Published in March 2023
Copyright (c) Research Center for West Asian Civilization, University of Tsukuba.
1-1-1 Tennodai, Tsukuba
Ibaraki, 305-8571, Japan
Scientific Studies on Conservation for Saint Simeon Church and Its Wall Paintings in Cappadocia, Turkey
Vol.1(Report on the activities in 2019 and 2022)
Printed in Japan at Maeda Printing co.
152-4 Yamanaka, Tsukuba
Ibaraki, JapanAll rights reserved.

Scientific Studies on Conservation for Saint Simeon Church and
Its Wall Paintings in Cappadocia, Turkey
Aziz Simeon Kilisesi’nde bulunan duvar resimlerinin konservasyonu
üzerine sürdürülen bilimsel çalışmalar (Kapadokya, Türkiye)

Vol.1 (Report on the activities in 2019 and 2022)
Sayı 1:(2019 ve 2022 faaliyet raporu)

Contents
Ⅰ . Activity report for Conservation and Scientific Research of St. Simeon Church, Paşabağ
Ⅰ - 1.

Micro-environmental monitoring···················································································································································· 3
Chiemi Iba (Kyoto University, Japan)

Ⅰ - 2.

Tests and monitoring of tuff rock treatment at Cappadocia······························································································ 10
Katsuhiko Sano (D&D co., Japan)

Ⅰ - 3. Conservation intervention report pertaining to the wall paintings of St. Simeon Church, Paşabağ
(Hermits) Valley, Cappadocia························································································································································· 17
Kaori Takahashi (University of West Attica, Greece)
Theodora Fardi (University of West Attica, Greece)
Yoko Taniguchi （University of Tsukuba, Japan）

Ⅱ . Investigation of lichens growth on the cave church of St. Simeon （Paşabağ）： Preliminary detection and evaluation of rock penetration ···························································································· 31
Giulia Caneva (University Roma Tre, Italian Republic)
Annalaura Casanova Municchia (University Roma Tre, Italian Republic)

Ⅲ . 3D Digital Documentation of St. Symeon Stylites Kilisesi·································································································· 47
Hirofumi Sugawara (Kanazawa University, Japan)

Ⅳ . Dating vandalism and graffiti at St. Simeon Church················································································································ 56
Akemi Narita (Aichi University of the Arts, Japan)

Ⅴ . Documentation of the condition of the wall paintings of the St Simeon Church··················································· 61
Mina Shibata (Tokyo National Research Institute for Cultural Properties, Japan)

Ⅵ . AppendicesⅥ - 1. Analysis of Binding Media Using ELISA and LC-MS······························································································· 66
Miho Takashima (The National Museum of Western Art, Japan)
Yuki Kumazawa (Nippi Research Institute of Biomatrix, Japan)
Yuki Taga (Nippi Research Institute of Biomatrix, Japan)
Ⅵ - 2. Condition glossary············································································································································································ 73
Ⅵ - 3. Documentation of wall paintings··················································································································································· 79

Ⅰ . Activity report for Conservation and Scientific Research of
St. Simeon Church, Paşabağ

I

1. Micro-environmental monitoringI

1. Mikro-çevresel izleme
Chiemi Iba (Kyoto University, Japan)

1. Micro-environmental monitoring
1-1. St. Simeon Church (Paşabağ)1. Mikro-çevresel izleme
1-1. Aziz Simeon Kilisesi (Paşabağ, Avanos)

The status of all devices installed during the 2019 survey

2019 yılında kurulumu yapılan tüm cihazların durumu

was checked.

kontrol edildi.

The weather station worked well although data recording

Hava durumu istasyonu, kayıt verilerinin durmasına rağmen

had stopped. Climatic data was recorded from Septemberçalışır durumdaydı. İklimsel veriler 26 Eylül 2019'dan

26, 2019 through September 23, 2020. Recording halted

23 Eylül 2020'ye kadar kaydedildi. Sadece ilk 1 yıllık

after the first year because storage capacity was exhausted.

verilerin alınabilmesinin nedeni, Nevşehir Restorasyon

We had intended to return to the site within 1 year from theve Konservasyon Bölge Laboratuvarı Müdürlüğü

logging start, and did not provide local collaborators withuzmanlarının verileri kaydediciden (HOBO U30) durmadan

instructions regarding how to erase data in the logger. To

indirmiş olmasından kaynaklandığını düşünmekteyiz.

improve this setup, we have changed settings from ‘one

Bu nedenle, veri kayıt alanı dolu durumdaydı. Kayıt

time (no overwriting)’ to ‘repeat (allow overwriting)’.

başladıktan 1 yıl sonra alana gelmeyi amaçladığımız için,

The rain gauge was also checked (Fig. 1-1) because

verici kaydedicideki kayıtların nasıl silineceği konusunda

accumulating leaves, stones, and sand will impact function.

Nevşehir Restorasyon ve Konservasyon Bölge Laboratuvarı
Müdürlüğü uzmanlarına gösterilmemesi nedeni ile bu

The interval camera installed at the weather station was

durumun düzeltilmesi için, "tek seferlik (üzerine yazma

lost, and only the camera case remained (Fig. 1-2). Weyok)" kayıt ayarlarını "tekrar (üzerine yazmaya izin ver)"installed another camera (from Red Valley) and the caseolarak ayarlanmıştır. Yağmur ölçer; birikmiş yapraklar,

was bound to the station pole.

küçük taşlar, kumlar ile dolması nedeni ile iyi çalışmadığı
tspit edildi.(Fotoğraf. 1-1).

Fig. 1-1 Inside the rain gauge

Fig. 1-2 Camera case under the station poleFotoğraf 1-1. Yağmur ölçerde birikintiFotoğraf 1-2. İstasyon direğinin altındaki kamera kutusu

3I - 1.

Micro-environmental monitoring

The loggers for soil temperature and moisture worked

Meteoroloji istasyonuna kurulan aralık kamerasınınproperly. However, a sensor connected to the No. 3 port

kaybolduğu tespit edildi. İstasyonda sadece kamera kasasıof the logger installed by the west wall of the St. Simeon

vardı (Fotoğraf. 1-2), yerine yeni bir kamera takıldı. (Kızıl

Church did not work. Additionally, the cover for the samevadiden) yeni kamera, kasa istasyonun direğine bağlandı.

logger was open (Fig. 1-3) and it seems that its latch could
be easily undone. Therefore, after confirming that the latch

Toprak sıcaklığı ve nem kaydedicileri de düzgün çalıştığı

was closed properly, we tightened it using a cable tie (Fig.

görüldü. Ancak, St. Simeon'un batı duvarı tarafında kurulan

1-4). For this reason, collecting data will require cutting andkaydedicinin No.3 kablosuna bağlı bir sensör çalışmadığı

refastening cable ties on the latch from here on out.

görüldü. Ayrıca bu kaydedicinin kapağının açık bırakıldığı
tespit edildi (Fotoğraf.1-3). Kaydedici mandalının çıkması

We were able to obtain the last year of data for the wall-

kolay olması nedeniyle düzgün kapatıldıktan sonra kabloside logger (active from August 28, 2020 to September 25,bağı ile sıkıştılarak kapatılmasına karar verildi.(Fotoğraf.

2022) and all data for the logger under the weather station

1-4). Her yeni veri alma işleminde kablo bağı kesilmeli(active from December 11, 2019 to September 25, 2022). Itve veri toplandıktan sonra yeni bağ ile kapatılması

did take more than 1 hour to download all data (spanningönerilmektedir.

Fig. 1-3 Data logger with open lid

Fig. 1-4 Logger lid tightened with cable tieFotoğraf 1-3. Açık kapaklı dataloggerFotoğraf 1-4. Kablo bağı ile bağlanmış datalogger

Fig. 1-5 Weather station with signboard

Fig. 1-6 Content of signboardFotoğraf 1-5. Alana yerleştirilen panoFotoğraf 1-6. Pano içeriği

4

Fig. 1-7 Location of the indoor temperature and humidity loggersFotoğraf 1-7. Kilise iç ortam sıcaklığı ve nem kaydedicilerinin konumu

No.2

No.4

No.5

No.6

Fig. 1-8 Newly installed indoor temperature and humidity loggersFotoğraf 1-8. Yeni kurulan iç ortam sıcaklık ve nem kaydediciler5I - 1.

Micro-environmental monitoring

two and a half years), and the automatically-generated

2022 yılında duvar tarafı toprak sensörü için 28 Ağustos

Excel file resulted in an error multiple times (likely because

2020 - 25 Eylül 2022 arasındaki en son 1 yıllık verileri

the file size was too big). Thus, the data in the logger shouldve hava istasyonu altındaki kaydedici 11 Aralık 2019 -be deleted after every download.

25 Eylül 2022 tarihleri arasındaki tüm veriler alındı. Tüm
verilerin indirilmesinin 1 saatten fazla sürdüğünü (iki buçuk

During our last visit, we set up a temporary display plateyıl) ve Excel dosyasının otomatik olarak oluşturulmasının

to remind people not to touch equipment. We had plannedbirçok kez hatayla sonuçlandı (muhtemelen dosya boyutu

to install a more permanent board later. Over the last threeçok büyük olduğundan). Bu nedenle, düzenli aralıklarla

years, the initial temporary plate was lost, so we ordered aalınan bu veriler her indirildiğinde silinmelidir.

robust signboard from a signboard company (Sancak Tabela
Dijital Reklam San.Tic.Ltd.Şti.) and installed it in front ofBu yıl çalışma yaptığımız ören yeri olan Paşabağı’na

the weather station (Fig. 1-5 and 1-6).

gelen ziyaretçilere ekipmanlara (istasyon ve dataloggerlar)
dokunmamalarını uyarı için bilgilendirme panosu

Indoor temperature and humidity loggers were installed

hazırladık. Nevşehir’de bulunan yerel bir firmada (Sancak

at five locations during the 2019 survey. We found three

Tabela Dijital Reklam San.Tic.Ltd.Şti.) bu panonun sağlam

loggers inside the Church (Nos. 1, 3, and 4). Logger No.

olması istinelerek (metal malzeme) bastırıldı ve meteoroloji

2 was lost. We could not check logger No. 5 because

istasyonunun önüne yerleştiridi (Fotoğraf 1-5 ve 1-6).

the entrance to the upstairs was closed. Indoor T/RH
loggers were replaced with wireless loggers to facilitate2019 araştırması sırasında iç mekan sıcaklık ve nem

data collection. Figs. 1-7 and 1-8 show the location of all

kaydedicileri beş yere kuruldu. Bu yılki çalışmada ise

loggers. During this visit, we obtained data from October

kilisenin içinde üç datalogger bulundu (No. 1,3,4). 2

22, 2020 to March 22, 2021.

numaralı kaydedici kayboldu. 5 numaralı kaydedici kontrol
edilemiştir. Edilememesinin nedeni ziyaretçi tahribatınıönlemek adına üst kata girişin kapatılmış olmasıdır. Veri
toplamayı kolaylaştırmak için iç mekan T/RH kaydedicileri
kablosuz tiple değiştirildi. Fotoğraf .1-7 ve 1-8,
kaydedicilerin konumunu göstermektedir. Bu yıl 22 Ekim
2020'den 22 Mart 2021'e kadar olan veriler kaydedildi.

Fig. 1-9 Weather station in Red Valley

Fig. 1-10 Inside the rain gaugeFotoğraf 1-9. Kızıl vadideki hava istasyonu

Fotoğraf 1-10. Yağmur göstergesinin içi

6

1-2. Üzümlü Church (Red Valley)

1-2. Üzümlü Kilise (Kızılçukur Vadisi, Ortahisar)

The status of all devises was checked.

Tüm cihazların durumu kontrol edildi.

The weather station worked well (Fig. 1-9) although data

Kayıt verileri durmuş olsa da, meteoroloji istasyonu çalışır

recording had stopped. Climatic data was recorded fromdurumdaydı (Fotoğraf 1-9). 23 Eylül 2019 - 11 Ağustos

September 23, 2019 to August 11, 2020. For the same2020 tarihleri arasındaki iklim verileri kaydedildi. Paşabağ

reasons as cited above in Paşabağ, data had not been

ile aynı nedenle son iki yılın verileri kaydedilmedi. Böylece

recorded over the last two years. Therefore, we changed theistasyon ayarlarını Paşabağ ile aynı şekilde değiştirildi.

logger settings as done in Paşabağ. The condition of rainYağmur göstergesinin durumu da kontrol edildi (Fotoğraf

gauge was also checked (Fig. 1-10). The interval camera

1-10). Aralık kamerası uygun konumda kaldı. 29 Ağustos -was in the proper position. Photos dating back from August

25 Kasım 2020 tarihleri arasındaki fotoğraflar elde edildi.

29 to November 25, 2020 were obtained. After data was

Verilerin toplanmasının ardından kamera meteoroloji

collected, the camera was removed from the station poleistasyonunun direğinden kaldırılarak Paşabağ'da bulunan

and transferred to Paşabağ.

istasyona takıldı.

The logger for the soil temperature and moisture under theHava istasyonunun altındaki toprak sıcaklığı ve nem

weather station worked properly. We were able to download

kaydedicisi çalışır durumdaydı. 9 Ocak'tan 22 Eylül 2022'yedata from January 9 to September 22, 2022. Unlike thekadar veriler kaydedildi. Paşabağ'da kullanılan toprak

logger (ZL6) in Paşabağ, the data logger here (Em50)

sensörünün (ZL6) aksine burada kullanılan toprak sensörü

required new batteries. Thus, we replaced the batteries.

(Em50) pilleri değiştirmesi gerekiyordu. Bu nedenle, toprak
sensörüne yeni pil takıldı.

The logger installed by the church wall was lost, andonly the sensor cables remained (Fig. 1-11). We did not

Kilise duvarına monte edilen toprak sensörü kaybolmuş,bring a substitute logger, and therefore could not restartsadece sensör kabloları bulunmuştur (Fotoğraf. 1-11).

measurement.

Bu yıl yeni toprak sensörü getirilmediğinden ölçüm
yapılamayacaktır.
İç mekan sıcaklık ve nem kaydedicilerin yerinde olmadığı
tespit edildi. Ölçüm çalışmasının devam edilmesi içingetirilen yeni iç mekan sıcaklık ve nem kaydedicilerin kilise
kapısının güvenlik nedeni ile yenilenmesinin ardından
Nevşehir Restorasyon ve Konservasyon Bölge Laboratuvarı
uzmanları tarafından yerleştirilmesi gerekmektedir.
Fotoğraf. 1-12, son anketten bu yana toplanan verileri
göstermektedir. Nevşehir Restorasyon ve Konservasyon
Bölge Laboratuvar Müdürlüğü uzmanları sayesinde ilk kışverileri elde edildi. Bu nedenle, soğuk mevsim ortamınıanaliz edebilir durumdadır.
Bu yıl birkaç ölçüm yeniden başlatıldı. Japon ekibi ileişbirliği içinde Nevşehir Restorasyon ve Konservasyon
Bölge Laboratuvar Müdürlüğü uzmanları tarafından düzenli

Fig. 1-11 Lost logger (only sensor cables remained)ve sürekli olarak periyodik ölçümler yapılacaktır.

Fotoğraf 1-11. Kaybolan kaydedici (yalnızca sensör kabloları kaldı)7

I - 1.

Micro-environmental monitoring

The indoor temperature and humidity loggers were also
lost. Thus, new loggers will be placed after installation of achurch door for security.
Fig. 1-12 shows data collected since the last survey.
Thanks to local collaborators, data was obtained over the
first winter data. Therefore, we could analyze the winterenvironment.
During our visit, several measurements were restarted.
Ongoing periodical measurement will be carried out bystaff at the Nevshehir Restoration Laboratory in cooperation
with the Japanese team.

Fig. 1-12 Data collected from September 2019Fotoğraf 1-12. Eylül 2019'dan toplanan veriler

Fig. 1-13 Maintenance of the weather station near St Simeon ChurchFotoğraf 1-13. St Simeon Kilisesi yakınlarındaki hava istasyonunun bakımı

8I - 2.

Tests and monitoring of tuff rock treatment at Cappadocia

Ⅰ - ２. Tests and monitoring of tuff rock treatment at Cappadocia
Ⅰ - ２. Kapadokya'da tüf kaya aşınım (erozyon) ölçüm ve gözlem çalışması
Katsuhiko Sano (D&D co., Japan)

2-1. Objective

2-1. Amaç

To conduct maintenance and follow-ups while checking

Kızılçukur Vadisi ve Paşabağ'daki geçmiş aşınım test

research locations in the Red Valley and Paşabağ.

alanını kontrol etmek için test alanlarının bazı bakımları ve
takipleri gerekliydi.

In the Red Valley, one trial rock was selected to test a newly

Kızılçukur vadisine, yeni geliştirilen konsolidasyon

developed consolidate agent (Permiate HS-390H). We(sağlamlaştıcı,koruyucu) malzemesi, (Permiate HS-390H)

installed SUS nails on the rock to monitor its deterioration.

test etmek için bir küçük kaya seçildi. Kaya aşınımı (erozyon
miktarı) izlenmesi için kaya üzerine paslanmaz çelik çiviler

In Paşabağ, rocks tested near the St. Simeon Church inyerleştirildi.

2019 were observed for follow up.
Paşabağ'da 2019 yılında St. Simeon kilisesinin yakınında
test edilen kayaların testleri takip ettiği gözlemlendi.

Fig. 2-1. Location of the test siteFotoğraf 2-1. Yeni deney ve gözlem kayasının konumu

10Fig. 2-2. Test site near the Üzümlü Church, Red ValleyFotoğraf 2-2. Kızılçukurda Üzümlü Kilise yakınında seçilen yeni deney ve gözlem alanı

2-2. New trial near the Üzümlü Church at Red
Valley2-2. Kızıl Vadi'de Üzümlü kilisesi yakınında yeniölçüm ve gözlem alanı

2 rock masses were selected near the Üzümlü Church. The

Üzümlü kilisesinin yakınında, kiliseden 100 m kuzeyde 2

area lies roughly 100m north of the Church. Rock surface

kaya kütlesi seçilmiştir. (Fotoğraf. 2-1, Fotoğraf. 2-2)

area was estimated using size measurements before testing.
Seçilen iki kayadan biri kontrol (koruyucu malzeme
Two rocks were selected: one to serve as a control

sürülmemiş) ve diğeri Permeate HS-390H (koruyucu(untreated), and the other to be treated with Permeate HS-malzeme sürülmüş) kayası olarak gözlemlenecektir. Tüf

390H. The consolidant was sprayed as the volume of 400g.

sağlamlaştırıcı malzeme Permeate HS-390H, 400 g hacimde

Because the total surface was about 2m2, the amount usedpüskürtüldü. Toplam yüzey yaklaşık 2 m2 idi, bu nedenle

was roughly 200g/m2.

miktar ca. 200 g/m2.

In order to measure the weathering speed, SUS screws wereAyrışma hızını ölçmek için kayalara paslanmaz çelik çiviinserted into the rocks. As the rocks deteriorate, SUS nails

yerleştirildi. Kaya yüzeyi aşındıkça (erozyona uğradıkça),

will become more exposed (making the exposed surface

paslanmaz çelik çiviler daha fazla açığa çıkacaktır (açıkta

of the SUS nails greater). Therefore, measurement of thekalan paslanmaz çelik çivileri daha uzun olacaktır). Bu

exposed surface of the SUS nails will indicate the degree ofnedenle, "açıkta kalan" paslanmaz çelik çivilerin ölçümü

rock deterioration.

bize kaya aşınım (erozyon) derecesini verecektir.

First, rocks were altered using an automatic drill. 2 holesİlk olarak, kayalar otomatik bir matkap kullanılarak delindi.

were drilled into the surface (at a distance of 5cm) for each

Her nokta için 2 delik (mesafe: 5cm) açıldı. Deliklere

point. Plastic bits were then placed in the holes and stainlessplastik uçlar yerleştirildi, ardından paslanmaz çelik

steel screws were inserted. Each rock has 3 pairs of screws.

civiler takıldı. Her iki kayada 3 çift paslanmaz çelik çivisi
11I - 2.

Tests and monitoring of tuff rock treatment at Cappadocia

In total, 12 screws were inserted into the two rocks (locatedbulunmaktadır. Deney ve gözlem yapılan iki kayaya (Üst,on the top, eastern and western surfaces).

Doğu ve Batı) olmak üzere toplam 12 paslanmaz çelik çiviyerleştirilmiştir.

Staff at the Nevshehir Restoration laboratories were
provided with instructions for periodic measurement ofNevşehir Restorasyon ve Konservasyon Bölge Laboratuvar

rock deterioration. Measurement will be carried out every 3

Müdürlüğü uzmanları, kaya aşınımı (erozyonunu)

months.

düzenli ve sürekli olarak ölçülmesine yönelik yöntemler
gösterildi. Ölçüm periyodik olarak her 3 ayda bir yapılması
önerilmektedir.

Fig. 2-3. Newly selected test rocksFotoğraf 2-3. Yeni seçilen test kayalarıFig. 2-4. SUS screw positions on newly selected test rocksFotoğraf 2-4. Yeni seçilen test kayaları

122-3. Sampling of rock fragments for laboratory
testing for further development of consolidants

2-3. Tüf kayaların aşınım (erozyon) azaltılmaçalışmasının geliştirilmesi için laboratuvar
testleri için kaya parçalarından numune
alınmasıRock samples that featured similar characteristics as the
Church fabric were collected near the Church in Paşabağ.
Because St. Simeon Church has 3 layers of sedimentary

Kilise dokusu ile benzer kaya özelliklerini temsil

rock, samples were taken from each of the 3 types. In total,

eden kilisenin yakınındaki Paşabağ'dan kaya örnekleri

7 rock samples were collected. Sample No. 1 was taken

toplanmıştır. Simeon kilisesi 3 katman tortul kayadan

from St. Simeon Church, samples No. 2-4 were taken 20m

oluşmaktadır. Bu nedenle bu 3 kaya türünü kapsayacakfrom the north side of St. Simeon Church and samplesşekilde numuneler toplanmıştır. Toplamda 7 kaya örneği

No. 5-7 were taken 100m from the southwest side of the

toplanmıştır. 1 No'lu St. Simeon kilisesinden alındı. 2-4,

Church.

St. Simeon'un kuzey tarafından 20 m mesafeden alınmıştır.
No.5-7, kilisenin güneybatı tarafından 100m mesafeden
alınmıştır. Alınan kaya örneklerinin analiz çalışmasınınyurtdışında (Japonya’da) yapılabilmesi için Nevşehir Müze
Müdürlüğü’ne başvurulmuş ve Nevşehir Restorasyon
ve Konservasyon Bölge Laboratuvar Müdürlüğü’nün
28.09.2022 tarih ve 2963411 sayılı yazısına istinaden
talep edilen analizlerin Türkiye’de yapılamadığından,alınan 7 kaya örneğin analiz çalışması için Japonya’ya
götürülmüştür.

Fig. 2-5. St. Simeon Church (left) and tested rocks (right)

Fig. 2-6. Measuring methodFotoğraf 2-5. Aziz Simeon (solda) ve test edilmiş kayalar (sağda)Fotoğraf 2-6. Ölçüm

13

I - 2.

Tests and monitoring of tuff rock treatment at Cappadocia

2-4. Follow-up observation of the Permeatecoated rock

2-4. Tüf kaya sağlamlaştıcı ( Permeate HS390H) kaplı deney kayasını takip eden ölçüm
ve gözlemin yapılışı

A metal device known as a supporting bridge is used tomeasure the weathering speed more accurately. First, theAşınma (erozyon) hızını daha doğru ölçmek içinsupporting bridge is set on the pair of screw heads and,destekleyici bir aksan (metal çubuk)

then, the distance between the center of the bridge and rocksurface is measured using a caliper. This measurement isyöntemi kullanılır. Çivi uzunluğu ölçülürken, destektaken twice.

metal aksan iki çivi başı üzerine yerleştirilir. Daha sonra
metal aksanın merkezi ile kaya yüzeyi arasındaki mesafe

The treated rock sample had rotated 90 degrees onto

bir kumpas yardımı ile ölçülür (Fotoğraf. 2-5, 2-6., 2-7) .

its south side relative to its position in 2019. Therefore,Ölçüm iki kez tekrarlanır.

accurate measurement was not possible. It was not clear
why the rock had turned, but it may have been the resultof human intervention since the ground at its base was notworn out. On the other hand, the position of the control
rock sample was not changed.
Measurements confirmed that the control had deteriorated
to a larger degree than the treated rock. Additional
measurements will be taken by the Nevshehir Restoration
Lab.

Fig. 2-7. Location of the treated rock samples near St. Simeon ChurchFotoğraf 2-7. St. Simeon yakınlarındaki test edilmiş kayaların yeri

14

Table 2-1. Degree of surface deterioration (for control and treated rocks)
Tablo 2.1. Aşınım (erozyun) hızı ölçümü (Kontrol ve Deney kayası)※ 1 Nails were lost. The nails found were found beside the Control Rock on the Northern side.
Not: 1 çivi kayboldu (düştü). Kuzey'de Kontrol Kayası'nın yanında bulundu.

15

Ⅰ - ３. Conservation intervention report pertaining to the wall paintings of
St.Simeon Church Paşabağ (Hermits) Valley, Cappadocia
Ⅰ - ３. St. Simeon Kilisesi Duvar Resimlerinin Konservasyon Çalışması
Kaori Takahashi (University of West Attica, Greece)
Theodora Fardi (University of West Attica, Greece)
Yoko Taniguchi （University of Tsukuba, Japan）

3-1. Background to the conservation project3-1. Konservasyon Projesi

The fieldwork at St. Simeon Church in Pasabağ,2022 yılı St. Simeon Kilisesi duvar resimleri konservasyon

Cappadocia (Fig. 3-1) lasted from the 20th to the 29th ofçalışması (Fotoğraf. 3-1), 20 Eylül-06 Ekim tarihleri

September 2022. The conservation team carried out anarasında yapıldı. Konservasyon ekibi, yukarıda bahsedilenintervention to conserve the wall paintings, following abilimsel araştırma çalışmasının ardından duvar resimlerinin

research study carried out in 2019. Prior to any intervention,konservasyon test çalışmasını gerçekleştirdi. Bu yıl, 2018

the team arranged for a survey to detect any changes inyılında yapılan dökümantasyon çalışmalarında herhangi bir

the condition of the wall paintings over the course of threedeğişiklik olup olmadığını (vandalizm, biyolojik oluşum

years period following their visit. Delamination of thevb.) gözlemlemek amacıyla kontrol edilmiştir. Yapılan

plaster layer from the stone substrate was detected in somegözlemlerde; duvar resimlerinin yer aldıpı ana taşıyıcı olanareas of the wall paintings. Despite this, their preservation

kaydan ayrılan sıva tabakaları çok fazla olmadığı tespit

state appeared quite stable, as no further loss or biologicaledilmiştir. Buna rağmen, daha önce 2019 yılında yapılan

growth since 2019 was detected. However, the condition

gözlemlemeye kıyasla daha fazla kayıp veya biyolojik

of wall paintings decorating the interior of the Churcholuşum tespit edilmediğinden, bozulma derecesinin çok

suffered extensive loss, mainly due to graffiti by visitors.

düşük olduğu anlaşılmıştır. Bununla birlikte, kilisenin iç

Scratches and incisions inflicted severe mechanical damagekısmında (apsis) bölümünde yer alan duvar resimlerinin

Fig. 3-1. View of the north side of the St. Simeon Church, with its entrance doorFotoğraf 3-1. St. Simeon Kilisesi'nin görünümü, giriş kapısı ile kuzey tarafı

17

I - 3. Conservation intervention report pertaining to the wall paintings of St. Simeon Church, Paşabağ

on the wall paintings. The degree of plaster and paint loss

mevcut durumu oldukça kötü olduğu gözlemlenmiştir.

seriously compromises the iconography’s readability (Figs.

Bunun temel sebebi zaman içinde ziyaretçiler tarafından

3-2, 3-3).

yapılan graffiti esaslı vandalizm olduğu anlaşılmaktadır.
Çizikler ve kazımalar (kesikler) duvar resimlerinde ciddi

For this reason, 4 locations were selected and tested formekanik hasara neden olmuştur. Alçı ve boya kayıplarının

the toning of graffiti and scratches recently added byderecesi ikonografinin okunabilirliğini ciddi şekilde

visitors. This test was aimed at finding a suitable method

tehlikeye atmıştır(Fotoğraf. 3-2, 3-3).

and material for providing a safe toning that would allow
visitors to more clearly see the iconographic images. Such

Bu nedenle, son zamanlarda ziyaretçiler tarafından

an intervention could be removed if necessary in the future.

nispeten eklenen grafiti ve kazımaların tonlaması için 4

Details pertaining to the methodology and materials will befarklı alan seçilerek test çalışması gerçekleştirilmiştir.

given in the later part of this report.

Bu test, ikonografik görüntüleri ziyaretçilere daha net
gösterebilecek,estetik bütünlüğü sağlayacak, duvar resimleri
yapım tekniğine uygun ve güvenilir bir tonlama yöntemi
sağlamak için uygun bir yöntem ve malzeme bulmayı
amaçlaktadır. Yapılan tüm test aşaması ve çalışmalarında
kullanılan malzeme geridönüşümlüdür (gelecekte bir gün
gerekliyse müdahale kaldırılabilir.) Ayrıntılı metodoloji vemateryaller bu raporun sonraki bölümünde açıklanacaktır.

Fig. 3-3. Detail of an incised graffiti found on the north wall of
the main room

Fig. 3-2. Overview of vandalism by visitorsFotoğraf 3-2. Ziyaretçilerin vandalizm derecesine genel bakış

Fotoğraf 3-3. Ana odanın kuzey duvarında bulunan kazıma
duvar yazısının detayı

18

3-2. Historical importance of St. Simeon
Church3-2. St. Simeon Kilisesi İkonografisi ve Tarihi:

The conch of the apse was covered with a large image of

Apsiste, bir dizi melek tarafından çevrelenmiş, İsa'nın

the Majestas Domini, or the Christ in Majesty, surrounded

görkemle tahtta oturduğu Majestas Domini veya

by a host of angels. This iconography became standard

Theophanic Vision'ın sahneleri yer almaktadır. Bu

among late 9th and early 10th century apse decorations inikonografikler, Kapadokya'da 9. yüzyılın sonları ve 10.

Cappadocia.

yüzyılın başlarında apsis süslemelerinde süreklikarşılaşılan sahnelerdir.

Standing figures, now largely destroyed, once appeared in
the apse wall. There is enough space for at least 15 figures.

Apsis duvarında artık çok tahrip olmuş ayakta duran

Five of the figures were destroyed by excavation of aen az 15 figür bulunmaktadır. Ortadaki nişte sonradan

niche at the center and an opening in the wall. Although

yapıldığı anlaşılan kazıma (vandalizm) sonucu figürlerden

fragmented, several figures remain recognizable. The Virgin

beş tanesi yok olmuştur. Çok fazla tahribatı bulunmasınaMary is depicted at the center, and an angel stands on herrağmen, birkaç figür hala tanınabilir durumdadır. Merkezde

right while Saint John the Baptist holds a scroll to her left.

Meryem Ana, sağında muhtemelen bir melek ve solunda

The other figures are apostles. The remaining fragments

bir parşömen tutan Vaftizci Yahya tasvir edilmiştir. Diğer

and previous descriptions in earlier scholarship make theirfigürler ise havarilerdir. Konservasyon çalışması sonrası

identification possible.

resimlerdeki estetik bütünlük sağlanması ile kilise içindeki
resimlerin tamamı hakkında net tanımlamaların yapılması

The eastern wall of the naos features Basil the Great on its

amaçlanmaktadır.

northern side (left) and Saint Simeon the Styliteon on its
southern side (right). In the Byzantine churches, the space

Naosun doğu duvarı, kuzeyde (solda) Büyük Basil, güneyde

to the right of the naos is generally occupied with the image(sağda) Aziz Simeon yer almaktadır. Bizans kiliselerindeof the saint the church is dedicated to. The southern wallnaosun sağındaki bu yer genellikle kilisenin adandığı

(on the right) features images presented from east to west

Aziz'in görüntüsü yer alır. Güney duvarı (sağda), doğudan

relating to the life and the miracles of Saint Simeon thebaşlayarak, Aziz Simeon'un yaşamı ve mucizeleriyle ilgili

Stylite.

sahneler bulunmaktadır.

Figs. 3-4, 3-5. Detail of the wooden piece and metal grid placed to adjust the uneven surface of the floor over graves at working areasin the entrance and main room, respectivelyFotoğraf 3-4, 3-5. Girişte ve ana odadaki çalışma alanlarında sırasıyla mezarların üzerindeki zeminindüzgünsüzlüğünü ayarlamak için yerleştirilen ahşap parça ve metal ızgara detayı

19

I - 3. Conservation intervention report pertaining to the wall paintings of St. Simeon Church, Paşabağ

The western wall features images, presented south to north,Güneyden kuzeye batı duvarı, Aziz Paraskeve, Azize

of Saint Paraskeve, Saint Catherine, Saint Ilouita, Saint

Katrin, Aziz Ilouita, Aziz Theodote, Azize Barbara ve Aziz

Theodote, Saint Barbara and Saint Thekla.

Thekla yer alır.

The ceiling features Saint Consantine and Saint Helena to

Tavanda ise Aziz Konstantin, Azize Helena (Doğuda),

the east, and Salomon and David to the West.

Salomon ve David (Batıda) sahnesi bulunmaktadır.

3-3. Preparation for work

3-3. Test Çalışması için Hazırlık

Conservation work required the use of ladders in order to

Bu yılki test çalışmalarında, duvar resimlerinin seçilen

reach and safely work on toning the selected areas of thebölgelerine ulaşmak ve güvenle bir şekilde çalışmak içinwall paintings. For this reason, carved out areas (graves) on

merdivene ihtiyaç duyulmuştur. Bu nedenle, nefin (ana oda)

the northwest side of the nave (main room) and the northdöşemesinin kuzey-batısındaki döşemenin oyma alanınaside of the narthex were adjusted using a wooden board and(mezar) ve narteksin kuzey tarafına oturan ahşap bir parça,a metal grid to even the surface level of the floor in order todöşemeyi düzleştirecek şekilde ayarlanmıştır. merdivenleri

place ladders (Fig. 3-4, 3-5).

yerleştirmek için zeminin seviyesi (Fotoğraf. 3-4, 3-5).

Fig. 3-6. Preparation of materials for the grouting and edging
of the delaminated areas of the plaster.
Fotoğraf 3-6. Sıvanın ayrılan bölgelerinin dolgu ve sınır harcı
için malzemelerinin hazırlanması.

Fig. 3-8. During the grouting of plaster, main roomFotoğraf 3-8. Dolgu ve sınır harç malzemesinin test alanı,ana
oda

Fig. 3-7. During edging of a detached area of plaster,sanctuary apseFotoğraf 3-7. Dolgu ve sınır harç malzemesinin test alanı20

3-4. Conservation intervention

3-4. Konservasyona Hazırlık (Test) Çalışması

Treatment for delaminated plaster

Ayrılan sıva tabakalarında test çalışması

After examining the wall paintings, areas at high risk wereDuvar resimlerinin incelenmesinden sonra

selected for grouting and edging. These included detached(dokümantasyon), ana taşıyıcı kayadan ayrılmış durumda

areas on the north side of the sanctuary vault and theolan sıva tabakasında düşme riski yüksek olan alanlar

background of St Constantine, at the ceiling of the nave.

seçilmiştir. Bu alanlar, apsis tonozunun kuzey tarafında,nefin tavanındaki Aziz Konstantin'in arka planında tespit

The material used for the grouting and edging was madeedilmiştir.

primarily of gypsum, which is the main constituent of theoriginal plaster. A mixture of gypsum with water, citric acid

Ayrılan sıva tabakasında dolgu ve sınır harcı için kullanılan(as a retardant), xanthan gum, and Shirasu microballoons

malzeme esas olarak sıva tabakasının temel bileşeni olan

(ϕ65μm) made of processed volcanic ash was prepared atalçıdan yapılmıştır. Dolgu ve sınır harç içeriği şu şekildedir:

appropriate ratios and injected by means of a syringe (Figs.

su, sitrik asit (geciktirici olarak), ksantan sakızı ve işlenmiş

3-6, 3-7, 3-8). It is the same methodology and materials

volkanik külden yapılmış Shirasu mikro balonları (ϕ65μm)

used for the intervention at the Üzümlü church in Redkarışımdır. Bu içerik çeşitli denemelerle kaya yüzeye

Valley.

uygulanmış ve en uygun oran belirlenmiştir. Daha sonra
tespit edilen test alanına bir şırınga vasıtasıyla enjekte

Conservation Intervention

edilmiştir (Şekil 3-6, 3-7, 3-8). (Önceki yıllarda Üzümlü
kilisesinde kullanılan metodoloji ve materyallerin aynısıdır.)ToningTonlama Uygulamaları
During 2022’s fieldwork, the conservation team worked
on testing methods for the toning of the graffiti after

Konservasyon ekibi, 2022 yılı saha çalışması sırasında

permission from the Director of the Nevsehir RestorationNevşehir Müze Müdürlüğü'nün başkanlığında Nevşehir

and Conservation Regional Laboratory Directorate and the

Restorasyon ve Konservasyon Bölge Laboratuvar

Figs. 3-9, 3-10, 3-11. The conservation team toning areas of paint lossFotoğraf. 3-9, 3-10, 3-11. Konservasyon ekibi tonlama testleri

21

I - 3. Conservation intervention report pertaining to the wall paintings of St. Simeon Church, Paşabağ

Director of the Nevsehir Museum.

Müdürlüğü uzmanlarının katılımı ile kilisede yüksek
derecede tahrip edilmiş alanların (grafitiler) tonlama testi

1 - Two saints on the right side of the west wall of theyöntemleri üzerinde çalıştı. Seçilen tonlama yönteminin test

nave (main room), depicting two saints, St. Thekla and St

uygulamaları aşağıda belirtilen 4 küçük alanda yapıldı.

Barbara (Fig. 3-9)
2 - An area at the right side of the South wall, Nave (Fig.
3-10)

1- Nefin batı duvarının sağ tarafında (ana oda) iki aziz, Aziz

3 - The panel depicting St Constantine at the ceiling of the

Thekla ve Aziz Barbara'yı tasvir eden iki aziz (Fotoğraf.

main room (Fig. 3-11)

3-9)
2- Güney duvarının sağ tarafında bir alan, Nef (Fotoğraf.

For toning, earth pigments of various red and yellow

3-10)

ochres, burnt amber and green earth in powder form were

3- Ana odanın tavanında Aziz Konstantin'i gösteren panomixed with water and applied using brushes. Priority was(Fotoğraf. 3-11)

given to the toning of big scratches and recent graffiti.
Areas of extensive loss were also toned down.
Tonlama testi için toz halindeki toprak pigmentleri (çeşitli
The main pigments used were as follows.

kırmızı ve sarı toprak boya (ochre) yanmış kehribar ve yeşil
toprak boya) kullanılmıştır, sadece su ile karıştırılarak fırça- Red Ochres: Ocra Rossa (PY 42 + PR 2101, Roma

ile tahrip edilmiş boş bir küçük alanda denenmiştir. Büyük

Restauro, Italy) and Terra Rossa (CTS, Italy)

kazımaların ve tarihsel olarak son (günümüze en yakın)- Yellow ochre PY 42 (Kusakabe Artist’ s Materials, Japan)

dönemde yapılmış grafitilerin tonlanma test çalışmasına- Lamp black and carbon black (Abio, Greece)öncelik verildi. Bu çalışma ile duvar resimlerinde kazıma- Green earth (Kremer Pigment)

nedeni ile kayıpların olduğu alanlar da gözle görülecek- Raw and Burnt Umbers (Kremer Pigment)

oranda azaltıldı.

- Jarosite (Kremer Pigment)
Kullanılan ana pigmentler şunlardır:Fig. 3-12, 3-13. Samples of earth pigments used for toningFotoğraf. 3-12, 3-13. Tonlama için kullanılan toprak pigmentlerinin örnekleri

22

Red and yellow ochres were used for reddish and yellow- Kırmızı Toprak Boya ( Red Ochres: Ocra Rossa (PY 42

dresses on figures. The hues were adjusted using small+ PR 2101, Roma Restauro, İtalya) ve Terra Rossa (CTS,

additions of umbers, black, and jarosite, where needed.

İtalya)Flesh colours were toned using mainly yellow ochre and- Sarı Toprak Boya PY 42 (Kusakabe Artist' s Materials,

raw umber. Lamp black diluted with water to adjust the tone

Japonya)

was applied to the grey background surrounding figures on- Karbon Siyahı (Abio, Yunanistan)

the west walls. The green background on the panel of St- Yeşil Toprak Boya (Kremer Pigment)

Constantine was toned using green earth mixed with small- Ham ve Yanmış Amber (Kremer Pigment)

quantities of lamp black.

- Jarosit (Kremer Pigmenti)

Priority was given to the toning of big scratches and recent

Figürlerin kırmızımsı ve sarı elbiselerinde kırmızı vegraffiti. Areas of extensive loss were also toned down (Figs.

sarı renkli toprak boya kullanılmıştır. Sahnedeki renk

3-9, 3-10, 3-11).

tonlamasındaki bazı alanlarda, siyah ve jarosit eklenerek
ayarlandı. Sahnelerdeki aziz figürlerinde (yüz, el vb vucut

Toning methods

bölümlerinde), esas olarak sarı hardal ve ham amberkullanılarak tonlanmıştır. Batı duvarlarındaki figürleri

The aim of the restoration was to tone down extensive areasçevreleyen gri renkli fon ayarlamak için ağırlıklı olarakof loss caused by scratches and graffiti, and to ‘highlight’karbon siyahı uygulanmış ve bol su ile seyreltilmiştir. Aziz

the original paint in order to improve the readability of theKonstantin'in panelindeki yeşil arka plan, az miktarda

pictorial content. The toned areas were worked in such akarbon siyahı ile karıştırılmış yeşil toprak kullanılarak

way that the hue of the paint for retouching is similar to thetonlanmıştır.

original while adjusting it to a lighter tonality. Retouching
paint was applied in two ways. Pigment, diluted in water,Çalışmada net olarak farkedilen kazımaların ve tarihsel

was applied by brush as a thin glaze that covered the entire

olarak (günümüze en yakın) son dönem grafitilerin

whitish area of the exposed plaster (Figs. 3-12, 3-13, 3-14).

tonlanma test çalışmasına öncelik verildi. (Fotoğraf. 3-9,

Additionally, diluted paint was applied in thin vertical lines.

3-10, 3-11).

Both methods were designed to integrate areas of loss with
Test çalışmasında kullanılan tonlama yöntemleri

adjacent colours and unify islands of the original paint(taking into account the condition of the original paint),
rather than imitating the paint itself. Areas of uncertainty

Restorasyon çalışmasının temel amacı, kilise içinde

like inscriptions were left untouched.

yer alan duvar resimleri sahnelerinin resimsel içeriğin
okunabilirliğini iyileştirmek ve kazımalar vb. tahribatlarla
yok edilmiş (graffiti-yazılar) durumda olan geniş kayıp
alanlarındaki belirgin farklılıkları yumuşatmak ve orijinal
boyayı vurgulamaktır. Grafitili alanlarda veya kazıma ile
yok olmuş bu alanlarda tonlama test çalışması yapılırken
sahnede kullanılan rengin orjinal kök boyası kullanılaraksahnedeki renge en yakın tonu yakalamak üzere rötuş
boyası hazırlandı. Bu boya sahnedeki renge benzer vedaha hafif bir tonda olacak şekilde ayarlanmaya çalışıldı.
Rötuş boyası iki şekilde uygulanmıştır. Suda seyreltilmiş
pigment (orjinal boya), açıkta kalan sıvanın tüm beyazımsı
alanını kaplayacak şekilde ince bir sır olarak fırçalanmıştır
(Fotoğraf. 3-12, 3-13, 3-14). Ayrıca ince dikey çizgiler
halinde inceltilmiş boya uygulanmıştır. Her iki şekilde
23

I - 3. Conservation intervention report pertaining to the wall paintings of St. Simeon Church, Paşabağ

de boyanın kendisini taklit etmek yerine, orijinal boyanın
durumu göz önünde bulundurularak, alan kaybını benzer
tonlarda ve orjinal pigment kullanılarak aslında en uygunşekilde görsel anlamda bütünleştirmek ve tahribat nedeni
ile okunulmayan resimsel içeriğin kayıp alanları görsel
anlamda birleştirmek amaçlandı.

Fig. 3-14. During the toning of St Barbara’ s halo and face, using diluted paint appliedin vertical linesFotoğraf. 3-14. St Barbara'nın halo ve yüzünün tonlanması sırasında, dikey çizgilerle
seyreltilmiş boya kullanılarak

(b)

(a)

Figs. 3-15 (a), (b). Before and after toning of graffiti incisions at the front of the niche in the narthex (entrance room)Fotoğraf. 3-15 (a), (b). Kazıma ve boya kayıplarının olduğu alanlardaki tonlama test çalışmasından (önce,sonra), niş önü, narteks (giriş
odası)

24

(a)

(b)

Figs. 3-16 (a), (b). Before and after toning of scratches and paint loss on the panel depicting St Constantine on theceiling of the main roomFotoğraf. 3-16 (a), (b). Kazıma ve boya kayıplarının olduğu alanlardaki tonlama test çalışmasından (önce,sonra), ana
odanın tavanında Aziz Konstantin sahnesi

(a)

(b)

Figs. 3-17 (a), (b). Before and after toning of scratches and paint loss on two saints on the right side of the west wall in the
nave (main room)Fotoğraf. 3-17 (a), (b). Kazıma ve boya kayıplarının olduğu alanlardaki tonlama test çalışmasından (önce,sonra), batı duvarının
sağ tarafında iki aziz, nef (ana oda)

25

I - 3. Conservation intervention report pertaining to the wall paintings of St. Simeon Church, Paşabağ

Fig. 3-18. West wall of the nave. The permitted working area is outlined with dashed linesFotoğraf. 3-18. Nefin batı duvarı. İzin verilen çalışma alanı kesikli çizgilerle belirtilmiştir

Fig. 3-19. South wall of the nave. The permitted
working area is outlined with dashed lines

Fig. 3-20. South wall of the nave. After the toningFotoğraf. 3-19, 3-20. Test yapılan çalışma alanı (önce, sonra), Nefin güney duvarı.

26

Documentation

Dokümantasyon

After completion of restoration work, the treated areas

Test çalışmalarının tamamlanmasının ardından, test

were documented by mapping them on transparencies overçalışmasının yapılan alanlar, sahnelerin basılı olduğu

printed photos of wall paintings, using permanent pens (Fig.

fotoğraflarının üzerini örten asetatlar üzerinde uygun

3-22). Digital graphic documentation will also be carriedlejantlar işlenilerek belgelenmiştir (Fotoğraf. 3-22). Bunun

out.

yanında 2023 yılı çalışmasında gerekli izinlerin alınması
halinde kilisede uygulama yapılacak her bir alan benzer

Sensitization of the publicşekilde belgeleme işlemi yapılacak ve daha sonra ayrıca
dijital grafik dokümantasyon çalışması da yapılacaktır.

Considering the degree of mechanical damage caused by
Halkın duyarlılaşması

graffiti and the fact that such graffiti unfortunately continues
to occur even today, several measures should be taken toprevent further vandalism by visitors after the monument is

Grafitinin neden olduğu tahribat ve ne yazık ki bugün bile

opened to the public. These include a campaign informing

yapılmakta olduğu düşünülürse, kilisenin ziyarete açılacağı

local tourist guides and encouraging them to advise against

dönemde ziyaretçilerin daha fazla vandalizm eylemini

vandalism during tours. Further action encouraging public

yapmasını önlemek amacıyla çeşitli tedbirlerin alınması

appreciation of cultural heritage and the importance ofönerilmektedir.

its protection and preservation is also considered very

Fig. 3-21. After toning of scratches and paint loss on two saints on the right side of the west wall in the nave (mainroom)
Fotoğraf. 3-21. Kazıma ve boya kayıplarının olduğu alanlardaki tonlama test çalışmasından sonra,batı duvarının sağ
tarafında iki aziz, nef (ana oda)

27

I - 3. Conservation intervention report pertaining to the wall paintings of St. Simeon Church, Paşabağ

important for sensitizing visitors and preventing them from

Bunlar arasında yerel turist rehberlerini bilgilendirme ve

causing further damage. For this reason, proper information

turlar sırasında vandalizme karşı bilgi vermelerini teşvik

can be made available to visitors by placing signage at theetmek olabilir. Kültürel mirasın bölgede yaşayan halkmonument entrance that may include information about

tarafından benimsenmesi ve zaman içinde korunması vehistorical and iconographic significance and text and visualmuhafaza edilmesinin önemine yönelik daha ileri adımlar,

messaging pertaining to vandalism and restoration work.

ziyaretçileri duyarlı hale getirmeyi ve grafiti ile duvar
resimlerine daha fazla zarar vermelerini önlemesi açısından
olduça önemli olduğu düşünülmektedir. Bu nedenle, kilisegirişine tarihi ve ikonografik bilgileri de içerebilecekbilgilendirme panoları, vandalizm ve yapılan restorasyonçalışmaları ve bunların önemine dair metin ve görseller
uygun bilgiler ziyaretçilere sunulabilir.

Fig. 3-22. During mapping of the toned areas on the right side of the south wall in the main roomFotoğraf. 3-22. Kazıma ve boya kayıplarının olduğu alanlardaki tonlama test çalışmasından sonra yapılan dokümantasyon, batı
duvarının sağ tarafında iki aziz, nef (ana oda)

28

Fig. 3-23. The conservation team, September 2022Fotoğraf. 3-23. Konservasyon Ekibi, Eylül 2022

29

Ⅱ . Investigation of lichens growth on the cave church of St. Simeon （Paşabağ）： Preliminary detection and evaluation of rock penetration

Ⅱ . Investigation of lichens growth on the cave church of St. Simeon （Paşabağ）： Preliminary detection and evaluation of rock penetration
Giulia Caneva(University Roma Tre, Italian Republic)
Annalaura Casanova Municchia (University Roma Tre, Italian Republic)

Issue

Materials and Methods

The St. Simeon Church in Paşabağ, Cappadocia is

In situ observation and sampling

composed of pink tuff substrate covered by a widebiological colonization (Figure 1) that includes lichens

Before sampling, we acquired information on the total

growth, mosses and microorganisms such as cyanobacteria

biological cover across different exposures (spanning 6 test

and black fungi. This colonization appears to be distributed

areas) by calculating the coverage value of every single

over all facades with some variation along each exposure.

lichen species using Braun-Blanquet’s scale of values for
phytosociological evaluation (+ = sporadic species, 1 =<5%, 2 = 5-25%, 3 = 25-50%, 4 = 50-75%, 5 = >75%)

Aim

applied to the biological mass present on a representative
This work aims to identify the lichen species growing

area of 1 m2 (Figure 2). We collected every observed

into the rocks, and to evaluate their influence on the

biological species in each representative test area. As shown

deterioration of stone materials. Accurate identificationin Figure 3, we collected a total of 28 samples across allof these lichen species and an ecological study of lichen

Church exposures, namely, the South/East exposure (5communities along the Church’s surface are each essential

samples: Ril1a, Ril1b, Ril1c, Ril1d Ril1e), North/East

for understanding the most important factors favoring their

exposure (6 samples: Ril3a, Ril3b, Ril3c, Ril3d Ril3e,

growth and spread. Such information, when combined with

Ril3f), North/West exposure (14 samples: Ril4a, Ril4b,

an analysis of potential biodeterioration or bioprotective

Ril4c, Ril4d; Ril4e, Ril4f; Ril4g, Ril4h, Ril4i, Ril4l; Ril4m,

action, will enable evaluation of potential conservation

Ril4n; Ril4o; Ril4p ), West exposure (2 samples: Ril5a,

measures.

Ril5b) and South/West exposure (1 sample: Ril6a).

Here, we present the first steps in identifying species andanalysing rock penetration.

Figure. 1 Distribution of biological colonization in different exposures33

II. Investigation of lichens growth on the cave church of St. Simeon（Paşabağ）

Lichen identification
Lichens were identified directly in situ or in the laboratory,
thanks to the support of Professor Paolo Giordani ofUniversità di Genova, using a binocular microscope (withup to 50× magnification). A microscope with 5×, 10×,20× and 100× objective lenses with the possibility of oil
immersion (1000× magnification) was used for sections
with thalli and fruiting bodies. Chemical spot tests K, C,
KC and PD were performed for most samples, as necessary.
Cluzade and Roux’s (1985) identification key was used as areference. Nomenclature strictly follows that adopted in the
ITALIC 5.0 version of the Information System on Italian
Lichens (ITALIC, 2016), and the Consortium of North
Figure. 2 Representative area for the coverage calculation andthe sampling.

American Lichen Herbaria (CNALH, 2013).

Figure. 3 Detail of sampling areas among the different exposures.

34

Stereomicroscope and scanning electron microscope (SEM)

versicolor, Placynthium sp. and Acarospora impressula

observation

have a deeper spread with a coverage value ranging from50 to 75%.

All fragments were photographed using a Zeiss Axio Zoom.
North/East exposure

V16, while digital pictures were taken with a CCD Zeiss
Axiocam 503 using an 0,25 NA objective lens. Fractured
rock samples were placed on conventional Al stubs andAlong the North/East exposure, the surface of the

sputter-coated with gold (Emitech Technologies Ltd., Kent,

representative area had inclines of about 90°, and featured

England). The samples were then studied using a Field

colonization consisting of crustose lichen with a total

Emission Scanning Electron Microscope (FE-SEM, Sigmacoverage of 50% (see Table 1). Figure 7 summarizes the300, Carl Zeiss SMT). Samples were inserted into thesampling point and the stereomicroscope observation.

vacuum, and secondary electron (SE) images were taken

Specifically, four lichen species were identified: Acarospora

at an accelerating voltage of 5 kV and a working distance

impressula (RIL 3a), Lecidella stigmatea (RIL 3c), Lecanoraof 11 mm to obtain morphological information about thepannonica (RIL 3d) and Lecidea auriculata (RIL 3f) (seelichen colonization within the rock.

Table 1). Coverage appeared smaller on this exposure thanothers, and the most abundant species observed is Lecidellastigmatea (RIL 3c) with coverage between 5 and 25% (seeResults and discussion

Table 1).

South/East exposure

SEM observation of all four samples shows lichen
penetration inside the entire samples (~ 2-3 mm) andOn the South/East exposure, the surface of thestriking density and penetration of fungal hyphae networks.

representative area (Figure 2) is inclined at about 80°

Figure 8 evidences the mineral grains completely embedded

and features a strong colonization consisting of crustosein the hyphae networks. The percentage of coverage inside

lichen with a total coverage of 90% (see Table 1). Figure 4

the samples varies from 50-75% for Lecidella stigmatea andsummarizes the sampling point and the stereomicroscope

Lecidea auriculata, and 25-50% for Acarospora impressula

observation. Specifically, five lichen species were identified:and Lecanora pannonica (see Figure 6).

Acarospora versicolor (RIL 1a), Placynthium sp. (RIL 1b),
North/West exposure

Lecanora sp. (RIL 1c), Candelariella aurella (RIL 1d) andAcarospora impressula (RIL 1e) (see Table 1). From thesurveys, the most abundant species observed, characterized

O n t h e N o r t h / We s t e x p o s u r e , t h e s u r f a c e o f t h e

by coverage, is Lecanora sp. (RIL 1c) (see Table 1).

representative area had inclines of about 80° and, fromfield observation, appeared to predominantly host crustose

SEM observation of all five samples highlights the presencelichens and bryophytes with a total coverage of 95 -100%of a network of fungal hyphae (that take part in lichen(see Table 1). Figure 9 summarizes the sampling point andstructure) inside the entire sample (~ 2-3 mm), where thethe stereomicroscope observation. Eleven lichen species

hyphae decrease with depth and only a few can be seen

were detected, which demonstrates greater lichen species

at the bottom (see Figure 5). The images also indicate

diversity across this exposure, but only ten species havethat a relatively larger portion of the rock shows evidence

been identified since sample Ril4m was not identifiable.

of fragmentation and crumbling. As shown in Figure 5,

The identified species were: Lecanora pannonica (RIL 4a),mineral grains are completely embedded in the interior of

Rhizocarpon geographicum (RIL 4b), Xanthoparmelia

the hyphae networks.

verruculifera (RIL 4e), Tephromela atra (RIL 4f),
Xanthoparmelia verruculifera (RIL 4g), Lecanora sp. (RIL

Notably, the density of fungal hyphae networks varies4h), Acarospora impressula (RIL 4i), Acarospora impressula

across samples. As shown in Figure 6, Acarospora(RIL 4l), Physconia grisea (RIL 4n), Blastenia crenularia35

II. Investigation of lichens growth on the cave church of St. Simeon（Paşabağ）

36

(RIL 4o) and Lecidea lapicida (RIL 4p) (see Table 1).

was the colonization not observed in depth, but only at theSingle lichen coverage varied from a rare coverage valueinterface between rock and lichen thallus. Specifically,(Rhizocarpon geographicum, Acarospora impressula,

Figure 10 underscores that mineral grains are completely

Blastenia crenularia, Lecidea lapicida) to a maximum

embedded in the interior of the hyphae networks.

coverage of between 5-25% (Lecanora pannonica andConsiderable coverage exists inside the samples with a

Acarospora impressula) (see Table 1).

value of 50-75%, except for Physconia grisea with a low
value between 1 and 5%, Blastenia crenularia with a value

SEM observations of the fragments showed a strong lossof 5-25% and Acarospora impressula with a value betweenof the rock matrix and dense fungal hyphae networks that

5-50% (see Figure 6).

penetrate the substrate to a depth of several millimeters (~2-3 mm). Only in the case of the species Physconia grisea

Figure. 4 Detail of sampling areas on south/east exposure and stereophotographs images of specimens.

37

II. Investigation of lichens growth on the cave church of St. Simeon（Paşabağ）

Figure 5. False-colour SEM images of fragmented sample Ril1a.

Figure. 6. Value of coverage observed inside samples across all exposures.
Values: + = sporadic species, 1 = <5%, 2 = 5-25%, 3 = 25-50%, 4 = 50-75%, 5 = >75% Each motif indicates one sample from a specificexposure:
Ril 1 (south/east);
Ril 3 (north/east);
Ril 4 (north/west);
Ril 5 (west);
Ril 6 (south/west).
Colours indicate the same lichen species across different exposures.

38

Figure 7. Detail of sampling areas on the north/east exposure andstereophotograph images of specimens.

Figure 8. False-colour SEM images of fragmented samples Ril3a and Ril3c.

39

II. Investigation of lichens growth on the cave church of St. Simeon（Paşabağ）

40

Figure. 9 Detail of sampling areas on the north/west exposure and stereophotograph images of specimens.

41

II. Investigation of lichens growth on the cave church of St. Simeon（Paşabağ）

Figure 10. False-colour SEM images of fragmented sample Ril4h.

Figure 11. Detail of sampling areas on the north/west exposure and stereophotograph images of
specimens

West exposure

SEM observation of the two fractured samples highlights
the heavy presence of fungal hyphae networks inside theOn the West exposure, the surface of the representative

entire sample (~ 3-4 mm) (see Figure 12). The images

area had inclines of about 70°, and colonization consisting

indicate that mineral grains are completely embedded inof crustose lichen with a total coverage of about 80% (seethe interior of the hyphae networks and the rock’s structure

Table 1). Figure 11 summarizes the sampling point and theis superposed by the fungal network. The percentage ofstereomicroscope observation. Fewer lichen species werethe coverage inside samples is remarkable for both, withfound across this exposure, and only two were identified:Acarospora impressula reaching a value of 75-100% (seeAcarospora impressula (RIL 5a) and Tephromela atra (RIL

Figure 6).

5b). The most abundant species was Acarospora impressulawith a coverage value of 5-25%.
42

South/West exposure

SEM observation of the sample underscored the presenceof fungal hyphae networks throughout the entire sample (~O n t h e S o u t h / We s t e x p o s u r e , t h e s u r f a c e o f t h e

1-2 mm) (see Figure 14), where the hyphae decreased withrepresentative area had inclines of about 75°, anddepth and only a few hyphae can be seen at the bottom.

colonization consisting of crustose lichen with a total

Images also indicate that a greater portion of the rockcoverage of about 80% (see Table 1). Figure 13 summarizes

evidences fragmentation and crumbling.

the sampling point and the stereomicroscope observation.
The main lichen species observed and identified is

The percentage of coverage inside the samples is between

Acarospora sulphurata (RIL 6a) with a coverage value of

25 and 50% (see Figure 6).

5-25%.

Figure 12. False-colour SEM images of fragmented sample Ril5a.

Figure. 13 Detail of sampling areas on north/west exposure and stereophotographs images of
specimens43

II. Investigation of lichens growth on the cave church of St. Simeon（Paşabağ）

within the rock through the dissolution of minerals along

Discussion and further evaluation

grain boundaries, cleavages, and cracks, which increase

From the survey, the North/West exposure of St. Simeon

porosity and permeability. Despite such evidence of heavy

Church shows the highest level of biological colonization,interference with rock surfaces and internal structures,

mostly due to lichens and bryophytes. Across this exposure,differences in rock structures also appear when comparing

lichen diversity is also higher with a total of elevencolonized and uncolonized areas. Determining whether

different identified species. Over the exposure, the incline

the lytic action of water alone and the freeze-thaw cycle

appears to also have an ecological influence on biologicalcan be so aggressive that such biodeterioration results incolonization. The lichen species that appears consistently inbioprotective, considering the balance of all the harmful

almost all exposures is Acarospora impressula (South/East;

activities.

North/East; North/West; West) (see Figure 6).
As a further step, we will carry out an ecological study of
SEM results evidence that lichen penetration goes deep

lichen communities growing on the Church surfaces to

into the entire fragment, except in Physconia grisea,

evaluate the most important factors in their growth andwhere the growth is only superficial. As seen in Figure 6,

spread.

some samples feature different densities of fungal hyphae
penetration, depending on the lichen species and exposure.

Data on rainfall, temperatures, wind direction and incident
rainfall will be necessary for better understanding theDifferent SEM images evidence dramatic loss of stone

ecological relations and vulnerabilities of the cave church.

matrices and dense fungal hyphae networks penetrating

Moreover, evidence of the deep penetration of lichens

substrates to a depth of several millimeters (3 mm). These

will be combined with an evaluation of their potential

observations may indicate an effective biodeterioration

bioprotective qualities to better establish conservation

process caused by the large concentration of fungal hyphaemeasures that can be carried out.

Figure 14. False-colour SEM images of the bottom part of sample Ril6a.

44

References

Casanova Municchia, A., Bartoli, F., Taniguchi, Y.,
Giordani, P., & Caneva, G. (2018). Evaluation of
the biodeterioration activity of lichens in the Cave
Church of Üzümlü (Cappadocia, Turkey). International
Biodeterioration & Biodegradation, 127, 160-169.
Deniz, B. E., & Topal, T. A. M. E. R. (2022). Durability
assessment of some Cappadocian tuffs using factor
analysis, multiple regression analysis, and analyticalhierarchy process. Bulletin of Engineering Geology and theEnvironment, 81(1), 1-28.
Favero-Longo, S. E., & Viles, H. A. (2020). A review of
the nature, role and control of lithobionts on stone cultural
heritage: Weighing-up and managing biodeterioration
and bioprotection. World Journal of Microbiology andBiotechnology, 36(7), 1-18.
Garcia-Vallès, M., Topal, T. A. M. E. R., & VendrellSaz, M. (2003). Lichenic growth as a factor in thephysical deterioration or protection of Cappadocian
monuments. Environmental geology, 43(7), 776-781.
Pinna, D. (2014). Biofilms and lichens on stone monuments:
do they damage or protect?. Frontiers in microbiology, 5,133.
Topal, T., & Doyuran, V. (1998). Analyses of deteriorationof the Cappadocian tuff, Turkey. Environmental
Geology, 34(1), 5-20.
Yazici, K., Aslan, A., Etayo, J., & Giordani, P. (2008).
Lichens from Antalya, Cankiri, Konya and Nevsehir
Provinces (Turkey). Pakistan Journal of Biological
Sciences: PJBS, 11(18), 2201-2208.

45

Ⅲ . 3D Digital Documentation of St. Symeon Stylites Kilisesi

Ⅲ . 3D Digital Documentation of St. Symeon Stylites Kilisesi
Hirofumi Sugawara (Kanazawa University, Japan)

1. Aim of the Study

3-2. For Processing

3D modeling is now recognized as a very useful method

Computer: iMac (2020)

for documentation and visual presentation. However,

3.6GHz 10 cores, Intel i9best practices for utilizing this method in studying the

AMD Radeon Pro 5500 XT 8 GB

monuments remain unclear. Therefore, the aims of this64 GB 2667 MHz DDR4

study are to identify:

macOS Ventura 13.0

1) how to best produce and utilize 3D models as

Software: Agisoft Metashape Professional ver. 1.8.4

semi-primary sources for scientific research, as museum
materials, and as tourist attractions; and4. St. Symeon Church

2) what are the best procedures for succeeding in virtual
St. Symeon Church is located at Paşabağı, Çavuşin

restoration and reconstruction with academic accuracy.

(38.67703, 34.8547) in Turkey. It is a single-naved
basilica with a flat ceiling featuring a large sculpted cross.

2. Working Schedule

According to Guillaume de Jerphanion, decorations in thisWork was completed over the course of 2 days, namely,

Syriac church suggest it may have been built earlier than its

on the 21st and the 24th of September 2022. The church’s

Archaic-styled wall paintings, which appear to have beenarchitectural style would have allowed for a quicker

added in the early 10th century.

schedule, but restoration activities were underway at thetime by Professor Yoko Taniguchi of Tsukuba University,

5. 3D Modeling of St. Symeon

Japan.
I processed a total of 2819 photos over 6 hours in
Metashape. The modeling is shown below.

3. Equipment
3-1. For Scanning
Camera: FUJIFILM GFX100S
Lenses: GF45mmF2.8 R WR
Flash: Shoe mount flash EF-60
Storage: Sandisk ExtremePro SSD 4TB
The FUJIFILM GFX100S has ultra-high resolution image
senser with 120 megapixels and can be acquired at a lower
cost than comparable cameras from other companies.
Previously, the maximum resolution for the full-frame
format image sensor was around 40 megapixels. A highresolution camera is essential for the construction of useful
3D models, as we see below.

49

III . 3D Digital Documentation of St. Symeon Stylites Kilisesi

View from the south

Note: Imaging is complete, without gaps, including the air passage in the apse.

View from the vault
Note: Imaging is complete, without gaps, but part of the ceiling is not clear.

50View from the northView of the floor
Note: There are black spots on the floor of the narthex. The cause is unknown, but the problem could be remedied by using an anchor markwhen taking photos.

51

III . 3D Digital Documentation of St. Symeon Stylites Kilisesi

View from the east

View of the Narthex

Note: Imaging is complete, without gaps. The apse is the most difficult part to scan due to the complexity of its shape. Moreover,
the alter of the apse is not attached to the wall but independent from it. Therefore, there is a narrow gap between the wall and thealter. I am particularly satisfied with this 3D model.

52

Zoom-in view of the apse

Zoom-in view of the southern wall

53

III . 3D Digital Documentation of St. Symeon Stylites Kilisesi

Zoom-in view of the entrance of naos

Note: Imaging is complete, without gaps, including the grave even though this jointed area is difficult to scan. There is one oblongrock floating in the air, likely produced by a miscalculation in Metashape. I have identified how to cover the error.

Zoom-in view of the ceiling
Note: I added old photos with a resolution of 12 megapixel taken by my older Camera, Nikon DF, since the original model looked
unclear. Nevertheless, the image looks good despite the varying resolutions.

54

Ⅳ . Dating vandalism and graffiti at St. Simeon Church

IV. Dating vandalism and graffiti at St. Simeon Church

Ⅳ . Dating vandalism and graffiti at St. Simeon Church
Akemi Narita (Aichi University of the Arts, Japan)

It is almost impossible to determine when damage occurred

There are many marks and graffiti left by modern tourists,

to paintings that were painted in the 10th century and havebut there is also graffiti left by pilgrims in the Middle Ages.

been around for a long time. However, there were someplaces where the time at which damage occurred could be

These were identifies with the cooperation of Associateestimated

Professor Tolga B. Uyar, an art historian at Nevşehir Hacı
Bektaş Veli Üniversites. These older forms of graffiti often

The ceiling of the nave of St. Simeon's Church has a crack

consist of words (Fig. 2) and crosses (Fig. 3), but alsothat runs across the apse from the narthex, in its supporting

include iconography such as birds (Fig. 4) and people. It

rock. Observation of cracks in the section of the arch thatwould be of important historical value to know more about

leads from the nave to the apse indicate that cracks were

the pilgrims who visited this church.

already present when the ground layer was prepared. Thatis, some cracks are filled with gesso, which was used toAdditionally, there is one photograph of the inside of St.

prepare the ground layer (Fig. 1). This could not have

Simeon Church taken in 1935 by John D. Whiting and G.

occurred unless the cracks existed when the gesso was

Eric Matson (Fig. 5).

applied. The gap between the cracks seems to have widened
since then.

A comparison of this photo with survey photos from2019 shows progressive deterioration and damage. This

Fig.1 Gesso in the crack

Fig.2 Graffiti by Medieval pilgrims (words)

Fig.3 Graffiti by Medieval pilgrims (a cross)Fig.4 Graffiti by Medieval pilgrims (a bird)

58

shows changes in its shape and size ( ⑦⑧⑨ ).

deterioration and damage has occurred over the last 80
years.

This is the extent of the damage that can be confirmed from
Flaking of the white ground layer can be confirmed on

the photograph.

the wall near the floor (Fig. 6: ① , ② Fig. 7: ⑦ , ⑨ ). No
flaking of the ground layer is seen, but there are places

Framing of the ground and painting layers near the floor iswhere the red line, which is the painting layer, is fading

conspicuous.

( ③ ).
The north wall of the nave shows a change in the amountOn the side of the altar in the apse, black lines resemblingof black material, suggesting ongoing use of the space forraindrops could be seen in 1935, but now the color has

cooking or religious ceremoniesy between 1935 and 2019.

faded ( ④ ), and raindrop-like marks have increased in

Therefore, it is possible that the flaking of the ground layer

number. Beneath this area, a black substance that resembles

at this part was caused by contact with a person's foot.

water stains appears to have been left by moisture from the

In any case, it can be seen that flaking in the ground andfloor( ⑤ ).

painting layers near the floor has progressed considerably.

The amount of graffiti has not increased much since 1935

Assuming that the root cause of deterioration in these muraland this can be confirmed using the photograph, which

paintings has been natural weathering, it appears that theshows only one spot scratched ( ⑥ ).

rate of deterioration has accelerated in the last 80 years,
especially relative to the fact that they had remained colored

The black material found on the north wall of the nave

until then.

Fig.5 Photograph was taken in 1935

Fig.6 Photograph of the east wall of the nave, from 2019

Fig.7 Photograph of part of the south wall of the nave, from 201959

V. Documentation of the condition of the wall paintings of
the St Simeon Church

V. Documentation of the condition of the wall paintings of the St Simeon Church
Mina Shibata (Tokyo National Research Institute for Cultural Properties, Japan)

１ Method of Documentation

４ Measurement

Since the paintings were depicted across large surfaces onFirst, the height and width of the wall paintings were

the walls, ceiling and dome, it was impossible to capture

measured using a laser distance meter.

their entirety in a single photograph. Therefore, the wall

These measurements were necessary for merging images.

paintings were photographed in several sections, both

Additionally, the distance between distinctive figures, suchvertically and horizontally, and the sections were merged

as saints, was measured.

digitally into a single high resolution image using Adobe
Photoshop software. Base maps of each wall and ceiling

５ Image Processing

were then created after the images were rectified using
measurement data. Finally, the condition of each painting

The photographs were merged into a single high-resolution

as recorded on OHP film was digitized onto the high-image using the “photomerge” function of Adobe

resolution base maps. The process of documentation

Photoshop CS6. The merged image was rectified manually

generally followed the following 4 steps.

based on measurement data, resized to the exact scale andthen set into basic format in Adobe Illustrator CS6.

1) Photograph paintings2) Measure paintings3) Image processing: Merge photographs into a single highresolution photograph, rectify the image, and create basemap.
4) Assess and record conditions

２ Instruments
The instruments used for the survey are listed below:
Digital Camera (OLYMPUS TOUGH TG-5)
Laser Distance Meter (BOSCH GLM7000 Professional)
Software: Adobe Photoshop CS6, Adobe Illustrator CS6

３ Photographing the Wall Paintings
Photographs were taken with a camera in horizontal rows
across the wall painting. The number of photographs taken
varied according to the dimension of the wall paintings. A
uniform distance between the lens and the paintings wasmaintained as the camera moved horizontally and vertically,and each shot contained enough overlap with adjacent areas
to facilitate digital merging and processing.

Digital distance meter (BOSCH GLM7000 Professional)63

V. Documentation of the condition of the wall paintings of the St Simeon Church

St. Simeon Plan

Key Plan0
Church Name (Turkish)

1.0 (m)Subject

Mural condition map

Aziz Simeon Kilisesi
Church Name (E n g lish)

Scale

Saint Simeon Church
Location

Aps WallOne example of digital heritage inventory: Deterioration in a plaster layeron the ceiling in the nave

64

Category

1/21

Photograph

Plate No.

SMO-C3-005

Ⅵ . AppendicesVI - 1. Analysis of Binding Media Using ELISA and LC-MS

Ⅵ -1. Analysis of Binding Media Using ELISA and LC-MS
Miho Takashima (The National Museum of Western Art, Japan)
Yuki Kumazawa (Nippi Research Institute of Biomatrix, Japan)
Yuki Taga (Nippi Research Institute of Biomatrix, Japan)

organic substances may be present in a painted sample [1,2].

1. The Experiment

It is often complicated to analyze painted samples because
organic substances such as proteins, polysaccharides, and1-1. ELISA Principles

pigments may deteriorate over the years.
ELISA can be used to detect the types of antibodies andantigens in a sample, as well as their concentration. In
recent years, ELISA tests have been used to simultaneously

1-2. ELISA Sample Preparation and Analysis

measure a variety of biological macromolecules ofmammalian origin (including proteins like collagen from

Two samples (one green and one red; Photo 1 and 2) wereanimal glues, casein from dairy products, egg white

analyzed with the ELISA technique at the National Museum

albumin from egg whites, and phosvitin from egg yolks)of Western Art (NMWA) in Japan. The white ground layer

and polysaccharides of plant origin (such as plant gums), asand the thin paint layer were separated in each sample.

Photo1. The green and red samples analyzed by ELISA （Measured in millimeters）

Photo2. Two samples taken from the north wall of the nave

68

The green sample included 6.40 mg of white ground and

The samples were heated at 60°C for 30 minutes in 100

1.53 mg of green paint, while the red sample includedµL of Tris-HCl buffer containing 1 mM of CaCl2 (pH 7.6)

6.93 mg of white ground and 2.95 mg of red paint. Sample

and digested with 2.5 µg of trypsin (Sigma-Aldrich, St.

preparation and analysis were conducted in accordance withLouis, MO, USA) at 37°C for 3 hours. After acidification

GCI procedures [3] with modifications [4]. Antibodies werewith formic acid (final 1%), sample solutions were filtrated

modified as shown in Table 1, and triplicate measurement

through a 0.45 µm filter and then subjected to LC-MS/MS

were taken with adding 40 µl sample eluent to each well.

analysis for protein identification.

To prevent non-specific binding of antibody to the surface
of well, skim milk is usually used for blocking unoccupied

1-3-2. Protein Identificationsite but, because casein may be found in the samples, Sea
BlockTM buffer was used for two anti-collagen antibodies,

The trypsin digests were analyzed with LC-MS/MS using

an anti-casein antibody and an anti-tragacanth antibody,a maXis II quadrupole time-of-flight (Q-TOF) mass

TM

BSA was used for an anti-ovalbumin

spectrometer (Bruker Daltonics, Bremen, Germany) coupled

antibody and an anti-plant gum antibody. Measurements

to a Shimadzu Prominence UFLC-XR system (Shimadzu,

were simultaneously taken at OD405 and OD630 in order to

Kyoto, Japan) with chromatographic separation using an

avoid excessively high absorbance values. Average values

Ascentis Express C18 HPLC column (2.1 mm × 150 mm,

of blank +3SD were used as the threshold, and more thani.d., 2.7 µm; Supelco, Bellefonte, PA, USA), as described

2 positives out of 3 wells were treated as a confirmed

previously [5]. The MS and MS/MS spectra were obtained

positive.

over the m/z ranges of 50–2150 with a frequency of 8 Hz in

while Blocker

positive ion mode. Proteins were identified by searching theacquired MS/MS spectra against the UniprotKB/Swiss-Prot

1-3. LC-MS Sample Preparation and Analysis

database (release 2018_05) using ProteinPilot software 4.5(AB Sciex).

1-3-1. Trypsin Digestion
Two samples (one green and one red, both different fromthose analyzed above using ELISA) were analyzed using
LC-MS at Japan’s Nippi Research Institute of Biomatrix
without separating the white ground and paint layers.

Primary Antibody

Dilution used Secondary Antibody(catalog number)

Dilution used detegctable binding media(catalog number)

Collagen Ⅰ (#AB758)

400

Goat IgG (#ab6742)

500

Animal glue

Collagen Ⅰ (#ab34710)

200

Rabbit IgG (#AP132A)

500

Animal glue

Ovalbumin (#ab1225)

1600

Rabbit IgG (#AP132A)

500

Egg White

Casein (#bs-0813R)

400

Rabbit IgG (#AP132A)

500

CaseinPlant gums (#JIM13)

50

Rat IgM (#A110-100AP)

500

Plant gums

Gum Tragacanth (#MAC265)

50

Rat IgG (#A8438)

500

Gum tragacanth

Table 1. Antibodies for ELISA analysis at the National Museum of Western Art, Japan (as of 2018).

69

VI - 1. Analysis of Binding Media Using ELISA and LC-MS

2. Results

3. Conclusion

2-1. ELISA Analysis of Binding Media Materials

Only plant gums were detected in the paint layers of
the green and red samples. Although ELISA and LC-

The results of the ELISA analysis of the samples are

MS methods may not detect proteins in samples whenshown in Figure 1. Only plant gums were detected in thethe amount is small or when proteins are denatured bypaint layers of both samples and no binding media were

pigments, UV light, or aging, the fact that proteins weredetected in the white ground of either. These results were

not detected by either method means that the samples mostin agreement with the LC-MS results; no proteins werelikely did not contain any protein. It is therefore believed

detected in either sample.

that the wall paintings on the north wall of the nave at
St. Simeon Church were painted using the fresco-secco
technique with plant gums in the paint layers.

2-2. LC-MS Analysis of Binding Media Materials
Protein database searches did not identify any proteins ineither sample.

Result of ELISA

Optical density (405 nm, 630 nm)

1
0.9

paint from green sample

ground from green sample

0.8

paint from red sample

ground from red sample

0.7

average values of blank+3SD

0.6
0.5
0.4
0.3
0.2
0.1
0

Figure 1. ELISA results for identification of binding media in the two samples. Average values of blank +3SD were used as thethreshold. Only plant gums were detected in both paint samples.

70References

1. Heginbotham, A.; Millay, V.; Quick, M. The use of
Immunofluorescence Microscopy (IFM) and Enzymelinked Immunosorbent Assay (ELISA) as Complementary
Techniques for Protein Identification in Artists’ Materials. J.
Am. Inst. Conserv. 2006, 45, 89–105.
2. Mazurek, J.; Schilling, M.; Chiari, G.; Heginbotham, A.
Antibody assay to characterize binding media in paint. In
Proceedings of the 15th Triennial Meeting of the ICOM
Committee for Conservation, New Delhi, India, 22–26
September 2008; pp. 849–856.
3 . P i q u é , F. ; Ve r r i , G . ( E d s . ) E n z y m e - L i n k e d
Immunosorbent Assay (ELISA) for Protein Identification.
In Organic Materials in Wall Paintings: Project Report; The
Getty Conservation Institute: Los Angeles, CA, USA, 2015;
pp. 58–60.
4. Takashima, M. Using Enzyme-Linked Immunosorbent
Assay (ELISA) to Identify Proteinaceous Materials andPlant Gums in Artworks. J. Conserv. Cult. Prop. 2018, 61,
12–37.
5. Kumazawa, Y.; Hattori, S.; Taga, Y. Semi-Nondestructive
Certification of Crocodilian Leather by LC-MS Detectionof Collagen Marker Peptides. Anal. Chem. 2019, 91, 1796–
1800.

71

St Simeon CHURCH, CAPPADOCIA
Condition glossary
St Simeon
CHURCH, CAPPADOCIA
September
2019
Condition glossary
September 2019
ROCK DETERIORATIONKAYADA BOZULMABIOLOGIC ACTIVITY

BIYOLOJIC BOZULMA

Evidence of animal inhabitation (insects,
spiders). Often, they appear to have
inhabited pre-existing fractures in therock, possibly exacerbating
deterioration.

DEPOSITION OF DARK MATERIALSIYAHLAŞMA

Deposits of dark brown or blackish
material on the surface of the rock. Its
origin is unclear, but it may be caused bybiologic activity (ex. insects, bats). It
appears to have been deposited on thestone after a loss of plaster, but this is
uncertain – similar deposits do notappear on the surface of the plaster or
paint layers. Could it have formed under
the plaster and contributed todetachment? If of insect or animal
origin, what caused the depopulation?

STRUCTURAL CRACKS
Large cracks which run through the
body of the rock, caused by faulting.

73

YAPISAL ÇATLAH

VI - 2. Condition glossary

PLASTER DETERIORATIONSIVADA BOZULMADETACHMENT OF LOWER PLASTER
LAYER

SIVA TOBAKASINDA AYRILMA

Loss of adhesion between the lower
plaster layer and rock substrate, asassessed by visual evidence alone. In
general, the observed detachment
appears to result from mechanicaldamage to the surrounding areas, or
structural cracking, though it may be
more extensive.

MECHANICAL DAMAGE

MEKANİK HASARLAR(insan eliyle yapılan hasar)
Rupture of the painting stratigraphy byhuman or animal action, causing avariety of damage types: loss of theentire stratigraphy, revealing theunderlying rock substrate; loss of thepaint layer, ground and part of the lower
plaster layer, leaving the interior of thelower plaster layer exposed; loss of only
the upper plaster ground, leaving thesurface of the lower plaster layer intact;deformation of the painting
stratigraphy, which otherwise remain
intact. Often appears as scratching,gouging, or denting. Damage was often
directed at specific iconographic
elements (ex. faces, hands, books).
CRACKINGBÜTÜN ÇATLAKLAR

Cracking of the plaster layer most often
resulting from cracking of the rock
structure and mechanical damage,
though there may be other causes.

74

HOLESDELIKLER

Very circular, small holes ofapproximately 5 mm Ø, which enter into
the plaster layer and generally do notreach the substrate. Cause is unknown
as of yet.

(5mm ø)INCISED GRAFFITI

GRAFİTİ

Inscriptions and drawings incised into
the surface of the painting, affecting thepaint layer, ground and plaster layer.
Some graffiti appears to be ancient(written in Greek; imagery of horses,
monks etc), but a significant proportionis modern (based on writing, dates,
phone numbers …).

75

VI - 2. Condition glossary

PAINT LAYER DETERIORATIONBOYA TABABASINDA BOZULMAMICRO LOSSESMIKRO KAYIPLAR

Extremely small, rounded losses of thepaint layer generally on the order of
0.5-1 mm Ø. Not always confined to
specific paint layers, but does appears
to be somewhat location-specific.

PAINT LAYER LOSS DUE TO BIOLOGIC
ACTIVITYBİYOLOJIK NEDENLERLE
BOYA TABAKASINDA KAYIP

Loss of the paint layer due to theformer presence of birds’ nests(primarily) which, when separated fromthe painting surface, removed part ofthe paint layer.

DARK GREY VEIL
Veil extending over the surface of thepainting, dark grey in color, somewhat
patchy, and of unclear origin. Does notappear to be soot.

76

KOYU GRI LEKELENMELERSURFACE DEPOSITION

YÜZEY BİRİKİNTİLERİ

Deposition of material on the surface ofthe painting, such as mud from birds’
nests or from later construction in the
church (ex. mud plaster).

SUPERFICIAL GRAFFITI
Graffiti applied to the surface of thepainting using a medium such as paint,
ink, or graphite. At times the original
paint layer used as a medium by taking
advantage of its friability/water
sensitivity.

77YÜZEYSEL GRAFİTİ

Ⅵ -3. Documentation of wall paintings

No

Scale

Location
Index

Category

SMO-001

1/50
Plan
Mural condition map of Chamber 1

SMO-C1-001
SMO-C1-002
SMO-C1-003
SMO-C1-004
SMO-C1-005
SMO-C1-006
SMO-C1-007
SMO-C1-008
SMO-C1-009
SMO-C1-010

1/14
1/14
1/14
1/14
1/14
1/14
1/14
1/14
1/11
1/11

North Wall
North Wall
North Wall
North WallWest WallWest WallWest WallWest Wall
East Wall
East Wall

PhotographRock Deterioration
Plaster Deterioration
Paint Deterioration
PhotographRock Deterioration
Plaster Deterioration
Paint Deterioration
PhotographRock Deterioration

SMO-C1-011
SMO-C1-012
SMO-C1-013
SMO-C1-014
SMO-C1-015

1/11
1/11
1/14
1/14
1/14

East Wall
East Wall
Ceiling
Ceiling
Ceiling

Plaster Deterioration
Paint Deterioration
PhotographRock Deterioration
Plaster Deterioration

SMO-C1-016

1/14 Ceiling
Paint Deterioration
Mural condition map of Chamber 2

SMO-C2-001
SMO-C2-002
SMO-C2-003
SMO-C2-004
SMO-C2-002-niche
SMO-C2-003-niche
SMO-C2-004-niche
SMO-C2-005
SMO-C2-006
SMO-C2-007
SMO-C2-008

1/12
1/12
1/12
1/12
1/12
1/12
1/12
1/15
1/15
1/15
1/15

North Wall
North Wall
North Wall
North Wall
North Wall
North Wall
North Wall
South Wall
South Wall
South Wall
South Wall

PhotographRock Deterioration
Plaster Deterioration
Paint Deterioration
Rock Deterioration
Plaster Deterioration
Paint Deterioration
PhotographRock Deterioration
Plaster Deterioration
Paint Deterioration

Table1. List of the photographic documentation for the wall paintings79

VI - 3. Documentation of wall paintings

No
SMO-C2-009
SMO-C2-010
SMO-C2-011
SMO-C2-012
SMO-C2-013
SMO-C2-014
SMO-C2-015
SMO-C2-016
SMO-C2-017
SMO-C2-018
SMO-C2-019
SMO-C2-020

Scale
Location
Mural condition map of Chamber 2
1/14 West WallCategory
Photograph

1/14 West Wall
Rock Deterioration
1/14 West Wall
Plaster Deterioration
1/14 West Wall
Paint Deterioration
1/15 East Wall
Photograph
1/15 East Wall
Rock Deterioration
1/15 East Wall
Plaster Deterioration
1/15 East Wall
Paint Deterioration
1/16 Ceiling
Photograph
1/16 CeilingRock Deterioration
1/16 Ceiling
Plaster Deterioration
1/16 Ceiling
Paint Deterioration
Mural condition map of Transversal Arch

SMO-C2-3-001
SMO-C2-3-002
SMO-C2-3-003
SMO-C2-3-004

1/17 Intrados of Transversal Arch
1/17 Intrados of Transversal Arch
1/17 Intrados of Transversal Arch
1/17 Intrados of Transversal Arch
Mural condition map of Chamber 3

PhotographRock Deterioration
Plaster Deterioration
Paint Deterioration

SMO-C3-001
SMO-C3-002
SMO-C3-003
SMO-C3-004
SMO-C3-005
SMO-C3-006
SMO-C3-007
SMO-C3-008

1/10
1/10
1/10
1/10
1/21
1/21
1/21
1/21

PhotographRock Deterioration
Plaster Deterioration
Paint Deterioration
PhotographRock Deterioration
Plaster Deterioration
Paint Deterioration

Aps Doom ceilingAps Doom ceilingAps Doom ceilingAps Doom ceiling
Aps WallAps WallAps WallAps WallTable2. List of the photographic documentation for the wall paintings

80

81

Narthex(Chamber 1)

Nave(Chamber 2)0

Aps(Chamber 3)

3.0 (m)Plate No.

Scale

Subject

1/50
SMO-001

Plan

Category

Mural condition map

Saint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)VI - 3. Documentation of wall paintings

0

Key Plan

1.0 (m)Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church
Location

North Wall of Chamber 1
Subject

Mural condition map
Scale

Category

1/14

Photograph

Plate No.

SMO-C1-001

82

0

Key Plan

LEGEND

A: Rock Deterioration

Deposition of Dark Material

1.0 (m)Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church
Location

North Wall of Chamber 1
Subject

Mural condition map
Scale

Category

1/14
Plate No.

SMO-C1-002

83

AVI - 3. Documentation of wall paintings

0

Key Plan

LEGEND

B: Plaster Deterioration

1.0 (m)Church Name (Turkish)

Aziz Simeon Kilisesi

Detachment of Lower Plaster Layer

Church Name (English)

Incised Graﬃti

LocationSaint Simeon Church
North Wall of Chamber 1
Subject

Mural condition map
Scale

Category

1/14
Plate No.

SMO-C1-003

84

B

0

Key Plan

LEGEND

C: Paint Deterioration

Detachment of Paint Layer

1.0 (m)Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church
Location

North Wall of Chamber 1
Subject

Mural condition map
Scale

Category

1/14
Plate No.

SMO-C1-004

85CVI - 3. Documentation of wall paintings

0

Key Plan

1.0 (m)Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church
LocationWest Wall of Chamber 1
Subject

Mural condition map
Scale

Category

1/14

Photograph

Plate No.

SMO-C1-005

860

Ceiling

LEGEND

A: Rock Deterioration

Deposition of Dark Material

1.0 (m)Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church
LocationWest Wall of Chamber 1
Subject

Mural condition map
Scale

Category

1/14
Plate No.

SMO-C1-006

87AVI - 3. Documentation of wall paintings

0

Key Plan

LEGEND

B: Plaster Deterioration

Mechanical Damege
Incised Graﬃti

1.0 (m)Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church
LocationWest Wall of Chamber 1
Subject

Mural condition map
Scale

Category

1/14
Plate No.

SMO-C1-007

88

B

0

Key Plan

LEGEND

C: Paint Deterioration

1.0 (m)Church Name (Turkish)

Aziz Simeon Kilisesi

Surface Deposition

Church Name (English)

Superﬁcial Graﬃti

LocationSaint Simeon Church
West Wall of Chamber 1
Subject

Mural condition map
Scale

Category

1/14
Plate No.

SMO-C1-008

89

CKey Plan0

1.0 (m)90
Location

East wall of Chamber 1

Saint Simeon Church

Church Name (Turkish)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

PhotographCategory

SMO-C1-009

1/11

Mural condition map

VI - 3. Documentation of wall paintings

91

Key Plan

Structural Cracks

Deposition of Dark Material

LEGEND A: Rock Deterioration0

1.0 (m)Location

East wall of Chamber 1

Saint Simeon Church

Church Name (Turkish)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

Category

SMO-C1-010

1/11

A

Mural condition map

Key Plan

92
B: Plaster Deterioration

Incised Graﬃti

Mechanical Damege

Detachment of Lower Plaster Layer

LEGEND

0

Old Greek Graﬃti

1.0 (m)Location

East wall of Chamber 1

Saint Simeon Church

Church Name (Turkish)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

Category

SMO-C1-011

1/11

B

Mural condition map

VI - 3. Documentation of wall paintings

93

Key Plan
C: Paint Deterioration

Superﬁcial Graﬃti

Micro Losses

Detachment of Paint Layer

LEGEND0

1.0 (m)Location

East wall of Chamber 1

Saint Simeon Church

Church Name (Turkish)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

Category

SMO-C1-012

1/11

C

Mural condition map

Key Plan0

1.0 (m)94
Location

Ceiling of Chamber 1

Saint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

PhotographCategory

SMO-C1-013

1/14

Mural condition map

VI - 3. Documentation of wall paintings

95

Key Plan

Structural Cracks

LEGEND A: Rock Deterioration0

1.0 (m)Location

Ceiling of Chamber 1

Saint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

Category

SMO-C1-014

1/14

A

Mural condition map

Key Plan

96

Mechanical Damege

Detachment of Lower Plaster Layer

Incised Graﬃti

LEGEND B: Plaster Deterioration0

1.0 (m)Location

Ceiling of Chamber 1

Saint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

Category

SMO-C1-015

1/14

B

Mural condition map

VI - 3. Documentation of wall paintings

97

Key Plan

Micro Losses

LEGEND C: Paint Deterioration0

1.0 (m)Location

Ceiling of Chamber 1

Saint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

SMO-C1-016

1/14

CategoryC

Mural condition map

Key Plan0

1.0 (m)98
North wall of Chamber 2

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

PhotographCategory

SMO-C2-001

1/12

Mural condition map

VI - 3. Documentation of wall paintings

99

Key Plan

Biologic Activity

Deposition of Dark Material

LEGEND A: Rock Deterioration0

Structural Cracks

1.0 (m)North wall of Chamber 2

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

Category

SMO-C2-002

1/12

A

Mural condition map

Key Plan

10 0
Location

Cracking
Holes

Detachment of Lower Layer

Old Greek Graﬃti

North wall of Chamber 2Saint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Mechanical Damege

1.0 (m)Incised Graﬃti

LEGEND B: Plaster Deterioration

0

Plate No.

Scale

Subject

Category

SMO-C2-003

1/12

B

Mural condition map

VI - 3. Documentation of wall paintings

101

Key PlanSuperﬁcial Graﬃti

Dark Grey Veil
Micro Losses

Biological Deposition

Paint Layer Loss due to Biological Activity

Grey Spotting

Surface Deposition

1.0 (m)Smearing

LEGEND C: Paint Deterioration

0

North wall of Chamber 2

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

Category

SMO-C2-004

1/12

C

Mural condition map

Key Plan

10 2

Biologic Activity

Deposition of Dark Material

LEGEND A: Rock Deterioration0

Structural Cracks

1.0 (m)North wall of Chamber 2

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

CategoryA
SMO-C2-002-niche

1/12

Mural condition map

VI - 3. Documentation of wall paintings

10 3

Key Plan

Mechanical Damege
Cracking
Holes

Detachment of Lower Layer

Old Greek Graﬃti

B: Plaster Deterioration

1.0 (m)Incised Graﬃti

LEGEND

0

North wall of Chamber 2

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

CategoryB
SMO-C2-003-niche

1/12

Mural condition map

Key Plan

10 4
Superﬁcial Graﬃti

Dark Grey Veil
Micro Losses

Biological Deposition

Paint Layer Loss due to Biological Activity

Grey Spotting

Surface Deposition

1.0 (m)Smearing

LEGEND C: Paint Deterioration

0

North wall of Chamber 2

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

CategoryC
SMO-C2-004-niche

1/12

Mural condition map

VI - 3. Documentation of wall paintings

10 5

Key Plan0

1.0 (m)South wall of Chamber 2

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

PhotographCategory

SMO-C2-005

1/15

Mural condition map

Key Plan

10 6

A: Rock Deterioration

Structural Cracks

Deposition of Dark Material

LEGEND0

1.0 (m)South wall of Chamber 2

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

SMO-C2-006

1/15

CategoryA

Mural condition map

VI - 3. Documentation of wall paintings

10 7

Key Plan

B: Plaster Deterioration

Incised Graﬃti

Mechanical Damege

Detachment of Lower Plaster Layer

LEGEND0

1.0 (m)South wall of Chamber 2

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

SMO-C2-007

1/15

Category

B

Mural condition map

Key Plan

10 8

Dark Grey Veil

Micro Losses

Detachment of Paint Layer

LEGEND C: Paint Deterioration

0

Superﬁcial Graﬃti

1.0 (m)South wall of Chamber 2

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

Plate No.

Scale

Subject

Category

SMO-C2-008

1/15

C

Mural condition map

VI - 3. Documentation of wall paintings

0

1.0 (m)Key Plan

Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church
LocationWest Wall of Chamber 2
Subject

Mural condition map
Scale

Category

1/12

Photograph

Plate No.

SMO-C2-009

10 9

VI - 3. Documentation of wall paintings0

1.0 (m)Key Plan

LEGEND

A: Rock Deterioration

Church Name (Turkish)

Aziz Simeon Kilisesi

Biologic Activity

Church Name (English)

Deposition of Dark Material

Location

Structural Cracks

Saint Simeon Church
West Wall of Chamber 2
Subject

Mural condition map
Scale

Category

1/12
Plate No.

SMO-C2-010

110

A

0

1.0 (m)Key Plan

LEGEND

B: Plaster Deterioration

Detachment of Lower Plaster Layer
Mechanical Damege
Incised Graﬃti
Old Greek Graﬃti

Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church
LocationWest Wall of Chamber 2
Subject

Mural condition map
Scale

Category

1/12
Plate No.

SMO-C2-011

111

B

VI - 3. Documentation of wall paintings0

1.0 (m)Key Plan

LEGEND

C: Paint Deterioration

Micro Losses

Biological Deposition
Dark Grey Veil

Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church
LocationWest Wall of Chamber 2
Subject

Mural condition map
Scale

Category

1/12
Plate No.

SMO-C2-012

112

C

0

Key Plan

1.0 (m)Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church
Location

East Wall of Chamber 2
Subject

Mural condition map
Scale

Category

1/15

Photograph

Plate No.

SMO-C2-013

113

VI - 3. Documentation of wall paintings

0

Key Plan

LEGEND A: Rock Deterioration

1.0 (m)Church Name (Turkish)

Aziz Simeon Kilisesi

Biologic Activity

Church Name (English)

Deposition of Dark Material

Location

Structural Cracks

Saint Simeon Church
East Wall of Chamber 2
Subject

Mural condition map
Scale

Category

1/15
Plate No.

SMO-C2-014

114

A

0

Key Plan

LEGEND

B: Plaster Deterioration

Detachment of Lower Plaster Layer
Mechanical Damege
Incised Graﬃti
Old Greek Graﬃti

1.0 (m)Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church
Location

East Wall of Chamber 2
Subject

Mural condition map
Scale

Category

1/15
Plate No.

SMO-C2-015

115

BVI - 3. Documentation of wall paintings

0

Key Plan

LEGEND

C: Paint Deterioration

Detachment of Paint Layer

1.0 (m)Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church

Micro Losses

Location

Paint Loss due to Biological Activity

Subject

Dark Grey Veil

East Wall of Chamber 2
Mural condition map
Scale

Category

1/15
Plate No.

SMO-C2-016

116

C

C

D

B

E

A

F

0

Key Plan

1.0 (m)Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church
A

B

Location

C

Ceiling of Chamber 2
Subject

Mural condition map
Scale
F

E

Category

1/16

D

Photograoh

Plate No.

SMO-C2-017

117

VI - 3. Documentation of wall paintings

D

C

B

E

A

F

0

Key PlanA

B

C

LEGEND

A: Rock Deterioration

Biologic Activity

1.0 (m)Church Name (Turkish)Üzümlü Kilise
Church Name (English)

Deposition of Dark Material

Agios Simeon Stylites
Location

Structural Cracks

Ceiling of Chamber 2
Subject

Mural condition map
Scale
F

E

Category

1/16

D

Plate No.

SMO-C2-018

118

A

D

C

B

E

A

F

0

Key Plan

LEGEND B: Plaster Deterioration
Detachment of Lower Plaster Layer

A

B

C

Mechanical Damege
Incised Graﬃti

1.0 (m)Church Name (Turkish)Üzümlü Kilise
Church Name (English)

Agios Simeon Stylites
Location

Ceiling of Chamber 2
Subject

Mural condition map
Scale
F

E

Category

1/16

D

Plate No.

SMO-C2-019

119

BVI - 3. Documentation of wall paintings

C

D

B

E

A

F

0

Key Plan

LEGEND C: Paint Deterioration
Detachment of Paint Layer

A

B

C

E

Church Name (Turkish)

Aziz Simeon Kilisesi
Church Name (English)

Saint Simeon Church

Micro Losses

Location

Dark Grey Veil

Subject

Celling of Chamber 2

Surface Deposition
F

1.0 (m)Mural condition map
Scale

Category

1/16

D

Plate No.

SMO-C2-020

12 0

C

121

Key Plan

Intrados of Transversal Arch

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

0

Plate No.

Scale

Subject

PhotographCategory

SMO-C2-3-001

1/17

Mural condition map

1.0 (m)Key Plan

12 2

Biologic Activity

Deposition of Dark Material

LEGEND A: Rock Deterioration
Structural Cracks

Intrados of Transversal Arch

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

0

Plate No.

Scale

Subject

Category

SMO-C2-3-002

1/17

A

Mural condition map

1.0 (m)VI - 3. Documentation of wall paintings

12 3

Key Plan

Mechanical Damege
Cracking
Holes

Incised Graﬃti

Detachment of Lower Layer

Old Greek Graﬃti

LEGEND B: Plaster Deterioration

Intrados of Transversal Arch

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

0

Plate No.

Scale

Subject

Category

SMO-C2-3-003

1/17

B

Mural condition map

1.0 (m)Key Plan

12 4
Superﬁcial Graﬃti

Dark Grey Veil
Micro Losses

Biological Deterioration

Paint Loss due to Biological Activity

Grey Spotting

Surface Deposition

Smearing

LEGEND C: Paint Deterioration

Intrados of Transversal Arch

LocationSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

0

Plate No.

Scale

Subject

Category

SMO-C2-3-004

1/17

C

Mural condition map

1.0 (m)VI - 3. Documentation of wall paintings

12 5

Key Plan

LocationAps Doom CeilingSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

0

Plate No.

Scale

Subject

PhotographCategory

SMO-C3-001

1/10

Mural condition map

1.0 (m)Key Plan

12 6

A: Rock Deterioration

Biologic Activity

Deposition of Dark Material

LEGEND

Structural Cracks

LocationAps Doom CeilingSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

0

Plate No.

Scale

Subject

Category

SMO-C3-002

1/10

A

Mural condition map

1.0 (m)VI - 3. Documentation of wall paintings

127

Key Plan

Mechanical Damege
Cracking
Holes

Incised Graﬃti

Detachment of Lower Layer

Old Greek Graﬃti

LEGEND B: Plaster Deterioration

LocationAps Doom CeilingSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

0

Plate No.

Scale

Subject

Category

SMO-C3-003

1/10

B

Mural condition map

1.0 (m)Key Plan

12 8
Superﬁcial Graﬃti

Dark Grey Veil
Micro Losses

Biological Deposition

Paint Loss due to Biological Activity

Grey Spotting

Surface Deposition

C: Paint Deterioration

Smearing

LEGEND

LocationAps Doom CeilingSaint Simeon Church

Church Name (English)

Aziz Simeon Kilisesi

Church Name (Turkish)

0

Plate No.

Scale

Subject

Category

SMO-C3-004

1/10

C

Mural condition map

1.0 (m)VI - 3. Documentation of wall paintings

12 9

Key Plan

Location

Aps WallSaint Simeon Church

Church Name (E n g lish)

Aziz Simeon Kilisesi

Church Name (Turkish)

0

Plate No.

Scale

Subject

PhotographCategory

SMO-C3-005

1/21

Mural condition map

1.0 (m)Key Plan

13 0

Biologic Activity

Deposition of Dark Material

LEGEND A: Rock Deterioration
Structural Cracks

Location

Aps WallSaint Simeon Church

Church Name (E n g lish)

Aziz Simeon Kilisesi

Church Name (Turkish)

0

Plate No.

Scale

Subject

Category

SMO-C3-006

1/21

A

Mural condition map

1.0 (m)VI - 3. Documentation of wall paintings

131

Key Plan

Mechanical Damege
Cracking
Holes

Incised Graﬃti

Detachment of Lower Layer

Old Greek Graﬃti

LEGEND B: Plaster Deterioration

Location

Aps WallSaint Simeon Church

Church Name (E n g lish)

Aziz Simeon Kilisesi

Church Name (Turkish)

0

Plate No.

Scale

Subject

Category

SMO-C3-007

1/21

B

Mural condition map

1.0 (m)Key Plan

13 2
Superﬁcial Graﬃti

Dark Grey Veil
Micro Losses

Biological Deposition

Paint Loss due to Biological Activity

Grey Spotting

Surface Deposition

Smearing

LEGEND C: Paint Deterioration

Location

Aps WallSaint Simeon Church

Church Name (E n g lish)

Aziz Simeon Kilisesi

Church Name (Turkish)

0

Plate No.

Scale

Subject

Category

SMO-C3-008

1/21

C

Mural condition map

1.0 (m)VI - 3. Documentation of wall paintings

This project has been conducted under the agreement between University of Tsukuba, Nevsehir Museum, and Nevsehir Restoration and Conservation
and Regional Laboratory as since September 2014.
Bu proje Tsukuba Üniversitesi, Nevşehir Müzesi Müdürlüğü ve Nevşehir Restorasyon ve Konservasyon ve Bölge Laboratuvarı Müdürlüğü işbirliğinde
olarak imzalanan protocol kapsamında yürütülmektedir.

EditorYoko Taniguchi (University of Tsukuba)

Translation and Editorial assistance
Hatice Temur Yıldız
Rayna Rusenko
Contributors for this volume
Chiemi Iba (Kyoto University)
Katsuhiko Sano (D&D co.)Kaori Takahashi (University of West Attica)
Theodora Fardi (University of West Attica)
Yoko Taniguchi (University of Tsukuba)
Giulia Caneva (University Roma Tre)
Annalaura Casanova Municchia (University Roma Tre)
Hirofumi Sugawara (Kanazawa University)
Akemi Narita (Aichi University of the Arts)
Mina Shibata (National Research Institute for Cultural Properties, Tokyo)
Miho Takashima (The National Museum of Western Art)
Yuki Kumazawa(Nippi Research Institute of Biomatrix)
Yuki Taga(Nippi Research Institute of Biomatrix)
Front and back cover design
Kiyohide Hayashi
Akemi Narita

Scientific Studies on Conservation for Saint Simeon Church and Its Wall Paintings in Cappadocia, Turkey
Vol.1(Report on the activities in 2019 and 2022)
University of Tsukuba
Aziz Simeon Kilisesi’nde bulunan duvar resimlerinin konservasyonu üzerine sürdürülen bilimsel çalışmalar(Kapadokya, Türkiye)
Sayı 1 (2019 ve 2022 yılı faaliyet raporu)
Tsukuba Üniversitesi

The project was supported by JSPS Kakenhi Grant numbers 18H05449, 19K01133.and 19H05036, and the General Research Grants of the Kajima
Foundation. All the project activities have been performed under permission of the Turkish Ministry of Cultre and Tourism.
18H05449, 19K01133 ve 19H05036 JSPS Kakenhi Grant numaralı proje, Kajima Vakfı'nın Genel Araştırma Bağışları tarafından desteklenmiştir. Projedegerçekleştirilen faaliyetlerinin tamamı TC Kültür ve Turizm Bakanlığı Kültür Varlıkları ve Müzeler Genel Müdürlüğü’nün izni ile gerçekleştirilmiştir.