Partners: GACC, Fundraising and Administration; Tbilisi State Academy of Arts, Faculty of Restoration, Research; International Consultants:  Giulia Caneva, (University Roma 3), Ippolitto Massary, Marck Gittings, Sabina Vedovello (CBC)  Roma, Italy;  Analyses - "Artelab S.r.l." Bologna, Italy.

About the Site: The Gelati Monastery and Academy stand as one of Georgia's most significant religious and cultural landmarks. Founded in 1106 by King David the Builder, this complex served as a vital center of religious and intellectual life throughout the medieval period, also serving as the burial place for Georgian royalty. Encompassing structures from various eras, Gelati Monastery showcases the diversity of Georgian ecclesiastical and secular architecture. The central edifice, the Church of the Nativity of the Virgin (12th century), is a masterpiece of cross-domed architecture with three projecting apses. Subsequent additions include the narthex, a southern annex with a distinctive portal, and east and west chapels (all 12th century), while the northern annex with its two chapels and portals dates to the 13th century. The Academy, a substantial rectangular structure from the 12th century, has undergone recent restoration and is now open to visitors. A richly adorned porch, featuring intricate stone carvings, was added to the Academy in the 14th century. Beyond its architectural grandeur, the Church of the Virgin is renowned for its captivating array of paintings spanning centuries and employing diverse mediums, including mosaics and frescoes. Dating from the 12th to 19th centuries, these murals offer a unique and comprehensive panorama of Georgian church painting history. Highlights include the magnificent apse mosaic depicting the Virgin and Child flanked by archangels, and the exceptional 12th-century frescoes in the narthex. The latter showcase depictions of the Seven Ecumenical Councils and the "Miracle of St. Euphemia," unique to Georgian art. Murals in the southeastern chapel exemplify the Palaeologan style, while the refined fragments adorning the southern portal (1360-1395) represent a later stage of this style. Frescoes from the 15th, 16th, and 17th centuries reflect the stylistic diversity of that period. The northeastern chapel boasts murals executed with exceptional skill in the first half of the 17th century, while the northwestern chapel features less refined works. The southwestern chapel of St. Marine showcases the distinctive "folk style" that flourished in late medieval Georgia. This uniquely national style is characterized by its naïve pictorial language and captivating, expressive imagery. Each layer of painting, with its unique iconography, stylistic features, and abundant inscriptions and historical portraits (including a 16th-century portrait of King David IV), provides invaluable insights not only into medieval Georgian art but also into the broader cultural and historical context of the Eastern Christian world.

Project Aim: to carry out a study of the physical condition of the narthex, Southern and Northern chapels of the Church of the Virgin at Gelati, identification of the mural damages, its underlying causes, and determination of conservation needs. Moreover the project envisaged gathering of the full documentation, including archive materials, as well as graphic and photographic documents created during the implementation of the project. Based on the conducted studies the recommendations were elaborated for the future rehabilitation of the architecture and conservation of the frescos.

Project Activities:
Archive documentation - The project envisaged gathering of the archive documentation about the previous restorations.
Geological evaluation -The geological research of the nearby territory of the church showed that the Monastery complex is built on a slope, which is made up of the Cretaceous limestone and marl.
Climate Study - The temperature and the relative humidity were measured in the interior and exterior of the church. The measurements showed high relative humidity in the Northern annex and the Southwestern Chapel of the church. The main source of dampness is the air.
Study of the architectural structure - From the visual inspection of the structure showed that The precipitation comes down, damaging the walls from outside and penetrates into the interior. The lime mortar is washed out from the joints of the facing The cement mortar used during the restorations negatively affects the building. Study of the condition of the painting - The techniques – The painting are executed in mixed technique, in secco and fresco. Damage of the painting - The damage to the painting is mainly flecking, powdering, cracking and detaching from walls on the part of the plaster; deformation of pigments, and salt crystallization. Biological damage is “pink coloration”, fungus, mould and moss. The gypsum borders used as the strengthening medium during the previous restorations have a negative effect on the murals. Laboratory study of paintings – chemical and biological analyses.
Documentation and photo fixation of the painting In the course of the project was created graphic documentation indicating the existing damages of the building; the graphic schemes of the murals of the Southwestern chapel and South Porch. Photos with direct and raking light show all kind of plaster and paint layer damages and the ultraviolet light reveal retouching and invisible details.