Anthony M. Reeveis senior restorer at the National Gallery, London, where he joined the con-
servation department in 1963 and trained under Arthur Lucas, Helmut Ruhemann, and Louis
Howard. He carries out all forms of conservation, cleaning, restoring, and structural work on all
the paintings he conserves. Since 1977 he has been in charge of all structural work, research,
development, and application of improved methods of conservation. He represents the fourth
generation of picture restorers in his family.Mervin Richardstudied paintings conservation at Intermuseum Laboratory in Oberlin, Ohio, and
joined the staffof the laboratory upon graduation. He then held positions as a paintings conserva-
tor at the Philadelphia Museum ofArt and at the Winterthur Museum. Since 1984 he has been
the head of exhibition conservation at the National Gallery of Art in Washington, D.C., where he
is also the deputy chief of conservation. His research over the years has focused on the dimen-
sional behavior of panel paintings and on the packing of works of art for transit. Richard has
served as cochairman of the International Council of Museums (ICOM) Working Group for the
Care of Works of Art in Transit, and as cochairman of the ICOM Working Group for Preventive
Conservation.Andrea Rothehas been conservator of paintings at the J. Paul Getty Museum since 1981. Born of
German parents in Bolzano, Italy, he grew up in France and Spain during World War II. After the
war he immigrated to the United States with his parents and attended school in North Carolina,
New York, Florida, and Connecticut. After having been accepted into New York University’s his-
tory of art program, he left with his parents for a trip to Europe. There an introduction by
George L. Stout enabled him to begin an internship at the Uffizi Gallery in Florence that changed
the course of his career. He worked first with a gilder, Rafaello Bracci, and then with the restorers
Augusto Vermehren, Gaetano Lo Vullo, Leonetto Tintori, and Alfio Del Serra. He subsequently
did internships with Hermann Lohe at the Bavarian State Galleries in Munich and with Josef
Hajsinek and Franz Sochor at the Kunsthistoriches Museum in Vienna. After this period oftrain-
ing, he started working on contract for the Italian state in Florence, Naples, Urbino, Arezzo, and
Siena. During this time he also became an assistant to Oskar Kokoschka at his summer academy,
called the School ofVision, in Salzburg.Ulrich Schiessl received a Ph.D. in art history from Ludwig-Maximilians University in Munich in
1978, and an M.A. in the conservation and restoration of easel paintings and polychrome sculp-
ture from the Academy of Fine Arts in Stuttgart in 1981. Since 1983 he has been a professor in the
conservation department at the Academy of Fine Arts in Dresden. He is a member of ICOM and
an honorary member of the Swiss Association for Conservation and Restoration.Arno P. Schniewindreceived B.S., M.W.T., and Ph.D. degrees in wood technology from the
University of Michigan, Ann Arbor. He joined the Forest Products Laboratory, University of
California, Berkeley, in 1956. Initially his specialty was the mechanical behavior of wood and
wood-based materials, and he taught undergraduate and graduate courses and did research in this
area. In 1982 he became interested in the application of wood science to the conservation of
wooden artifacts, and he has since published a number of research papers on that topic. Since his
early retirement in 1991, he has been professor emeritus and continues to be active.Charles S. Tumosahas a Ph.D. in chemistry from Virginia Polytechnic Institute and State
University. He has twenty-three years of experience running analytical laboratories and has spent
his career examining and determining the character of materials. At present he is a senior research
chemist at the Smithsonian Institution, where he works on the chemical and mechanical proper-
ties of cultural objects.Luca Uzielli is a professor of wood technology and forest operations at the University of
Florence, Florence, Italy. He specializes in the evaluation, restoration, and conservation of
wooden artifacts, including supports of panel paintings, sculptures, and load-bearing timber
structures of artistic and historical significance.560