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1.
In a parallel study, it has been shown by comparison of successive TV-holography campaigns that murals in the convent of Müstair (Switzerland) have progressively detached from their substrate over a time interval of 5 years (J Cult Herit 2009). Here, we focus on the dynamics of the ongoing detachment processes. In order to regularly measure small surface displacements in situ over a long duration of several years, a new method that we call Mirror Micrometry (MM) has been designed and implemented. This method monitors the reflection of a light beam by a mirror that is mounted to the surface of interest for the duration of the experiment. The mirror is designed to rotate about a pivot as small displacements in the detaching surface occur, thus deflecting the reflected light beam. Measurements over more than three years in the Convent Church and in the Holy Cross Chapel reveal various types of surface displacement perpendicular to the wall surface. These are correlated with relative humidity (RH) changes in the room climate. Reversible short-term variations of approximately ±5–10 μm occur with periods of one to several weeks and relate primarily to weather changes. Reversible long-term variations of ±5–10 μm correspond to averaged seasonal humidity changes. Irregular and irreversible movements in increments of 20–30 μm record very localised progressive detachment steps. A semi-quantitative correlation of approximately 1 μm surface displacement per 1% RH change is calculated. Based on the fact that nearby measuring points can simultaneously move in opposite directions, a geometric model is drawn to explain deformation by hygric swelling and shrinking of different shapes of detached layers.  相似文献   

2.
The possibility to use laser radiation to clean historical objects has been established for several years. A complex case and widely met problem are polychromes. They react (chemically as also physically) very sensitively towards laser radiation. In this study, the reaction of pigments was investigated in dependency on the incident wavelength (Nd:YAG, λ = 1064, 532, 355, 266 nm) and energy density. The chemical and also the physical interactions were investigated. In this work, the following analytical methods were utilised: differential thermal analysis (DTA), colour measurements (CIE-L*a*b*), X-ray diffraction (XRD) and energy dispersive X-ray analysis (EDX). It turned out that the colour change of the pigments can have different origins: they can for instance be induced by laser induced oxidation, reduction or phase changing. Most of the pigments show reactions at very low energy densities (H < 100 mJ cm–2). Overall the fundamental wavelength of the Nd:YAG-laser (λ = 1064 nm) proved to be most suitable, whereas λ = 355 nm shows most influence on the colour change.  相似文献   

3.
Short crystallisation and deliquescence cycles of mirabilite, epsomite and gypsum are identified by using an automated monitoring system on-site. It consists of digital cameras and RH/T sensors which are computer-controlled and connected to the Internet. Digital images are processed to form a time-lapse movie, so that surface alterations are easily recognised. High resolution imaging (6 mega pixels) in combination with various lenses (12–24 mm zoom, 28–105 mm zoom, 20 mm inversed) results in a wide range of precise observation from 7 to 500 mm width of image. That is essential for discriminating phase transitions of single crystals at the same time as monitoring the evolution of the efflorescence as a whole. Crystallisation-deliquescence cycles are induced by small temperature and humidity variations. Mirabilite and epsomite undergo phase changes from crystallisation to deliquescence and vice versa at about 83% RH (15–20 °C). These equilibrium relative humidities are considerably reduced compared to the pure salt systems as a consequence of mixed salt solutions. Observations confirm predictions by ECOS simulation based on chemical analyses of water extracts from the site. Dehydration of mirabilite is observed when the relative humidity drops below 65% RH. Mirabilite exhibits the most pronounced and rapid phase changes in response to indoor climate variations. As an example, whisker crystals of 1–3 mm length grow within one up to some days. Epsomite responds fainter and slower. Crystallisation of gypsum is distinguished by the growth of new crystals on the stone surface. They have a size of about 10 μ – which is close to the image resolution – when they appear on the image. Crystallisation is associated with an increased granular disaggregation of the stone surface. Rhythmical crystallisation of gypsum appears to correlate with small relative humidity variations of ±2–5% within a band from 65 to 75% RH in the room. However, this needs to be clarified in detail.  相似文献   

4.
The ASTM D6819-02e3 standard for testing the accelerated ageing of paper, published in 2002, recommends using closed glass vials in order to keep the degradation products in contact with the paper and thus permitting a better simulation of the natural ageing conditions inside closed books. In the present study, the actual conditions and their stability inside closed vessels have been evaluated. The necessity of assuring a very high sealing performance (tightness) of the systems in order to avoid leakage of water vapour is the main drawback of this ageing method. Systematic studies presented in this publication tried to monitor this tightness and have provided data that helped to answer the question of what circumstances could lead to achieving its improvement. Both gravimetric monitoring of water content in vials and “in situ” IR measurements of the aged paper humidity have been applied for this purpose. As a result, better sealing materials (gaskets and caps) than those recommended by the ASTM standard, have been found. Additionally, application of a dynamometric spanner for closing the vials is recommended, as this is a guarantee of reasonably high and recurring tightness of the systems used in tests. Nevertheless, the systematic, linear with time, loss of moisture for all used vials was observed. A 9% loss of the initial moisture content in samples of the aged paper was observed for the tested conditions (14 days at 90 °C). Therefore, it seems that including some kind of gravimetric control for ageing tests performed in closed vessels is of essential importance.Kinetic studies of accelerated ageing in both closed and open systems, as monitored by DP and breaking length measurements, unexpectedly show that no statistically meaningful difference of degradation rates can be observed. On the other hand, the pH and whiteness index values reveal a meaningful difference between the rates of ageing in these systems, thus confirming the basic assumption of the ASTM test concerning the interaction of paper degradation products with the paper itself.  相似文献   

5.
A broad category of cultural heritage objects are multilayer structures composed of organic, humidity-sensitive materials – wood, animal glue, paper, leather, bone or paints. They respond to variations in relative humidity (RH) in their environment by cyclically gaining and losing moisture, and consequently swelling and shrinking. Differences in the moisture response of the materials induce internal stresses in the individual layers of the structures, which cause objects to deform and crack. Polychrome wood is examined in detail. The cumulative physical damage of the design layer on wood due to repeated RH variations is quantified in terms of their magnitude and number of times they occur. The climatological risk index for accumulated, ‘fatigue’ damage is established, using a procedure to reduce irregular real-world climate histories into simple RH cycles of known damage impact. Using output from the Hadley Model (HadCM3) and simple transfer functions predicting indoor temperature and RH from outdoor climate, changes in the indoor climate through to 2100 were forecast for unheated buildings. European maps highlighting the areas in which painted wood may be significantly affected by climate change are presented.  相似文献   

6.
Telemaco Signorini (Florence 1835-1901), one of the most important Italian painters of the 19th century, was particularly famous among his colleagues for his way of depicting dark details and shadows by using primarily blue colors. The restoration of his painting Pascolo a Pietramala (c. 1889, Galleria di arte moderna, Palazzo Pitti, Florence) gave the authors the opportunity to study Signorini's blue palette using non-invasive fiber optics reflectance spectroscopy (FORS) in the ultraviolet (UV), visible (vis), and near infrared (NIR) regions (350-1700 nm). Furthermore, to help in the identification of the pigments used, a suitable spectroscopic database was created for Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue), and cerulean blue modern blue pigments, in masstone and in mixtures with lead white as well as zinc white. The main pigments used by the artist in the aforesaid painting were found to be Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue).  相似文献   

7.
Giovanni Fattori (Livorno 1825–Firenze 1908) is the most representative artist of the Macchiaioli's current, an early group of Italian plein-air artists, whose work anticipates, in the xixth century, that of their younger contemporaries, the French Impressionists. The study, performed by a multidisciplinary team made up of scientists and conservators, presents the results of the scientific characterization carried out on a group of 10 paintings made by Fattori between 1854 and 1893 and shows the way he used complex mixtures of a large variety of traditional and synthetic pigments, ranging from lead white, found pure and also extended with calcium carbonate, natural barite and gypsum to zinc white, from red ochre to cinnabar and vermilion, from yellow ochre and Naples yellow to chrome yellow, cadmium yellow and zinc yellow, combined with many other ones reported in details. This paper highlights the evolution of his painting technique during a time of great technological and social innovations and puts forward some hypothesis on his awareness about manufactured pigments, i.e. tube paints recently introduced into the artists’ circles. The wide range of pigments and their different quality among the same synthetic products suggest that the artist used all the available materials, and that picking out the pigments he retained the early xixth century artists techniques, such as the use of mineral earths and Prussian blue, similarly to his contemporary Italian artists Federico Zandomeneghi and Telemaco Signorini, but he also experimented new and peculiar pigment mixtures in the making of “colored darks” and an innovative use of the grounds in the final composition, that are also distinctive features of the French Impressionists. This work is aimed at contributing to overcome the lack of a comprehensive overview on the widespread historical and scientific data collected up to now on the Italian paintings in the xixth century, which has been severely underestimated with respect to previous art movements.  相似文献   

8.
This paper deals with the scientific survey of Remo Brindisi's painting “Ragazzo seduto” (Seated boy), made at the end of the 1950s, that is a symbolic figure of both his personal artistic solitude and the crisis of values determined by the economic boom in the post-war period. In a period of great changes and economic regrowth, the need to find a new style that could be the most authentic and personal as possible pressed the artist to experiment innovative products, including non-conventional support. Photographic and analytical techniques demonstrated the use of innovative products as an experimentation tendency, that pressed the artist to use non-conventional support, industrially treated with plasticized PVC and primed with acrylate polymers and to paint with traditional and industrial pigments mixed with an oil-modified alkyd resin. In the span of a few years, an unexpected and extended degradation on the whole surface of the painting took place, with the consequent formation of lifting and detachment of the paint film. The detected alteration is mainly due to the fast ageing of the employed polymeric materials, actually responsible of the impermanence of many contemporary works of arts. Clarifying the unknown aspects of the Remo Brindisi's stylistic choices together with the deterioration processes of the employed painting materials, this paper highlights the general problems related to the conservation of contemporary art, a neglected area of research in Italy, where more efforts are committed to the enormous and more ancient cultural heritage.  相似文献   

9.
The quality of production (e.g. paper, typesetting, reproduction of illustrations, printing and bookbinding) of a book (reprint) is very important. The quality of a 1978 reprint of a book from 1921 was studied using standard and non-destructive testing methods such as microscopic and spectroscopic techniques. Chemical, physical and colorimetric properties of the papers, colour differences of the prints and typographic tonal density were analysed. Results showed that the reprint is not an identical copy of the original. Some of the differences in the reprint compared with the original (e.g. typographic tonal density) could easily have been avoided while others (e.g. structural and optical properties of paper, colour prints) are unavoidable, mainly because of the influence of internal and external factors on ageing. Ageing influences the properties of paper and colour print: optical and colour properties deteriorate and colour fades. It is concluded that precise and systematic evaluation of the properties of an old book should be carried out before a reprint is prepared. The results of the research, using non-destructive methods such as microscopy, spectroscopy and image analysis, are useful for characterising the properties of paper and printing ink, typography and reproduction of illustrations.  相似文献   

10.
Optical and SEM-EDS microscopy, X-ray powder diffraction and micro FT-IR spectroscopy investigations of the funerary klinai (couches) of Tomb 1 from Amphipolis and a stone sarcophagus from ancient Tragilos—two painted monuments made by Macedonian craftsmen of the Early Hellenistic period—identified the original materials and painting technique, as well as synthetic materials used as consolidants during past restoration treatments. The original organic binders and the superficial modern coatings have been identified by micro FT-IR spectroscopy applied directly to the sampled powders or tiny fragments and to their solvent—soluble fractions. The pigments identified on the couch of Amphipolis are: red and yellow ochre, cinnabar, Madder lake, paratacamite and antlerite, carbon black, calcium carbonate, kaolin and gypsum. The identification of egg and animal glue confirms the application of tempera and secco techniques. The detection of polymers such as polydimethylsiloxane, polyvinyl acetate and alkyd resins, is related to modern restoration products. The pigments attested on the paintings of the Tragilos' sarcophagus are: red and yellow ochre, Egyptian blue, malachite, carbon black, calcium carbonate and gypsum. The absence of organic binders combined with the constant presence of calcium carbonate in all the examined samples suggests the use of lime as the binding medium in the painted decoration of the sarcophagus. The presence of Paraloid B72 is related to recent conservation treatments.  相似文献   

11.
Forty-six Streptomyces strains were isolated from paintings and stone surfaces from Tell Basta and Tanis tombs (80 km south-east Cairo, Egypt). Eight of these strains were selected to determine their sensitivity against 13 antibiotics. In general, high levels of resistance could be observed. Gentamycin, spiramycin and doxycycline were the most effective antibiotics against the majority of strains under study. Due to the observed antibiotic resistances, gamma irradiation was studied as a possible alternative to inhibit microbial growth. Isolated bacteria were exposed to different doses of gamma irradiation (5, 10, 15, 20 and 25 kGy). The growth of all Streptomyces isolates except S. canarius was completely inhibited at 25 kGy. The applied doses of gamma irradiation did not cause any observable alterations or colour changes to pigments and binding media (arabic gum, animal glue and egg-yolk) used in the paintings.  相似文献   

12.
This work describes the quantitative analysis of mercury present in the ink used to colour some books of XVIII century. The mercury content was determined by Energy Dispersive X-ray Spectrometry. This is a non-destructive technique which allows elemental identification and quantification (Z > 13) by atomic physics processes. The organic pigments cannot be identified by this technique, taking into account that its composition is mainly C, O and H. Levels of 2 wt.% and 4.5 wt.% were measured in 1756 and 1753 books respectively. No significant amount of mercury was observed in other red books, on a total of 11, all from XVIII century: 1720, 1732, 1753, 1756, 1780, 1798, 1800. More than one book for each year were analysed. The studied books belong to a private collection, and were selected taking into account the age and the reddish colour of their external parts. High content on Fe were observed in some of the books. This work highlights the application of a physics technique in a very important aspect for art and cultural heritage conservation and restoration, considering that high levels of toxic elements might be found in ancient documents. It is of great importance that preliminary elemental analyses are performed on ancient documents before handling them, because they might constitute some danger for restorers, conservators and collectors. This work highlights, for the first time, the danger of some ancient books. They might contain a very high concentration of mercury, which is toxic for the organism. This is also a particularly important problem of public health never mentioned in literature before.  相似文献   

13.
The artist Jordi Teixidor is one of the leading exponents of twentieth century Spanish abstract art. In recent years, he has used a synthetic polymer as a support for his art work, namely polypropylene. The behaviour of this material in combination with layers of oil paint has not been studied until now. One of the objectives of this study was to chemically characterise the material present in Jordi Teixidor's work, using FT-IR spectroscopy, in order to be able to examine the behaviour of this set of materials after undergoing cycles of accelerated aging. After subjecting the samples to temperature and relative humidity cycles and ultraviolet radiation, their physico-mechanical behaviour was determined via tensile and bend tests, with the results being processed further by means of spectroscopic techniques and colour measurements. It was found that the possible migration of the additives present in the PP support and the gradual degradation of the materials could affect the adherence between the paint layers in the future.  相似文献   

14.
An archaeological excavation has been carried out at Pisa (Italy), unearthing an ancient metallurgical workshop. Since archaeological burnt materials provide important records of direction and intensity of the Earth's magnetic field in the past and they can be used to better improve geomagnetic secular variation curves (SVCs), an archaeomagnetic study has been performed. This small copper-alloy furnace presents a circular concave shape covered with a thin layer of mortar, with some traces of heated clay surrounding the feature that confirms the high temperature reached inside it. Archaeological context dating points to the last firing of the furnace between the last quarter of the 13th century and the first quarter of 14th century AD, when then the metallurgical workshop was transformed in a warehouse. Archaeomagnetic sampling has been performed using the modified Thellier method, by collecting several, large and independently oriented aliquots of heated clay, forming the bottom part of the circular wall of the structure. Laboratory treatments have been conducted at the IGG-CNR ARCHEO_LAB (Pisa, Italy) and at St. Maur Palaeomagnetic laboratory (Paris, France). Analytical measurements of the thermo-remanent magnetization index acquired from the samples have been performed using a large cell induction magnetometer for large samples, and the characteristic remanent magnetization (ChRM) has been successfully isolated after an alternate field demagnetization cleaning procedure for each sample. The final mean archaeomagnetic direction has been calculated at sampling site (D = 6.9°; I = 52.8°; N = 9; k = 305; α95 = 2.6°) following the Fisher Statistics, and it exhibits a perfect agreement with some coeval already published directions obtained from Mt. Arso lava flows, these latter being an important anchor point in the preliminary Italian secular variation curve. Comparison with the preliminary Italian SVC, the French SVC and the SCHA.DIF.3K archaeomagnetic regional model have permitted to define an archaeomagnetic absolute age confirming the conventional archaeological age, underlining the importance of this result into the Italian archaeomagnetic data set.  相似文献   

15.
The Sos Furrighesos necropolis (Anela) is considered to be one of the most important funerary monuments in Sardinia. The hypogeum consists of various graves, called Domus de Janas, which are decorated with Neolithic mural paintings and sculptures. This work was undertaken in order to clarify which techniques were used in the past, through the identification of pigments and binding media. The samples, scraped off from the paint surface, were studied by using various analytical techniques in order to characterise both the pigments and the binding media. The main problems concerning the characterisation were due to the small sizes (1–5 mg) of the samples and their complex nature. As regards pigments, X-ray diffraction and scanning electron microscopy-energy dispersive X-ray spectrometry analyses were performed on the samples. These techniques are well suited to the characterisation of inorganic pigments and have led to the identification of the red pigment as haematite. In order to characterise the organic binders, the samples were analysed by a procedure based on a gas chromatography–mass spectrometry technique, which allows proteinaceous and lipidic media determination in the same sample. In most of the samples, the presence of egg was suggested.  相似文献   

16.
This work reports mainly the results of an X-ray Absorption Spectroscopy (XAS) study carried out on coloured glass tesserae from the palaeo-Christian mosaic which decorated the votive chapel of St. Prosdocimus (Padova) until its replacement with the current frescoes of Renaissance age, and which is one of the only two known mosaics in the Veneto region (Italy). The study aims at clarifying how the different local structure, oxidation state and quantity of copper influenced colour. Analysis of high-resolution Cu-K edge X-ray Absorption Near Edge Structure (XANES) and Extended X-ray Absorption Fine Structure (EXAFS) spectra showed that copper is present as cuprite (Cu2O) in orange samples and as metallic copper in red and brown ones. These phases are responsible for both the colour and opacity of the samples. In addition, Cu1+ ions linked to the oxygen atoms of the glass framework were identified in ratios of about 60% and 30% of total copper in orange and red/brown samples, respectively. In blue and green samples, copper is dispersed in the glass matrix as a mixture of Cu1+ and Cu2+ ions, and no crystalline phases are visible. In this context, the Cu1+ and Cu2+ contents in glass were also quantified thanks to suitable standards, demonstrating that, when Cu2+ is the main chromophorous ion, colour intensity is directly correlated to its content in the glass. In particular, in green and blue samples, coloured by copper, Cu2+ content varies from 26% to 56% of total copper, and the higher contents of Cu2+ are shown by more intensely coloured samples. It should be stressed here that the green colour of the analysed tesserae is given by the physical interaction of blue colour, due to Cu2+ ions, and yellow colour, due to Pb antimonates used as opacifiers.  相似文献   

17.
Production of Egyptian blue and green frit was obtained by pure chemicals and natural raw Egyptian materials in different experimental conditions. Changes in stoichiometric ratios and in melting temperatures were tested to synthesize the expected pigments. Obtained products were examined under the polarizing microscope and characterized by XRD analysis; in addition, absolute colour measurements were taken in CIE 1931 and CIE 1976 coordinates to evaluate colour changes. Correlations among chemical composition, melting conditions and recorded colours were discussed.  相似文献   

18.
The aim of this study is to develop a laboratory technique to simulate a natural ageing of canvas paintings adopting artificial ageing methods in air (thermal oxidation), in the absence of light. Four models of canvas paintings aged up to 315 years are considered. Paintings are constituted of oil film on oil ground layer, oil film on tempera ground layer, tempera film on tempera ground layer or by tempera film on oil ground layer. Surface strength and the colour of the paintings and the degree of polymerization (DP) of linen canvas were evaluated at different steps of ageing. The degradative result was estimated as the DP of linen canvas after prefixed times of microbial attack.  相似文献   

19.
Laser removal of surface contaminants on silver threads was carried out using Nd:YAG laser radiations from near infrared (1064 nm) through visible (532 nm) to ultraviolet (266 nm) produced by frequency harmonic generation. The thread in the museum textile was made of silver and silk in which the silver ribbon wraps the bunch of silk fibres. The goal of this work is to find a feasibility to clean the tarnished silver without any damage of the underlying silk since the conventional chemical treatment is problematic to apply in this specific specimen. From the results, it was found that the laser wavelength of 266 nm is most appropriate to clean the silver surface without causing any damage either to the silver or the silk surfaces while 1064 nm wavelength easily causes damages such as melting and burning to the silver as well as the silk inside.  相似文献   

20.
The brown carpet beetle Attagenus smirnovi, Zhantiev 1973 (Coleoptera: Dermestidae) is an important pest of objects of organic origin in museums of cultural and natural history in Europe. Future climate changes are expected to lead to increasing temperatures, which will affect the pest status of this species. In the present study a laboratory investigation was conducted to elucidate the effect of temperature and humidity on the amounts of organic material consumed by larvae of A. smirnovi. In the case of new and old skin, consumption was approximately twice as high at 28 °C compared to 20 °C. Wool was consumed in the greatest amounts: 169 mg of wool was consumed in three months by 30 A. smirnovi larvae. The expected future climate changes in Scandinavia are assumed to lead to higher temperatures in museums and stores where climate is not regulated. Updated data on the present distribution of A. smirnovi in Europe show that it is widespread and common, also in regions with a climate that does not support its survival out of doors. Thus, dispersal of this pest probably only rarely occurs by flight, but usually with human activity. Due to the widespread distribution of A. smirnovi, it is likely that damages in museums and collections in Scandinavia due to this pest will increase as climate changes come into effect.  相似文献   

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