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21.
AbstractThe long-term stabilization of marine archaeological iron, whether cast or wrought, continues to challenge conservators responsible for treatment of this material. Results and observations obtained from past treatments highlight the daunting, prolonged, and laborious efforts required to desalinate large and complex ferrous artifacts recovered from the ocean. In general, the higher an artifact's chloride level, the less stable it is. Consequently, any stabilization treatment must involve the removal of as much Cl?1 as possible without affecting the integrity of the corroded artifact. This problem is particularly acute with corroding cast iron objects that have formed thick, fragile, and highly unstable corrosion layers. Over the course of the twentieth century, conservators have used a variety of techniques in an attempt to mitigate the negative effects of chloride ions on iron artifacts and prevent disintegration. In spite of early promise, each of these stabilization techniques has significant disadvantages, particularly with regard to treatment efficiency, duration of treatment, and/or unacceptable risks to the artifact during treatment. For these reasons, conservators and conservation scientists at the Warren Lasch Conservation Center in Charleston, South Carolina, decided to look at the possibility of using subcritical fluids to stabilize archaeological iron. This paper compares the efficiency and effectiveness of traditional stabilization techniques (i.e. alkaline soaking and cathodic polarization) to subcritical fluids on wrought iron rivets and metal shavings from the H.L. Hunley submarine as well as Civil War era cast iron artillery shells recovered from a marine environment. 相似文献
22.
AbstractIt was decided to make a replica from the plaster mould of the Sutton Hoo ship impression using polyester resin reinforced with glass fibre matting and paper rope. For easy storage and transportation the replica was cast in twenty-five sections which could be bolted together. The problem of supporting these and preventing them from sagging or twisting out of shape was solved by using eighty accurately measured leg attachments fixed to the underside of the cast. 相似文献
23.
AbstractThe history of the production of electrotype copies is discussed in the context of the Victorian demand for reproduction of art of all kinds utilizing plaster of Paris, photographs, copies of old prints, as well as electrotypes, predominantly of copper. The philosophical reasons for the valuing or devaluing of electrotype and other copies are discussed. Electrodeposition of metals was used for an extraordinary number of different purposes in the Victorian period, and the general craze for electrotypes made their production very popular, being produced by men and women alike of many different backgrounds. By the Edwardian era, the need had subsided and an art historical reaction to the concept of copies had begun, with photography becoming more common. Examples of the use of electrotypes for photographic tinthotypes, as well as forgeries, discovered during conservation assessment at the Getty Museum on a plain Roman cased mirror which had been augmented by an electrotyped profile head addition, and samples from electropatterns from the collections of the Victoria & Albert Museum in London, are discussed in terms of the range and type of microstructural morphology displayed by electrotype copies. 相似文献
24.
AbstractThe ageing of poly(vinyl acetate), PVAc, paints was assessed in works by Ângelo de Sousa and Joaquim Rodrigo. The materials and techniques of the artists were studied through interviews and by chemical analysis. They were both using PVAc in 1961, preparing their own paints by mixing commercial PVAc emulsions with selected colorants. It is shown that in most cases the emulsion employed was based on a PVAc homopolymer and that the paints are in good condition with no signs of deterioration. Finally, this study allowed a comparison to be made between paint samples aged naturally and those aged under artificial conditions. This means that these artificially aged samples may be used as reference materials for PVAc paintings. Both sets exhibit molecular infrared fingerprints that are undistinguishable from an unaged PVAc, suggesting little chemical degradation over 50 years of natural ageing. 相似文献
25.
AbstractParchment is produced by processing the dermal layer of animal hide through limited mechanical and chemical treatment and then drying it under tension. The weak condition of many historical objects made of this material is caused by chemical, biological and mechanical degradation. Repairing these objects by filling gaps with parchment or paper patches may be inadvisable, due to important differences in intrinsic strength, which can create tensions between old and new materials. Alternative filling methods may be used, consisting of the application of solid materials in the form of a powder or a suspension, used to create a solid sheet of reconstituted parchment. The solids may consist of any kind of collagenous material (powdered parchment or hide, gelatin), paper or a combination of the two. Published methods describe preliminary treatments (e.g.relaxation), application media (water, solvents, additives), use of additional consolidating membranes (Japanese paper, goldbeater's skin), use of adhesives for pasting and surface consolidation purposes, preparation of mechanically isotropic templates for infills and tinting with synthetic dyes. A comparative investigation of methods confirms that the mechanical properties achieved in these infills, such as tensile strength and elasticity, as well as their reproducibility, are acceptable for application in conservation practice. 相似文献
27.
AbstractA feature card system is described which enables the storing of information resulting from the scientific examination of works of art.The feature card system is necessary in order to ascertain quickly certain information for reference purposes. It also enables technical findings to be related to artists, epochs and art regions, and statistical reports to be made on the use of certain materials and art techniques in different centuries and epochs.The punch cards used cover a maximum number of 6000 objects. The number of features which can be introduced is unlimited because it corresponds to the number of punch cards. The system works on the following lines: the art objects are numbered in the order in which they are examined. Each art object is given a serial number. The serial number is punched on the feature cards, which are subdivided into feature sections, and alphabetically arranged. The feature (general, art-historical and technical data) is given as a heading in ‘clear-text’ at the top of each punch card.The feature card system described has some advantages: for setting up such a system only a rough scheme need be worked out. It is always possible to introduce further features at a later date. The system described is one of the simplest and cheapest punch card systems; it can be operated similarly to a normal filing system. 相似文献
28.
Abstract Furunori (aged paste) is a conservation material that is used for Japanese painting conservation. Furunori is a smoother and weaker adhesive than fresh paste, and it enables the surfaces to be easily peeled apart, with application of water, in a future conservation. Due to these characteristics, furunori has traditionally been used for attaching the backing paper to paintings in Japan, because it is considered that furunori causes less stress on the paintings than fresh paste. This study aims to clarify the characteristics of furunori based on chemical analysis and examination of the microorganisms involved in the early stage of furunori generation. Based on the results obtained, a polysaccharide similar to furunori was prepared. 相似文献
29.
AbstractUn exposé est donné des méthodes utilisées dans le passé pour la restauration de sculptures polychromes. L’accent porte sur la nécessité d’une collaboration interdisciplinaire. La structure hétérogène de la surface des sculptures polychromes pose des problèmes particuliers. On souligne qu’une sculpture polychrome ne doit pas être conçue comme l’addition d’une peinture sur un support en bois ou pierre, mais qu’elle doit être considérée comme une entité individuelle. La forme colorée qui établit l’image de la sculpture polychrome devrait être préservée. 相似文献
30.
AbstractThis contribution critically examines various concepts related to damage functions in current use; it does not represent a comprehensive review, however. In heritage science, damage functions can be defined as functions of unacceptable change, dependent on agents of change. Unlike in other domains of science, the reference to unacceptable change implies that a value-based decision needs to be applied to the analytically determinable change, or dose–response function. Since there are a number of values associated with heritage, there can be a number of damage functions describing one and the same physical or chemical process of change. For practical reasons, it is thus useful to decouple the value function from the dose–response function, as the latter can be independently deduced (empirically or experimentally). While the behaviour of single materials and objects is often modelled deterministically, the probabilistic approach can be used to describe the degradation of complex structures, e.g. buildings, although not commonly in heritage research. There is a case to be made for more in-depth exploration of incremental and stochastic processes of degradation of heritage materials and structures, and the associated values, with a view towards developing more damage functions. Damage functions find use in modelling for predictive maintenance. However, predictions are associated with uncertainty due to the need for extrapolation, and this is also rarely analytically examined. Validation of modelling processes is possible using accurate methodologies of asset monitoring, which would enable an effective appraisal of preservation strategies. 相似文献