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Why this 300-year-old Virgin and Child underwent a CT scan at Sick Kids

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Like all interesting characters, the 300-year old virgin being prepped for a CT scan at Sick Kids harbours secrets.

Who carved this statue, believed to be a treasure of early Canadian art? What precisely is she made of? Was she given breast reduction surgery?

Lisa Ellis (left, AGO conservator) and Nancy Padfield (Lead Technologist in CT scans at Sick Kids) line up the statue in the CT machine.
Lisa Ellis (left, AGO conservator) and Nancy Padfield (Lead Technologist in CT scans at Sick Kids) line up the statue in the CT machine.  (Richard Lautens / Toronto Star)

Those are the questions the Art Gallery of Ontario had hoped would be answered by submitting the statue to high-tech examinations that her likely creator, steeped in religion and working in an atelier in New France in the early 1700s, might have described as miraculous.

And so on a dingy day in late November, the Virgin and Child statue was swathed in Tyvek, a smooth synthetic fibre used to wrap houses to protect them from moisture, and nestled in foam inside a Clydesdale case — the same brand used to ship the Stanley Cup — and then walked 650 metres from the AGO to the Hospital for Sick Children by museum conservator Lisa Ellis.

The bottom of the statue has an inscription that is obscured by a number of identification stickers and it is hoped the CT scan will reveal the words.
The bottom of the statue has an inscription that is obscured by a number of identification stickers and it is hoped the CT scan will reveal the words.  (Richard Lautens)

“It’s very rare for us to hand-carry objects in cases outside of the building, so we do that only in really special cases like this,” said Ellis.

The figure of the Virgin Mary and baby Jesus is arguably the finest early-18th-century Canadian sculpture in the AGO’s collection, according to Ellis. It is believed to have come from a school of arts and crafts in what is now the Quebec City area, founded by an artist from Bordeaux who emigrated to New France in 1690 at the age of 19.

The detail of the carving — the flow of the virgin’s robes, the articulation of the hands and her feet atop a serpent representing the evil in the world — speaks to the talent of the artist.

It was donated to the Art Museum of Toronto, forerunner to the AGO, in 1935 by the son of the founder of Salada Tea.

Lisa Ellis, left, and Julia Campbell-Such tenderly handle the Virgin and Child, which is arguably the finest early 18th century Canadian sculpture in the AGO's collection.
Lisa Ellis, left, and Julia Campbell-Such tenderly handle the Virgin and Child, which is arguably the finest early 18th century Canadian sculpture in the AGO’s collection.  (Richard Lautens)

“She’s a really wonderful thing, definitely a treasure of the early collection,” said Ellis, whose own atelier is the Michael and Sonja Koerner Centre for Conservation at the AGO, an airy suite of rooms with soaring ceilings and abundant natural light, where paintings, sculptures, decorative arts and works on paper are brought to be conserved, examined and analyzed.

But the statue was painted and the robes and part of the base were gilded — covered in a thin sheet of pounded gold, making it impossible to tell for sure whether it is one piece of wood or many. The museum stickers on the bottom reveal something of the statue’s history. This virgin travelled internationally — to an exhibit in Detroit, called the Arts of French Canada, in 1946. Another sticker reveals she was the 2,306th object that came into the gallery’s possession.

The stickers also obscure what is believed to be an inscription.

Museums don’t put stickers on the bottom of statues anymore, Ellis said, nor do they remove existing ones.

The AGO wanted to know if beneath the paint the sculpture was all one piece and whether the stickers were hiding the name of the sculptor.

“Generally, wooden sculptures are considered to be finer if they are made out of a single piece of wood, and there were actually guild rules about that in the Renaissance,” said Ellis, whose specialty is sculpture and decorative arts.

Lisa Ellis (right) and Julia Campbell-Such pack away the statue following the scans.
Lisa Ellis (right) and Julia Campbell-Such pack away the statue following the scans.  (Richard Lautens)

“You weren’t allowed to add things to sculptures because it would mean it was an inferior product. Also, if something is made out of pieces, it affects its stability, and so, as a conservator, that would be my number-one concern — how stable is this object?”

There were other considerations. Early virgins were often carved with voluptuous figures which were whittled down in a later, more puritanical age.

“It’s interesting — the body politic,” said Ellis.

Once at the hospital, Ellis and a conservation intern, Julia Campbell-Such, unpacked the statue with reverence and care. Both donned gloves, not just to protect the statue from the oils and any other contaminants on their skin, but also to protect their skin from the statue, which over the years has been painted with pigments containing toxins including mercury and sulphur.

The scans begin to appear on the monitor.
The scans begin to appear on the monitor.  (Richard Lautens)

Sick Kids was a pioneer in the use of CT scans for art history research — it partnered with the ROM in 1976 to help learn more about a mummy in the museum’s collection. Mummies are an obvious choice because they are the shape of human bodies, and scanners are meant to pick up the difference between flesh and bone.

The Virgin and Child was the first work of art the AGO brought to the hospital for diagnostics.

A CT scan can be a terrifying machine to children, and so the one at Sick Kids has been wrapped to look like a submarine and the walls and part of the ceiling are painted with fish and other marine life.

Mothers often ask to be allowed to take the test with their children, so they can comfort them, but because of the exposure to radiation, they are required to remain outside the room.

“It’s the first time we’ve scanned mother and baby at the same time. That was a new thing for us,” said Guila BenDavid, manager of CT and nuclear medicine at the Hospital for Sick Children.

The AGO asked Sick Kids Hospital to allow them to use a CT scanner on a sculpture in order to understand the structure to restore it and also to find out if there is a design on the bottom of it, which is now covered by paper.
The AGO asked Sick Kids Hospital to allow them to use a CT scanner on a sculpture in order to understand the structure to restore it and also to find out if there is a design on the bottom of it, which is now covered by paper.  (Richard Lautens)

The CT scanner is shaped like a giant doughnut — round, with a large hole in the middle. Patients lie on a table that moves through the hole while X-ray beams shoot across it from every position in the circle and are captured on the opposite side by a detector.

It is able to create images of organs, bones and other tissues, in greater detail than simple X-rays. It’s used to diagnose bone fractures, heart disease, blood clots and cancer.

CT scanning produces hundreds of thin slices of information — imagine cutting precisely and thinly through a loaf of bread — that can be examined separately or piled together to create computerized 3D models, allowing curators to get inside a work of art, even beneath layers of paint. The virgin-and-child was scanned multiple times, producing 1,561 images.

The AGO got lucky — there were no medical emergencies requiring a CT scan while the virgin was being scanned.

“We don’t do that much CT anymore,” said BenDavid. “We used to, but predominantly here at Sick Kids, if we can avoid using radiation on our patients, we do that, so we use ultrasound or MRI or other modalities that don’t use radiation.”

The hospital charged a fee for the service.

The control room where the scans are done is typically a quiet place, with an atmosphere not unlike a church, where people speak in hushed tones about life and death matters. But on the day of the CT scan, the control room was filled with experts in medicine and art, animated by the novelty of the task.

It was immediately obvious that the statue was carved from a single piece of wood — even the grain was visible on the CT scan. But there was disappointment, too. There is no inscription on the bottom of the statue, just some shallow grooves that look like it was clawed by some kind of instrument. The scan did uncover a short tunnel drilled in the bottom of the statue, suggesting she was anchored somewhere — perhaps part of the altar of a church. Campbell-Such, a cabinet maker, determined that it was not likely caused by a lathe.

The question of the breast reduction surgery was definitively resolved.

Story Behind the Story delivers insights into how the Star investigates, reports, and produces stories.

“I was interested in seeing if she had received a breast reduction. She did not. This is her in all of her natural glory,” said Ellis.

But the identity of the person who carved the precious artifact remains a mystery, for now.

Francine Kopun is a Toronto-based reporter covering city politics. Follow her on Twitter: @KopunF

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Nostalgia and much more with Starburst XXXtreme

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Get a taste of adventure with Starburst XXXtreme based on the legendary NetEnt Game. The nostalgic themes are sure to capture fans of the classic version as they get treated to higher intensity, better visuals, and features. The most significant element of the game is its volatility. Patience will not be an essential virtue considering the insane gameplay, and there is a lot of win potential involved. It retains the original makeup of the previous game while adding a healthy dose of adrenaline. 

Starburst Visuals and Symbols

The game is definitely more conspicuous than before. The setting happens over a 5-reel, 3-row game grid with nine fixed win lines, which function if a succession from the left to the right reel is present. Only those players that that attain the highest win per bet line are paid. From a visual standpoint, the Starburst XXXtreme slots illustrates lightning effects behind the reels, which is not surprising as it is inherited from the original version. Available themes include Classic, Jewels, and Space. The game is also available in both desktop and mobile versions, which is advantageous for players considering the global pandemic. According to Techguide, American gamers are increasingly having more engaging gaming experiences to socialize to fill the gap of in-person interaction. Starburst XXXtreme allows them to fill the social void at a time when there is so much time to be had indoors. 

Starburst XXXTreme Features

Players get to alternate on three features which are Starburst Wilds, XXXtreme Spins, and Random Wilds. The first appears on reels 2,3, or 4. When these land, they expand to cover all positions while also calculating the wins. They are also locked for a respin. If a new one hits, it also becomes locked while awarding another respin. Starburst XXXtreme offers a choice between two scenarios for a higher stake. In one scenario with a ten times stake, the Starburst Wild is set on random on reels 2,3, or 4, and a multiplier starts the respin. The second scenario, which has a 95 times stake, starts with two guaranteed starburst wilds on reels 2,3, or 4. it also plays out using respin game sequence and features. The game also increases the potential with the Random Wilds feature to add Starburst Wilds to a vacant reel at the end of a spin. Every Starburst Wild gives a random multiplier with potential wins of x2, x3, x5, x10, x25, x50, x100, or even x150.

The new feature is sure to be a big hit with the gaming market as online gambling has shown significant growth during the lockdown. AdAge indicates the current casino customer base is an estimated one in five Americans, so Starburst XXXtreme’s additional features will achieve considerable popularity. 

What We Think About The Game

The gambling market has continued to diversify post-pandemic, so it is one of the most opportune times to release an online casino-based game. Thankfully Starburst XXXtreme features eye-catching visuals, including the jewels and space themes. These attract audience participation and make the gameplay inviting. The game also has a nostalgic edge. The previous NetEnt iteration featured similar visuals and gameplay, so the audience has some familiarity with it. The producers have revamped this version by tweaking the features to improve the volatility and engagement. 

That is characterized by the potential win cap of 200,000 times the bet. Starburst XXXtreme does not just give betting alternatives for players that want to go big. The increase of multipliers also provides a great experience. If the respins in the previous version were great, knowing that multipliers can go hundreds of times overtakes the game to a new level. 

Players should get excited about this offering. All of the features can be triggered within a single spin. Whether one plays the standard game or takes the XXXtreme spin route, it is possible to activate all of the features. Of course, the potential 200,000 times potential is a huge carrot. However, the bet size is probably going to be restricted and vary depending on the casino. It is also worth pointing out that a malfunction during the gameplay will void all of the payouts and progress. Overall, the game itself has been designed to provide a capped win of 200,000 times the original bet. 

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‘We’re back’: Montreal festival promoters happy to return but looking to next year

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In downtown Montreal, it’s festival season.

In the city’s entertainment district, a musical act was conducting a sound check on stage Friday evening — the second day of the French-language version of the renowned Just For Laughs comedy festival. Tickets for many of the festival’s free outdoor shows — limited by COVID-19 regulations — were sold out.

Two blocks away, more than 100 people were watching an acoustic performance by the Isaac Neto Trio — part of the last weekend of the Festival International Nuits d’Afrique, a celebration of music from the African continent and the African diaspora.

With COVID-19 restrictions continuing to limit capacity, festival organizers say they’re glad to be back but looking forward to next year when they hope border restrictions and capacity limits won’t affect their plans.

Charles Décarie, Just For Laughs’ CEO and president, said this is a “transition year.”

“Even though we have major constraints from the public health group in Montreal, we’ve managed to design a festival that can navigate through those constraints,” Décarie said.

The French-language Juste pour rire festival began on July 15 and is followed by the English-language festival until July 31.

When planning began in February and March, Décarie said, organizers came up with a variety of scenarios for different crowd sizes, ranging from no spectators to 50 per cent of usual capacity.

“You’ve got to build scenarios,” he said. “You do have to plan a little bit more than usual because you have to have alternatives.”

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MELS new major movie studio to be built in Montreal

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MONTREAL — MELS Studios will build a new film studio in Montreal, filling some of the gap in supply to meet the demand of Hollywood productions.

MELS president Martin Carrier said on Friday that MELS 4 studio construction will begin « as soon as possible », either in the fall or winter of next year. The studio could host productions as early as spring 2023.

The total investment for the project is $76 million, with the Quebec government contributing a $25 million loan. The project will create 110 jobs, according to the company.

The TVA Group subsidiary’s project will enable it to stand out « even more » internationally, according to Quebecor president and CEO Pierre Karl Péladeau. In the past, MELS Studios has hosted several major productions, including chapters of the X-Men franchise. The next Transformers movie is shooting this summer in Montreal.

Péladeau insisted that local cultural productions would also benefit from the new facility, adding that the studio ensures foreign revenues and to showcase talent and maintain an industry of Quebec producers.

STUDIO SHORTAGE

The film industry is cramped in Montreal.

According to a report published last May by the Bureau du cinéma et de la télévision du Québec (BCTQ), there is a shortage of nearly 400,000 square feet of studio space.

With the addition of MELS 4, which will be 160,000 square feet, the company is filling part of the gap.

Carrier admitted that he has had to turn down contracts because of the lack of space, representing missed opportunities of « tens of millions of dollars, not only for MELS, but also for the Quebec economy. »

« Montreal’s expertise is in high demand, » said Montreal Mayor Valérie Plante, who was present at the announcement.

She said she received great testimonials from « Netflix, Disney, HBO and company » during an economic mission to Los Angeles in 2019.

« What stands out is that they love Montreal because of its expertise, knowledge and beauty. We need more space, like MELS 4, » she said.

There is still not enough capacity in Quebec, acknowledged Minister of Finance, the Economy and Innovation Eric Girard.

« It is certain that the government is concerned about fairness and balance, so if other requests come in, we will study them with the same seriousness as we have studied this one, » he said.

Grandé Studios is the second-largest player in the industry. Last May, the company said it had expansion plans that should begin in 2022. Investissement Québec and Bell are minority shareholders in the company.

For its part, MELS will have 400,000 square feet of production space once MELS 4 is completed. The company employs 450 people in Quebec and offers a range of services including studio and equipment rentals, image and sound postproduction, visual effects and a virtual production platform.

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