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1.
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   

2.
A group of 51 shards of medieval polychrome glazed pottery, coming from Canosa castle archaeological site (Bari, Italy), has been investigated through surface analytical techniques, such as Scanning Electron Microscopy (SEM) with Energy Dispersive X-ray Spectroscopy (EDS) and elemental ones, such as Inductively Coupled Plasma–Optical Emission Spectroscopy (ICP–OES) and Absorption Atomic Spectroscopy (AAS) by flame and electro-thermal atomisation. The investigation was aimed at defining the elemental composition of pottery findings, identifying pigments and clarifying glaze types. The results of the analytical characterization allowed the identification of materials and technological expedients used for pottery manufacturing, highlighting original features in the production of the investigated pottery.The quantitative analysis performed on ceramic paste, glaze and painted decorations provided a significant number of results, thus enabling their effective exploitation for multivariate statistical techniques, in order to find out possible groups of pottery items with defined similarity within the samples.  相似文献   

3.
Optical microscopy, cross-section and fragment Micro-FTIR spectroscopic techniques along with microchemical tests were used for the identification of pigments in two different samples of an icon. Representing the Last Judgement, and painted by the Greek master Ioannis from the village of Kapesovo in the year 1771, the kneeling desk icon under investigation is a noteworthy contribution to the study of materials in post-Byzantine visual arts. The main components found in the ground layer of both samples were gypsum, beeswax and a proteinaceous material. Cinnabar, Prussian blue and cerussite were identified on the paint layers. The binding medium on the paint layers was weddelite. The materials used in the painting and ground layers were characterized in order to clarify the painting technique. Proteinaceous materials have been identified as binders for the pigments, indicating a tempera painting technique.  相似文献   

4.
The present work was one of the first attempts to analyze the conservation status of two ferrotypes, ancient photographic plates realized on a support made of iron. The photographic material was constituted of collodion as binder for the photosensitive silver halides grains. The two ferrotypes studied belonged to a private collection of a family from Durham, UK, and were made at the end of the 19th century. The analytical techniques used for the morphological and physicochemical characterization were noninvasive. The surface morphology was studied by means of optical microscopy (OM) and environmental scanning electron microscopy (ESEM) coupled with an energy dispersive X-rays (EDX) system for the elemental analysis. These techniques, together with microreflectance Fourier transform infrared spectroscopy (μ-FTIR) and contact angle, allowed to obtain information on both the chemical – elemental – composition of the materials constituting the ferrotypes, and the conservation status of these photographic plates. The study showed that the physicochemical diagnostics allowed to characterize the two ferrotypes that, despite their similar age and provenance, showed different conservation status, surface properties, and elemental composition.  相似文献   

5.
The application of total reflection X-ray fluorescence (TXRF) to the analysis of inorganic pigments used in five Albanian icons painted by Onufri Qiprioti, in the period from the end of 16th to the beginning of 17th century is presented. After removing the protective varnish with a solvent, a dry cotton-wool bud (Q-tip) was rubbed over the painted surface to collect the micro-samples. Samples, covering the main colors and their hues, were collected of each icon. A part of the small amount of the sample was transferred to a glass carrier and analyzed by TXRF. Main types of inorganic pigments used for different colors could be identified. The results indicate a palette which included white lead, calcium white, gold, orpiment, yellow and red ochre, vermilion, red lead; a cooper based green pigment (malachite or verdigris) and smalt.  相似文献   

6.
One essential approach in preserving architectural heritage is the documentation of 3D geometries and surface textures of historic buildings. For example, precise colour information, excluding lighting effects, is an intrinsic property of the surface materials of building interiors and exteriors. However, while colour information has been recorded for small sample areas, it has not been accurately documented on the scale of entire building surfaces. This is critical, because building materials decay and their colours fade with time. The goal of this project is to develop a method to assist in recording and documenting the chromatic information of interiors and exteriors of historic buildings with low cost and high efficiency. The method takes advantage of emerging high dynamic range imaging (HDRI) technology, which can store rich information about colour and illumination through digital photography. By recording the colour information, in addition to the geometry and texture information obtained through other existing technologies, we can achieve more complete documentation for architectural heritage. In this paper, we discuss an overview of the problem and present our algorithms for utilizing computer vision techniques to retrieve chromatic information of historic buildings. We also present and discuss our experiments and results of applying our method to studies of lab objects and the Hall of Supreme Harmony in the Forbidden City, Beijing.  相似文献   

7.
The focus of this work is the wood polychrome model of the church of S. Maria della Consolazione in Todi, an artefact whose author and historical events are not completely known except a general reference to the construction period of the church (1508–1607 AD). In this study, original and additional materials were examined in order to provide a deeper understanding of the painting and assembly techniques, and a greater awareness of how well preserved the object is, as well as an analysis of previous preservation and conservation interventions. The samples from the painted surfaces were examined by means of micro-Raman spectroscopy, fourier transform infrared (FTIR) spectrometry and internal microstratigraphic analysis. Thin sections of the wood samples were examined under an optical transmission light microscope in order to identify the botanical species. The results shown in this paper suggest the possibility that the original painted layers are made of calcium carbonate white, red ochre and indigo and they were applied by protein binder without any ground layer. Some non-original pigments were found on the model surface like Prussian blue and chrome yellow. Concerning wood components, poplar was characterized both in the original and non-original parts of the model whereas pine species were detected only in the restoration elements.  相似文献   

8.
The pictorial cycle “Teodelinda's Tales” at Monza Cathedral, painted by Zavattari and his sons in 1444–1446, has been investigated by optical and SEM-EDS microscopy and microFT-IR spectroscopy. Paint layers, gildings and other metallic decorations have been analysed to elucidate the execution technique, the state of conservation and the possible retouchings in consequence of deterioration processes. Organic binders, coatings and adhesives have been also identified especially by microFT-IR spectroscopy applied directly to the sampled powders or fragments and to their solvent–soluble fractions. The obtained data offer a correct and satisfactory knowledge of the original organic and inorganic materials and those used in the subsequent retouches and restorations, their state of conservation and the painting techniques (fresco, mezzo fresco and secco).The physico-chemical investigations allowed to identify the nature and sometimes the provenance of the employed materials (i.e. ultramarine blue pigments) and some decay markers, particularly useful in understanding and describing the cycle realised by the authors and the modifications suffered along the centuries, and also to propose an integrated methodology for the scientific study of the mural paintings.  相似文献   

9.
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10.
Fibre Optics Reflectance Spectroscopy (FORS) is a well-established technique, widely used in the conservation field for in situ investigations and non-invasive diagnostics on traditional artworks. Nevertheless, there is little knowledge on the use of this technique for investigating modern artists materials used in contemporary artworks. The present study, carried out within the wider framework of the EC funded Project “POPART” (Preservation of Plastic ARTefacts in museum collections”), was aimed at investigating the possibility of extending the applications of FORS to synthetic polymers, and proposing this technique as new non-invasive analytical tool for diagnostics on plastic artworks in museum collections. Thus, a real case was selected from the permanent collection of the Conteporary Art Centre “Luigi Pecci” (Prato, Italy). The artwork, created in 1990 by the artist Stefano Arienti, was entirely constituted of expanded polystyrene (EPS) and it showed diffused signs of degradation. The need of singling out the main causes of deterioration in order to prevent further damages was evident. An in situ FORS measurements campaign was performed with the aim of gaining in-depth information about its conservation state and identifying the main agents responsible for the observed degradation. Thanks to the non-invasivity of the technique an extensive spectroscopic characterisation of different areas of the EPS surface could be performed and the spectral data were exploited to build a map of the degraded areas of the artwork. Data acquired in field were compared with those obtained from laboratory test performed on artificially aged EPS samples. These results helped in ascertaining the detrimental actions of the light sources used to back illuminate the artwork. In particular, in this case FORS proved to be effective in detecting EPS alterations before the chromatic effects became visually evident. These results suggested that FORS may be considered as a good candidate to be used for non-invasive investigations also on some modern materials and contemporary artworks. The research was completed with an interview to the artist Stefano Arienti, whose point of view was constructively integrated with the scientific results obtained. This emphasized the importance of an interdisciplinary approach to the solution of conservative problem in the field of contemporary art.  相似文献   

11.
In recent years the control and monitoring of works of art has gained more and more importance. In particular, works partially or totally realized with wood, such as polychrome sculptures, painted panels or Crucifixes, are highly sensitive and delicate and thus need a particular attention. The wooden support is, in fact, an essential element for the stability of pictorial layers: the color lies on a preparation, which in turn, is anchored to the wood. Wrong conservation methods, i.e. in an environmental climate that is not controlled, or intrinsic mechanical stresses, can warp such structures, and the effects can be irreversible and destructive to the painted layer. The use of fiber Bragg grating (FBG) sensors for the quasi-distributed, in situ measurement and continuous monitoring of deformations in painted wood panel is proposed. In order to demonstrate the applicability of FBG sensors to painted wood panels, a wooden support, made using the same 15th–16th century techniques, was prepared in the Opificio laboratories. A number of Bragg grating sensors were affixed in several critical points, on the back and front sides and on the strengthening cross-beams, in order to detect deformations in the panel dependent on the variations in the environmental relative humidity (RH). Measurements during the removal of the cross-beams are also reported. The results of measurements have shown the applicability of FBG sensors for the continuous in situ monitoring of valuable wooden objects and works of art.  相似文献   

12.
The identification and localization of the proteinaceous binders are essential issues in studies of painting materials and techniques, for further proposing valid restoration and conservation treatments of the painted or polychrome works of art. The challenge for analytical chemists and conservation scientists is the availability of methods able to simultaneously identify and map the presence of the binders in the multilayered structure of a sample and the possibility to use a very low amount of sample from the studied art object (considering also the criteria of minimum sampling). These methods should be fast, reproducible in different artefacts and in case of mixture of protein-based binders with other non-proteinaceous constituents (oils, resins, waxes, gums etc.) and also economical (both in terms of materials and time consume). In this context, the present paper proposes an innovative protocol of investigation using two complementary techniques – Matrix-Assisted Laser Desorption/Ionisation – Time of Flight Mass Spectrometry (MALDI-TOF MS) and staining tests (one visible and one fluorescent stain) assisted by Optical Microscopy (OM) on cross-section of samples – for the simultaneous identification and mapping of protein – and oil-based binders in paint materials. The novelty is based on the use of MALDI-TOF MS on cross-sections of paints together with a fluorescent stain for protein identification and mapping (mainly used in the area of proteomics) complementing the use of a traditional visible stain for oil-based material identification. The protocol was successfully applied on several samples taken from a Czech medieval polychrome sculpture, entitled “The Mourning of Jesus Christ” (16th century) belonging to the Moravian Gallery (Brno).  相似文献   

13.
The hewn sandstone and ornamental figures of the Albertino Chancel, built around the mid-14th century, are covered with black encrustations of plaster and carbon deposits, often several millimetres thick. Their removal constitutes one of the main objectives in the conservation of the precious materials of the cathedral. The Nd:YAG laser method cleans the original surface of hardened encrustations without damaging or affecting the old coloured plasters and without affecting the centuries-old patina. Laser-Tech GmbH, founded by two expert restorers from Austria and Italy, is specialised in large-scale projects and, regarding the present project for the chancel, has managed to combine the sensitivity of the preserver with the laser technology applied to large surfaces. The present project concerning St. Stephen's Church comprises over 2000 m2 of stone surface treated only with laser systems, by groups of qualified restorers trained at Altech to use such instrumentation on artistic historic surfaces.  相似文献   

14.
Historic buildings are important for cultural history and provide a variety of habitats for animals and plants. Especially structural heterogeneity of wall surfaces is perceived to support biological diversity. Nevertheless, in traditional approaches goals of biodiversity preservation and monument restoration are perceived to interfere and to be mutually exclusive. As a consequence, priority is often given to constructional restoration accepting the loss of local populations and biodiversity. At walls of medieval castles, including an experimental restoration project where conventional and less intensive restoration techniques were applied, we relate species composition and richness to wall properties. Especially wall surface structure is quantified using a novel approach. The study focuses on lichens, mosses and vascular plants. Boosted regression tree analyses and non-metric multidimensional scaling techniques are applied to detect the influence of abiotic site conditions on biodiversity. We find species richness to be promoted by wall surface heterogeneity. However, species composition is more affected by restoration approaches than species richness. Lichen composition varies considerably while vascular plants and mosses are less affected by wall properties. We suggest strategies that are combining both societal targets, the preservation of historic monuments and of species diversity. Careful restoration is capable of supporting both, the maintenance of cultural heritage and of rare and unique anthropogenic habitats. Wall surface heterogeneity needs to be witnessed for both aspects as it affects both species composition as well as the effectiveness of cleaning methods.  相似文献   

15.
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16.
A collaborative project between the Materials Department of Imperial College, the Victoria & Albert Museum, Natural History Museum and the Tate Gallery was initiated with the objective of introducing laser cleaning in these London-based museums and establishing a long-term research collaboration. An access to these material conservation departments means that materials like traditional statuary materials, heavily corroded metals, ivory, palaeontological samples, textiles, stained glass, plaster and some modern materials can be used to investigate the usefulness of laser cleaning and study their effects using a wide range of analytical techniques.  相似文献   

17.
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   

18.
The effects of a Q-switched Nd:YAG laser irradiation on a group of supports, painted with six different inorganic pigments, was investigated. The pigments were chosen from among the most utilized on painted historical surfaces: red ochre, yellow ochre, chromium green, ultramarine azure, white chalk and carbon black, and they were distempered with two binders – linseed oil and gypsum – on primed wood panels. The pigments were characterized by means of X-ray diffraction and Fourier transform infrared spectroscopy. Chromatic characteristics, chemical composition and surface morphology of the painted layers were investigated before and after the laser irradiation. Three different fluences were used to detect the correlation between laser parameters and changes in painting layer characteristics.  相似文献   

19.
It has become a common practice to include diagnostics and archaeometric studies during a masterpiece restoration. The advantages and limits of this approach are now topic of discussion in the community of researchers that is growing up quickly. The bronze burial monument of Pope Sixtus IV (1471–84) by Antonio del Pollaiolo, now in the Treasure Museum in the Vatican was intended to be located at the center of a chapel, this explains its apparent asymmetry: lack of height and large base. The restoration of the burial monument started in May 2007, it was carried out by first fulfilling a series of non-invasive analyses using a transportable EDXRF to map the composition of the alloy and evaluate the diagnostic capabilities for deterioration processes of the bronze surface. As a consequence of the first non-invasive diagnostic campaign, a second campaign of micro invasive tests was planned and carried out. The samples were analysed with SEM-EDS and XRF techniques. In this article some of the results of the EDXRF tests will be shown together with the procedures set up to maximize the diagnostic information obtained and minimize the need of microsampling from the artefact. The results and the statistical analysis of data show that a straightforward planning of the measurements can give several, sometimes unexpected, results in the definition of the state of conservation of the monument and also from an archaeometric point of view. With a high amount of data, the use of statistical analysis is necessary, for example in our case, the analysis of the variance confirmed the hypothesis of the use of different alloys for the elements of the panels.  相似文献   

20.
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   

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