Historic Churches 2021

BCD SPECIAL REPORT ON HISTORIC CHURCHES 28 TH ANNUAL EDITION 27 Terahertz images of a section of the halo of Jesus were created using three imaging parameters. The signal used to construct them contains features from both the surface and sub-surface reflections. Here, parts of the semi- circle and fleur-de-lis motif can be seen. The decoration, embellished with gold paint, is particularly reflective. Other decorative features are faintly visible between the semi-circle and fleur-de-lis, indicating the possibility of an additional pattern in the original medieval painting. A detail of the wall painting taken using the Osiris infra-red camera (right), and the same detail in normal light (left): note what appears to be a pair of legs to the left of the base of the pair of trees in the centre of the painting. After the Reformation in the 16th century, The Last Judgement was overpainted with limewash and it remained hidden until the 19th century when it was partially uncovered. In 1819 Elizabeth Wickens, fromThe Close in Salisbury, drew what was found and made notes on what she saw. Subsequently the wall painting was overpainted once again with limewash. In 1881 the painting was uncovered for a second time, and overpainted by Clayton and Bell, which was one of the most prolific firms involved in the decoration of churches at that time. Uncovering, when carried out with proper care and attention, is a time-consuming and skilled process. It is unlikely that the uncoverings carried out in the 19th century would have been executed with the care employed nowadays. As a result, it is almost certain that the painting was damaged to some degree. INITIAL SURVEYS In the years leading up to the programme of conservation in 2019 I was commissioned to undertake two condition surveys, the first in December 2011 followed by a second far more extensive survey in April 2013. I presented the results from both surveys in illustrated reports. For the first survey a cherry picker provided access to much of the wall painting, but not all. An important finding from that survey was the extent and degree of detached painted plaster. Another important finding came from the analysis of a number of paint samples, which were sent to a paint consultant, Catherine Hassall, for analysis. Clayton and Bell had painted directly over the revealed medieval painting, and it is likely that they used the revealed painting as a ‘cartoon’ for their repainting. Analysis also indicated that the original painting had been varnished, a finding noted in subsequent investigations. Not long after the survey I attended a symposium where a paper was given by Dr Gillian Walker from Reading University. Dr Walker and her Anglo/ French team were using terahertz imaging to look under paint layers. Terahertz technology involves scanning surfaces at wavelengths of between 100 microns (10 -6 ) and 1 millimetre (10 -3 ). Fortunately, Gillian and her team were available to look at The Last Judgement on the proviso that secure and stable access could be provided. Around the same time I also made contact with a colleague, Professor Adrian Heritage, as a result of hearing about work he was undertaking at the Left: in this detail, ghostly traces of medieval paint can be seen under the 1881 repainting, to the left of mouth and above eye on the left side of image. Right: this detail from the lower left side shows medieval paint layers under the present painting.