共查询到20条相似文献，搜索用时 27 毫秒
1.
《文物保护研究》2013,58(4):265-273
AbstractThis paper reports on the results of experiments to test for visual changes to paint systems after biocidal treatments, using a statistical binary procedure. Four biocides were selected, two of which are fungicides—a quaternary ammoniumorganotin mixture (BioMet 66®)in distilled water and an orthophenylphenol (Lysol®) in a spray— and two of which are fumigants—sulfuryl fluoride (SO2F6), a gas (Vikane®), and nitrogen gas (N2) (as an anoxant). The procedure used to assess the effect of the biocidal treatments was a random field visual scoring regimen by two paintings conservators. The tests were conducted on 30 combinations of linen, rabbitskin glue size, lead white oil ground and oil-based paints. The visual assessment procedure provided information on color change, gloss change, blanching, topography change and precipitation. The results indicated that Vikane adversely affected 10 of 11 pigment systems; Lysol adversely affected six of 11 pigment systems; BioMet 66 had a minor effect on four of 11 pigment systems; and nitrogen had no visible effect on any sample. The visual technique provided a quick and broad method for assessment of non-subtile visual changes. 相似文献
2.
AbstractPolyethylene glycols (PEG) can be detected in wood by their in situ formation of coloured complex compounds. Solutions of potassium bismuth iodide/barium chloride and of bromine/potassium iodide are suitable for sprayingdirectly onto wood, and may even be used on dark-coloured wood by mixing chalk powder into the reagent. By adopting a print-off technique onto damp filter paper, the distribution of PEG in wood can be demonstrated even more exactly, even from very small samples. Print-offs are developed into differentiated coloured pictures withsolutions of potassium bismuth iodide/barium chloride, iodine/potassium iodide or ammonium cobalt (II) thiocyanate. 相似文献
3.
《文物保护研究》2013,58(1):54-55
AbstractBefore commencing the conservation treatment of a fifteenth-century coffered ceiling in the convent of Santa Fe, Toledo, the painting materials were analyzed. Elemental analysis of the pigments was carried out by XRF spectrometry. Cross-sections were made of the samples for optical microscopy. The binding media and the varnish were identified by gas chromatography, by analyzing the fatty acids, terpenes and amino acids. Once the painting had been studied, consolidation treatment was applied using different materials according to the solubility of the paint layers. Animal glue was mainly used, and Paraloid B-72 to a lesser extent, as a preliminary to the structural reinforcement of the support. 相似文献
4.
《文物保护研究》2013,58(3):223-225
AbstractSophisticated modern instruments and methods can contribute to the preservation of national and cultural heritage. Modern analytical methods such as chromatography, spectrometry and densitometry are extremely useful, particularly for the analysis of rare works of art from which only very small samples are available. This study describes the identification of the binding medium from a 200-year-old fragile silk banner using thin layer chromatography and video densitometry. The method involved the separation and identification of pure amino acids, vapour-phase hydrolysis of both the reference protein materials and the sample from the banner, and thin layer separation of the components. The separation was achieved using cellulose plates and a mixture of butanol, acetic (ethanoic) acid and water as eluent. The plates were sprayed with ninhydrin solution and then recorded by a Camag video densitometer system. The chromatograms with coloured spots were recorded under white light using a highly sensitive charge-coupled device (CCD) colour video camera. Images were acquired, processed and archived with Video Store 2 version 2.30 documentation software, and analysed using the Vista Scan program. The results for the unknown protein binder were compared with those for the standards. The experimental data identified the proteinaceous binder as an animal glue. 相似文献
5.
《文物保护研究》2013,58(4):247-252
AbstractThe Rentokil Bubble, a commercially available, portable, fumigation enclosure which was designed for use with methyl bromide (bromomethane), phosphine or carbon dioxide, was tested for its applicability for nitrogen fumigations. The unit would be a valuable alternative for museums where a costly fumigation chamber cannot be afforded or a permanent space cannot be allocated for fumigations. The performance of two bubbles, 35m3 and 6m3, was investigated for both the oxygen transmission characteristics of the materials and the gas-tightness of the enclosure. The tests confirmed the suitability of the bubble for anoxia treatment, although some practical limitations were detected, especially the size of the unit and possible variations in quality from unit to unit. The article describes the set-up and safety considerations of a large-scale nitrogen anoxia treatment using the bubble. 相似文献
6.
ABSTRACTConservation of wooden objects exposed outdoors is extremely difficult and complex due to their constant exposure to fluctuating weather conditions and biological degradation. Filling the gaps in such objects requires the use of specific materials that in particular can adapt to changes in wood dimensions in response to humidity variations. Various materials have been used so far for filling voids in wooden artefacts but none of them was entirely suitable. Therefore, the authors have attempted to provide the basic characteristics of the selected commonly used filling materials based on pine wood powder or glass microballoons as fillers and Paraloid® B-72, Klucel® G, or glutin glue as binders, as the first step in research aiming at developing new and more appropriate gap-fillers. Special attention was paid to the dimensional stability of filling materials upon drying and exposure to water vapour and liquid water. The overall results indicate that among the examined fills those consisting of Paraloid® B-72 and glass microballoons revealed best properties as they were relatively dimensionally stable upon drying and exposure to moisture – despite high absorption of water – and were quite easy to finish. Generally, better properties were observed for filling materials containing higher concentrations of adhesives and these materials will be modified in the next step of the research. Since the main drawbacks of the examined gap-fillers were low water resistance, poor dimensional stability upon drying or exposure to water vapour or liquid water, and fragility or friability, future research into their modification will head towards improvement of the above-mentioned properties. 相似文献
7.
蜡笺纸作为中国造纸历史上一种非常重要的传统手工纸,其制作工艺如今几乎已失传。围绕蜡笺纸这种特殊的纸张所用的原料、特征等开展研究,对以蜡笺纸为载体的档案文献的保护与修复工作,以及传统蜡笺纸制作工艺的传承和复制等都具有重要的作用。本研究以西藏档案馆藏一份清朝圣旨所用的橘黄色单面洒金蜡笺纸为研究对象,利用扫描电镜(SEM)、光学显微镜、拉曼光谱仪、傅里叶变换红外光谱仪(FTIR)、X射线荧光光谱仪(XRF)等仪器或设备,对其成分和结构进行观察、检测与分析。结果表明：该纸为双层纸,原料为纯青檀皮,经过胶矾水处理,并在纸张中加入填料熟石膏;纸张正反面的着色成分均为铅丹,以动物胶为颜料的黏合剂,并进行了施蜂蜡处理。铅丹作为主要的着色成分,在一定条件下不太稳定,少部分变色生成了铅白和二氧化铅。 相似文献
8.
Christina Margariti 《文物保护研究》2020,65(7):388-398
ABSTRACT The aim of this research was to produce reference data for the study and identification of fibres of carbonised excavated textiles. Thus, the effects of carbonisation (incomplete burning) on the morphology and dimensions of selected fibres used in textile production were investigated. A set of standard test, commercial, and hand-made fabrics, of four cellulosic (cotton, flax, hemp, nettle) and two proteinaceous (silk, wool/ wool felt) fibres, were used for the experiments. Samples were carbonised in a limited oxygen environment at 250, 350, and 500°C for one hour (apart from the wool samples for which the duration of the experiment had to be lowered to six minutes). Wool and silk samples were destroyed at temperatures above 250°C. All cellulosic and the silk samples shrank and their weight was reduced at different percentages that increased as the temperature increased. Exceptionally, wool textile samples exhibited extreme shrinkage but also an increase in their weight. Similarly, the fibre diameters of the cellulosic and silk fibres shrunk gradually at different degrees as the temperature increased, and some exhibited marked degradation patterns, like lacerations in flax, ridges in hemp, raggedness in nettle, and cracks in silk fibres. Wool fibres swell locally but retained the scale pattern on the surface. In general, an increase in the weave count of the textile samples was observed. However, the morphology of the fibres characteristic to their identification did not alter to an unrecognisable degree as a result of artificial carbonisation, as long as the material was preserved. 相似文献
9.
《文物保护研究》2013,58(2):64-75
AbstractIn this paper are described the measurements, carried out on a considerable number of ancient bronzes, using a portable radioisotope X-ray fluorescence (XRF) unit. This unit allows, in a non-destructive way, the quantitative determination of copper, zinc, tin and lead in bronzes and brasses, in a measuring time of about 100 seconds. The XRF results are in good agreement with those obtained by traditional methods. 相似文献
10.
《文物保护研究》2013,58(4):304-315
AbstractA polychromed sculpture was restored and examined. The shrine is made from pine-wood and the sculpture from oak. The ground consists of chalk and animal glue; the pigments are: azurite, a green copper pigment, yellow organic colouring material, orpiment, red lead, vermilion, red organic colouring material, iron oxide red, lead white and charred matter (charcoal ?). Metals used are gold and silver. The medium is on a drying-oil base to which a protein-containing material is added. Generally, the colours were built up in two layers. There is an extensive use of imitation gold, while the use of gold foil is limited to the areas of hair and the flowers on the garments.In general, the wood in all parts of the object was in good condition and no general impregnation was needed. Cracks in the shrine were filled in with wood or rejoined. The sculpture, which was split in two, was glued together. The condition of the polychromy was relatively good, and only local treatment was required. 相似文献
11.
《文物保护研究》2013,58(1):135-139
AbstractBibliographical research and scientific analysis of samples obtained from five polychrome wooden sculptures of the colonial tradition in Guatemala were used to study the techniques and the materials used. The methodology involved qualitative analysis of the samples and microscopic examination of cross-sections. Scanning electron microscopy (SEM) was used to identify pigments and to ascertain the composition of the gilding. It was hypothesized that the deterioration of the sculptures, particularly the separation of the ground layers from the wooden support, was due to the action of secondary products of Cedrela odorata L. The loss of adhesion of the animal glue used in the preparation may be partly related to the precipitation of the protein of the gelatin due to the action of the tannins present in the wood. 相似文献
12.
《文物保护研究》2013,58(1):22-26
AbstractVery small paint samples from Cosimo Tura's ‘The Annunciation with Saint Francis and Saint Louis of Toulouse’ were submitted to amino acid analysis in order to determine the nature of the binding media. The four panels appeared to have been painted with egg tempera, and showed extensive localized deterioration in the blue areas but not in the other coloured areas. Following the Picotag method, the samples were hydrolyzed in an acid vapor, derivatized with iso-thiocyanatobenzene, and analyzed using reversed phase high pressure liquid chromatography (HPLC). Amino acid analysis demonstrated that the red and brown areas were painted using egg yolk as the binding medium, while the blue areas were painted with animal-skin glue (distemper). Analysis of the green paint indicated a mixture of egg yolk and glue. The use of these techniques makes it possible to identify proteinaceous materials in art objects from samples in the microgram range. 相似文献
13.
《文物保护研究》2013,58(4):145-161
AbstractFor the study of Italian paintings and their techniques the examination of the binding media (glue, egg, oil) has considerable importance, but with the usual scientific methods of analysis the results have never been conclusive. Each sample may include more than one layer of paint and many constituents; egg yolk alone contains protein, oils, cholesterol. In the present project, in order to identify these diverse materials and also to eliminate interference from contamination (glue, wax or oil) used in later restoration processes, it was decided to mount original paint samples, including a bit of the ground, as cross-sections in a polyester resin embedding material and then to make the constituents visible under the microscope by using selective staining techniques. Only in this way could the foreign materials be distinguished from the original and the structure of the original layers be understood. Finally, other tests such as the fluorescent antibody technique and thin-layer chromatography could be applied to confirm the results of the staining. In removing over 500 specimens fronl paintings in the Walters Art Gallery precautions were taken to assure sample authenticity, and during the testing at the University of Michigan careful methods of standardization and control were devised, using both fresh and old samples of egg tempera and oil. Two stains, Ponceau S for protein and Sudan Black B for oil, provided the most workable means of identifying the binding media in the majority of the samples studied. A final report will have to await correlation of the material, but certain observations may be made at this stage: (a) 14th century, in primarily tempera paintings a limited use of oil was found associated with a specific green pigment, copper resinate; (b)15th century, the majority of the paintings were entirely of egg tempera, but layers containing oil in the underpainting or in the above-mentioned copper green occurred more frequently; (c)16th century, egg tempera was not replaced by oil, but both were used in a complex layering technique, the media varying layer by layer and area by area; (d)17th century, the mixed technique gradually declined, but egg tempera continued to be associated with the painting of flesh and occasional highlights. 相似文献
14.
ABSTRACTA decontamination treatment using liquid CO2 (li-CO2) and specifically developed for the requirements of museum objects (Lombardo, T., M. Wörle, V. Hubert, E. Hildbrand, I. Mayer, C. Hinterleitner, U. von Arx. 2020. “Influence of Process Parameters on Chlorinated Biocide Decontamination by li-CO2 on Artificially Contaminated Model Materials.” Studies in Conservation, in press, doi:10.1080/00393630.2019.1641001) was first tested on model materials of wood (with and without coating), silk, and wool with different dyes, paper, and leather in order to evaluate possible material changes. Then, selected museum objects from the collection of the Swiss National Museum were treated to determine the efficiency of biocide decontamination and any resulting chemical and/or structural changes. Results show that dichlorodiphenyltrichloroethane (DDT), pentachlorophenol (PCP), lindane, and chlorpyrifos were successfully removed. Wool, silk, leather, and non-coated wood did not experience any detectable modifications, while moderate to major modifications were observed in wood coated with shellac and polychromy. 相似文献
15.
16.
SummaryA Roman wall painting of the first century AD, recently discovered in Rome, has been studied extensively, in situ, by non-destructive X-ray fluorescence (XRF) analysis. The coloured pigments, the medium and the plaster were all examined. The presence of potassium and calcium in all coloured layers demonstrates that the painting technique is of a type very similar to that used in Pompeian wall paintings, and described in the 1950s by Selim Augusti. In this type of wall painting, the pigments were dissolved in a lime/soap/water solution, the function of the soap being to mitigate the negative effects of lime on alkali-sensitive mineral-based colours. 相似文献
17.
Ida Oswald Susanne Wilson Thomas R. Giblin Charles Boeckman Donald R. Gordon Jess Ritter 《Communication Booknotes Quarterly》2013,44(11):6-7
Ida Oswald and Susanne Wilson, This Bag Is Not A Toy: A Handbook for The Use of Videorecording in Education For the Professions (New York: Council on Social Work Education, 1972 – (price not known), paper. Thomas R. Giblin (ed.) Popular Media and the Teaching of English (Pacific Palisades, Calif.: Goodyear Publishing Co., 1972 – $3.95, paper) Charles Boeckman's And the Beat Goes On: A Survey of Pop Music in America (Washington: Luce, with distribution by David McKay of New York, 1972 – $5.95) Donald R. Gordon's The New Literacy (Toronto: University of Toronto Press, 1971 – $10.00/2.75/10.00 (hard, paper, microfiche editions) Jess Ritter and Grover Lewis (eds.) Focus/Media (San Francisco: Chandler, 1972 – $5.00, paper) Otto Lerbringer (of Boston University's School of Public Communication), Designs for Persuasive Communication (Englewood Cliffs, N.J.: Prentice-Hall, 1972 – $8.95/4.95) 相似文献
18.
Katherine Shervis Dianne Weber Edmund M. Midura Scott M. Cutlip Allen H. Center John S. Wright 《Communication Booknotes Quarterly》2013,44(11):1-3
Ronald Gottesman and Harry Geduld (eds.) Guidebook to Film: An Eleven-in-One Reference (New York: Holt, Rinehart &; Winston, 1972 – ,$6.95/3.95) C. Edward Wall (ed.) Multi Media Reviews Index: 1970 (Ann Arbor, Mich.: Pierian Press, 1971 – $19.50) Dorothy I. Weil's (ed.) The American Film Institute's Guide to College Film Courses 1971-72 (Chicago: American Library Association, 1972 – $3.50, paper) Raymond Fielding's The Technique of Special Effects Cinematography (New York: Hastings House, 1972 – $18.50) 相似文献
19.
Anjali Sharma 《文物保护研究》2020,65(4):221-237
ABSTRACTComposition, microstructure, and binding media of the decorative earthen plaster fragments from the Buddhist cave temple of Bezeklik (fifth–fourteenth century CE), China, were analyzed by X-ray fluorescence, X-ray diffraction, scanning electron microscopy with energy-dispersive X-ray analysis, Fourier-transform infrared spectroscopy, sieve analysis, and other methods. In addition, gas chromatography–mass spectrometry was used for identification of the organic adhesive found mixed in the earthen plaster. Studies indicated the presence of proteinaceous material, mainly beeswax, with animal glue, pine resin, and plant sterol mixed in the earthen plaster as the biopolymer. The organic additives improved the basic qualities of the mud by acting as stabilizers, hardeners, and water proofers. The loamy sand soil sourced for Bezeklik plasters shows low cohesion and disaggregation of grains occurred for want of clay-sized particles in the plaster. Due to frequent handling and transportation, the fragments are now showing distress in the form of loss of earthen support and paint layers. Based on the analytical findings, traditional binders such as sepiolite clay, slaked lime, and fish glue were introduced and fragments consolidated for display. 相似文献
20.
Kevin Brownlow Marshall Deutelbaum R.W. Sexton B.F. Betts Ross Thorne Roger Brett 《Communication Booknotes Quarterly》2013,44(1):17-20
Kevin Brownlow The War, the West and the Wilderness (New York; Alfred A. Knopf, 1979 – $27.50, hardcover). Marshall Deutelbaum, "Image" on the Art and Evolution of the Film (New York: Dover Publications, 1979 – $8.95 in paper). American Theatres of Today, Volumes I and II, by R.W. Sexton and B.F. Betts (New Yorks Architectural Book Publishing Inc., 1927 and 1930 – reprinted at $35.00 in one volume, 360 pages, hardcover). Picture Palace Architecture in Australia by Ross Thorne (South Melbourne: Sun Books, 1976 – $9.95 in paper from Vestal). Temples of Illusion by Roger Brett($14.95, paper). Carol Herselle Krinsky Rockefeller Center (New York: Oxford University Press, 1978 – $17.50 hardcover/ $9.95 paper) Richard Taylor Film Propaganda: Soviet Russia and Nazi Germany (London: Croom Helm/ New York: Barnes & Nonle, 1979—$25.00) William Kittredge and Steren M. Krauzer, eds. Stories into Film (New York: Harper & RowP2olophon Books, 1979—price not given, paper) Richard Dyer Stars (London: British Film Institute, 1979—E2.25, or about $5.00, paper) 相似文献