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1.
ABSTRACT

In the Mogao Grottoes of Dunhuang, China, the ambient relative humidity (RH) fluctuation in the caves is the main cause for the deterioration that has been observed, especially the deterioration of the earthen plaster and wall paintings linked to the presence of NaCl and Na2SO4 salt contaminants. To help identify the mechanism responsible for this salt-related deterioration and provide a theoretical basis for the development of a preventive conservation regime, this study addressed the basic moisture adsorption mechanisms of earthen plaster with soluble salts by taking an experimental approach. It is shown that, as ambient RH increases, the moisture adsorption process of the plaster containing the soluble salts can be regarded to have three basic stages, as evidenced by the results of the moisture adsorption tests performed on earthen plaster samples with different NaCl or Na2SO4 contents at various humidity levels. The moisture adsorption mechanism and its determining factors at each stage are also analysed. In addition, it is suggested that the hygroscopicity of the plaster structure and the interaction between the different kinds of salts in the plaster, which makes the dissolution or hydration of the salt in the plaster pores much easier, should be considered more seriously regarding increases in the ambient RH in the caves.  相似文献   

2.
《文物保护研究》2013,58(2):88-94
Abstract

This paper examines the impact of relative humidity on jades by enclosing the samples under constant relative humidity (RH) of 32, 49, 61.5, and 81.7% at the same temperature of 40 ± 0.1°C for 160 days. The simulated samples were pure and dense tremolite jade and serpentine jade, impure tremolite jade and serpentine jade containing some calcite, and serpentinized calcite, which are all common materials of ancient jade found in archaeological excavations. All samples were characterized through particle-induced X-ray emission and a glossmeter. The degree of deterioration proved to be greater in impure materials than in pure ones. The best RH to conserve various kinds of materials differs: for pure tremolite and serpentine, all of the RH levels are equal; for impure tremolite with some calcite, 61.5 and 81.7% were superior; for impure serpentine with some calcite, the highest RH (81.7%) was best; and as to the serpentinized calcite, there is no clear conclusion as yet and further research is needed.  相似文献   

3.
ABSTRACT

This study examined the impact of relative humidity (RH) on the corrosion rate of 129 archaeological iron nails from two sites. Oxygen consumption of individual nails in controlled RH was used as a corrosion rate proxy to deliver quantitative data on corrosion rate as a function of RH. This was negligible at 20% RH, slow up to 40% RH for both sites, and increased rapidly at 60% RH for Roman nails from Caerleon (Wales) and at 70% RH for medieval nails from Billingsgate (London). The nails were digested and their chloride content was determined and related to their oxygen consumption at specific RH values. While a generic pattern of corrosion as a function of chloride was identified, for any single concentration of chloride corrosion rate was not predictable. Desiccation is in common use to control post-excavation corrosion of archaeological iron; quantifying how differing levels of desiccation changed corrosion rate provided a scaled tool for identifying corrosion risk, estimating object longevity, and calculating cost benefit for storage options.  相似文献   

4.
ABSTRACT

This work considers areas where our present lack of knowledge curtails the effectiveness or efficiency of preventive conservation practice. Mixed media, especially archaeological metals and organics have incompatible requirements for relative humidity (RH). An approach based on understanding the risk versus RH for both materials and considering the showcase performance is elucidated as a solution. Pollution, both the mixed atmospheres around most cultural heritage and the complex, variable nature of deposited particles, are further areas in need of more research. Damage functions and measurement of object deterioration rates are investigated as a path forward, and examples are given.  相似文献   

5.
《文物保护研究》2013,58(3):185-193
Abstract

The two Stangengläser, tall cylindrical vessels from the beginning of the seventeenth century, are described in detail. The severely damaged Stangengläser, decorated with diamond-point engraving and cold-painting, were challenging to treat. Research preceding the conservation revealed differences in decorating techniques. Samples of the paint layers were analyzed using micro-Fourier transform infrared spectroscopy. Two layers of resinous varnish with a middle layer of paint containing a plant gum were found on the Stangenglas with Allegory of Caritas and Zierotin coat of arms. In the plain paint layer of the Stangenglas with dancing couples, egg white was identified as the binder. The glasses, analyzed using scanning electron microscopy with energy dispersive X-ray spectrometry, had similar potash–lime–silica compositions, which seems to be characteristic for glass from Bohemian lands. Results of analysis contributed to the discussion about the possible provenance of the Stangengläser, the glassworks at Wilhelmberg, South Bohemia.  相似文献   

6.
Conditions of relative humidity (RH) and temperature within museums and buildings holding collections of cultural heritage objects are often maintained around a strictly controlled set point of about 50 ± 5% RH and 20 or 21 ± 2°C to provide safe, stable conditions for hygroscopic artifacts. It has recently been proposed that these ranges should be relaxed to values that are less energy-intensive to maintain while still being safe for the objects in the collection, with the aim of reducing both carbon footprint and energy use. It is also suggested that conditions should be determined by the needs of individual objects and by the local climate of the region, rather than applying overall values across the museum as a whole. This proposal has led to much discussion within the conservation community. The suggested values, a stable humidity within the range 40–60% RH and a stable temperature within the range 16–25°C for most objects, apart from the most vulnerable, are derived from the results of experimental research on the responses of individual materials to particular conditions of RH and temperature, as well as observations of the behaviour of cultural heritage objects in their own environments and on loan. This paper describes briefly the historical and scientific background to the present discussion.  相似文献   

7.
《文物保护研究》2013,58(4):251-268
Abstract

Extensive investigations of the deterioration of the romanesque painted wooden ceiling in the church of Saint Martin in Zillis (Switzerland) have revealed three major active deterioration phenomena: (1) tented flaking of paint layers; (2) flaking of the wheat starch fixative together with parts of the paint layer; and (3) fungal growth. These deterioration processes correlate with the dynamics of the prevailing room climate. Both forms of flaking are mainly driven by fluctuations of the relative humidity (RH), whereas the fungal attack can be related to high average RH and stagnant air. Frequent daily fluctuations in RH of up to 20% in summer are due to visitors leaving the doors open, while fluctuations of up to 25% are related to heating in winter. Given the risks of new consolidation treatments, the aim is to slow the decay processes by influencing the climate in the room. Installation of automatic door-closers reduced fluctuations but led to a rise in RH and a reduction of air movement, causing greater fungal growth. Subsequently, an automatic air-exchange system triggered by absolute humidity values was installed to reduce excess humidity and to exchange stale air without producing major fluctuations in the relative humidity. This kind of 'climatisation' has the advantage of being highly flexible, allowing variation of the rate and scale of exchange; it is, moreover, truly reversible.  相似文献   

8.
ABSTRACT

Control of relative humidity (RH) for collections care is challenging in U.K. historic houses because they are often highly ventilated with poor heat retention, a porous building fabric and naturally tend to high (60–80%) RH if unheated. The significance of the building means that large-scale modifications and installation of air handling systems may be unfeasible and undesirable for the conservation of the building. In the late 1980s the National Trust, for English, Wales and Northern Ireland, investigated conservation heating as an RH control method that works with the natural environment of historic buildings, mimicking historic heating and requiring only modification of existing heating services or a light touch installation of new heating systems. The National Trust adopted conservation heating as its preferred method for environmental control in historic buildings from the 1990s. This method was presented at the IIC 1994 Ottawa congress on preventive conservation. Conservation heating has since been adopted by many historic house management organisations, particularly across north-west Europe, where it is well suited to the climate. This paper reviews conservation heating developments implemented by the National Trust since 1994, in response to a changing external context, new knowledge and developments in operational practice.  相似文献   

9.
《文物保护研究》2013,58(4):238-251
Abstract

One of the main causes of the loss of paintwork from medieval stained glass windows is the propagation of cracks in the grisaille and in the underlying glass, which cannot be considered the result of a stabilization process, but the evidence of an ongoing stress. The thermal behaviour of different-coloured painted glass pieces exposed to direct solar radiation was investigated in order to study the effect of thermal stresses on the conservation of the paintwork. Experimental results have been compared with laboratory tests as well as with measurements carried out on original stained glass windows. The grisaille showed a thermal behaviour similar to that of the glass on which it is fired. A clear correlation was found between the glass thermal cycles, the increase in stress at the glass–grisaille interface and the growth of cracks in the grisaille. According to these results, protective glazing aids the preservation of the paintwork from the risk of damage and loss, reducing the thermal stresses on the glass of the stained glass windows in terms of amplitude and frequency.  相似文献   

10.
ABSTRACT

English medieval cathedrals are a group of buildings of exceptional significance and they contain collections of equal importance. Both the historic building fabric and the artefacts are vulnerable to environmental deterioration. However, unlike buildings owned by heritage organisations, the primary purpose of cathedrals is to further the Christian mission, and the conservation of the building and collections is required to be conducted within these constraints. Increasing visitor numbers and the installation of sophisticated exhibitions makes the task of conservation all the more demanding. Next to mechanical damage, environmental factors are the greatest source of deterioration to sensitive fabric and collections. However, until recently, there has been little systematic study of English cathedral environments and the effects of different uses and control measures. Detailed studies undertaken on 20 cathedrals in the past two decades have provided an insight into their environmental performance and how they differ as a group from many other historic buildings, as well as the passive conservation measures that can be implemented within their primary function.  相似文献   

11.
《文物保护研究》2013,58(1):30-40
Abstract

The Kitora tumulus, which is thought to have been built around the late seventh to early eighth century, has beautiful mural paintings which were executed directly on a very thin layer of plaster in the stone chamber. When the paintings were found, the plaster was partly detached from the stone wall and the murals were therefore considered to be likely to fall off the wall with a casual touch or stimulation. Therefore, it was decided to detach the mural paintings and to store them flat and under controlled environmental conditions. This was initiated immediately after the excavation of the tumulus in 2004. However, fungal growth and biofilm development were observed within the stone chamber during the relocation work. In 2005, small holes containing black substances were observed on certain areas of the ceiling plaster, and following investigation an acetic acid bacterium, Gluconacetobacter sp., was isolated from the black substances. The bacterium was also isolated from the ceiling, floor, and east wall in the stone chamber in 2008 after the relocation of most of the paintings had been completed. These bacteria were shown to decompose calcium carbonate (CaCO3), one of the primary components of the plaster, and to produce organic acids such as acetic acid. Additionally, they were observed to decrease the pH of the culture media significantly in the presence of ethanol and glucose. This is the first example of the characterization of acetic acid bacteria isolated from decayed plaster paintings, and it is likely that microbes such as these bacteria have been involved in the deterioration of the plaster. Chemicals to treat microbes in the Kitora tumulus during the relocation work were selected on the basis of their antimicrobial efficacy, low potential to cause adverse effects on the paintings, and low level of toxicity to humans, depending on the condition of the plaster or stone in each area. However, some chemicals, especially ethanol, may act as a carbon source, which could encourage the growth of microbes and thereby the production of acids by the microbes when diluted to a low concentration or in a degraded state. Moreover, prior contamination by other microbial species in the form of a biofilm could also encourage the growth of the acetic acid bacteria by providing low-molecular-weight organic materials as a nutrient source.  相似文献   

12.
《文物保护研究》2013,58(2):62-72
Abstract

Although smalt, a glass, might be expected to behave as a stable pigment, discolouration of smalt-containing paint layers has been observed. Early references from the literature are cited which mention the discolouration of smalt in oil media. Originally blue layers on paintings have changed into dull grey or greyish-green. Experiments suggest the following factors for this discolouration: low refractive index of the pigment compared with that of oil media; interaction of alkali content or cobalt content with oil and oleo-resinous media; the possibility of similar reactions with resin- or oil-resin varnishes in certain conditions. Discolouration may also occur if smalt is mixed with other pigments, or added as a drier or as an adulterant.

A proper understanding of the mechanism of the deterioration would require further research by more sophisticated methods.  相似文献   

13.
《文物保护研究》2013,58(3):196-210
Abstract

Feasibility studies on applying laser radiation for the removal of superficial deposits from historic glass are being carried out within a three-year interdisciplinary project in Germany. Previous investigations revealed that there is insufficient knowledge about interaction processes between UV-laser radiation and individual surface layers of encrusted historic glass. Therefore, detailed studies were first carried out on special model glass samples to simulate different stages in the corrosion of historic glass. The potential of UV-lasers for removing crusts and biolayers, as well as layers of various conservation materials (due to previous conservation work) is examined. It is of great importance to avoid damage to materials such as gel layers, paint layers or the glass itself. A KrF-excimer laser operating at λ = 248nm is used for the experiments. A mask projection technique is applied for irradiation. A modified optical set-up has been designed, using cylindrical lenses for large-area removal by 'line scanning'. Removal rates and thresholds for the materials mentioned above are monitored. The collected data enable comparison and evaluation of the feasibility of removing superficial layers from historic glass artifacts. The results indicate that in some cases a closed loop process control will be necessary to avoid over-cleaning.  相似文献   

14.
ABSTRACT

The impact of relative humidity (RH) and temperature variation on the mechanical behaviour of paintings on canvas was investigated, based on the various environmental recommendations that are applied by museums and institutions worldwide. Paint samples were constructed based on the works of twentieth-century artists such as Soulages and Riopelle. The various samples are based on criteria such as paint media, additives, pigment type, canvas type, thickness, type of application, and drying time. Once they are fully dry, paint films behave as elastic, viscoelastic, or viscoplastic materials depending on the chemical nature of their components. These properties, as well as tensile strength, were determined by a series of tensile tests. Other samples were included, originating from discarded oil paintings on canvas from the seventeenth and nineteenth centuries. To carry out mechanical tests under controlled conditions of temperature and RH, a climatic chamber was built around the column of a universal testing machine. Samples were submitted to stress relaxation tests to observe their response to changes in environmental conditions. RH was increased from 20 to 90% and temperature from 15 to 60°C. Reactivity diagrams were drawn based on the results. The endurance limit under mechanical fatigue was determined from the diagrams and helped define the risks associated with each painting type when exposed to the accepted environmental recommendations.  相似文献   

15.
ABSTRACT

This experimental program, implemented by the Managing Collection Environment Initiative at the Getty Conservation Institute, has provided data about the response of historic objects to changes in relative humidity (RH). Alongside other less sensitive documentation techniques (visual observation, physical measurements, photography, and 3D scanning), acoustic emission (AE) was monitored for six historic, museum-like wooden objects exposed to gradually increasing RH variations. Quantitative calibration of AE sensors and an anti-correlation measuring scheme to reduce environmental noise allowed the AE system to effectively trace micro-damage development caused by environmentally induced stress. Using an epidemiological approach, with respect to sample selection and experimental protocol, the obtained results can be used to explore the acceptable range of climate fluctuations for museum collections. The study’s well-controlled environmental protocol also allowed for the examination of the concept of ‘proofed fluctuation’ by the analysis of object response to reoccurring conditions.  相似文献   

16.
《文物保护研究》2013,58(2):104-112
Abstract

An exhibition case displaying ancient bronzes was found to have a high leak-rate and was subject to a variety of environmental factors. Because of the original case design, passive means of control were not proving effective. A simple, low-output (below 28l.min?1) drying system based on hollow fibre (polysulfone) technology was tested and installed in the case to maintain the microenvironment below 43% relative humidity (RH). The membrane was tested below industrially-specified pressure parameters (less than 4 bar) and found to produce a range of consistent RH outputs suited to museum use. After some years in service, the system has proved reliable and simple to operate; optimum performance was achieved with more continuous operation.  相似文献   

17.
《文物保护研究》2013,58(2):47-52
Abstract

An environmentally controlled case is described for conserving a Fayum panel painting on loan to the Brooklyn Museum which exhibited a high degree of sensitivity to changes in relative humidity. The case was constructed of aluminium with a glass front, sealed in an air-tight fashion with a gasketted metal frame. It was intended to maintain a level of 50% RH in order to relax the panel painting from its high degree of warping, returning it to its original contour, and to conserve it permanently in this micro-climate. The humidity control agent found very satisfactory for this purpose was silica gel pre-conditioned to produce the 50% RH environment. The method of preparation of the gel was by exposure over a saturated solution of magnesium nitrate hexahydrate. The authors have detailed the construction of the case and method of installation of the Fayum portrait, as well as the technique of silica gel maintenance. The interior climate has been controlled satisfactorily since November 1974.  相似文献   

18.
ABSTRACT

Boundary walls are neglected but important parts of historic urban environments, and they are often prone to serious deterioration. Understanding moisture and salt dynamics within boundary walls can help infer the causes and dynamics of deterioration. This investigation investigates the patterns of moisture, salt, and deterioration on a 300 year old limestone boundary wall in Worcester College, Oxford. Multiple methods to assess moisture and salts within and across the wall (electrical resistivity tomography, handheld resistivity-based moisture meter, paper pulp poultices, scanning electron microscopy, inductively coupled plasma optical emission spectrometry, and ion chromatography of small scale sampling of deteriorated limestone) were used in conjunction with decay mapping of both sides of the wall. The salt weathering strongly correlates with severely weathered zones at the wall and salts, mainly sulfates, seem to be the main agent of decay processes. The combined results demonstrate that the environmental influences driving stone decay can differ on a very small scale even at a comparatively simple structure like a boundary wall, and that repairs can have adverse effects if the patterns of salt and moisture dynamics are not sufficiently known.  相似文献   

19.
ABSTRACT

The need to keep things cool for durability should be the single most powerful influence on storage design. The simplest temperature control is to moderate the outside temperature by a combination of thermal insulation and heat capacity. The low energy storage building is a lightweight, thermally insulated, airtight building put on top of an uninsulated floor slab laid directly on the ground. The thermal insulation is calculated to even out the daily temperature cycle but to allow an annual temperature cycle which is about half the amplitude, but much smoother, than the annual temperature cycle outside. The winter temperature inside will nearly always be above ambient and so will maintain a moderate RH without need for either humidification or dehumidification. The temperature inside in summer will be below ambient and thus will force dehumidification of the infiltrating air. However, the airtightness of the building allows intermittent dehumidification with low energy consumption, less than one kWh/m3 per year. There now exist enough buildings designed on this principle to reassure curators that highly valued collections can be stored in a space with a gentle temperature cycle and with an RH stability as good as air-conditioning usually achieves.  相似文献   

20.
ABSTRACT

Hampton Court Palace’s Great Hall located in Surrey, UK, is a magnificent late medieval hall. Its large hammer-beam roof is sumptuously decorated while its walls for the past century have been rehung with Henry VIII’s five-hundred-year-old tapestries illustrating The Story of Abraham, and one of the most internationally significant sets of sixteenth-century tapestries, commissioned for the same hall. This paper presents research which began in 2007, exploring conservation solutions based on evidence-based decision-making, through to successful implementation of measures that conserve these invaluable tapestries without damaging the aesthetic or physical integrity of the Great Hall. The impacts of environmental exposure conditions mapped in detail were assessed to evaluate risk for each tapestry. Next, feasibility studies identified the effectiveness of a range of potential mitigating options to address each local risk, now being incrementally implemented over many years. The research has enabled us to develop, test and deliver permanent interventions that have – when considered together as a holistic management regime – allowed the tapestries to remain in situ. These interventions will continue to be monitored and evaluated for at least a further year to confirm their effectiveness.  相似文献   

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