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1.
The application of a new class of organogels as cleaning tools for painted surfaces is described. It combines some of the most attractive features of cleaning liquids and normal gels while diminishing the deleterious characteristics of both. Thus, the ‘latent’ gellant, polyethyleneimine (PEI), reacts with CO2 at room temperature in solutions of several organic liquids to produce an ammonium carbamate form (PEICO2). This charged species organizes itself into 3D polymer networks which immobilize the liquids as gels. The properties of the original solution (i.e. a free-flowing liquid) are re-established immediately after addition of a small amount of a weak acid which displaces the CO2 molecules and makes the PEI chains positively charged. The visual changes are substantiated by rheological analyses. Results from analytical tests to determine the utility of these gels as cleaning tools for painted surfaces of historical and artistic interest, have been obtained from contact angle and FTIR measurements as well as visual comparisons of the surfaces before and after application of the gels. The analyses indicate that the PEICO2-based organogels were very effective in removing different surface patinas from painted supports. A surface layer of dammar was completely removed from a test canvas with oil paint, an aged painting from the XIX century, and a XV century oil-on-wood panel attributed to Mariotto di Cristoforo. Finally, a surface acrylic polymeric resin (used in a restoration performed during the 1960s) was also successfully removed from Renaissance wall paintings decorating the Santa Maria della Scala Sacristy in Siena, Italy. The isothermally rheoreversible gel approach described in this work represents a new, highly versatile, and very efficient method for removing aged surface patinas from works of art.  相似文献   

2.
Rock weathering is defined as the process of rocks alteration as a result of the adjustment of its internal constituents by the action of physical, chemical and biological factors, to the prevailing conditions of the atmosphere and in the environment. In humid polluted areas “red weathering” is one of the major deterioration forms that characterize most granitic rocks. Several intervention steps are required to remove and treat all surfaces affected by this form. It is one of the most aggressive forms of deterioration which are essentially composed of some complex species of clay minerals “Kaolinite, Illite, Montmorillonite and Tosudite”, in addition to some species of salts as “Gypsum” pigmented by “Hematite” as a colorant. After several investigatin techniques, these crusts need several intervention and conservation steps to remove and eliminate the aggressive effects resulted from the red crusts through three essential steps: “cleaning, gap filling and strengthening and stabilizing”. After evaluating all materials and methods that were performed by “DBN, SEM, EDX, and AAS”, the present study suggests that the most suitable cleaning methods are composed of three essential steps “dry and vacuum cleaning (DVC), ultra-sonic cleaning (USC), poultice cleaning (PC)”. Furthermore, the elected gap filling material composed of “Araldite AY-103” mixed with “Granite powder as petro-filler.” Finally, different evaluation methods proved that “Wacker H” is the most suitable strengthening and stabilizing material for consolidation purpose.  相似文献   

3.
The present study dealt with the characterisation of marble surfaces coated by three kinds of polymeric material usually employed in stones conservation and with the evaluation of the removal of these coatings from the surfaces by means of new nanocontainer aqueous systems constituted of micellar solutions (MS) and oil-in-water microemulsions (MC). The polymeric coatings were also subjected to accelerated artificial ageing in order to detect possible effects associated to natural photochemical ageing. The aim of the work was the assessment of the performance of such nanocontainer aqueous systems taking acetone (Ac) as a reference “traditional” solvent for the removal procedure. The characterisation was carried out by means of Scanning Electron Microscopy (SEM) and Environmental Scanning Electron Microscopy (ESEM), Fourier Transform Infra-Red (FTIR) and Nuclear Magnetic Resonance (NMR) spectroscopies and the results obtained showed that the performance of these innovative methods based on nanocontainer aqueous systems can be considered highly promising in the view of a “green approach” to the conservation of cultural heritage.  相似文献   

4.
The oil painting “La Medusa” executed by Caravaggio at the end of the XVI century on a wooden shield, was investigated by integrated physical–chemical and analytical methodologies in order to obtain scientific data capable of elucidating the state of conservation and the painting technique. Optical (OM) and electronic (SEM-EDS) microscopy, micro-FT-IR spectroscopy, gas chromatography–mass spectrometry (GC–MS) and pyrolysis GC–MS were applied on two microfragments and some organic samples obtained by solvent extraction using the swab cleaning technique. The obtained results indicated that Caravaggio probably reused an old shield as a previous gypsum preparation layer has been detected under the original painting layers. He used white lead, natural earths, verdigris and lead–tin yellow type I mixed with drying oils to paint. The considerable amount of amorphous particles of copper chlorides found in the green pigment verdigris suggests that it could have been produced according to the ancient recipe of verde salsum described by Theophilus. Mordant gilding has been identified on the upper part of the shield that can be related to an abandoned experiment to give the painting a mirror-like reflecting effect. Three different varnishes layers have been detected above the painted surface. The original and restoration varnishes have been identified and they contain a mixture of drying oil, mastic and turpentine and some beeswax. Cleaning tests, performed with different organic solvents, suggest the use of isopropyl alcohol as cleaning agent because it is less efficient in comparison to others solvents; thus it ensures a careful and controlled removal of the varnishes.  相似文献   

5.
The scientific approach to the restoration and monitoring of mural paintings, at S. Girolamo Chapel – SS. Annunziata Church in Florence, is reported as a fruitful example of the synergic collaboration between restorers and scientists in the planning and development of conservative interventions. Before restoration, the painting technique and the state of preservation of the pictorial cycle have been investigated firstly by close examination of the painted surfaces and then by optical and/or SEM-EDS microscopy and μFT-IR spectroscopy on appropriately selected samples. In particular, the original constituent materials and those belonging to subsequent restorations were characterized together with those originating from decay processes. In this mural painting cycle, a peculiar “fresco” technique has been used although an auxiliary binder for pigment distemper has been also employed. The use of this technique, sometimes in an improper way together with uncorrected restoration interventions, are the main responsible of the unsatisfactory state of conservation of many painted areas. Preliminary conservation trials and scientific studies were carried out to design the most convenient restoration intervention and to verify the correctness and non-invasive of the necessary operations. Special attention was devoted to cleaning procedures, continuously monitored by a physico-chemical methodology, mainly based on microinvasive, microscopic and spectroscopic investigations, to evaluate the efficiency, advantages and drawbacks of the proposed cleaning procedures and define the most appropriate ones. Finally, specific decay markers have been recognized, by a comparison of the results obtained from the detached samples with those deriving from artificially aged models, to be used for a correct future monitoring and maintenance of the wall paintings.  相似文献   

6.
In the present article we report a study on some sodium dodecyl sulphate/propylene carbonate based aqueous micellar solutions developed with the aim of setting up a nanotechnological cleaning system to remove naturally aged polymeric acrylic layers from the surface of the wall paintings in the Old Sacristy of Santa Maria della Scala in Siena (15th century). Being these systems mainly composed of water (more than 70% by weight), the cleaning of the painted surface have been performed with low environmental impact, due to the small amount of the pure organic solvents used (always less than 25% by weight). Furthermore, the aqueous phase constitutes a hydrophilic barrier to the penetration of the hydrophobic acrylic materials into the porous support. Fourier Transform InfraRed spectroscopy (FTIR), Scanning Electron Microscopy coupled with Energy Dispersive X-rays analysis (SEM/EDX) and in situ capillary water adsorption measurements indicated the efficacy of this cleaning procedure. Finally, the chemical diagnostics investigation enabled to ascertain the presence of both salts (nitrates and gypsum) and the acrylic polymeric material.  相似文献   

7.
Laser induced breakdown spectroscopy was used to investigate the composition of a gun found in the Adriatic seabed and kept in the “S. Castromediano” Provincial Museum in Lecce (Italy). Optical emission spectra of the laser-induced plasma from the surface of the piece of ordnance were recorded before and after its restoration. The metal alloy of the gun was determined through the identification of characteristic atomic emissions and confirmed through microanalysis carried out by energy dispersion X-ray spectroscopy. Experimental results evidenced that the gun is of bronze and revealed that elements composing the encrustation and noxious for the object conservation, such as calcium, were removed successfully during the cleaning operation. Performed elemental analyses confirmed that laser induced breakdown spectroscopy is a useful diagnostic tool to test the restoration degree of artworks.  相似文献   

8.
The pigments, organic materials and techniques used on a post-Byzantine icon of St Nicholas were determined by means of several micro-analytical techniques. The icon painter covered the leather support with silver leaf about 3 μm thick to create a smooth working surface. Animal glue was used to secure the leaf to the leather, and FTIR spectroscopy has identified another layer, 30–60 μm thick, of the same material applied as a primer above the silver. Above that, a layer of lead white covering the entire surface creates a white substratum serving the same purpose as the gesso on a wood panel. The colour palette, determined by means of scanning electron microscopy and FTIR spectroscopy, is very simple. Only seven colours were identified: lead white, caput mortuum, red and yellow ochre, cinnabar, carbon black and smalt. As far as we know, this is the first time that smalt has been found on a Byzantine icon. Since smalt was chemically synthesised only after 1500 AD, it may be concluded that this icon was painted after the end of the 15th century. Beeswax was used as a protective varnish.  相似文献   

9.
Zinc oxide nanoparticles were prepared and used for surface treatment of oil paintings painted on paper supports. The prepared coating mixture containing 2% of ZnO nanoparticles showed excellent transparency. The effect of coating on protecting the paper support and paintings against microbial attack by Trichoderma reesei and Aspergillus niger, dirt accumulation, and UV aging was studied. Coatings containing ZnO nanoparticles enhanced the durability of linseed oil-based paintings toward UV aging regarding the change in color. Coatings containing ZnO nanoparticles improved resistance to microbial attack when subjected to inoculums containing T. reesei or A. niger fungi. In addition, coatings containing ZnO nanoparticles reduced accumulation of dirt on oil paintings when left in open air for 6 months; cleaning of paintings was quite easy compared to the non-coated paintings or those coated with the varnish without ZnO nanoparticles.  相似文献   

10.
The removal of a brass-based paint (purpurin) used in painting gilded wood to cover losses of gold leaf, represents today a difficult task to conservators, who may have to resort to toxic chemical solvents in order to clean the painted surface. This action, due to its nature, is unsuitable for both the conservator and the artwork itself. In this study, a Q-switched Nd:YAG laser system outputting 1 064 nm (infrared), 532 nm (visible, green) and 266 nm (ultra-violet) radiation was used to study the interaction of these wavelengths in a gilded sample surface painted with purpurin. All tested wavelengths interacted differently with the tested surface and, also, the several layers that form the gilded surface (purpurin, varnish and gold) showed different interactions to each wavelength. The ultra-violet radiation (266 nm), in a multi-pulse mode at low fluences, was found to be the most efficient wavelength in cleaning the painted gilded surface.  相似文献   

11.
During the restoration plan of the famous painting “Madonna col Bambino e S. Giovannino” by Sandro Botticelli, located in the Museo Civico of Piacenza (Italy), a study on painting materials was carried out. The pigments, the binders and the materials used for the application of ground and priming layers were studied using micro-Raman spectroscopy, gas chromatography coupled with mass spectrometry (GC/MS), optical and electronic microscopies. Gypsum and anhydrite were found in the ground layer, while carbon black and lead white were used in the priming layers. The precious pigments of the artist's palette and the binders used (egg and animal glue) were determined.  相似文献   

12.
The painting Il ritratto della figliastra (Portrait of the Stepdaughter) by Giovanni Fattori (1889, Gallery of Modern Art, Pitti Palace, Florence) was investigated using non-invasive fibre optics reflectance spectroscopy (FORS). The use of compact and transportable instrumentation made it possible to easily record spectra of the polychrome surface at the restorer’s atelier during the restoration work. The results of colour analysis before and after the cleaning procedure of the painting are reported and discussed, together with an attempt at pigment identification.  相似文献   

13.
Five optical analyses of a given work of art are presented, using multispectral imaging, optical coherence tomography, goniophometry, UV-fluorescence emission spectroscopy and diffuse reflectance spectroscopy. All these methods are non-destructive, contactless, and implementable in situ. They all lead to results in quasi-real time. The multispectral camera allows imaging of the whole painting with very high definition and recording of 240 millions of spectra. Optical coherence tomography allows local 2D and 3D imaging with in-face and in depth stratigraphies inside the painting with a micrometric accuracy. It allows the evaluation of the pigment volume concentration inside a layer, the measurement of the thickness of one or two varnish layers, the detection and measurements of gaps inside the paint layer, the depth of varnish micro-cracks. Goniophotometry allows the measurement of the upper surface state of the painting in different locations, by quantifying the mean slope of the facets making up the surface. UV-fluorescence emission spectroscopy allows the identification of the resin, the binder and the ageing state of varnishes by use of databases of reference varnishes. Diffuse reflectance spectroscopy leads to pigment, pigment mixture and dye identifications again by use of databases. The three last methods are implemented with the same portable multi-function instrument. It allows time saving, locations on request in front of the artwork and easy use by non-scientists. Each instrument is described with its protocol and accuracy. The studied painting is a portrait of a lady painted by the Austrian artist Franz Strotszberg, chosen for its several restorations. The five kinds of results are successively detailed, analysed and compared between themselves. It is shown that the different results are complementary and their crosschecking brings thorough information. For example, the shape of the network of varnish micro-cracks detected on the surface with the multispectral camera is added to the measurement of their depth with optical coherence tomography. Another example allows connecting two different surface states of the upper varnished surface measured by goniophotometry with the identification of these varnish with UV-fluorescence and with their thicknesses measured with optical coherence tomography.  相似文献   

14.
The binding media of the polychromy of Qin Shihuang's Terracotta Army   总被引：2，自引：0，他引：2  
The “Terracotta Army” is a worldwide known archaeological finding in China. It is a part of the burial complex of the emperor Qin Shihuangdi (259–210 BC), which is still under excavation and study. The fact that the sculptures, chariots and weapons of the First Chinese Emperor's Terracotta Army were originally all painted in bright colours is still not widely known. The chemical characterisation of the paint medium was performed through an analytical procedure based on GC-MS. The proteinaceous binder was identified for the first time through a desalting procedure used in proteomics. The identification of egg as a paint binder is extremely interesting in terms of the historical significance of the work of art itself and important in terms of the method of conservation. Moreover it represents one of the first steps towards an understanding of the painting technique used on ancient sculptures in China, of which – despite their fame – nothing is yet known.  相似文献   

15.
Laser cleaning was applied to remove aged and soiled oil paints of the 19th century from weathered, brittle sandstone surfaces. In contrast to other tested cleaning methods, the laser technique allows the removal of the oil paint layers with a minimum of material loss in brittle zones. The cleaned test areas have been investigated by optical and scanning electron microscopy as well as by colour measurements. The investigations have shown that the dirt and the oil paint layers can be removed by laser cleaning without affecting the original sandstone surface and that the pores can be opened again. The brown shade after cleaning is not caused by laser interaction with the sandstone surface but by historic impregnation with linseed oil. Immediately after cleaning, a treatment with chemical consolidants is necessary to preserve the brittle sandstone surface. Sustainable consolidation could be problematic in some areas, because the laser cleaning also preserves heavily damaged, crumbling zones of the carvings. For economic reasons, laser cleaning should be applied only in the most endangered zones of carvings and combined with classical methods (organic solvents and scalpel).  相似文献   

16.
The sarcophagus containing the remains of Federico II, located in the Cathedral of Palermo (Sicily, Italy), was opened on 1998 to perform a multidisciplinary survey [1]. Next to the remains of Federico II and in close contact with them were laying two other skeletons belonging, according to historical records, to Pietro II di Aragona and to an anonymous person (“The Third Individual”), probably a woman. The bones appeared severely deteriorated. Chemical analysis performed on bone samples excluded that the bodies underwent some kind of embalming process. The analysis of mtDNA from bone samples taken from the three skeletons was successful in only one of the two labs involved. The HVR1-mtDNA sequence (region: from nt 16,035 to nt 16,395), obtained from the bone samples of Federico II and “The Third Individual” appear identical but bear double peaks at the same nucleotide positions, suggesting mixing (i.e. contamination) of different mtDNA types. The HVR1 sequence obtained from the bone sample of Pietro II di Aragona does not present double peaks and differ from the Cambridge Reference Sequence (CRS) at six nucleotide positions. Cloning experiment of the Federico II amplicon demonstrated that the mixed mtDNA types are only two: one identical to CRS, the other identical to the sequence of Pietro II di Aragona. A reconstruction of these data are proposed in the Discussion. Due to the problematic context in which this study was carried out (mixed and deteriorated biological material, failure to replicate results in two different labs), our results and reconstruction can only be offered on a tentative basis. It is hoped that the data presented in this study will reveal useful, for future comparison, if further molecular genetics research will be carried out on the royal dynasties that ruled Sicily in the early centuries of the past millennium.  相似文献   

17.
Along the Umbria-Marche stretch of the Flaminia Consular Road (220 B.C.) several archaeological finds of the most important monumental works, are well preserved. The stones, employed to build many bridges, substructions and sewerages, are represented by carbonatic breccias whose geological environment of formation and source areas had never been established. On the basis of mineralogical, petrographic and micropalaeontological analyses, two groups of these lithotypes employed in Roman age were distinguished: “monogenic carbonatic breccias” only constituted by clasts of the Maiolica Unit (Late Jurassic – Early Cretaceous) and “polygenic carbonatic breccias” made of fragments (in different proportions) of Calcare Massiccio (Early Jurassic), Corniola (Early Jurassic), Maiolica (Late Jurassic – Early Cretaceous) and Scaglia Rossa (Late Cretaceous – Early Paleogene) Units. The possible source areas of the breccias are compatible with stratified slope-waste to scarp-base deposits of periglacial origin belonging to the Upper Pleistocene. In particular, among the seven investigated areas, we pointed out the most probable provenances (Monte Faeto-Colle, Costacciaro, Scirca, Foci, Secchiano) along the flanks of the Apennine Mesozoic chain of the Umbria and Marche regions. Although the Romans could have exploited the whole thickness of some outcrops (now disappeared) of these carbonatic lithotypes at the deepest part of the valleys, we have constrained a local provenance of the breccias so commonly used in the monumental works of the Flaminia.  相似文献   

18.
This research evaluates the use of microblasting technique with powdered cellulose as a new tool for dry cleaning documents. Different cleaning tests were conducted on three documents with different properties following this new approach and the results were compared to those obtained with traditional dry cleaning with erasers. In order to assess changes caused to the supports, the treated documents were examined both before and after cleaning with optical and 3D stereomicroscopy, SEM-EDS and spectrophotometry. The results allow the conclusion that microblasting with powdered cellulose is a feasible technique to remove surface dirt or grime on paper documents. This research proves that the new use of the technique does not entail changes to the surface properties of the treated supports. Moreover, powdered cellulose is chemically stable and compatible with paper documents, preventing negative long-term effects derived from the presence of rubber residues that may remain in paper fibres when using erasers in dry cleaning treatments.  相似文献   

19.
The paper presents strategies for the conservation of historical textiles in Egypt that have been in uncontrolled storage and display. The silk textile is highly decorated, multicoloured and dates to the Ottoman period, and was exhibited in case # 12014. The textile has various types of deterioration. An examination and analysis of the textile was undertaken in order to develop a plan of conservation treatment. FTIR was used to identify the kinds of dyes and organic stains, and XR-D was used to identify mordants and dust. Light microscope and SEM were used to identify the kind of fibers, their condition and surface morphology. The effects of cleaning materials on the natural dyes were tested. The researcher designed a new metallic frame support system which has advantages over the wooden frames commonly used in Egypt. This presentation will review the conservation treatment step by step. Poultices were used to remove all the sticking cardboard and adhesive. Old conservation repairs were removed. Separated parts were supported. Cleaning included mechanical and wet cleaning. New silk fabrics dyed with natural dyes were used to complete the missing parts. The textile was supported on new linen fabric which was stretched on a metal frame. The method of exhibition will be discussed. Photographs are included to document the conservation process.  相似文献   

20.
Nicéphore Niépce carried out a lot of meticulous experiments that led him to the invention of photography. In particular, in the 1820s, he obtained heliographs by coating a substrate with a light-sensitive substance, which was then exposed to light under a paper print made translucent with the help of varnish. The objective of the work described here is to determine how Niépce made these paper prints transparent. Did he use his experimental knowledge on photosensitive resins, or did he apply commonly used recipes of his time to make paper transparent? To date, no studies have been carried out on the varnish used by Nicéphore Niépce and no previous research has undertaken analytical investigations on Nicéphore's prints, using Attenuated Total Reflection Fourier Transform Infrared Spectroscopy (ATR-FTIR) and Gas Chromatography/Mass Spectrometry (GC/MS). In this paper, we identify the varnishes used by Nicéphore Niépce on four transparent prints, now belonging to the Nicéphore Niépce museum in Chalon-sur-Saône, France. The varnish he used was based on a diterpenic Pinaceae sp. resin (most probably colophony). The finding is supported by historical knowledge about varnishes.  相似文献   

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