopied. This rule is enforced to protect the author.
Student Projects may not, under any circumstances, be removed from the
library.
COURTAULD INSTITUTE LIBRARIES

The Book Library and Photographic Libraries (Witt and Conway) are open to you and
you will find the library staff very helpful. Access is by your security card. The Witt
Library's photographic archive is an exceptional resource for researching paintings'
provenance and attribution. You will have an introduction to the Institute libraries at the
beginning of your first term.
Telephones in the Department

There is a telephone in each of the studios as well as the lining room and staff offices.
A list of internal phone numbers should be near each telephone. The phones in the
studios are for incoming and internal calls only. You are allowed to have personal calls
to the studio - the phone number is 020 7848-2198 for the first year studio - but you
are requested to use this privilege in moderation. There is a public telephone in the
student common room for outgoing personal calls. Please restrict the use of mobile
phones to the landings outside the studios; mobile phones may not be used elsewhere
within the Courtauld Institute.
Fax Machine
The Department of Conservation and Technology has its own FAX machine in the
Department Library. The Fax number is 020 7848 2878. Students are not allowed to
use the FAX machine themselves.
BIBLIOGRAPHIES AND BOOKSHOPS

Each lecturer will provide bibliographies, annotated where possible, for the parts of the
course that they teach (these will also be put on the VLE). These are often only a
guide and you are encouraged to look for additional materials from these primary
sources. If you are looking for publications on a given subject that is not covered by
any of the bibliographies provided, please do not hesitate to ask one of the other
students or a member of staff who may know some useful material.
Jstor is an online resource for articles and journals. You can access directly from the
Courtauld Insititute or using your Athens password from outside.
www.jstor.org
The Bibliographic Database of the Conservation Information Network (BCIN) is
absolutely invaluable when searching for publications:
http://www.bcin.ca
Abstracts of publications can be found at Art and Archaeology Technical Abstracts
Online (AATA) on the Getty website:
http://aata.getty.edu/NPS/
Some publications are themselves becoming fully available online, such as the
National Gallery Technical Bulletin (selected articles only are currently available but it
will eventually be available in its entirety).
http://www.nationalgallery.org.uk
Bookshops
There are many good science and art bookshops in London, for example:
Courtauld Gallery Bookshop - 10% discount with Courtauld student card
W. & G. Foyle Ltd., 113-119 Charing Cross Road, London WC2H 0EB
(020 7437 5660); http://www.foyles.co.uk.
Blackwells Bookshop, 100 Charing Cross Road, London WC2H 0JG
(020 7292 5100);
on-line bookshop: http://www.bookshop.blackwell.co.uk.
National Gallery Bookshop, Trafalgar Square, London WC2N 5DN
(020 7281 9080); on-line bookshop: http://www.nationalgallery.org.uk.
Tate Bookshop: http://www.tate.org.uk/shop/books.htm
Conservation books can often be difficult to get hold of, but there is a specialist mail
order supplier of books on conservation, archaeology and museology:
Archetype Books, 6 Fitzroy Square,
London W1T 5HJ
(020 7380 0800); http://www.archetype.co.uk
In some cases Archetype Books offer discounts on multiple orders, it is always worth
checking with Jim Black.
OTHER LIBRARIES AND RESOURCES

Information about libraries elsewhere in London is included in the Institutes
Postgraduate Handbook, but you may also find the following of use:
The British Library
96 Euston Road, London NW1 2DB, tel. 0870 444 1500, http://www.bl.uk
The British Library Science Reference and Information Service Tel. 020 7412
7288/7494, email: scitech@bl.uk, http://www.bl.uk/collections/stbread.htm.
Central Library, Imperial College of Science, Technology and Medicine,
South Kensington Campus, London SW7 2AZ., tel: 020 7589 5111,
http://www.lib.ic.ac.uk
This is probably the best science library in London. You will need to take with you
some form of identification showing that you are registered as a student at the
Courtauld Institute of Art (your pass will do) and the first time you go you will be asked
to sign the visitors book to get a day-pass. You can apply for a years membership, for
Reference only.
The Hyman Kreitman Research Centre
Tate Britain, Millbank, London SW1P 4RG., tel. 020 7887 8838,
email: research.centre@tate.org.uk, http://www.tate.org.uk.
The Research Centre brings together the collections of the Tate Library and Archive. It
is open to those working in areas covered by their collections. You will need to
telephone to make an appointment, but once registered, researchers receive a one
year reader's ticket, which is renewable.
The National Portrait Gallery's Heinz Archive & Library
National Portrait Gallery, St. Martin's Place, London WC2H 0HE,
tel. 020 7306 0055, ext. 257
http://www.npg.org.uk.
The Library contains a reference collection relating to the study of portraiture. You will
need to make an appointment and take a form of identification with you.
The National Art Library Victoria & Albert Museum
http://www.vam.ac.uk/nal/about/index.html
Check on line for what you need to bring to use the library.
The Warburg Institute Library ,
Woburn Sq, London, WC1H0AB, http://warburg.sas.ac.uk.
Students require a letter from their tutor to use the library. Check online for details.
PROFESSIONAL CONTEXT
The Postgraduate Diploma course is a professional and vocational education and
there are a number of aspects of the course and events that aim to develop your
understanding of the contemporary and historical context of conservation and
the diversity of conservation practice. This section is intended to draw your
attention to them as, unlike most of the teaching, they will be dispersed throughout
your time here rather than organised in blocks.
The Department is the Conservation Department for The Courtauld Gallery and
Graeme Barraclough the Gallery Paintings Conservator works in the Third Year
Studio. In the First and Second Years some meetings with Graeme are scheduled in
order to introduce to you to collections care and the particular concerns for paintings in
our collection.
In the Second Year there will be a range of Studio Visits to conservation departments
in national museums and a variety of conservation studios in the independent sector.
At present the interchange of employment between the public and private sectors is
increasing. These visits will give you an understanding of the professional structure
and variety of approaches to conservation in England.
In the Second and Third Years the Study Trips to a centre of excellence will provide
an opportunity to visit conservation studios abroad, to understand different national
approaches to conservation and display and, among other things, to compare the
structure of the profession, professional education and approaches to the broad span
of conservation practice in other countries.
Professional organisations
When you graduate from the Postgraduate Diploma course you will be equipped to
become an active member of the conservation profession and work towards
accreditation. The following is a list of the various U.K. and international professional
bodies that you will come across and may wish to consider joining. All have regular
publications, meetings and conferences. Newsletters and conference information are
all on display in the Library. The staff are active members and contributors to these
organisations and conferences.
The Institute of Conservation (ICON)
3rd Floor, Downstream Building,
1 London Bridge, London SE1 9BG.
Tel:
Email:
Website:
020 7785 3805

membership@icon.org.uk
http://www.icon.org.uk
Publishes: The Conservator

ICON News
ICON represents all aspects of conservation, and has sections for different
specialisms, including a 'Paintings Section'. Members can sign up for e-bulletins.
There are student membership rates. ICON organises conferences and meetings
throughout England, including regular evening talks at their London office, and also
runs the Professional Accreditation of Conservator-Restorers (PACR) scheme.
8
The British Association of Paintings Conservator-Restorers (BAPCR)

Sam Robinson (Secretary),
42 Oaken Lane,
Claygate,
Esher,
Surrey,
KT10 0RG.
Email:
secretary@bapcr.org.uk
Website: http://www.bapcr.org.uk
Publishes: The Picture Restorer, www.thepicturerestorer.co.uk
When you join the course, the BAPCR will offer you one year's free membership.
Regular evening meetings are held at the Art Workers Guild, Queens Sq, London,
which are also an opportunity to meet other conservators informally. The Picture
Restorer has recently undergone a transformation with a huge input of energy and
ideas from the new editorial team (who are all graduates from the Courtauld and
Hamilton Kerr Institute from the last few years). Students and conservators from all
sectors are encouraged to contribute to the articles.
International Institute for Conservation of Historic and Artistic Works (IIC)
6 Buckingham Street,
LONDON WC2N 6BA.
Tel:
Email:
Website:
Publishes:
020 7839 5975

iicon@iiconservation.org;
http://www.iiconservation.org
Studies in Conservation
Reviews in Conservation
News in Conservation
Student membership is available. IIC organises biennial international conferences and

embraces all aspects of conservation.
International Council of Museums - Conservation Committee (ICOM-CC)
ICOM-UK Membership (Chris Woods),
National Conservation Service,
21 Albermarle St,
London,
W1S 4BS.
Email:
Website:
icom.membership@ncs.org.uk
http://www.icom.museum
ICOMs headquarters is in Paris. ICOM has introduced student membership for those
studying full-time on a museum or museum-related course. An application form and
further details can be found on the website. The Committees and Working Groups of
ICOM each publish a Newsletter and may organise interim meetings. ICOM organises
triennial international conferences and embraces all aspects of conservation.
Other organisations that are useful to know about:

European Confederation of Conservator-Restorers' Organisations (ECCO)
http://www.ecco-eu.org
This is a European professional body currently actively concerned with the
status of conservator-restorers throughout Europe.
European Network for Conservation-Restoration Education (ENCoRE)
An organisation set up following recommendations made by ECCO in 1997,
also concerned with status of and standards in conservation-restoration.
Conservation online (CoOL)
http://cool.conservation-us.org/
An online (US-based) resource for Conservation Professionals, including the
Conservation DistList (conservation queries, comments, jobs all posted and
sent out by email to those that sign up) and links to many other sites.
American Institute of Conservation of Historic and Artistic Works (AIC)
http://www.conservation-us.org/
Their journal, JAIC is published on the website.
Other Postgraduate Courses in the Conservation of Easel Paintings

The Hamilton Kerr Institute,
Whittlesford,
Cambridge, CB2 4NE
Director: Rupert Featherstone
Tel: 01223 832040
Email: hki-admin@lists.cam.ac.uk
University of Northumbria at Newcastle,
Burt Hall,
Newcastle upon Tyne, NE1 8ST
Course leader: Angela Geary.
Tel: 0191 227 3250
Email: angela.geary@northumbria.ac.uk
Website: www.northumbria.ac.uk (follow links to MA in Fine Art Conservation)
The annual Gerry Hedley Student Symposium brings students from all three
institutions together. It is hosted by each in turn, and organised by the students. We
visit the HKI every year with the second year students, but do not go to Newcastle
because of the cost of the journey and time involved. We have a very good spirit of
cooperation between the training courses, but contact with the other students will be
largely up to you.
10
COMPUTERS AND IT PROVISION

Students can use the Courtauld Institute of Art's IT Centre (based in the main Book
Library) for all email, internet, word processing/spreadsheet/PowerPoint//basic image
processing and for printing. There is also the Departmental IT Hub next to the
Departmental Library that includes a computer with Adobe Photoshop software.
There is one dedicated computer for use with the light microscope. The Departmental
Hub is supported by the IT Dept, but problems can be discussed with Christina Young.
To protect against viruses we ask you to ensure that you do not copy CDs onto
Department machines and also that you NEVER switch on or switch off a
computer with a CD, or memory stick in the disk drive. It is at that point that the
virus can be transmitted.
Tips for safe and comfortable use of display screen equipment (DSE), computers
etc., in accordance with the Health & Safety (Display Screen Equipment)
Regulations 1992:
Using a computer for word-processing, data analysis etc. is not an especially
dangerous process, but prolonged use of display screen equipment can have
deleterious effects on your well-being.
The hazards associated with the use of display screen equipment are mainly those
which lead to musculoskeletal problems (temporary fatigue, muscle and joint pain in
hands, arms, shoulders, neck or back), visual fatigue and stress. Medical evidence
suggests that using display screen equipment is not associated with damage to the
eyes or to eyesight, but some people may experience temporary visual fatigue, which
is caused by a combination of factors related to the process of screen and keyboard
work. The likelihood of experiencing these effects is related mostly to the frequency,
duration, intensity and pace of periods of continuous working at the screen.
The levels of electromagnetic radiation (ultraviolet, infrared, radio frequencies etc)
emitted by DSE is very low indeed, generally much less than the natural background
level to which everyone is exposed. There is no foundation for concerns over health
risks to workers by radiation emissions from DSE and this includes women in
pregnancy.
The following guidelines will help you avoid any problems should you find yourself
working for a prolonged spell at a computer terminal:
The working environment
Ensure that there is adequate lighting and that there are no distracting reflections
or glare in your field of view. Position the screen carefully in relation to natural and
artificial light sources. Avoid using a work desk with a polished reflective surface. If
there is strong, directional daylight, close blinds or curtains. Use a desklamp, if
necessary, to illuminate the deskspace.
Ensure that there is adequate ventilation and that the room temperature is
comfortable: computer equipment can generate heat which dries the air and can
contribute to a computer user experiencing sore eyes. Be alert to any draughts.
Try to minimise distracting noise.
11
The workdesk and chair

Ensure your desk is large enough to accommodate all the items of computer
equipment (keyboard, processor unit, screen) with plenty of space left for:
- space in front of the keyboard on which to rest wrists/hands
- a mouse and mousemat, if used
- documents or document holder
- any other items to be used during the work.
A desk that is at least 80cms. deep is recommended.
Make sure that there is plenty of leg room with clearances sufficient to allow regular
postural changes. Do not clutter the leg recess with other objects, bags etc.
The screen height and angle should allow for a comfortable head position.
If copying from documents, use a document holder, or place them such that
uncomfortable head and eye movements are kept to a minimum.. Working
documents should be positioned at a height, visual plane and, if possible, viewing
distance similar to those of the screen.
Use a chair that can swivel, roll and be adjusted for height. It should be well padded
to provide seat and lumbar support. Both the angle and height of the chairback
should be adjustable. Avoid a chair with arms as these can restrict hand movement
at the keyboard.
Be careful with the location of printer and power cables.
Where possible, use a keyboard which is separate from the computer and which
can be adjusted for angle and tilt as desired.
The display screen
Position the screen to give comfortable viewing that minimises head and eye
movements, and avoids surface reflections.
Set the contrast and brightness to comfortable levels appropriate to the ambient
conditions.
Ensure that the image is legible, sharp, stable and free of flicker.
If possible, adjust the characters to a size that provides most easy legibility.
The work itself
Make sure the software you are using is appropriate to the task.
Take regular breaks; both informal breaks at the workdesk to do other tasks, and
breaks completely away from the screen.
Breaks should be taken before the onset of fatigue. Be wary of working for long
periods (greater than 1 hour) without a break.
Exercise routines which include blinking, stretching and focussing the eyes on
distant objects can be helpful to relieve muscle tension.
12
THE POSTGRADUATE DIPLOMA IN THE CONSERVATION OF EASEL PAINTINGS

INTRODUCTION TO THE COURSE
DAY TO DAY ROUTINE
The Diploma is a professional and vocational education; it is structured differently to an
entirely academic postgraduate course and makes different demands on your time.
During the first year your time will be divided between practical work in the studio and
scheduled classes. The class timetable provides you with a basic framework for your
first year. You are expected to attend all the scheduled classes, and should you be
absent for any of these you must inform the relevant teacher.
The Postgraduate Diploma in the Conservation of Easel Paintings is essentially a
practical course, so we expect you to put in a normal working day, every day, in the
studio unless other classes are scheduled. In the first year you should spend about
50% of your time in the studio; during the second and third years this will increase.
Studio hours when staff are generally available to supervise practical work are
between 9.30 and 5.30pm.
The University of London designates Wednesday afternoons as sports afternoons this is when team sports are scheduled and sports clubs meet. The Courtauld Institute
of Art observes this policy and we avoid scheduling teaching for Wednesday
afternoons, so if you wish to participate in these activities you should feel free. It would
be helpful if you could let your tutor know. The emphasis is on organised sports
activities and not on visiting the gym, for example, which we hope you can fit in at
some other time. This is a small Department and our aim is to be flexible enough to
accommodate individual interests.
The scheduled classes will give you an overview of the theoretical background to the
practice of the conservation of easel paintings, and will identify fundamental principles.
The topics covered in these classes include:
Artists materials and techniques
Deterioration of paintings
Technical examination of paintings
Inorganic analysis and microscopy
Environmental control
Collections care
Preventive conservation
Varnish removal and surface cleaning
Synthetic materials
Natural materials
Structural treatment of wood and canvas
Professional context
Photography and digital imaging
Retouching
Documentation
The first year course is intense and demanding: the aim is to try to introduce most of
the main areas of concern in order to build a broad foundation upon which more
advanced material can be built in the second and third years.
13
Students joining the course who have a background in one of the sciences will follow
an art history course based on the course for the B.A. art historians. Students with a
background in art history or fine art will follow a basic science course taught in the
Department one morning per week.
Conservation practice, both interventive and preventive, is the focus of your time
here. Whenever possible, scheduled classes are directly related to practical work, and
at all times the critical understanding and refinement of conservation practice on
paintings is their objective. The first few weeks will be devoted to making replicas of
historical painting techniques and introducing you to collections care, preventive
conservation, and the history of painting materials and techniques through a series of
lectures; after that you will begin working on actual paintings.
During the second term there will be a two week course taught by the Gallery paper
Conservator, Katharine Lockett, giving an overview of Paper Conservation.
The practical work in the studio is largely unstructured time. There will be Regular
Rounds (see page 63) twice a week, when some of the staff will look formally at what
you are doing, what you have achieved since the last Regular Round and what
problems you have encountered Appointments can then be made to discuss any
matter in greater depth. Outside these regular times you must feel free to find a
member of staff at any time if you need help or advice. The member of staff will
arrange an appointment to help you. We absolutely rely on you to do this.
We hope that you will work on as great a variety of paintings as possible during your
time here, but it will be impossible to do everything, and it is worth emphasising from
the beginning that it is very important to be alert to other activities within the
Department, especially the work of students in the years above. This is part of your
learning experience and it is quite normal to ask other people what they are doing and
why they are doing it. (It is good for them, too, to have to describe what theyre doing
in clear and concise terms!) This will be communicated more formally at regular
departmental Work in Progress meetings (see page 64)
Feedback
There is no continuous assessment and progression from year to year and award of
the Postgraduate Diploma depends on the examinations. During the course we
provide informal evaluation of your work in a variety of ways and on pages 61-62 you
will find two pages entitled Feedback: the formal structure. You will see that there are
many ways in which you will regularly hear how your work is progressing and there are
also opportunities provided for you to seek further guidance, support, explanation or
feedback.
We seek to maintain a flexible, non-competitive and positively cooperative
environment in the Department. We believe that this is beneficial from an educational
viewpoint and because teamwork is also a useful professional skill. One of the ways
we try to encourage this is by avoiding the usual numerical or notational systems of
marking. Ultimately, the Postgraduate Diploma is 'Pass' or 'Fail'. A consequence is that
you will have to listen carefully to the staff comments about written work or
conservation practice. There is, for example, normally some 'feedback' during a
Regular Round and it may sound like "you seem to be approaching that very well ....
that was a good choice". Quite often these comments are not received in the same
way as a percentage mark and, even if they are, it is still very common to feel
uncertain at times. Normally, a meeting with your Personal and Academic Tutor will be
useful at this point, and we expect that you will do this, not just at the regular meeting,
14
but at any time during the term. It is very important that uncertainty or anxiety
should not be left unattended to.
In direct response to student comments we have been developing the nature of Work
in Progress' meetings and providing written feedback that is also discussed with you
individually by your Personal and Academic Tutor. This informal evaluation is to guide
your development and progress.
Written feedback is also provided on written seminar papers, documentation and the
end of year viva voce assessments, summarising the examiners' observations and
comments.
Finally, it is worth saying that this is a two way process, tutors appreciate your
feedback as well!
15
STUDIO PRACTICE
Students from each year of intake are based in their own studio. It is each years
responsibility to keep their studio safe, clean and tidy.
It can be difficult working very close to other people in a shared space, but some
problems can be minimised if you are tidy and sensitive to others. Please ensure that
personal belongings (not related to work) are kept in the grey lockers provided. Keys
will be given for the lockers at the beginning of the first term (5 deposit). Although we
are in an area supposedly with restricted access, there have been a number of thefts
of purses and personal stereos by people entering the department without authority, so
valuables should always be kept locked up, if possible.
Conservation is an intellectual, as well as a practical activity, and concentration is
always critical. For that reason there should be no tapes, personal stereos or
radios playing in the studio or being listened to through headphones. The
Institute is a mobile phone free zone. You may use a mobile on the landings within the
Department, but please avoid using it in the studio and keep your mobile on silent or
turned off.
Safe and considerate studio practice is a professional skill, so when working in
the studios, ensure that you have organised things in the best possible way, for
instance:
Are you exposing yourself and your colleagues to solvents or other
hazardous materials?
Can you use extraction, masks, and keep containers closed for more of the
time?
Is your equipment set up safely with regard to you, others and the painting?
o Is there a tripping hazard?
o If jars fall over are they going to spill near the painting?
o Is lighting too close to the painting?
o Are passing people likely to knock anything?
o Is your easel secure?
Are things safe to be left unattended?
o Is equipment switched off?
o Is it obvious where the painting is?
Do not use extension leads in the spray room when there are solvent
fumes; there is a hazard from sparks.
Work materials should be kept tidily on your trolley, and must be properly
labelled. Materials and equipment should be put away at the end of every day.
Solvent-containing materials must be stored in your tray, and put in the solvent
cupboards at the end of the day.
Glassware and other containers should be washed up and put away, and cupboards
and trolleys cleared of defunct pots of experimental varnishes, old solvent mixtures etc
regularly. NB. Unless jars are airtight (and the ones with the black lids are not), solvent
mixtures alter as the solvents evaporate, so they should not be kept for longer than a
few days. The method for washing jars containing residues of varnish is to leave
residues to dry, and then soak in Decon 90 overnight, after which time it should be
easy to wash them clean. Decon does not work on varnishes still wet with solvents.
Its up to you whether you have some sort of rota for washing up within your year.
16
GENERAL STUDIO SAFETY

There are two particularly valuable commodities in this Department - the paintings and
yourselves. It is important that, in performing your conservation work, neither of these
are harmed or subjected to unnecessary risks.
Safe practice in the studio and laboratories is based on being thoughtful about what
you do and considerate to your colleagues. Even very simple things, such as where
you put down a scalpel or how you fix a painting on an easel, need to be considered;
safe practice is a professional skill and should become second nature.
As registered students of the University, you are covered by two important pieces of
legislation - the Health and Safety at Work Act and the Control of Substances
Hazardous to Health (COSHH) Regulations. The former covers general safe
practices in the workplace, while the latter is specific to the use of hazardous
chemicals. The practical implications of these will be explained at the beginning of
term, but your attention is drawn to the Departmental Health and Safety Code of
Practice, which you are required to read and digest. The details of this will be covered
in the early days of the term. The importance of safe practice to your health and the
professional responsibility to be familiar with COSHH Regulations cannot be over
emphasised. Christina Young, who is, amongst other things, the Departmental Safety
Officer.
CLEANING
The staircases, landings, library and seminar room are cleaned regularly, but for
reasons of safety and security the studios are not swept during term time and we
are responsible for keeping them clean and tidy.
When you finish work for the day:
Microscopes should be covered.
All equipment should be unplugged, with the exception of humidifiers
(which should be topped up), and sockets should be turned off at the wall.
On the ground floor blinds should be drawn, shutters closed and the
security gate locked.
Equipment and materials should be put away, unless work is continuing
the very next day.
Paintings should be put away in the racks or safe, unless size or
treatment prevents this.
When carrying paintings between floors you must make sure that
someone is with you to open doors for you and close doors behind
you. All doors must be kept closed for fire safety, security and to keep RH
levels under control when humidifiers are being used.
On Friday afternoons:
Please sweep or vacuum your studio and ensure that paintings, equipment
and materials have all been put away. You could establish a rota for this if
you wish.
Any rubbish that has been in contact with solvents should go in a bag in a
metal bin.
Always keep the areas around the sinks clear otherwise they cannot be
cleaned properly.
Twice a term:
Humidifiers should be cleaned out.
17
NOTICES
There is a noticeboard in the Library where you will find job advertisements and
conference announcements. There is another noticeboard near the kitchen which is for
more informal, general messages.
KITCHEN
You may never eat or drink in the studios for health and safety reasons. There is a
kettle, fridge and microwave available for general use upstairs. Most people tend to
bring their lunch and we all enjoy celebrating birthdays together.
Please keep the sink and kitchen area clean and tidy. The cleaners are expected to
clean the sink and the surfaces, but they cannot do so if they are covered in dirty
crockery. It is the students' responsibility to wash-up and a rota can be set up to
ensure that this is done.
Seminar room 5 is used by the Institute as a whole and may be booked by other staff
when not used by Wall Painting Conservation or C&T. You are welcome to have tea
and coffee and eat your lunch in the Seminar Room 5 when it is not in use, but please
make sure that it is left clean and tidy when you leave. It is likely that it will be
needed for teaching immediately afterwards.
MATERIALS AND EQUIPMENT

Some materials can be made up for use by everyone, such as varnishes, retouching
media and gelatine-based glues. If a stock solution is running low, please take the
initiative and make up another batch. Ask if youre not sure what to do.
Try to minimise waste of materials. Leave the rolls of Melinex etc neatly rolled up after
use, to minimise spoilage of unused material. Reuse pieces where you can, or use offcuts from the box in the lining room (you could have a place in your studio cupboard
where you keep reusable bits of Melinex, blotting paper, silicone release paper etc). In
the case of perishable materials like isinglass and gelatine just make a small amount
and keep it in the fridge. In the case of isinglass, the sheet isinglass takes some time
and effort to make up, and the raw material is expensive, so make up as small a
quantity as you can (for a 5% w/v solution, use 0.5g made up to 10ml in a small jar
rather than using 5g at a time). Mouldy gelatine and isinglass can be quickly washed
out using very hot water, so please do this when you notice it in the fridge.
For photographic film and paper, please write how many sheets you have used, and
how many are therefore remaining, on the outside of the box, and update the list on
the store cupboard in the first year studio when new supplies are taken.
18
Ordering materials
If you notice that a particular material is needed, stocks are getting low or a piece of
equipment is broken or missing, please make a note of it on the whiteboard on the
landing between the Second and Third Year studios (please date and initial it) and
then tell the appropriate member of staff.
Maureen is the member of staff who has responsibility for the ordering and receiving of
general supplies, but other members of staff take responsibility for ordering the
following:
Photographic and x-ray consumables
Alison Stock
Microscope and related supplies

Aviva Burnstock
(Metset, grinding paper, SEM boxes, gelatine capsules, sample pots)
Fabric and supplies related to structural treatment
of canvas and panels and packing materials.
Christina Young
Books
Maureen Cross
Solvents, glassware and general chemicals
Elisabeth Reissner
Equipment
Members of staff who are responsible for particular equipment and will respond to your
enquiries are:
Photography, photographic equipment
Christina Young
Retouching and studio lights, hot spatulas.
Alison Stock
Microscopy and EDX, X-radiography
Aviva Burnstock
Lining tables, jigs and other equipment related to

structural treatment of paintings
Christina Young
All other equipment
Maureen Cross
In some cases emergency supplies of cheap items may be bought out of petty cash. If
you buy something, keep the receipt, it is needed to recover the cost. Petty cash
vouchers can be obtained from members of staff; they should be filled out and signed
by Aviva Burnstock you should then take it to the Finance Office to be reimbursed.
Expenditure over 25.00 must be pre-arranged and claimed using an Expenses Form
signed by Aviva and will be reimbursed directly into your bank account by the Finance
office. The Expenses Form can also be obtained on the Intranet.
Special purchases relating to conservation treatments
Sometimes special purchases are made for specific paintings in which case a
purchase order should be obtained from a member of staff and signed off by Aviva.
The costs may be passed on to the owner of the painting. NB. Costs of materials and
Purchase Order Numbers (SB/CTE) should be listed in the documentation
relating to the treatment.
19
BASIC TOOLS, BRUSHES ETC.

You will need to equip yourself with basic tools, brushes, retouching palettes,
scalpel holders (blades will be provided), and so on.
To start off with you should consider a selection of brushes (Maureen, Pippa and
Elisabeth can advise on the types best for certain purposes), a simple dissecting kit
(see below), a spatula, and a pigment box (see below) but in time you will probably
build up a range of personal tools. It is advisable to mark these distinctively as they do
tend to wander.
An apron, smock or lab coat is recommended for safety reasons and to protect your
clothes. Black aprons will reduce reflection on a varnished painting's surface and are
very useful for retouching. A black cotton glove with fingers cut off is also useful for
retouching.
Other useful items are a tape-measure, torch, scissors, screwdrivers, watercolour box,
and a daybook to keep a note of each day's work is essential.
The dissecting kits can be obtained from surgical suppliers such as
John, Bell & Croyden, 50-54 Wigmore Street, London W1U 2AU.
Tel: 020 7935 5555
www.johnbellcroyden.co.uk.
Kits contain a selection of probes, scalpel handles nos.3 and 4, tweezers, and
scissors and cost around 17. Phone first since they dont always have 5 in
stock. Note that a 10% educational discount is available on request.
Spatulas (sculptors rifflers) for filling can be obtained from
Alec Tiranti Ltd., 27 Warren Street, London W1T 5NB.
Tel: 020 7380 0808
www.tiranti.co.uk.
- Ask for the Italian, flexible steel ones, nos. 46 or 47, around 7.50 each
Optivisors (head magnifiers) from suppliers to the jewellery trade such as:
Rashbel Marketing UK Ltd., 24-28 Hatton Wall, London EC1 8JH.
Tel: 020 7831 5647
www.rashbel.com.
Frank Pike, 14 Hatton Wall, London EC1N 8JH.
Tel: 020 7405 2688
H.S. Walsh and Sons Ltd., 44 Hatton Garden, London EC1N 8ER.
Tel: 020 7242 3711
www.hswalsh.com
(about 29.95 excl. VAT)
Ceramics Restored.
01392 679999
www.ceramicsrestored.co.uk This may be cheaper.
20
Pigment Boxes Bergeon boxes code 6088D, around 11 +VAT

Gleave & Co., 111-113 St John St, Clerkenwell, LondonEC1V 4JA.
Tel: 020 7253 1345. Call first to check stock levels.
www.gleaveandco.com.
Suppliers for Brushes and General Artists Materials:

Winsor & Newton Series 7 brushes are probably the best for retouching with resin (our
usual method). They are expensive but worth it. The Handover Series 33 brushes are
also very good, but have longer hairs and are designed for use with watercolours.
Less expensive brushes can be used for adhesives and other materials.
London Graphic Centre, 16-18 Shelton Street, London WC2.
Tel: 020 7240 0095
www.londongraphics.co.uk
A.S. Handover Ltd., Unit 8, Leeds Place, Tollington Park, London N4 3RF
Tel: 020 7272 9624
www.handover.co.uk
Artists Sable Watercolour Brushes, Series 33
Russell and Chapple, 68 Drury Lane, London WC2.
Tel: 020 7836 7521;
email: info@RandC.net; www.RandC.net
Nearest place for Canvases
Cornelissen, 105 Great Russell St. London WC1B 3RY.
Tel: 020 7636 3655
www.cornelissen.com
Atlantis, 7-9 Plumbers Row, London E1 1EQ
Tel: 020 7377 8855
www.atlantisart.co.uk
Palettes
Custom-made, neutral grey Perspex palettes are available in the department for
purchase for 17. These are recommended for retouching.
21

AIMS OF THE COURSE
The objectives of each year of the course are set out below in terms of Knowledge and
Understanding, Intellectual Skills and Practical Skills gained.
AIMS OF THE FIRST YEAR
KNOWLEDGE AND UNDERSTANDING
Conservation is an intellectual activity with a practical outcome.
The First Year teaching aims to provide the basic framework of knowledge that
defines the scope of the subject and the core practical skills on which the
following years will build.
Conservation is a multi-disciplinary discipline and it is assumed that individuals will not
join the course equally proficient in every aspect. The First Year aims to balance
knowledge and understanding and establish a common framework. The different
perspectives that each student brings are a contribution that can be shared with
everyone.
The syllabus covers:
The fundamental theoretical basis of conservation
Core practical conservation skills
Fundamental scientific concepts underpinning practice
History and identification of painters' materials and techniques
Examination and documentation of paintings
Technical examination and analysis
Principles of environmental monitoring and control
Small group teaching involving a variety of approaches (lectures, tutor and student led
seminars, guided visits) encourages active participation and engagement.
The Department studios offer an environment for safe and informed conservation
practice through continuous supervision (Regular Rounds) and informal access to staff
at all times.
Written feedback, tutorials and studio discussion provide different forms of informal
evaluation for the students.
INTELLECTUAL SKILLS
The ability to apply the theoretical framework of knowledge to conservation
practice is the most important intellectual skill to develop in the first year.
Although initially studio teaching will be directive there will be increasing opportunities
during the year to work critically and independently on paintings.
22
Independent conservation practice and seminars provide opportunities to develop the

ability to analyse problems and to apply information synthesised from a wide
variety of sources.
All forms of the examination of paintings develop visual intelligence and sensitivity
in the interpretation and resolution of conservation problems.
PRACTICAL SKILLS
The aim is safe informed and reflective conservation practice.
During the year students undertake replicas of historical painting techniques and one
or two independent treatments of paintings as well as witnessing first hand a variety of
methods and approaches in the Department.
The treatment of paintings is an integrated way of teaching and developing skills in:
Core practical skills
Written and photographic documentation
Written and verbal communication
Technical examination of paintings
Environmental monitoring
Health and Safety regulations.
Students are referred to the detailed syllabus and timetable for the First Year
23
AIMS OF THE SECOND YEAR

The second year focuses on the development of knowledge and understanding
and core practical skills introduced during the first year. A range of practical
treatments are undertaken in order to focus the exploration of conservation.
The Department studios offer an environment for safe and informed conservation
practice through continuous supervision (Regular Rounds) and informal access to staff
at all times. Work in Progress Meetings offer a formal opportunity to discuss
conservation work in the Department.
Written feedback, tutorials and studio discussion provide different forms of informal
evaluation of progress and development.
As a small Department we aim to be flexible and to respond to developments in
contemporary research and practice, to the availability of specialists and to individual
students' interests.
A programme of diverse specialist teaching deals with selected topics that were
introduced during the first year in greater depth (tutor and student led seminars and
guided visits), these will vary from time to time but currently include:
Analysis of artists' materials
Issues in structural conservation
Environmental monitoring and control
Conservation of contemporary art.
The aim is to enable students to place their practice in a broad contemporary and
historical professional framework. Understanding of the professional context of
conservation is developed in a range of ways:
Guided visits to conservation studios and laboratories in the public and private
sector
Study trip to a centre of excellence abroad
Engagement with the Courtauld Gallery collections care.
INTELLECTUAL SKILLS
Developing confidence in the application of theoretical knowledge and
understanding to conservation practice is the key to the second year. About three
quarters of the time in the second year is directed towards conservation practice of
different types (individual paintings treatments in the studio, work on site,
environmental monitoring), and practice is interpreted to encompass intellectual skills
especially problem solving, decision making and planning, understanding the
context of the painting and the values it embodies.
Individual treatments are the opportunity to stimulate individual responsibility for the
identification of issues presented by paintings and the critical evaluation of evidence of
all types and its implications for interventive or preventive proposals.
24
By the end of the year students should have the confidence to begin to make informed
decisions and to undertake a range of treatments and work independently under
supervision.
Written and verbal reasoning is developed through discussion at Regular Rounds,
Work in Progress Meetings, Documentation and Seminar papers. Written informal
evaluation and tutorials may support studio discussion.
Seminar papers, as well as the issues presented by paintings undergoing treatment,
develop the ability to synthesise information from a wide range of sources and to
evaluate that information critically.
Visual intelligence and sensitivity in the interpretation of conservation problems is
developed through guided responsibility for diagnosis of condition and impact of
treatment on paintings, through discussion and through advanced understanding of
technical examination and analysis of materials and techniques.
The Environmental Survey Report provides an opportunity to work as a team to
monitor an environment, to critically interpret the data and to make appropriate
recommendations, applying the principles learnt in the first year to an actual situation.
Research skills are at the heart of our approach to teaching and in the second year
they are developed in seminars, seminar papers and presentations and through selfstudy in relation to individual paintings and treatments. Small numbers facilitate staff in
bringing contemporary research and practice into discussion and into the studio.
Knowledge and understanding of conservation materials is revised and developed
through seminars.
PRACTICAL SKILLS
Manual and visual skills are developed through the experience of conservation
practice of different types; these include individual treatments, witnessing first hand
a variety of work carried out in the Department, and projects outside the Department.
Development of written and spoken communication skills
Self-reliance, the capacity to work independently and constructively as a
member of a team, is developed through practical work of different types.
The practical work requires efficient management of time and resources.
Students will be introduced to the concept of establishing goals and estimating time for
the completion of treatments or stages of treatments during Regular Rounds from the
first year. In subsequent years, students will be asked to establish goals and to
estimate the time for completion of treatments and may make contracts with their
Personal and Academic Tutor, or another member of staff, for completion of the work,
to facilitate learning this aspect of professional practice and to achieve the goals set.
Students will also be expected to make a contract with their Personal and Academic
Tutor naming a date for the submission of their documentation prior to the
summative assessments which take place at the end of each year. They will be
expected to assemble their documentation of condition and treatment reports outside
studio hours (9.30 a.m. - 5.30 p.m.).
25
By the end of the year students will be proficient in:

A range of remedial conservation treatments
Restoration and interpretation of the image
Understanding of conservation principles
Safe and appropriate use of equipment
Written and Photographic documentation
Identification of painters' materials and techniques
Preparing an Environmental Survey Report
Situating their skills and knowledge in a broad professional context.
Students are referred to the detailed syllabus and timetable for the Second Year
26
AIMS OF THE THIRD YEAR

The emphasis of the Third Year is on the intellectual and practical exploration of
conservation at an increasingly advanced and complex level. The aim is to stimulate
command of the theoretical, conceptual, technical and practical framework of
conservation knowledge and understanding so that students are prepared to
work in a professional context.
The Research Project provides the opportunity for advanced independent research
and study; it develops specialist knowledge and understanding of a chosen field and
prepares students for a research degree.
Critical appreciation of the diversity of conservation practice and its contemporary
and historical framework is fostered by a Study Trip to a centre of excellence, and
by discussion and seminars dealing with professional context that build on the
experience of the second year.
The nature of the Third Year encourages a holistic approach to conservation,
applying professional judgement, balancing risks, utilising resources and taking into
consideration aesthetics, ethics and the diversity of stakeholders.
INTELLECTUAL SKILLS
The Third Year is characterised by increasingly complex problem solving,
decision-making and planning, and understanding of the context of the painting
and the values that it embodies. In the Third Year students are expected to reach a
standard where they are able to make self-directed independent assessment of a
painting and structure a treatment proposal that takes account of conservation
principles and context, and integrates the theoretical framework of knowledge with
conservation practice. The completion of treatments is the opportunity to demonstrate
visual intelligence and sensitivity.
The use of independent research to develop critical judgement and to situate this
in relation to knowledge and understanding in the field is important.
The Research Project (10,000 words, plus or minus 10%) carried out under
supervision is the principal means of developing independent research skills to an
advanced level. It provides an opportunity to develop specialist skills and expertise as
well as acquire transferable skills and to present work to a professional standard both
verbally and in writing.
27
PRACTICAL SKILLS
In contrast with the Second Year conservation practical work is focussed in the
Departments studios. Students should achieve a professional standard of safe,
informed and reflective practice and have experience of a range of treatments
(individual paintings treatments carried out; treatments witnessed first hand in the
Department or on visits; projects outside the Department including in situ work and
environmental monitoring). Students continue to develop their practical and visual skills
and increased emphasis is placed on taking responsibility for decision making and
planning. All treatments should be brought to a conclusion.
The need to prepare for the final assessment and to bring treatments to a conclusion
requires good management of competing priorities. Students will be expected to
establish goals and estimate time for the completion of treatments or stages of
treatment and may make contracts with their Personal and Academic Tutor, or another
member of staff, for completion of the work, to facilitate learning this aspect of
professional practice.
Tutors naming a date for the submission of their documentation prior to the
summative assessments at the end of the year. They will be expected to assemble
their documentation of condition and treatment reports outside studio hours (9.30 a.m.
- 5.30. p.m.).
Communication skills are brought to a high standard through verbal presentation of
treatments undertaken, written and photographic documentation and research.
Students are supported in identifying and capitalising on career opportunities.
Students are referred to the syllabus and timetable for Third Year
28

THE CURRICULUM
THE FIRST YEAR CURRICULUM
The first year curriculum assumes little prior understanding of the theoretical
foundations that underpin conservation. By the end of the year, students with either
arts based or science based degrees will share a common knowledge and awareness
of the fundamentals of conservation theory and practice; this is achieved through a
combination of lectures, studio based work, workshops and visits. The curriculum
progresses from lectures on the fundamentals of science and technical art history, to
the applied theory of conservation practice; this is echoed in the practical studio
sessions. Complimentary practical and visual skills are also taught through activities
that reinforce the concepts introduced in lectures.
There are typically six hours of lectures per week plus seminars, workshops and
practical demonstrations.
LECTURES AND DEMONSTRATIONS

Students are initially taught about Health & Safety, which includes the handling of
chemicals, tools and equipment within the department, and safe practice within a
studio environment.
There are themes within the first year that are taught by a combination of lecture,
seminar and activities. Additional reading or exercises are often given to help reinforce
concepts and principles and to put lecture material in context. There are seven main
themes:
1. Materials and Techniques of Painting.
The changes in technique, materials and in particular, pigments are explored from
early Italian and Netherlandish paintings and through to the 19th century. This
concludes with a pigments seminar presented by the students. A 2,000 word practice
essay will also be set.
Surface examination of paintings, study of texts and the results of technical and
scientific examination are brought together with the reproduction of historical
techniques to make replicas of paintings from different periods.
2. Preventive Conservation
The deterioration that occurs to paintings is described, including environmental effects.
The solutions to inhibit or stop this deterioration including the issues of storage,
transportation and display are presented. This is mainly lecture-based but often is
combined with visits and practical exercises in a virtual gallery.
29
3. Photography, Documentation and Technical Examination of Paintings

Written and photographic documentation is an integral part of any conservation
treatment. Students are shown the relevance of written documentation and are taught
photographic examination and documentation through practical sessions.
Specialist imaging techniques such as IR, UV and X-ray are demonstrated and their
interpretation discussed. This culminates in a week-long practical technical
examination of a painting and presentation by the students. A seminar and practical
class introduces the student to analytical methods of examining paintings.
4. The Cleaning and Restoration of Paintings
The theory of surface cleaning, solvent action and varnish removal is covered in
lectures and demonstrated in the studio. Recent developments and practical
approaches in the cleaning of paintings are discussed including cleaning
controversies. Approaches to the visual re-integration of paintings and retouching are
presented and reinforced through activities and studio work.
5. Optics and Colour Theory
Through lectures the students will be taught the physics of light, optics and colour
theory. These concepts will then be developed into understanding of the optical role of
varnishes, display lighting and applications of colour measurement in conservation,
and the properties of pigments and paints. Practical sessions in photography and
digital imaging are held to integrate the theory with professional practice.
6. Materials for Conservation
An introduction to the concepts of mechanics is given through lectures. These
concepts are then applied to polymers in conservation (paint, adhesives, consolidants,
varnishes and coatings) where their general physical/chemical/optical properties are
reviewed. The composition and analysis of natural organic materials is also given and
picks up on the issues highlighted in the technical examination of paintings.
7. Structural Conservation
The history, properties and conservation of paintings on fabric and on wood panel
supports is given through a series of lectures. Core skills to enable the student to
undertake structural conservation begin to be introduced through workshops.
Chemistry Foundation Course - for students with a background in the arts

This has inorganic and organic components and the curriculum includes:
Atoms, Elements and the Periodic Table.
The properties of liquids, solids, gases, metals and bonding.
Ionic materials, ionic materials in solution, molarity, and concentration.
Acidity, bases and pH measurement.
Inorganic analysis: understanding the basis for elemental analysis using energy
dispersive X-ray spectroscopy (EDX), electron microscopy, X-ray diffraction
(XRD) and X-ray fluorescence (XRF).
The electronic structure of carbon.
Atomic, molecular orbitals and shapes of simple molecules.
Hybridization: alkanes, alkenes, alkynes.
30
Functional groups: acids, bases, alcohols, ketones, aldehydes, esters, amines,

ethers.
Reactions of simple organic compounds: hydrolysis, oxidation, reduction,
substitution.
Intermolecular forces in organic materials: dispersion forces, hydrogen bonds,
polar forces.
Organic liquids as solvents.
Polymers (natural and synthetic): primary and secondary structure of polymers.
Absorption of light by organic compounds.
Proteins, fats, carbohydrates.
Organic analysis: UV/Vis spectrophotometry, Infra-red spectroscopy, FTIR Gas
chromatography, HPLC Gas chromatography/mass spectrometry and related
techniques.
Practical sessions.
Revision session and discussion of the structure of the Science Examination.
Review of problems encountered during the course: questions to be addressed
are generated by the students.
History of Art Survey Course - for Students with a background in science
Students participate in the first year B.A. Survey course (lectures on painting only) and
back up classes for the first year B.A. students. Typically the work load includes written
work and discussion classes set by and assessed by one or more members of the Art
History teaching staff.
ACTIVITIES (WORKSHOPS, SEMINARS AND VISITS)

The aim of the first year activities is to provide a grounding in some of the core
practical skills required of a professional conservator. These skills compliment the
studio work/lectures, and will be developed further through workshops/seminars in the
second year. By the end of the first year the student should have taken part in picture
fitting, framing, glazing, packing, transportation and handling activities and be able to
make recommendations for safe storage and display for a specific site.
The student should also be able to produce good quality analogue and digital images
for their support documentation.
In the first year students will be introduced to the concept of establishing goals and
estimating time for the completion of treatments or stages of treatments during Regular
Rounds. In subsequent years, students will be asked to establish goals and to estimate
the time for completion of treatments and may make contracts with their Personal and
Academic Tutor, or another member of staff, for completion of the work, to facilitate
learning this aspect of professional practice and to achieve the goals set.
Tutor naming a date for the submission of their documentation prior to the summative
assessments which take place at the end of each year. They will be expected to
assemble their documentation of condition and treatment reports outside studio hours
(9.30 a.m. - 5.30 p.m.)
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SECOND YEAR CURRICULUM

The second year curriculum is structured to develop intellectual and practical skills,
and to foster growth in the knowledge and understanding of a wide variety of areas
that form the discipline of conservation. This is achieved by a combination of
approaches: these might include a seminar, studio based practice and participation in
a collection survey. The flexibility of the course allows the individual interest of the
student to be pursued and new developments within the profession to be adopted
where appropriate. The second year curriculum can approximately be divided into 75%
studio based practice and 25% activities (Overview of Activities below).
75% STUDIO BASED PRACTICE

Studio based practice offers a diversity of experience. It provides a framework to
develop an integrated approach to the role of a conservator, through first hand
observation of treatments, in-situ environmental surveys, hands-on treatment of
paintings, interaction with The Courtauld Gallery and philosophical discussion.
Students will be responsible for the complete treatment of paintings that present
appropriate problems of different types (i.e. examination, documentation, treatment,
framing and display, preventive conservation considerations).
Students will be asked to establish goals and to estimate the time for completion of
treatments and may make contracts with their Personal and Academic Tutor, or
another member of staff, for completion of the work, to facilitate learning this aspect of
professional practice and to achieve the goals set.
Students will be guided to develop their visual skills and sensitivity, in order that they
can interpret visual evidence of all types, the appearance of the painting and the
issues associated with its display.
Paintings are selected in order to ensure a range of experience (students normally
work on two or three paintings at any time).
Through continuous supervision (scheduled Regular Rounds and informal access to
staff at all times) students are guided to develop away from the directive situation in
the first year towards increasing independence of thought, research and judgement.
Work in Progress meetings (where students present their practical projects to the staff
and students in the Department) each term ensure the development of communication
skills and awareness of treatments and topics being dealt with in the Department.
Written and photographic documentation for each painting is discussed and in all
cases independent research is encouraged (historical, technical, analytical).
Students will be expected to make a contract with their Personal and Academic Tutor
naming a date for the submission of their documentation prior to the summative
assessments which take place at the end of each year. They will be expected to
assemble their documentation of condition and treatment reports outside studio hours
(9.30 a.m. - 5.30 p.m.)
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25% ACTIVITIES
The activities include a programme of lectures, visits, seminars and workshops that
deal in greater depth with topics introduced during the first year. Over the course of the
year, the student should assimilate the skills and ideas gained from these activities into
their studio based work.
There are seven main themes (these may vary from year to year):
1. Research Skills
Activities to enable the student to practice the skills of finding relevant information, and
critically evaluate it, from a variety of sources e.g. published papers, data sheets,
manufacturers, professional conservators, library databases, and the web.
Research Skills Seminar:
Each student will review a published research paper on a particular theme and
present the review at a seminar.
Materials Seminar:
Each student will present a seminar or a specific practical demonstration on a
topic of interest agreed by the year and tutors. This could be for example
historical technique, approaches to inpainting or varnishing.
The seminars are presented at a student led meeting and discussed with tutors
present.
2. Analysis
Lectures and seminars combined with practical studio or laboratory work and visits to a
range of both of scientific departments in National Museums and conservation
departments (national and independent). Visits to scientific departments are organised
to compliment the teaching and familiarise the students with the various analytical
techniques.
Typical visits include:
Kings College, London, Departments of Chemistry and Physics:
instrumental analytical equipment including SEM/EDX and sample preparation
procedures, microscopy, gas and liquid chromatography with mass
spectrometry GC-MS.
Birkbeck College, Department of Chemistry:
Conservation research using a range of analytical techniques, including thermal
analysis, FTIR and Dielectric.
Institute of Archaeology:
Conservation and research.
National Gallery Scientific Department:
Research into the materials and techniques of paintings in the National
Collections using techniques taught on the course.
Tate Scientific Department.
British Museum Scientific Department.
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Seminars and Practicals:

Interpretation of Technical Data
Discussion of the interpretation of X-radiographs, infra-red and UV images and
sampling techniques. Questions are student generated following discussion of
the features.
Inorganic Analysis Practical:
1. Preparation of samples for EDX analysis, and analysis of inorganic
materials.
2. Preparation of samples for SEM and imaging.
Microscopy Practical:
Polarised light microscopy. This aims to equip the student with techniques to
identify grounds and specific pigments.
3. Structural Conservation
The material introduced during the first year is dealt with in greater depth via lectures
and workshops. Subjects that will be covered are the mechanical behaviour of wood
panel and canvas supports, a review of historical methods of conservation and a
review of current research and practice. The students will participate in practical
workshops practicing methods of looming and strip-lining, tear-mending, hand lining
and vacuum-table lining. A studio based session on panel painting treatments will also
be given.
4. Preventive Conservation
Environmental Survey
Throughout the year the group will work together on an environmental survey. In the
first term the chosen site will be visited and a general survey of relevant features
made, sensors installed and photographic documentation initiated. Two further visits to
the site will be made to collect data and gain any additional information. As data is
collected it will be analysed by the students and combined with their observations and
relevant technical and historical information to form a written environmental survey.
In this survey recommendations for preventive conservation are made. Surveys have
included: The Tower and Library at Sissinghurst Castle, Kent and Westminster Abbey
Library.
5. Collections Care
Collections care awareness is developed through participation in surveys of collections
and practical sessions on the handling of paintings. The nature of the activities varies
from year to year, reflecting the opportunities that arise. Some year groups may visit a
collection on a number of occasions and make in-situ condition reports. Supporting
technical and historical information will be gathered and combined with the condition
reports to form a Collections Care Survey. Surveys have included: Sackville-West
Private Collection, Knole, Sevenoaks, Westminster Abbey Library and The Watts
Gallery. In other years students may carry out in-situ house-keeping and treatment of
part of a collection. During the course of the year sessions on handling, loans and
couriering will be given. Where the opportunity arises these sessions will be with
Courtauld Gallery paintings and given by the Courtauld Gallery Paintings Conservator.
Housekeeping activities are undertaken by second year students in the Courtauld
Institute Gallery Collections throughout the year.
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6. Conservation of Modern and Contemporary Works of Art

This theme deals with the conservation issues relevant to a modern and contemporary
collections. It is delivered via lectures, visits and a practical workshop, and includes
topics such as collections care, organic analysis, cleaning, display, transport and
loans.
7. Professional Context
Visits to Conservation Departments and private studios are organised in the third
term in order to develop a broader understanding of the nature and structure of the
profession and the range of practice both current and historical. One member of staff
will accompany the students and ensure discussion of the matters arising.
Typical visits include:
The Conservation Department of the National Gallery London.
Tate, Departments for the Conservation of Paintings, Sculpture and Paper.
V&A/RCA training course for conservators, and the Departments for Conservation of
Paintings, Paper, Textiles and Sculpture.
National Maritime Museum, Conservation of Paintings Department.
Royal Collection Trust, Paintings Conservation Studios, Windsor Park.
Hamilton Kerr Institute, Cambridge.
Cooke and Son, Philip Robinson (long-established commercial firm).
Trevor Cumine (a private conservator specialising in structural treatment of paintings).
Anna Sanden, Ebury Street Studio (independent conservator)
Simon Bobak, Ebury Street Studio (structural conservation)
Phil Young, London (conservation of modern and contemporary works)
Isabel Horovitz, Carol Willoughby and Andrea Gall, London (independent
conservators)
The Study Trip is to a centre of excellence. Recent visits have been to Florence and
Rome, Copenhagen, Amsterdam, New York, Madrid, Lisbon and Vienna.
Visits and the Study Trip develop a broad historical and professional awareness of
conservation practice.
Every third year, the second year students will be responsible for organising the Gerry
Hedley Student Symposium at the Courtauld Institute of Art. The next meeting at the
Courtauld will be in 2014.
35
THIRD YEAR CURRICULUM

The third year curriculum focuses on a research project and on studio based
practice. The research project further develops independent research and critical
assessment of information. Otherwise, the focus of the year is on gaining further
experience of practical conservation of paintings.
The student should gain confidence and flexibility in the application of the theory to
practice and further develop their interpretation of visual evidence of all types.
The practical work requires efficient management of time and resources. Students will
be asked to establish goals and to estimate the time for completion of treatments and
should make contracts with their Personal and Academic Tutor, or another member of
staff, for completion of the work, to facilitate learning this aspect of professional
practice and to achieve the goals set.
Tutor naming a date for the submission of their documentation prior to the summative
assessments which take place at the end of each year.
They will be expected to assemble their documentation of condition and treatment
reports outside studio hours (9.30 a.m. - 5.30 p.m.)
Lectures and seminars on the theme of Professional Context are given in the third
year. The focus varies from year to year.
There will be a Study Trip to a centre of excellence to further develop understanding
of contemporary professional context.
The Research Project is full-time for the first term. There are normally two supervisors
for a project which may be in collaboration with another institution (e.g. a gallery,
university or private conservator). Students are encouraged to pursue their own
research interests and staff will help the student formulate and set-up such a project
where possible. Projects are also suggested by members of staff, and these usually
reflect contemporary conservation research. After a discussion with the academic
tutor, a project proposal is submitted by the student in the third term of the second
year. The project report itself is submitted at the beginning of the second term in the
third year.
Students have the opportunity to present their research at the Gerry Hedley Student
Symposium in June of their third year.
Students are referred to the Project Guidelines for Students for further details.
36

ASSESSMENT AND EXAMINATIONS
There are examinations at the end of each year. Students must pass the examinations
at the end of the First and Second Years in order to progress to the next year. The
Postgraduate Diploma in the Conservation of Easel Paintings is awarded on the basis
of the research project and the examinations at the end of the Third Year. All written
examination papers are approved by the Board of Examiners and double marked.
Examinations, Research Projects and the Diploma are graded Pass or Fail.
The Department seeks to foster a collaborative and non-competitive environment.
There is no continuous assessment and in this way we hope to encourage an attitude
of independent and open-minded enquiry, where there is the freedom to explore
issues that are of individual interest and relevant to contemporary research and
approaches to conservation practice.
All examinations and assessments involve internal and external (to the Department)
markers. The external markers are conservators from academic and public institutions.
There is one overall External Examiner, appointed by the Board of Examiners to
oversee the procedures and standards. The appeals procedure can be found on the
VLE:http://vle.courtauld.ac.uk/file.php/135/Documents/Regulations_for_the_Consideration_of_
Appeals.pdf
FIRST YEAR EXAMINATIONS

1.
Written examination in art history (two hours) or science (three hours)
2.
Open Examination (one week) Conservation General
3.
Viva voce assessment of practical work
1.
The art history examination pass mark is 50%, in line with the Postgraduate
Diploma in the History of Art. Failure leads to a resit in September of the following
academic year. (See p. 46 below for further details).
The science examination pass mark is 50%. A mark of 47-50% leads to
Referral and additional work set, to be completed satisfactorily and handed in one
month after the end of the summer term. A mark of below 47% leads to an examination
resit in September. (See p. 46 below for further details).
2.
Poor performance in the Open Examination is judged to be when the candidate
fails to satisfy the dimensions assessed by the inability to access, order and evaluate
information. This leads to Referral and additional work set, to be completed
satisfactorily and handed in before the beginning of the autumn term. Failure is
assessed when the candidate fails to demonstrate any understanding of the framework
of knowledge that defines the scope of the subject or the fundamental principles, or the
intellectual skills. The Criteria for Assessment in the First Year are detailed in the
following section. Failure will result in the candidate being asked to leave the course if
there is no other evidence to balance against their performance in the examination.
(See p 47 below for further details).
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3.
Practical work, including written and photographic documentation, is assessed
by two internal and one external marker, during a discussion in the studio in front of the
paintings (viva voce).
Students are expected to make a contract with their Personal and Academic Tutor
naming a date for the submission of their documentation prior to the assessments and
the external marker will have familiarised themselves with the students' work in
advance of the viva voce assessment.
The viva voce may, in special circumstances (e.g. the provision of medical evidence),
be undertaken again in September.
(See pp. 48-51 below for further details).
Attention is drawn to the fact that these are qualifying examinations and inadequate
performance normally indicates that the candidate is unlikely to be able to complete
the course satisfactorily.
SECOND YEAR EXAMINATIONS

Practical work, including written and photographic documentation (which must be
submitted at least one week in advance of the examination) is assessed by two
internal and one external marker, during discussion in the studio in front of the
paintings.
The practical work requires efficient management of time and resources, and students
will be expected to make a contract with their Personal and Academic Tutor naming a
date for the submission of their documentation, at least one week prior to the
assessments.
It will not be possible to submit all practical work undertaken over two years for
discussion at the time of the viva voce, but the examiners will be familiar with the range
of work undertaken based on their reading of the documentation and their studio visits
and they will take this into account. (See pp 48-51 below for further details).
In order to progress to the final year, students must achieve a satisfactory performance
at this stage. The viva voce assessment may, in special circumstances (e.g. the
provision of medical evidence), be undertaken again within one month.
38
THIRD YEAR EXAMINATIONS

1.

Unseen painting
Written and photographic documentation to be submitted at least one week in
advance
2.
Research Project
1.
Practical work, including written and photographic documentation (which must
be submitted at least one week in advance of the examination) is assessed by two
internal and two external markers, during discussion in the studio in front of the
paintings.
The practical work requires efficient management of time and resources and students
will be expected to make a contract with their Personal and Academic Tutor naming a
date for the submission of their documentation at least one week prior to the
assessments.
It will not be possible to submit all practical work undertaken for discussion at the time
of the viva, but the examiners will be familiar with the range of work undertaken based
on their reading of the documentation and their studio visits and they will take this into
account. It is essential that at least three complete and finished treatments are
presented for examination; these will normally represent work mainly carried out during
the Third Year. (See pp. 48-51 below for further details).
2.
The Research Project is examined by one internal and one external marker.
(See pp 56-60 below for further details)
The Postgraduate Diploma in the Conservation of Easel Paintings is awarded on

the basis of performance in the end of Third Year assessment and the Research
Project.
Students must achieve a satisfactory standard in both examinations in order to be
awarded the Diploma.
39
CRITERIA USED FOR ASSESSMENT are described under the headings:

Knowledge and understanding
Intellectual skills
Practical skills
OVERVIEW:
Knowledge and Understanding
Progression from year to year is generally from:
Establishing a framework of knowledge in the First Year, to:
Developing its application in the Second Year, to:
Independence and excellence in the Third Year.
Students are expected to have knowledge and understanding of the theoretical,
conceptual, technical foundations of conservation and acquire a broad range of
practical experience that demonstrates the application of that knowledge.
It is important to be able to place this in a contemporary and historical framework.
Intellectual Skills
The single most important intellectual skill is the ability to apply the theoretical
framework of knowledge to conservation practice.
Research skills are at the heart of our approach to teaching and are applied to all
conservation practical work as well as to the Research Project.
Visual intelligence and sensitivity is fundamental to the interpretation of visual evidence
of all kinds and to judgement of the appearance of paintings.
Practical Skills
The aim is safe, informed and reflective practice that is self-directed.
Conservation is an intellectual activity with a practical outcome.
Students should acquire a broad experience of conservation practice through
individual treatments carried out; treatments witnessed first hand in the studio and on
visits outside the Department; in situ survey work.
40
CRITERIA FOR ASSESSMENT IN THE FIRST YEAR
Knowledge and understanding:

Students should demonstrate:
A basic framework of knowledge for understanding and developing the theory
and practice of conservation
Basic factual information about conservation procedures and materials
Some understanding of the variety of methods and approaches
Proper use of technical terminology.
Intellectual skills:
An awareness of, and the beginnings of the ability to integrate, the theoretical
framework of knowledge with conservation practice
An ability to identify problems
Study of history, context, technique of paintings.
Powers of reasoning and organisation of material in presenting an argument
Critical evaluation of evidence.
Research skills are not the main focus of teaching in the First Year, but students
should demonstrate:
Some independence and self-directed research in investigating the paintings that
they are working on and in developing seminar papers
Gathering information synthesised from a wide variety of sources
Use of resources
Visual skills and sensitivity
Ability to interpret visual evidence from paintings
Ability to interpret technical information.
Practical skills:
Students should undertake and complete replicas of historical painting techniques and
one or two treatments of paintings as well as witnessing a variety of treatments in the
Department.
This work should demonstrate:
Core practical skills at a good standard
Clear and comprehensive written and photographic documentation
Ability to carry out technical examination of a painting
Understanding principles of environmental monitoring
Verbal communication skills (with staff and possibly owner/curator)
Safe and appropriate use of materials and equipment
Safe and considerate studio practice
Time management.
41
CRITERIA FOR ASSESSMENT IN THE SECOND YEAR

Development and deepening knowledge and understanding of the theory and
practice of conservation and an appreciation of the diversity of issues that are
presented
Broad knowledge base about the theory and practice of conservation
Critical appreciation of methods and approaches
Ability to place the work in a contemporary and historical professional framework
Intellectual skills:
The experience of practical conservation work of different types provides the
opportunity to develop confidence in the application of the theoretical framework of
knowledge and understanding of conservation practice. Students should demonstrate:
An ability to identify and structure a solution to conservation problems
An understanding of the history, context and values that a painting embodies
An ability to take responsibility for a decision
Open mindedness about the position and argument of others
An understanding of the principles of preventive conservation
An understanding of technical and analytical information and its application
An understanding of professional ethics.
Research skills are developed through seminars and discussion and the ability to apply
this approach to conservation problems is fundamental. Students should demonstrate:
An understanding research methodology
The use of information synthesised from a wide variety of sources
The application of critical judgement to existing material and to own contribution
The ability to structure and defend an argument
The use of resources to research technical, historical and practical issues and
the ability to utilise that information in an integrated way in a treatment
Visual skills and sensitivity
Interpretation of visual evidence of all types
Interpretation of the appearance of a painting and issues associated with its
display.
Practical skills:
Students should undertake a range of self directed conservation treatments in the
Department, and sometimes in situ, and work as a team to complete an environmental
survey. Witnessing a variety of treatments in the studio, during visits and on the Study
Trip is an important aspect of developing practical skills.
Students in the Second Year should demonstrate the skills gained in the First Year and
develop those skills, especially:
A range of practical skills to a good standard
Appropriate use of technical terminology
A good understanding of Health and Safety at Work
Clear and comprehensive written and photographic documentation
42
Skills in analysing painters' materials and techniques

The application of the principles of preventive conservation
Communication skills with a wide range of people (other professionals, curators,
art historians, scientists, owners)
Time management and planning a treatment, especially managing competing
priorities
Self-reliance and the ability to work independently and constructively as a team
member
Safe and appropriate use of equipment and considerate studio practice.
43
CRITERIA FOR ASSESSMENT IN THE THIRD YEAR

A command of the theoretical, conceptual, technical and practical framework of
knowledge, an understanding of the principles of conservation and the ability to
place the work in a broad professional context
An advanced understanding of the theory and practice of conservation as
demonstrated by the resolution of complex problems, decision-making and
planning
An ability to place the work in a contemporary and historical professional context
An holistic approach to conservation applying professional judgement, balancing
risks, utilising resources and taking into account aesthetics, ethics and the
diversity of stakeholders.
Intellectual Skills:
By the end of the year students should be able to demonstrate a confident and flexible
command of the application of the theoretical framework of knowledge to conservation
practice at an advanced level of problem solving and decision-making, including:
An ability to resolve complex conservation problems
An ability to plan a treatment and to take decisions that take into account
technical information, history and technique, and context and values
An ability to bring treatment to resolution.
The Research Project develops research skills to a high standard and this approach
should also find expression in the conservation practical work. Research skills should
include:
An application of skills in planning and undertaking research (methodology)
Critical evaluation of information and evidence
The ability to structure and situate a complex argument effectively and concisely
A knowledge of the relevant literature and methods
Presentation to a professional standard
Contribution to the pool of knowledge in this area
Visual intelligence and sensitivity
Interpretation of visual evidence of all types
Interpretation of the appearance of a painting and issues associated with its
display.
Practical skills:
By the end of the year students should be able to demonstrate a broad range of
practical experience of different types and work that exemplifies advanced skills in the
resolution of complex problems. The emphasis is on self-reliance and the ability to
work independently in a professional situation.
At least three completed treatments should be submitted for assessment that
demonstrate the individuals scope and achievement.
44

A range of practical conservation work of a good standard
Direct experience and observation of a broad range of practical skills
Clear and comprehensive written and photographic documentation that gives an
accurate account of the treatment and decision-making
Ability to plan a treatment, and bring it to a satisfactory resolution
Visual judgement
Complex problem solving skills
Verbal communication skills involving all people with an interest in the treatment
Integrated application of principles of preventive conservation, environmental
monitoring and consideration of issues of display and storage
Ability to analyse materials and techniques and apply that information correctly to
decision-making and treatment
Safe and appropriate use of equipment and considerate studio practice.
45
STUDENT GUIDELINES FOR THE EXAMINATIONS
FIRST YEAR ART HISTORY EXAMINATION:

The time allowed for the Art History examination is two hours.
The examination will include comparisons of images relating to art historical
methodology and knowledge in two selected subject areas (covered in the course).
You should use your candidate number and not your name on the examination answer
book.
The pass mark for the exam is 50%.
FIRST YEAR SCIENCE EXAMINATION

The time allowed for the Science Examination is three hours.
You will be required to answer:
Two questions from a possible four on inorganic chemistry (45% of total marks)
Two questions from a possible four on organic chemistry (45% of total marks)
The question on analytical techniques (10% of total marks)
You should use your candidate number and not your name on the examination answer
book.
You will be provided with a periodic table which gives all the elements and their atomic
number and relative atomic masses.
You can use a calculator during the examination, but you are encouraged to show all
your working in your answer book, as you can be awarded marks for your working
method, even if the final answer is incorrect.
Marks will not be deducted for incorrect answers.
The pass mark for the exam is 50%.
46
FIRST YEAR OPEN EXAMINATION: CONSERVATION GENERAL

You have seven days to write 3 essays (2000 words each, plus or minus 10%).
Use your candidate number and not your name on papers.
A typed script is preferred and a bibliography is required (the bibliography and
footnotes are not included in the word count).
Use proper technical terminology.
You may use your notes and all library resources to develop your answers. You may
also ask tutors for initial guidance on the bibliography if you need to. Tutors are not
able to discuss either content or structure of the essays with you.
You may find it useful to plan a schedule with your colleagues for using library books.
Books may only be taken out overnight and must be available in the Library during
normal working hours (10.00 a.m. to 6.00 p.m.). Second and Third Year students may
not take books out during the week of the Open Examination.
The aspects of your work and development assessed by the written open examination
are:
Understanding of the basic framework of knowledge - basic factual information
about conservation procedures and materials
Ability to apply information synthesised from a wide variety of sources and some
understanding of the variety of methods and approaches
Ability to analyse problems and present a coherent discussion.
You will find the criteria for assessment on page 41, and the aims of the year on pages
22-23 of the Handbook, and you might find it useful to refer to them.
The papers are double marked and graded pass or fail.
The three completed essays should be returned to Student Services 9.30 10.30 am
on the agreed date for submission. You will be issued with an official receipt for your
work and be asked to sign a statement certifying that the essays are all your own work
You are reminded that all work submitted as part of the requirements for any
examination of the University of London must be your own, expressed in your own
words and incorporating your own ideas and judgements. Plagiarism - that is, the
presentation of another person's thoughts or words as though they were your own must be avoided. Direct quotations from the published or unpublished work of others
must always be clearly identified as such by being placed inside quotation marks, and
a full reference to their source must be provided in the proper form. Remember that a
series of short quotations from several different sources, if not clearly identified as
such, constitutes plagiarism just as much as does a single unacknowledged long
quotation from a single source. Equally, if you summarise another person's ideas or
judgements, you must refer to that person in your text, and include the work referred to
in your bibliography. Failure to observe these rules may result in an allegation of
cheating. You should therefore consult your tutor or course director if you are in any
doubt about what is permissible. In addition, plagiarism is a breach of trust between
students. You, therefore, have a role in policing plagiarism by creating a culture in
which plagiarism is not tolerated and in the last resort by informing a member of staff.
47
PROCEDURE FOR THE VIVA VOCE ASSESSMENT OF PRACTICAL

CONSERVATION WORK
The viva voce assessment is the most important examination in all three years of the
Postgraduate Diploma course and a student cannot proceed to the next year or be
awarded the Diploma if they do not pass this examination.
The viva voce assessment in the First and Second years is a thirty minute
discussion of work carried out during the year, in the presence of the paintings and full
written and photographic documentation. One painting will be discussed and a second
painting introduced.
The viva voce assessment in the Third Year is a forty five minute discussion of work
and Third Year students must submit three completed treatments of paintings,
normally work mainly carried out during the final year. Occasionally a treatment
may be too extensive to be completed within the year and in that case the student
should identify and complete a clearly defined stage of the treatment. This must be
formally discussed and agreed with their Personal and Academic Tutor during the
Spring Term, and they will formally record this agreement.
In the First and Second Years there will be a panel of two internal markers and one
external marker; in the Third Year there will be two internal and two external markers.
Normally one external marker and two internal markers will follow a year group for the
three years of the course.
During the assessment the student will present his/her work and may be questioned
on any aspect of it, including the documentation of paintings not being presented.
Although students will have prepared an account of their treatment they should avoid
reading it out and expect to be interrupted and to be questioned either on details or
general issues arising, and to be able to recover the narrative. The examiners will try to
keep strictly to time, but there will sometimes be circumstances when more extensive
discussion is required; students should not take this as either a positive or negative
indicator.
Written and photographic documentation should be complete. Students will be
expected to assemble their documentation of condition and treatment reports outside
the studio hours of 9.30 a.m. - 5.30 p.m. For first years, Documentation is submitted
and made available to the examiners on the day before the viva voce takes place. For
second and third years, Documentation is submitted and made available to be read by
the examiners one week before the viva voce takes place. In all years Documentation
must be submitted to the Personal and Academic Tutor by arrangement, but at least
one week in advance of the deadline for submission to the examiners. Written and
photographic documentation is a fundamental aspect of any treatment and will be
evaluated by examiners as part of the practical work.
Unseen Painting - in the Third Year viva voce assessment students will be asked to
assess and discuss the problems presented by an "unseen" painting. Ten minutes is
allowed for the examination, assessment and discussion of the painting. You will be
asked to examine the painting, offer some identification of it and to classify the
problems it presents, offering broad treatment options. You should also identify the
appropriate considerations for storage or display and areas where you feel you need to
know more in order to make a decision.
48
The "unseen" painting aims to test a fundamental professional skill and the ability to
think on your feet. While you are looking at the painting it may be useful to talk/think
through the structure of one of the standard examination forms. Do make good use of
lights, feel free to move the painting, read any labels on the back and generally behave
normally. The examiners will not have examined the painting in any detail prior to the
assessment.
Prior to assessment day there will be opportunities to practice the examination of an
"unseen" painting, but it is also important that you do not divorce this aspect of the
examination from everyday experience. During an in situ survey or when you receive a
new painting for treatment you will be putting into practice the same skills and
experience as you are required to demonstrate at the viva voce.
At the end of the viva voce the examiners will discuss their assessment of the
students work based on:
The students discussion of their work
The quality of work demonstrated in the paintings submitted
The documentation, written and photographic
Any additional background research (technical, scientific, historical)
Additional information about the students progress during the academic year (if
appropriate)
A student will be assessed as having passed the examination if he/she is able to meet
the criteria for each year and to fail if he/she is found unable to meet these
requirements.
Students are reminded that the criteria they are required to satisfy are clearly
identified on pages 40-45 of the Handbook.
49
SCHEDULE FOR VIVA VOCE ASSESSMENT OF

PRACTICAL CONSERVATION WORK
First and Second Years:

Approximately 30 minutes is allowed for the candidate to discuss their work with the
examiners.
10 minutes
Presentation of one treatment
5 minutes
To introduce one other treatment
10-15 minutes
Questions from the examiners and discussion.
The examiners will all have read your documentation for all the paintings you have
treated and may ask you about any aspect of it. All paintings being treated should be
present at the assessment.
The examiners will spend further time, apart from the 30 minute period, looking at the
quality of your practical work as demonstrated by the treatments you submit.
You are assessed according to the criteria described on pages 40-43 of the Handbook.
Third Year:
45 minutes is allowed for the candidate to discuss their work with the examiners.
10 minutes
Presentation of one treatment
10 minutes
To introduce two treatments
15 minutes
Discussion
10 minutes
Unseen Painting
The examiners will all have read your documentation for all the paintings you have
worked on and may ask you about any aspect of it.
The examiners will spend further time, apart from the 45 minute period, looking at the
quality of your practical work as demonstrated by the three treatments you submit.
You are assessed according to the criteria described on pages 40-45 of the Handbook.
50
VIVA VOCE EXAMINATION

QUESTIONS TO BE DEALT WITH BY THE EXAMINERS
The aim of the viva voce assessment of practical work (including written and
photographic documentation) is to establish whether or not the student has attained
the standards in the Criteria for Assessment for that year of study which are described
on pages 40-45 of the Handbook.
The diversity of work presented does not allow for standardised questioning.
Examiners should satisfy themselves that all aspects of the work have been fully
considered, that the issues and procedures discussed are clearly presented and that
the student has learnt from the treatment. The examiners should also satisfy
themselves that the appropriate standard of practical and visual skills have been
demonstrated.
Questions to be covered by the examiners include:
What were the objectives of your treatment/intervention?
What were the key issues that you had to address?
Questions arising from the treatment report:
Clarification of factual information.
Clarification of decision-making processes.
Background research (historical, technical, analytical).
Preventive conservation implications.
Ethical issues.
How would you evaluate the success of your treatment/intervention?
What might you have done differently?
What alternatives did you consider?
Is there anything you want to add to your report?
What did you learn from the treatment/intervention?
51

WRITTEN AND PHOTOGRAPHIC DOCUMENTATION
STUDENT GUIDELINES AND INSTRUCTIONS
WRITTEN AND PHOTOGRAPHIC DOCUMENTATION IS AN INTEGRAL ASPECT
OF ANY CONSERVATION TREATMENT AND IS ASSESSED AT THE END OF THE
YEAR.
Before you hand in your completed documentation you should ask your personal tutor
to read a draft and then revise it if necessary, taking into account any comments or
corrections. You should leave time for this: where possible, complete documentation
and ask your tutor to read it through as you go along rather than leaving it until the end
of the year. But, at the latest, documentation must be handed in to your personal
tutor AT LEAST a week before the documentation deadline. Photographs must be
included in the draft versions of the reports handed in to tutors, and should be checked
well before this.
You should include with the documentation all material relating to the painting:
Title page identifying the painting: title, artist, date, owner, size, media,
conservator, date of treatment etc.
Contents page
List of illustrations including figure/plate numbers, captions, and page numbers.
Initial Condition and Structure report of the painting, including photographic
documentation of the painting before any treatment was undertaken, leading to a
succinct summary of the condition prior to treatment and a treatment proposal.
Materials and Techniques and Historical Context of the painting
Holistic description of the materials and techniques used for the work with reference to
technical evidence compiled and listed in the appendices. This might include evidence
from technical photography, analysis and other source material.
Treatment Report
Narrative and discursive description of the conservation treatment, including a clear
and accurate account of treatment rationale and work undertaken, black and white
photography of the painting at key stages, and reference to illustrative digital images
where necessary.
Future Recommendations for the display, storage, and care of the work
Appendices
Analytical/scientific data, including a record of sample sites (marked on a photo),
description, photographs and interpretation of any cross-sections, SEM-EDX results,
organic analysis, examination techniques etc
References and source material for e.g. historical information, comparative images,
provenance
52
Labels or anything else removed from the painting.

A table of materials used including technical data,
List of COSHH Assessment forms relating to the treatment.
Correspondence relating to the painting and its treatment.
Details of any special purchases, including Purchase Order numbers.
It is very important that all photographs and digital images to be included are
present, clearly identified and of good quality.
All photographic documentation present should be listed in the contents page. In
publishing, the term Plate is used for images that are not incorporated into the text,
but printed separately. We interpret this in the department by listing those photographs
on photographic paper (i.e. Black and White) as Plates, whereas those images
existing in digital form (and therefore included on the CD Rom version) are listed as
Figures. Any line drawing or graph (e.g. EDX results) are also described as Figures.
Normally two hard copies of a report are required (one to file here and one for the
owner) plus one copy on CD Rom complete with digital images. The documentation for
owners will not usually include a CD, but please check in individual cases. Exceptions
include The National Trust for whom we provide the documentation on CD rather than
hard copy, with the black and white photographs provided separately, and The
Courtauld Gallery for whom no second hard copy of the report is required.
Prior to your viva voce assessments at the end of the year, your documentation will be
handed in to Sue Lawry in the Registry and made available to the examiners. It is an
integral component of the end of year assessment. Documentation must be submitted
on all paintings worked on, even if the treatment has not yet been completed, or if the
painting has been returned to its owner.
No examination or treatment report will be considered complete UNLESS it is
submitted together with all its negatives, x-radiographs and CD Rom.
You are responsible for all your negatives and documentation up to the moment that
you hand in your final report. Whenever a treatment is complete the Departmental
copy of the documentation should be given in to be filed. It will not be returned to you,
but will be retained in the departmental archive.
Black and White Photography
As a minimum, black and white photographs should be taken Before Treatment, After
Cleaning & Before Retouching and After Treatment. Where relevant, photographs in
UV light should be included.
Negatives
Negatives should be filed as set out below, and handed in with your documentation.
They should correspond to your list of photographs in your report.
53
Negatives are stored in glassine pockets. On the front, you should fill in:
Painting number
Negative type (e.g. verso/recto, ordinary light)
Stage (e.g. Before treatment, or After varnish removal)
Your Initials
Date
Aperture (number) and exposure time
Printing details can also be added on the glassine pockets.
The filled glassine pockets should be placed in archival envelopes. Please use
separate envelopes for negatives taken in:
Ordinary light (in which case the envelope should be marked OAT),
UV Fluorescent light (FAT),
Infra-Red light (RAT),
and X-rays (XAT).
The Painting Number, Title, Artist and Owner in that order, should be put on the
outside of the envelope.
The negatives enclosed in each envelope should be listed on the outside, using lower
case letters to identify them (e.g. (a) Before treatment, recto)
A unique code can now be added for each negative in the top right hand corner of
each glassine pocket. This consists of the lighting code (OAT, FAT etc), painting
number, and the lower case letter.
Thus OAT 1755 (a) = painting no. 1755, taken in ordinary light, negative (a).
The envelopes should be left at the back of your conservation report.
X-radiographs
X-radiograph plates go into large brown envelopes, available on top of the X-ray filing
cabinets. On the top right hand corner of the envelope you should write the Painting
Number, Title, Artist and Owner in that order, and the date, exposure, and number of
plates.
Please remove every trace of self-adhesive tape from x-radiographs before finally
putting them away.
Normally x-radiographs should be photographed (b/w 5x4), or scanned. The test plate
should be filed with documentation remaining at the Courtauld Institute of Art.
Digital Images
Colour digital images should be of good resolution and colour corrected.
For documentation, save the images as JPEG format at 300 dpi. You may want to
save images at higher resolution (up to 720 dpi) and in TIFF format separately for
future use in presentations, publications or when you feel it is particularly useful and
relevant to the treatment. However, this is not necessary as the record of the painting
is the black and white (5 x 4) photograph.
54
Digital photography may be used for recording close up details of the work (in this case
use the dedicated departmental high resolution cameras only), on-site work, and
photography of treatments in progress. The digital images DO NOT take the place of
5 x 4 B&W for key stages of the treatment. All digital images should be colour
corrected (i.e. it should be the same colour as the real object). All digital images should
be in focus. Refer to the latest departmental Photographic and Imaging Handbook for
help with photography.
In each hard copy of a report, a maximum of ten sides of A4 of colour digital images is
suggested. Your IT account will be credited with enough money for 20 A4 pages of
colour printing per painting to cover the cost of colour printing for the CIA and owners
copies. Additional colour digital images should not be necessary, and can only be
included at your own cost. Do not embed images in the text. If you encounter a
problem then go to the IT department for help (to log a request follow links for the IT
helpdesk on the VLE).
CD Rom
The conservation report should be in Microsoft Word format. The CD Rom version of
the documentation should include all text and digital images (figures). One Read Only
CD Rom will be provided for each painting.
As well as a folder for the report itself, all images included in the report should
additionally be saved (as JPEGS and TIFFS only when relevant) to a separate
folder on the CD Rom (and labelled with the CIA number, captions, and Figure
numbers, corresponding to the report). This is so that the images can be easily
accessed in the future.
Additional images, including those of scanned photographs, may be included as a
separate folder on the CD Rom, named 'Additional images', with a word document
listing the images with captions.
Both the CD Rom and the protecting cover should be clearly labelled with the Painting
Number, Title, Artist, Name of student and Date
55

FINAL YEAR RESEARCH PROJECT
STUDENT GUIDELINES AND INSTRUCTIONS
GUIDELINES:
1.
Introduction
The research project is an important part of the Postgraduate Diploma course and a
student must pass the assessment of their project in order to be awarded the Diploma.
The project is carried out in the first term (Michaelmas) of the final year and should
occupy substantially all of the students time in this period: the time allocated to the
project is thus 10 weeks. The student will have an internal supervisor, and sometimes
also an external supervisor if the project is undertaken with the collaboration of another
institution.
A typed written report on the project, of 10,000 words plus or minus 10%, must be
submitted by the deadline in the first week of the Spring term. Any material submitted
after this date will not be considered for assessment.
2.
Aims and Objectives
The research project has several aims. It is intended to:

Develop the students understanding of and skills in research methodology.
Add to the general body of knowledge in the subject.
Give the student personally a deep insight into a specific subject.
Develop his/her skills in the written communication of information and ideas
through presentation of the project report.
Generate, where possible, new information or ideas. The production of new
material is not an absolute requirement of the research project, although it is
very much encouraged. Projects can be based on the collation and critical
assessment of extant material, but in such cases a minimum expectation
would be that the student demonstrates a new, independent critical
assessment of that material.
These aims may be realised by the achievement of some specific objectives:
Identification of a specific subject for investigation; establishing the scope of
the project.
Developing a research plan to address the subject, taking into account
available resources and external constraints.
Identifying and assessing existing published (or other) discussions and
information on the subject.
Application of an appropriate research methodology (involving evaluation,
observation and/or experimentation) to investigate the issues raised in the
research plan; monitoring and adapting the plan as necessary.
Assessing the results of the investigation stage of the project, and drawing
appropriate conclusions.
Completion of a satisfactory report/dissertation.
56
These aims and objectives should be seen as forming the basis of both the
undertaking and assessment of the project; successful completion of the project would
be through demonstrated achievement of the aims and objectives.
3.
Supervision of Projects:
The role of the supervisor (internal) of the project is as follows:

To meet the student regularly (normally once a week) to monitor progress.
To facilitate planning of the work by providing the appropriate professional
liaisons and resources.
To monitor progress of written work.
The supervisor should be able to comment on a draft of the project before the end of
the Michaelmas term.
4.
Assessment of Projects:
The project should be considered satisfactory and worthy of a pass if it has achieved
the aims stated above. More specifically, the student should have demonstrated most
of the following:
The ability to identify a research issue and to plan a research scheme to
address that issue, and the understanding of the relevance of the subject in
the context of a wider field of knowledge.
The formation of a deep knowledge in the subject
The ability to locate relevant reference material, to understand and assess
critically that material.
Logical, independent and creative thought.
Ability in generating, recording and interpreting information and/or ideas by
research.
Ability to draw convincing and appropriate conclusions from the research
results.
Ability to report the research investigation, results and conclusions clearly,
and concisely.
Examiners should consider also aspects of style and presentation; issues such as
organisation, accessibility, clarity, conciseness, use of figures, diagrams, or other
visual materials, etc. If these aspects are not satisfactory the project may be referred
back to the student for correction.
5.
Results
The project will be read and evaluated pass or fail by the supervisor (internal
marker) and by an external marker.
The external marker is asked to return their report and the project by 28th
February. After that the supervisor will provide verbal feedback and, with the
agreement of the external marker, a copy of their written report. The student
should arrange a feedback session with their supervisor within one month of
the return of the project.
The supervisor will advise the student as to whether they and the external
marker have recommended a pass or a fail for the project, or whether the
project is likely to be referred, but the final result is subject to ratification by
57
the Courtauld Institute of Art's Board of Examiners which will meet at the end
of June.
The final examination results will be formally posted on the Institute's
general notice board.
6. Amendments
If a project report contains a significant number of errors, misprints, etc. it will be
returned to the student who will be required to make amendments to their project
within one month of the date of the final Examiners Meeting (please note that such
students will have an asterisk next to their name on the Pass List). Students planning
to leave London at the finish of their studies should be aware of this possibility, and
should leave an address and telephone/fax number and e-mail address where they
can be contacted at the beginning of July.
INSTRUCTIONS FOR COMPLETING THE RESEARCH PROJECT

1.
Submission Procedure
Your Project must be handed in before the end of the day on the deadline (in the first
week of the Spring Term) to Student Services. Please check the Student Services
opening times.
2.
Length
The length of the project shall be 10,000 words, plus or minus 10%, excluding
footnotes, appendices and bibliography. Projects substantially shorter than this limit
may be penalised. In the case of a dissertation exceeding this limit, you will be asked
to rewrite it in order to reduce the word count.
3.
Number of Copies
One hard copy and one CD of your Research Project should be handed in on the
submission date. These will be retained by the Courtauld Institute of Art and will be
stored in the Department of Conservation and Technology Library. Further hard copies
or copies on CD may also be requested by External Supervisors or by any outside
institution which has cooperated with your research project. Should this be the case,
printing facilities or CDs will be supplied by the Department.
4.
Some Advice on Word-processing, Computing and Printing Arrangements

Ensure that you allow enough time for the final stages. Candidates in the past
have either failed to make the deadline or failed to do justice to their research,
by not allowing enough time for final preparation, production, checking and
printing of typescripts.
Please bear in mind that, as indicated below, a project containing a significant
number of errors will be returned to the student for correction (see
'Amendments' in the Guidelines section of this document).
58
Please ensure that you allow enough time to print and collate the contents of
the project, bearing in mind that extensions CANNOT be allowed for
computing/printing problems.
It is especially important not to assume that word-processing agencies will
meet deadlines of only a few days, even when promises are given, since
particularly difficult problems have been caused in this way in the past.
If you are planning to work on one of the computers in the Courtauld Institute
IT Centre you will be able to ask for help and advice there. If you are intending
to print your project report there and will be using software other than
Microsoft Word you are advised to check with IT staff about compatibility
issues well in advance of the deadline date.
5.
Digital Images
Colour digital images should be of good resolution and colour corrected.

The Kodak digital microscope camera is dedicated to taking images of cross-sections.
The Nikon digital camera is for on-site photography and general use. It gives good
results for details (close-ups) and photography of treatments in progress.
Scanned digital images of 35mm slides and scanned photographs are usually of lower
resolution, but they may be included where appropriate.
A maximum of ten sides of A4 of colour digital images may be included in the report for
the Institute. Your IT account will be credited for this. Students should consult the IT
department for support and advice on printing. Additional colour digital images should
not be necessary, and can only be included at your own cost.
6.
Format
The project report should be word-processed (or typewritten), double-spaced

on A4 paper using one side of the sheet only. There should be a margin of
1.25 inches at the left-hand side.
A coversheet at the beginning of the project report should state
'Postgraduate Diploma in the Conservation of Easel Paintings Final Year
Project', the title, your candidate number and the year of submission.
All project reports must be preceded by a short abstract. The abstract may
be used for publication and the format of the abstract should be as follows:
a)
Title of the thesis or dissertation.
b)
The words: "Postgraduate Diploma in the Conservation of
Easel Paintings (dissertation), Courtauld Institute of Art with
the Date
c)
The name(s) of your supervisor(s)
d)
Publication foreseen/publication not foreseen
e)
A short summary of the contents, not to exceed 120 words or
6-10 printed lines. (N.B. expressions such as "This paper
deals with ..." or "In this thesis... is discussed" should be
avoided.
f)
5-8 keywords
Consistency in the preparation of all aspects of typescripts is required, and
candidates should follow a style-guide such as that of Studies in
Conservation. Consult your supervisor for advice.
59
A separate bibliography of books and articles referred to in the text is

required; items that are peripheral to the main theme of the thesis may be
mentioned only in footnotes and should be used sparingly.
Accuracy, completeness and consistency of bibliographical references and
annotation are aspects of competence to which examiners attach great
importance.
Your project should be submitted in a black ring binder of the appropriate
size. Illustrations should be mounted and/or inside plastic pockets. They must
be clearly captioned following a format such as The Conservator or Studies in
Conservation.
A copy of your project on CD-ROM is also required. One Read Only CD Rom will
be provided for this purpose. Both the CD and the protecting cover should be clearly
labelled. DVDs are not accepted for the examined project.
The CD Rom version should contain two folders:
1. There should be one named folder for the main documentation. This should
be in PDF format and include:
All the text, together with any embedded digital images (figures)
Non-embedded images referred to in the printed version of the
document, in jpeg format at a resolution of 300dpi.
An index in Word format listing all images, including those not included
in the printed version of the document.
A 150 word abstract in Word format as a separate file.
2. Images not embedded in or referred to in the printed version of the
document should be placed in a second folder named Additional Images.
These images should be saved in jpeg format at a resolution of 300dpi.
You may provide an additional CD or DVD of images at higher resolutions in tiff format.
However, this will not be used as part of your assessment.
7. Plagiarism
You are reminded that all work submitted as part of the requirements for any
examination of the University of London must be your own, expressed in your own
words and incorporating your own ideas and judgements. Plagiarism - that is, the
presentation of another person's thoughts or words as though they were your own must be avoided. Direct quotations from the published or unpublished work of others
must always be clearly identified as such by being placed inside quotation marks, and
a full reference to their source must be provided in the proper form. Remember that a
series of short quotations from several different sources, if not clearly identified as
such, constitutes plagiarism just as much as does a single unacknowledged long
quotation from a single source. Equally, if you summarise another person's ideas or
judgements, you must refer to that person in your text, and include the work referred to
in your bibliography. Failure to observe these rules may result in an allegation of
cheating. You should therefore consult your tutor or course director if you are in any
doubt about what is permissible.
In addition, plagiarism is a breach of trust between students. You, therefore, have a
role in policing plagiarism by creating a culture in which plagiarism is not tolerated and
in the last resort by informing a member of staff.
60

FEED-BACK: THE FORMAL STRUCTURE
Practical Work:
1.
Regular Rounds
Twice weekly, these are an opportunity to monitor progress on individual treatments
and to guide practice. In addition there can be some feedback, when appropriate, in
these discussions, with staff-generated observations on the standard and level of
achievement, within the expected criteria for a particular stage in a course year. (see
page 62)
2.
Staff accessible at all times.
Emphasis is put on the accessibility of staff wherever and whenever assistance,
support or guidance is required, throughout the course. This is fundamental to the
teaching strategy and a core element in student support and feedback in addition to
the structured opportunities and mechanisms.
3.
Personal and academic tutors.
Each student in the Department is assigned a Personal and Academic Tutor with
whom you can discuss any issues personal, academic or practical, in confidence. The
Personal and Academic Tutors will meet you once a term to see how things are going,
but you should feel free to approach your Personal Tutor at any time if you have
anything that is troubling you. Personal and Academic Tutors can provide comments
on your development if needed and would normally be the first person to consult about
vacation work or references. Your tutor will discuss with you the written feedback that
is provided after seminars and 'Work in Progress' meetings, and will review your
written and photographic documentation before it is handed in for the end of year
assessment. Written feedback is provided for documentation that is submitted before
the end of year.
4.
Work in Progress Meetings.
These meetings ensure that everyone in the Department is aware of the nature and
progress of paintings being treated and provide an opportunity to discuss with staff and
students the issues arising. You are encouraged to use the opportunity of the Work in
Progress meeting in the way that is most useful to you. Work in Progress meetings
also provide an additional opportunity to monitor development and provide informal
evaluation of progress. Staff comments will be recorded on the form "Criteria for
Monitoring Progress" and will be discussed with you individually by your Personal and
Academic Tutor. This is not in any sense a formal continuous assessment procedure.
(see page 63)
5.
Year review.
After assessments, each student is given written evaluation of performance
summarising examiners' comments. There is a meeting at which all members of the
staff are present to provide comment on any aspects and afford the opportunity of
open, fair and constructive discussion.
61
6.
Evaluation forms.
At the introductory sessions at the beginning of the year, students are informed of the
extrapolated data from the evaluation forms that they have filled in, any action taken,
and the reasoning if action is deferred or the status quo is retained.
Written work
1.
Seminars:
Seminar presentations are discussed on the day and written comment is provided as
long as the written text is handed in promptly following the meeting.
2.
Research Projects:
There are regular weekly meetings with supervisor(s) for guidance and comment
during the project term. Initial, but informal comment and feedback is provided by the
internal marker (supervisor) soon after submission, but formal and complete feed-back
cannot be provided until receipt of the external markers report. The guidelines to
external markers include the request for such reports to be provided by the end of
February.
3.
Written and Photographic Documentation:
Students should submit a draft of their Examination and Treatment Reports and
Documentation to their Personal and Academic Tutor, on completion of that
treatment, for assessment and guidance. This should be done in time to consider and
make revisions before final submission for assessment at the end of the year.
Students will be expected to make a contract with their Personal and Academic Tutor
naming a date for the submission of their documentation and to assemble their
documentation of condition and treatment reports outside the studio hours of 9.30 a.m.
- 5.30 p.m.
Written and photographic documentation is examined at the end of the year by internal
and external examiners.
62
REGULAR ROUNDS
Regular Rounds are an important element of the teaching strategy and serve, in
an informal way, a number of functions.
On two mornings of every week, when practical work is in progress, members of staff
assemble and circulate in the studio, and discuss with individuals the painting or
paintings under treatment.
This ensures that the staff are all aware of the state of progress of that treatment and
of the nature of the problems to be addressed. It allows for an informal discussion, the
content and direction of which will be suggested by the nature of the current issues
and the degree of experience of the student.
In the first year, it provides an opportunity for discursive guidance, and an introduction
to the diagnostic and prognostic processes that might govern an informed approach to
the treatment, and the selection and application of appropriate materials.
It is also an opportunity for the student to express uncertainties or concerns, and to
make an appointment to address more fully and directly the particular problem
encountered.
In the second and third years, the student is, increasingly, expected to develop
independent treatment proposals and strategies, but still within a discursive format,
and all, of course, with the supportive and re-assuring elements experienced in the
First Year.
There is also an element of continuous oral feedback in the form of re-assurance
and encouragement. This is, in itself, positive. Your Personal and Academic Tutor is
always available if you need further or particular support. It is important that you feel
free to seek out a member of staff at any time that you feel you need advice,
instruction or guidance. If a Regular Round leaves you feeling uncertain then do not
hesitate to ask for further discussion.
63
WORK IN PROGRESS MEETINGS

The regular Work in Progress meetings are an opportunity to monitor progress and to
develop communication skills. Your Personal and Academic Tutor discusses this in
detail with you and gives written feedback following the meeting. The meetings are
also an important way in which members of the Department can share their
experiences with each other, and interaction and discussion is encouraged. By the end
of the course you should have developed a broad range of knowledge about different
types of conservation work and be able to apply your knowledge and understanding to
different conservation situations and problems. Your own practical work cannot
possibly cover every eventuality or method, but the Department is an unusually large
and busy studio where there is the opportunity to witness and discuss up to thirty
treatments at any time. This is an exceptional learning resource. In general it is up to
you to benefit from this environment as much as possible, but the Work in Progress
meetings are one way in which we try to encourage and formalise this interaction.
First Year Work in Progress
The First Year meeting is restricted to staff members and Second and Third Year
students are not asked to attend.
Second and Third Year Work in Progress
The Second and Third Year Work in Progress meetings are addressed to the entire
Department.
Note:
Students presenting their Work in Progress should aim to speak for no longer than 20
minutes.
64

CRITERIA FOR MONITORING DEVELOPMENT DURING THE COURSE
AND AT WORK IN PROGRESS MEETINGS
Name :
Year:
Paintings Presented:
Knowledge and Understanding

Framework of knowledge about
materials, practice and Ethics
Technical examination/Analysis
Environmental control
P Practical Skills
Quality and standard of practical work
Visual skills
Application of theory to practice
Independence/self reliance/ decision
making
Management of time and
resources/planning
C Communication
Photography and documentation
Verbal presentation
Intellectual Skills
Independent research skills
Critical judgement, insight, new ideas
Ability to synthesise information
Understanding of the context of
the painting and the values it embodies
P.T.O.
65
Date:
Particular strengths
Areas that need attention
This is a list of areas within which we expect you to develop. It is not a system
of marking, but it is intended to strengthen our ability to assess your work and
your awareness of that assessment. It may be referred to at the end of the year
when your work is reviewed. You are responsible for discussing any aspects
that you are uncertain about or disagree with your Personal and Academic
Tutor. Feedback is a two-way process.
Please fill in the box below to let us know your own comments and to draw our
attention to any specific needs you may have.
Student Comments
Signed:
Date:
66

FEEDBACK ON SEMINARS
The aim of the seminars is to develop your knowledge and critical understanding of
topics introduced during the first year of the course.
Name :
Date:
Subject:
Research
Breadth and initiative.
Choice, range and relevance of material
to substantiate argument.
Originality.
Factual accuracy.
Critical skills
Identification of problem.
Critical use of evidence
in formulating an argument.
Scientific method;
development of independent position.
Critical visual skills;
development of independent observations.
Relationship between theory and practice
P.T.O.
67
Argument
Grasp of issues.
Focus and clarity.
Originality.
Presentation
Demonstration or practical
examples.
Verbal or written presentation
(where appropriate
illustrations, bibliography, citations).
Organisation.
Use of resources
General Comments by Personal and Academic Tutor:

(What is good and ways in which work could be improved).
This feedback form is not a system of marking, but it is intended to strengthen our
ability to informally evaluate your work and your awareness of that evaluation. It may
be referred to at the end of the year, when your work is reviewed.
You are responsible for discussing any aspects that you are uncertain about or
disagree with your Tutor. Feedback is a two-way process.
68

FEEDBACK ON WRITTEN AND PHOTOGRAPHIC
DOCUMENTATION
Name :
Year:
Date:
Painting Treated:
Account of Examination of painting and its

current condition.
Context for understanding the painting
(history, technique, function, environment,
display, past treatment).
Discussion with owner, curator, art historian,
others.
Identification of Problems and Research

leading to diagnosis.
Record of Treatment
Description of methods
Record of materials
Critical report of arguments leading to decisions
Analysis and Technical Examination
Preventive Conservation and

Recommendations
for future care (environment, framing, display).
P.T.O.
69
Photographic Record
(Black and white/digital)
Health and Safety
General Presentation of Document
Submission of CIA/Owner's copies
General Comments by Personal and Academic Tutor:

(Standard of practical work, research, communication skills, good practice).
Student's Comments:
Signed:
Dated:
This feedback form is not a system of marking, but it is intended to strengthen our
ability to assess your work and your awareness of that assessment. It may be referred
to at the end of the year, when your work is reviewed. You are responsible for
discussing any aspects that you are uncertain about or disagree with your Tutor.
Feedback is a two-way process.
70
EVALUATION FORMS
An example of the First Year Course Evaluation Form is given overleaf.

Course evaluation forms are distributed at the beginning of the Spring term and at the
end of the academic year, following the Year Review meeting with the staff, and should
be returned on the same day to Maureen Cross.
We take your comments seriously and at the beginning of the new academic year we
will discuss with you any changes that we have decided to make, or explain why we
have not responded as requested.
These anonymous forms are not your only opportunity to evaluate the course.
When we review the year with you at the end of the summer term, you will be asked in
person if you want to make any comments. You can also talk to your Personal and
Academic tutor, at the regular termly meeting or at any other time.
If something is troubling you, you really must talk to your personal tutor and not just
allow the issues to remain unaddressed all term, or even all year; guidance and/or
support is genuinely available at all times.
71
COURTAULD INSTITUTE OF ART

DEPARTMENT OF CONSERVATION AND TECHNOLOGY
COURSE EVALUATION FORM
This form is intended to provide a mechanism for constructive, critical assessment of your course.
You are requested to complete the form by marking the boxes corresponding to your view of the various
questions below. You are also encouraged to comment as freely as you wish on specific positive and
negative aspects of the course, although you may find some sections of the form are not relevant until the
end of the academic year. The observations on the course will be reviewed by the staff of the
Department of Conservation and Technology with the intention of improving course structure and
content in subsequent years, and positive feedback on the evaluation will be given at the beginning of
each academic year. It should be stressed that the comments on the evaluation forms will not influence
student assessment, but if you wish to retain your anonimity, rather than returning your completed form
by email, you should print it off and leave it in the folder on the Department Office door.
FIRST YEAR:
ACADEMIC YEAR ...........................
(A) OVERALL COURSE:

(Please put a cross in the relevant
box)
Do you think you gained a clear
impression of the aims of the course?
clear
unclear
Were these aims achieved?
yes
no
How well do you think the course was

structured?
very well
poorly
How well did the theoretical aspects

relate to the practical work?
very well
poorly
How did you find the balance of the

various aspects of the first year
programme?
coherent
incoherent
How did you find the level of

classes/seminars?
stimulating
routine
How did you find the overall

workload?
too much
too little
Please feel free to elaborate here on any of the above points or to make any general comments or
observations on the course as a whole, particularly with regard to any areas which were especially good
or which could do with reconsideration.
Particularly good aspects of the course:
Aspects that you felt were not so satisfactory:
72
(B) CONSERVATION THEORY
(Please put a cross in the relevant box)
Were the lectures useful?
yes
no
Were the lectures stimulating/challenging?
yes
no
Did the lectures, seminars function well?
yes
no
How would you rate the quality of

presentation?
good
poor
Was the guidance on reading satisfactory?
yes
no
What is your view of the content of the course?

Please elaborate below if you felt that certain important material was not covered, or that some material
was of peripheral significance.
WRITTEN WORK
(Please put a cross in the relevant box)
What is your view of the workload of written

assignments?
too much
too little
yes
no
yes
no
Was the reference material readily available?
Did you feel you got appropriate feedback?
Particularly good aspects of the course:
Aspects that you felt were not so satisfactory:
73
(C) PRACTICAL CONSERVATION (Please put a cross in the relevant box)

Were the practical projects assigned to you
stimulating/challenging?
yes
no
Was the supervision adequate?
yes
no
Was the training in skills adequate?
yes
no
Do you feel you had adequate feedback?
yes
no
Were the facilities and resources adequate?
yes
no
Any comments or observations?
(D) SCIENCE (For Arts students) (Please put a cross in the relevant box)
How did you find the

seminars/lectures?
Did the lectures/seminars function

well?
stimulating
routine
yes
no
good
poor
yes
no
too much
too little

presentation?
Was the guidance on reading
satisfactory?
How did you find the overall

workload?
What is your view of the content and scope of the course?
Please elaborate below if you felt that certain important material was not covered, or that some material
was of peripheral significance.
74
(E) ART HISTORY (if applicable) (Please put a cross in the relevant box)
Were the lectures useful?
yes
no
How did you find the level of

classes/seminars/lectures?
stimulating
routine
Did the lectures/seminars/back-up classes

function well?
yes
no

presentation?
very good
poor
Was the guidance on reading satisfactory?
yes
no
How did you find the overall workload?
too much
too little
What is your view of the content and scope of the course?

Please elaborate below if you felt that certain important material was not covered, or that some material was
of peripheral significance.
75

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COURTAULD INSTITUTE OF ART

POSTGRADUATE DIPLOMA IN THE CONSERVATION OF

POSTGRADUATE DIPLOMA IN THE CONSERVATION OF EASEL PAINTINGS

Computers and IT provision

2. Introduction to the Postgraduate Diploma in the Conservation of Easel Paintings

4. Assessment and Examinations

Criteria used for Assessment

Student Guidelines for the Examinations

Forms used to assess work and provide feedback

Course evaluation forms

WELCOME TO THE COURTAULD INSTITUTE OF ART AND ITS DEPARTMENT OF

PERSONAL AND ACADEMIC TUTORS

COURTAULD INSTITUTE LIBRARIES

Telephones in the Department

BIBLIOGRAPHIES AND BOOKSHOPS

OTHER LIBRARIES AND RESOURCES

020 7785 3805

Publishes: The Conservator

The British Association of Paintings Conservator-Restorers (BAPCR)

020 7839 5975

Student membership is available. IIC organises biennial international conferences and

Other organisations that are useful to know about:

Other Postgraduate Courses in the Conservation of Easel Paintings

COMPUTERS AND IT PROVISION

The workdesk and chair

THE POSTGRADUATE DIPLOMA IN THE CONSERVATION OF EASEL PAINTINGS

GENERAL STUDIO SAFETY

MATERIALS AND EQUIPMENT

Microscope and related supplies

Solvents, glassware and general chemicals

Retouching and studio lights, hot spatulas.

Microscopy and EDX, X-radiography

Lining tables, jigs and other equipment related to

All other equipment

BASIC TOOLS, BRUSHES ETC.

Pigment Boxes Bergeon boxes code 6088D, around 11 +VAT

Suppliers for Brushes and General Artists Materials:

POSTGRADUATE DIPLOMA IN THE CONSERVATION OF EASEL PAINTINGS

Independent conservation practice and seminars provide opportunities to develop the

AIMS OF THE SECOND YEAR

By the end of the year students will be proficient in:

AIMS OF THE THIRD YEAR

POSTGRADUATE DIPLOMA IN THE CONSERVATION OF EASEL PAINTINGS

LECTURES AND DEMONSTRATIONS

3. Photography, Documentation and Technical Examination of Paintings

Chemistry Foundation Course - for students with a background in the arts

Functional groups: acids, bases, alcohols, ketones, aldehydes, esters, amines,

ACTIVITIES (WORKSHOPS, SEMINARS AND VISITS)

SECOND YEAR CURRICULUM

75% STUDIO BASED PRACTICE

Seminars and Practicals:

6. Conservation of Modern and Contemporary Works of Art

THIRD YEAR CURRICULUM

POSTGRADUATE DIPLOMA IN THE CONSERVATION OF EASEL PAINTINGS

FIRST YEAR EXAMINATIONS

Written examination in art history (two hours) or science (three hours)

Open Examination (one week) Conservation General

Viva voce assessment of practical work

SECOND YEAR EXAMINATIONS

THIRD YEAR EXAMINATIONS

Viva voce assessment of practical work

The Postgraduate Diploma in the Conservation of Easel Paintings is awarded on

Department of Conservation & Technology

Department of Conservation & Technology