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The helmet and mask were covered in dust and a dull surface finish indicated light damage to the lacquer. The lacquer showed scratches, abrasions, and fingerprints, as well as water stains. Isolated areas of lacquer loss could be seen, particularly on the raised outside edges.
There was noticeable polish residue in the circular metal cap at the top of the helmet, and a white-green grainy material, from polish, filled the fine engraving of the cap’s surface and marked surrounding lacquer.
The textile elements, including beautiful indigo blue pigments on some of the silk cords, were in remarkably good condition. |
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Surface dust on the suit was removed with a brush made of sable hair and a specialist vacuum cleaner called an aspirator, as anything harsher would have further scratched the lacquer. After testing, the right kind of non-water soluble solvent (called non-aqueous) was identified to remove ingrained dirt, including polish residue. Sharpened wooden swab sticks were used to pick out old polish from metal elements.
By far the most work involved lacquer repairs. Where possible, pieces were re-attached and acrylic resin syringed carefullyunder lifted pieces to hold them. Western conservation practice is not to infill missing pieces, but this was done where new material was needed to prevent original pieces falling away.
The fibres of the textile elements were ‘relaxed’ to their original shape by using controlled humidity so they could be realigned. |
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Conservator Rose Evans had difficulty filming the helmet at the usual strength of x-ray until she realised that the red pigment inside the helmet was cinnabar – a dense mineral pigment that inhibits x-rays. This red colour would have reflected onto the wearer’s face, adding to the impression of fierceness.
X-rays revealed metal fillets inside the neck protector that is attached to the helmet. These would have offered extra protection for the armour and the wearer with relatively little addition of weight. |