Al Brewer,a Canadian who learned much from his father with regard to forests, wood, and wood-
craft, received a B.Sc. in forestry from the University of New Brunswick, in eastern Canada (1983),
attended the Pennsylvania Academy of the Fine Arts for two years (1978–80), and received a
master’s degree in art conservation from Queen’s University in Canada in 1987. Since then he
has conserved easel paintings, specializing in panel structural work, at the Hamilton Kerr Institute,
University of Cambridge, where he has also taught. More recently, he has concentrated on
researching the effects of overall reinforcement structures on the preservation of panel paintings.Ciro Castellibegan work as a joiner in 1957, progressing to the position of cabinetmaker for
aprivate company. In 1966 he began restoring panel paintings and wooden structures at the
Fortezza da Basso’s state-run laboratory, including paintings damaged in the flood of 1966. Now
with the Opificio delle Pietre Dure e Laboratori di Restauro, Florence, Italy—where he has also
been a teacher since 1978—he has restored important works by Masaccio, Giovanni del Biondo,
Raffaello Sanzio, and Botticelli, among many others. As a consultant and restoration expert repre-
senting the public museums of Italy, Castelli has served on official delegations at international art
meetings. His reports have appeared often in OPD Restauro,as well as in restoration catalogues
and conservation congress transcripts.Vinod Danielreceived his M.Tech degree in chemical engineering in 1986 from the Indian
Institute ofTechnology in Madras, India, where he worked on the rheological characteristics of
polymer blends. He received his M.S. degree in physical chemistry in 1991 from Texas Christian
University, where his thesis addressed diffusion in liquids. From 1991 to 1994 he was a senior
research fellow in the environmental sciences division at the Getty Conservation Institute. His
research involves museum cases, moisture buffers in display cases, nontoxic fumigation, and data
acquisition. He is presently scientific officer at the Australian Museum in Sydney, Australia.Gilberte Emile-Mâlecompleted advanced studies in art history at the Sorbonne. In 1950 she
became head ofpaintings restoration at the Louvre Museum and served as head conservator of
the Service de Restauration des Peintures des Musées Nationaux from 1971 until her retirement in- She is the author ofnumerous articles on the history of the restoration of paintings.
Jean-Albert Glatigny,an art restorer, specializes in the treatment of wood supports. After study-
ing cabinetmaking, he took four years’ training at the Institut Royal du Patrimoine Artistique
(IRPA), Brussels, in the polychrome sculpture and panel painting workshops. In addition to his
restorer’s activities at IRPA and abroad, he teaches at several restoration schools and participates
in studies of works of art and conducts research on ancient techniques of woodworking.Gordon Hanlonreceived his B.A. degree in biology from the University of York, England, in- From 1980 to 1984 he was assistant curator of Road Transport and Agricultural Implements
at the Museum of Science and Technology, London. In 1984 he started a four-year studentship at
the Victoria and Albert Museum, London, specializing in the conservation of furniture and gilded
objects. In 1988 he joined the J. Paul Getty Museum as an intern and is now associate conservator
in the Decorative Arts and Sculpture Conservation department. He specializes in the conservation
of gilded furniture.
R. Bruce Hoadleyholds a B.S. in forestry from the University of Connecticut, as well as
master’s and doctorate degrees in wood technology from Yale University. He is currently a
professor in wood science and technology at the University of Massachusetts at Amherst,
where his principal teaching and research interests are the anatomy and fundamental properties
ofwood. His wood identification analyses have been included in catalogues of major collec-
tions, including those of the Metropolitan Museum of Art in New York, the Garvan Collection
at Yale University, the furniture collection at the J. Paul Getty Museum, and the diplomatic
reception rooms at the U.S. Department of State. He is the author of two books, Understanding
Wood(1980) and Identifying Wood(1990), and of more than fifty scientific and popular articles
relating to wood.James S. Hornsstudied with Richard Buck from 1971 to 1974 at the Intermuseum Conservation
Association at Oberlin College, in Ohio, where he received a master of arts degree in conserva-
tion. He was a paintings conservator at the Minneapolis Institute of Arts from 1974 to 1978 and at
the Upper Midwest Conservation Association from 1979 to 1986. Since that time he has been a
conservator in private practice in Minneapolis.558