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1.
Within the multidisciplinary study concerning one of the covered dockyards (called tezone 105) erected in the Arsenal of Venice, carried out by the ‘Target Venezia’ CNR Project, it will be presented here a preliminary work concerning the survey of decay1. This analysis is strictly connected with the other works carried out by the Operative Units of the ‘Target Venezia’, especially with the stratigraphical survey2 and the chemical and microstructural characterisation of mortars3 and bricks4. First, the survey of decay has been based on the stratigraphical investigations of the tezone structure, which has allowed the classification of the different building phases over a long period (from the XVI until the first half of the XX century). Second, a computer aided methodology has been applied in order to make the research easier and to allow multiple queries either to know which kind of decay are present in every point of the surfaces and the global extension of each typology of degradation5.  相似文献   

2.
This paper presents a detailed analysis of the measured data on the indoor air of an historical building: tezone 105 of the Arsenale in Venice. During one year of measurements, the indoor air temperature and the air humidity have been collected: the probes have been placed in different sites in order to provide total control of the microclimate. The status of the internal walls has been checked by means of the measurement of the surface temperatures by different sets of thermal resistances. The data collected point out the water wall imbibition and the high thermal capacity of the building envelope.The collected information could be used for the design of the thermal system.  相似文献   

3.
Two different analytical approaches have been taken into account to investigate the role of Si-rich phases in enhance hydraulic reactions of bedding mortar mixtures from San Lorenzo Church in Milan (Northern Italy) and from the Medicean Aqueduct in Pisa (Central Italy). In the first case, mortars show clear hydraulic type reactions in the form of coronal layers between the reacting additive and the binder mass. In the second one, the hydraulic reactions do not develop visible mineral phases and processes have been inferred from chemical, mineralogical analyses and mass balance calculation. The microstructural studies not always are sufficient to understand the complex dynamics of reaction attained during pre-industrial manufacturing processing of mortars and related binders. In fact, if the reacting raw materials are fine-grained and/or have remarkable chemical reactivity, no relicts are preserved by mortar microtextures.  相似文献   

4.
The vaults of the Saint Peter basilica in Vatican (Rome) are decorated with mosaics whose realisation is dated to the end of the 16th century. The mortar layers beneath the mosaics are realised with the so-called “Roman stucco”, a kind of mastic specifically employed as a binder in the mosaic's supporting layers. Its empirical recipe was known and reported by 18th century authors, accounting for the use of lime, travertine powder added to a mixture of herbs and linseed oil. A recent restoration of the mosaics has allowed to characterise the mortars from a compositional point of view by individuating the inorganic mineralogical fraction and by chemically characterising the organic components. The study of stucco samples has been performed through polarising microscope observations, X-ray diffraction (XRD) analyses, thermal analyses (TA) (thermodifferential-DTA and termogravimetric-TGA analysis), Attenuated Total Reflectance-Fourier Transform Infrared (ATR-FTIR) spectroscopy, pyrolysis-gascromatography (PY-GC)–mass spectrometry. The analyses have allowed to distinguish between original stucco, produced and utilized at the same time of the realisation of the mosaics, and other mortars, presumably employed in later times during restoration interventions. The outcomes of the mineralogical investigation and TA indicate the presence of four different types of stuccos, here considered as four characteristic groups. The mineralogical analyses indicate that all the samples are constituted of two main phases: calcite and vaterite and the TA, beyond the quantification of the calcium carbonate content, have shown the presence of organic components in the stucco. The organic fraction was characterised by PY-GC–mass spectrometry, confirming the presence of the linseed oil cited in the ancient recipes. The very interesting outcome of this study is the occurrence of the rare calcium carbonate polymorph vaterite. The ATR-FTIR spectroscopy on the stucco gives further contribution to a better understanding of the FTIR spectrum of the rare mineral and an explanation of its formation is tentatively given.  相似文献   

5.
Orchids have fascinated humans since ancient times. Not only the particular morphology of their flowers and hypogean organs, but also their reproductive biology have inspired myths, legends and popular traditions in many cultures, all around the world. Despite these facts, their representations on ancient artefacts have never been described in the scientific literature. No clear data exist for Eastern culture, and in Western countries, the first certain representations of orchids in art date back to the XV-XVI century CE. This paper documents different identifications of orchids on Roman monuments changing the common belief that these plants first appeared in art more recently. Floral elements of Cephalanthera spp., Spiranthes spiralis (L.) Chevall, of Orchis tridentata Scop., and of other orchids were observed in different architectonical elements (cornices and ceilings) throughout the Roman period, and in the external frieze of the Ara Pacis monument (I century CE). These representations seem to refer to a symbolism of fertility and sexuality, and their absence in medieval time can be explained only considering religion influences.  相似文献   

6.
During the 20th century, many innovative binders have been rapidly introduced to the art world and soon became popular as artists’ paints and pictorial media. However, despite the advantages that new synthetic materials presented, oil paints have never been entirely substituted. Indeed, this paper focuses on the results provided by the scientific analysis of a group works from the oeuvre of Lucio Fontana (1899–1968), all of which created between 1960 and 1964 using oil-based media, and aims to illustrate how oils contained in the pictorial media have influenced these works’ respective ageing and degradation processes. Despite the apparent coherence in the behaviour of many of Fontana's creations, some artworks revealed discrepancies in terms of the physical and mechanical behaviour of the pictorial films and in alterations resulting from degradation processes. Samples taken from case studies belonging to the Olii and Fine di Dio series were analysed using optical microscopy, X-Ray Fluorescence (XRF), Fourier-Transform Infrared Spectroscopy in attenuated total reflectance (FTIR-ATR) and Gas Chromatography-Mass Spectrometry (GC-MS) in order to study and identify the materials employed by the artist and the products of their degradation processes. These analyses gave unexpected but useful results (such as the presence of non-drying or slow-drying oils in the paint formulations) which not only provided us with new insight into the nature of the constituent materials, but also facilitated the elaboration of correct conservation measures and suitable restoration interventions.  相似文献   

7.
The reliable identification of proteinaceous binders in historical mortars and plasters represents a complicated analytical problem. In this paper the possibility of peptide mass mapping (PMM) in connection with the mass spectrometry is demonstrated. The presence of milk and collagen proteins was trustworthy proved in the samples of mortars taken from the Romanesque rotunda of Saint Catherine in Znojmo (Czech Republic).  相似文献   

8.
Roman cements, one of the most extensively produced types of hydraulic binders of the second half of the 19th century, played an important role in the architecture of many European countries. This paper deals with the chemical-mineralogical and microstructural characterisation of historic Roman cement renders from Budapest, Hungary. Different microscopic techniques were used on polished thin sections and fracture surfaces in order to understand the method of producing these renders and the effect of urban pollution on them. The renders exhibited characteristics typical to a Roman cement mortar, such as high binder to aggregate ratios (b/a), mostly fine-grained aggregates and high capillary porosity, but without the shrinkage cracks that are also normally present. This research suggests that coarse residual cement grains may have acted in a manner similar to aggregates by absorbing stress and thereby reducing the formation of shrinkage cracks. Based on the mineral characteristics of residual cement grains, the samples could be divided into two groups, which correspond to either a higher or lower temperature of calcination of the original source material of the cement. Chemical characteristics of the binders suggest the presence of intermixed CaCO3 originating from the carbonation of hydration products and partly from residual calcium carbonate of the raw material. Despite dense and often impermeable coats applied in later renovations and exposure to a polluted urban environment, which resulted in formation of gypsum on the surface of the renders, the samples show good to excellent state of preservation after more than a century. The strong “house of cards”-like arrangement of the complex C-(A)-S-H-type phases is responsible for both the high capillary porosity and the good resistance of Roman cement renders to atmospheric pollution and potentially damaging salts such as Na- and K-chlorides which are found near the base of the building due to sidewalk de-icing. These results help to better understand the behaviour of historic Roman cement renders, which in turn assists in making good decisions in choosing a repair material to future restorations of 19th century façades built with this material.  相似文献   

9.
The Grotta of Buontalenti (GB) was built at the end of the 1500s during the Medicean period. One of the rooms that constitutes the Grotta is decorated with mosaics composed of tesserae of stained glass. The GB underwent several restorations, which took place between the end of the 1700s and 1980s, which are poorly described and documented, leading to some uncertainties about the extent and phase(s) of restorations of the mosaics. The original tesserae and mortars of the GB were analysed for their mineralogical and chemical composition. Results indicate that glass tesserae have a common sodic base composition. Cluster analyses, however, performed considering the glass base composition (i.e. SiO2, K2O, Na2O, MgO, CaO, and Al2O3), identify three groups of samples: A, B, and C. A and B are characterised by chromophores such as Se and Cr suggesting a recent age (50–150 years) of the tesserae. On the contrary, chromophores (Fe, Mn, Cu, Co) and opacifiers (mainly SnO2, Pb2Sb2O7, Ca2Sb2O7) of the third group (C) indicate a preparation procedure known since ancient times. Based on their mineralogy and petrography, four different types of mortars were recognised. The mortars cannot be precisely dated. However, by matching their composition with that of the glass tesserae, it can be concluded that one type of mortar may be of the Medicean period, whereas the others are relatively recent, probably of this century. This evidence, in accordance with historical data, points to a Medicean age of group C tesserae. Restorations of the GB involved partial substitution of the mortars whereas the glass tesserae were largely recycled with limited addition of new materials.  相似文献   

10.
This paper presents the first extensive investigation of the composition of both the organic and inorganic media used by Lorenzo Lotto, one of the outstanding artists of the Italian Renaissance in the early 16th century. By investigating four paintings from The State Hermitage Museum collection (Saint-Petersburg, Russia), new insights into the artist's painting techniques were obtained, which contribute to our understanding of the transition from egg tempera to oil painting techniques that took place in Italian paintings between the 15th to the mid 16th century. Inorganic materials were determined using SEM-EDX and PLM, revealing information on the artist's palette. Of particular note was the powdered colourless glass found in the priming layer of the Madonna delle Grazie, which was most likely used as dryer. Organic materials were analysed in individual paint layers using GC-MS, and revealed a mature use of drying oils as paint binders, skilfully mixed with other organic materials and inorganic driers, to obtain the desired aesthetical and technical qualities of the paint. The study revealed that Lotto used the tempera grassa technique through most of his creative life.  相似文献   

11.
The paper focuses on an interdisciplinary research project concerning the preservation of the XVII century monumental building of Monte di Pietà in Naples, Italy. The building underwent a series of restorations being the structural walls affected by humidity and cracks. The importance of this monumental building in the historical city center of Naples led to design an extensive surveying program to provide the designers of strengthening with a detailed investigation of the geometry of the entire structure, and particularly of the entrance façade, with great details on several materials, thicknesses and restraints. A preliminary investigation was performed on the historical phases of this monumental building to have a clear knowledge of its vicissitudes, and then in situ structural assessment included 3D laser scanner techniques probing radar, in situ stress measures. This surveying phase was crucial especially for the subsequent Finite Elements modeling (F.E.M.) of the façade. The scope of the numerical refined analyses was to evaluate the state of stress in the structural elements of the façade putting in evidence structural ‘weak points’ and finally to design a retrofit intervention having a detailed map of the ‘intervention areas’. The theoretical damage assessment has been compared with on-site assessment and in situ stress measures. The damage primarily concerned the entrance façade and its valuable decorations. Furthermore, the basic principles for the design of the strengthening have been discussed.  相似文献   

12.
The features of materials and of constructive techniques have been singled out and recorded through techniques already experimented in the archaeological field (stratigraphy and typologies comparisons); it led to determining the constructive history, the alterations and the restorations of the building on a wide scale which goes from the margin walling of the Arsenal to the colours of walls. Every single piece of the building can be associated to the general constructive history and can be representative of the whole body of materials and constructive techniques used in the different historical periods of construction and use of tesone 105.  相似文献   

13.
Mercury porosimetry was applied to the study of pore structure of the historic Roman cement mortars representative of different locations in Europe and time periods as well as different application techniques from architectural castings to in situ formed renders and profiles. Three categories of pores were found to coexist in the mortars. The finest pores, with diameters below 0.1 μm, are present within the hardened aged Roman cement matrix. The larger ‘air’ pores, with diameters between 0.2–2 μm, are due to the evaporation of the excess unbound water and restricted hydration. Pores larger than 2 μm are rare and, in general, can be related to microcracking induced by shrinkage drying and mortar weathering. The mortars have rarely been found to develop a dense fine-porous microstructure characteristic of the ideal conditions of moist-curing; massive architectural castings being the only exception identified. The presence of larger ‘air’ pores was, in turn, almost universally observed. The investigations of the freshly prepared Roman cement mortars have revealed that the restricted hydration could be due to the exposure of the freshly laid surface to dry real-world external environments, a high water-to-cement ratio in the original mortars, or the drawing of water from the stucco mass due to insufficient pre-wetting of the porous masonry. The insufficient reactivity of historic cements, resulting from a high content of over-burned, non-reactive cement components or coarseness of the cement grains, could be another reason for yielding poorly hydrated mortars in the past. In general, Roman cement stuccoes are in an excellent state of preservation in spite of their usual exposure to polluted urban environments for more than a century. Therefore, the coexistence of Roman cement mortars of widely different pore structures has not brought about any problems of incompatibility which field observations could reveal. The Roman cement repair materials have been found to develop pore structures similar to those of historic mortars. Therefore, they are in broad terms compatible with historic masonry or stuccoes. However, the porosity and strength of the repair materials can be controlled by a careful manipulation of the water-to-cement ratio of the mix to adapt them better to the properties of the host material.  相似文献   

14.
Historical evidence on the use of mortars to meet several needs has existed for millennia. With reference to the characteristic historical periods of the city of Rhodes, mortar sampling was performed on historical constructions, masonry and architectural surfaces. In the present work the different mortar technologies are investigated aiming to answer questions regarding their finality, i.e. whether their differences arise mainly from the various historical periods of construction or from the purposes they had to serve, imparting to the mortars the properties required by their function in the structure. Mineralogical, chemical, physical and mechanical investigations have been performed on characteristic samples after gradation. The exponentially declining function of the ratio CO2/H2O structurally bound to the CO2 content shows a continuous evolution of the kinetics governing the various mechanisms of carbonation of the binder or the formation of hydraulic components during setting, hardening and ageing of the mortars. The grouping of mortars in well-distinct ‘hydraulic levels’ is ascribed to the physico-chemical cohesion and adhesion bonds developed at the matrix and matrix/aggregate interfaces, respectively, allowing for the mortars to either bear continuous stresses and strains as joint mortars or provide compact impermeable renderings which harden even more on contact with water. Hence, parameters determining the diversification of the resulting mortar/matrix types concern the raw materials employed as binding materials and the production processing.  相似文献   

15.
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   

16.
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   

17.
In order to conserve the archeological site of Olynthos, a systematic study of materials preceded. The analysis of mortar samples taken from the remains of ancient Olynthos (400 BC) showed that different qualities of mortars were used for different purposes. Almost impermeable mortars were found in contact with draining canals. This was the initiative to start a combined analysis of mortars by determining their physical and chemical characteristics in order to find the textural features and the alterations of the structure in order to understand their resistance to weathering.The paper focuses on the interrelation of findings from the above-referred examinations. The use of reactive siliceous materials in combination with lime as well as the excellent gradation of aggregates used seems to be the secrets of the good performance of the ancient mortars.  相似文献   

18.
The mosaics covering the floors of the rooms of the domus dei Coiedii at Suasa (Ancona, Italy) may be dated archaeologically and artistically between the late republican-Augustan age (end of the first century B.C.-beginning of first century A.D.) and the second century A.D.-first half of third century A.D. The floors were made mostly in opus tessellatum, only one in opus sectile. Tesserae used in opus tessellatum are made mainly of local stones, belonging to the so-called Umbro-Marchigiana Sedimentary Sequence: the white to pinkish and reddish tesserae consist prevalently of limestones belonging to the ‘Scaglia Rosata’ Formation (Late Turonian-Middle Eocene), and subordinately to the ‘Calcare Massiccio del Burano’, which is part of the ‘Calcare Massiccio s.l.’ Formation (Late Triassic-Early Lias). Most dark to black tesserae are composed of not fossiliferous marls and marly clays, which probably derive from the local ‘Marne a Fucoidi’ Formation; a number of them are made of very fine grained sandstones, which are found as pebbles in the alluvial sediments of the Cesano river close to Suasa, and, some, of aphyric leucite-bearing basanites from the potassic Quaternary magmatic province of central-southern Italy. Artificial glasses (red and green, rich in Pb and low in Sb; light blue, low in Pb and high in Sb), containing microliths of Pb-rich phase(s) and of wollastonite, were also used in some floors. The stones used in opus sectile are (1) sedimentary: nodular limestones belonging to the ‘Rosso Ammonitico’, which occurs in the Umbro-Marchigiana Sedimentary Succession; black marls and marly clays similar to those used in opus tessellatum; onyx marble; (2) magmatic: porphyrites (‘porfido verde antico’) and gabbros (ophite); (3) marbles: different kinds of coloured marbles, comprising ‘marmo cipollino’, ‘rosso antico’, ‘pavonazzetto’, ‘portasanta’, ‘giallo antico’, ‘bigio antico’, ‘brecce coralline’. White marbles from Marmara and Carrara were also employed.  相似文献   

19.
The knowledge of the morphological and mechanical properties of masonry walls is very important for the refurbishment of ancient buildings, particularly when the requirements of both structural safety and historical preservation must be fulfilled. The masonry is not of homogenous material: its mechanical properties depend on stones, mortar, and texture which are very variable due to their dependence on the historical periods and the geographical area of the erection. For this reason, a deep knowledge of masonries built in different sites and historical periods is essential in order to evaluate both the capacities of bearing vertical load and the seismic vulnerability of the masonry structure. Three fundamental typologies of tuff masonry have been defined: they are the characteristics of different historical periods from the XVI to the XX century. The models are in full-scale in order to reproduce the three defined chronotypes. Original tuff stones quarried in the corresponding historical period, mortars similar to the original ones, reproduced according to ancient documents and original constructive techniques have been used for the construction of the specimens. Compression tests performed in displacement control have been carried out on the masonry models in order to determine the maximum resistance of the material and the corresponding strain, the ultimate strain and corresponding residual strength. In this paper, the procedure used for making the specimens and for experimentally evaluating the mechanical properties of post-medieval Neapolitan yellow tuff masonry are illustrated and the obtained results, even in terms of plastic capacity of these kinds of masonry, are reported.  相似文献   

20.
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   

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