Pub Date : 2025-11-28DOI: 10.1016/j.culher.2025.11.006
Peter Majoroš , Pavla Kučerová , Dalibor Všianský , Silvie Švarcová , Petr Bezdička , Lukáš Kučera
This interdisciplinary paper presents the results of an examination of the original coloring as well as the later modifications of stucco decorations, authored by the sculptor and stuccoer Baldassarre Fontana. The rich stucco decoration adorns the Archbishop’s Chateau in Kroměříž, which, together with its gardens, is listed as a World Heritage Site (UNESCO). The detailed material investigation employed a multianalytical approach, comprising polarising light microscopy (PLM), Fourier-transform infrared spectroscopy (FTIR/ATR), and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDS). Next, Raman microspectroscopy (µRS) was used as a complementary method, while X-ray powder diffraction (XRPD), including X-ray powder microdiffraction (µXRPD), was used to ascertain the phase composition of the pigments.
The earliest scheme features a restrained white monochrome over lime-based finishing layers, locally accented by iron-oxide red-brown details (e.g., eyes, lips). Multiple thin scialbo (limewash) strata were identified. Petrographic features indicate lime–gypsum technology with occasional hydraulic traits. Later interventions include a 19th-century light-green repaint containing copper acetoarsenite (Paris green), followed by overpaints from the 19th to the 20th century with zinc white and TiO₂ (anatase) extenders. FTIR-ATR and μRS detected secondary calcium oxalates related to surface alteration and signals consistent with a drying-oil class binder on selected elements. These markers refine the chronology of treatments and inform conservation strategies, supporting selective uncovering and stabilization of significant layers
{"title":"The first evidence of the polychromy on the stucco decoration in the Archbishop's Chateau - Sala Terrena (Kroměříž, Czech Republic)","authors":"Peter Majoroš , Pavla Kučerová , Dalibor Všianský , Silvie Švarcová , Petr Bezdička , Lukáš Kučera","doi":"10.1016/j.culher.2025.11.006","DOIUrl":"10.1016/j.culher.2025.11.006","url":null,"abstract":"<div><div>This interdisciplinary paper presents the results of an examination of the original coloring as well as the later modifications of stucco decorations, authored by the sculptor and stuccoer Baldassarre Fontana. The rich stucco decoration adorns the Archbishop’s Chateau in Kroměříž, which, together with its gardens, is listed as a World Heritage Site (UNESCO). The detailed material investigation employed a multianalytical approach, comprising polarising light microscopy (PLM), Fourier-transform infrared spectroscopy (FTIR/ATR), and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDS). Next, Raman microspectroscopy (µRS) was used as a complementary method, while X-ray powder diffraction (XRPD), including X-ray powder microdiffraction (µXRPD), was used to ascertain the phase composition of the pigments.</div><div>The earliest scheme features a restrained white monochrome over lime-based finishing layers, locally accented by iron-oxide red-brown details (e.g., eyes, lips). Multiple thin <em>scialbo</em> (limewash) strata were identified. Petrographic features indicate lime–gypsum technology with occasional hydraulic traits. Later interventions include a 19th-century light-green repaint containing copper acetoarsenite (Paris green), followed by overpaints from the 19th to the 20th century with zinc white and TiO₂ (anatase) extenders. FTIR-ATR and μRS detected secondary calcium oxalates related to surface alteration and signals consistent with a drying-oil class binder on selected elements. These markers refine the chronology of treatments and inform conservation strategies, supporting selective uncovering and stabilization of significant layers</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"77 ","pages":"Pages 149-155"},"PeriodicalIF":3.3,"publicationDate":"2025-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145621533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-11-27DOI: 10.1016/j.culher.2025.11.007
Laura Homer , Piotr Targowski , Magdalena Kowalska , Magdalena Iwanicka , Francesca Rosi , Laura Cartechini , David Buti , Haida Liang , C.S. Cheung , Florence Liggins , Patrick Atkinson , Raffaella Fontana , Emma Vannini , Irene Lunghi , Georgios Karagiannis , Theodoros Karagiannis , Angelica Bartoletti , Bronwyn Ormsby
This study presents the results of a non-invasive analytical investigation into eight varnished modern paintings from the Norwegian National Museum, dating from 1966 to 1982. These works, executed in either waterborne acrylic dispersion resin or polyvinyl acetate (PVAc) media, have not been examined before. They form part of a broader research initiative aimed at documenting the use and degradation of synthetic, waterborne varnishes over acrylic and vinyl paints in the context of Norwegian modern art, and the implications for conservation treatments. The eight paintings were examined through the mobile laboratory (MOLAB) platform of the European infrastructure for Heritage Science (E-RIHS). Multiple complementary techniques, including optical coherence tomography (OCT), external reflection infrared spectroscopy (ERIRS), x-ray fluorescence (XRF) mapping and optical micro-profilometry, were employed to identify binders and pigments, assess varnish thickness and distribution and document the layer structure without sampling. The results of a central case study, Winter Sun, 1966, by Gunnar S. Gundersen (1921–1983) (MS-02579-2988, acrylic on canvas, 165×110 cm), are presented including characterisation of the layer structure, and identification of the paint and varnish compositions.
Comparative analysis between the case study paintings highlights both prevalences and differences within the materials used, informing material history and artistic practices within the mid-century Norwegian context. This in turn informs conservation approaches to the as-yet unresolved challenge of varnish removal from waterborne modern paints. The findings have the potential to inform the future design of representative mock-ups to test potential varnish removal systems. This multimodal, non-invasive approach offers new tools for understanding artist materials and supports conservation decision-making by clarifying when and how varnish removal may be appropriate.
本研究展示了对挪威国家博物馆1966年至1982年期间的八幅清漆现代绘画进行非侵入性分析调查的结果。这些作品是在水性丙烯酸分散树脂或聚氯乙烯（PVAc）介质中进行的，以前从未被检查过。它们是一项更广泛的研究计划的一部分，该计划旨在记录挪威现代艺术背景下合成水性清漆与丙烯酸和乙烯基涂料的使用和降解情况，以及对保护处理的影响。这八幅画通过欧洲遗产科学基础设施（E-RIHS）的移动实验室（MOLAB）平台进行了检查。多种互补技术，包括光学相干断层扫描（OCT）、外反射红外光谱（ERIRS）、x射线荧光（XRF）测绘和光学显微轮廓术，用于鉴定粘合剂和颜料，评估清漆的厚度和分布，并记录层结构而无需采样。一个中心案例研究的结果，冬天的太阳，1966年，由Gunnar S. Gundersen (1921-1983) （MS-02579-2988，丙烯帆布，165×110厘米），包括层结构的特征，以及油漆和清漆成分的鉴定。案例研究绘画之间的比较分析突出了所用材料的流行和差异，在中世纪挪威的背景下告知材料历史和艺术实践。这反过来又通知了保护方法，以解决水性现代涂料中清漆去除的尚未解决的挑战。研究结果有可能为未来设计具有代表性的模型来测试潜在的清漆去除系统提供信息。这种多模式、非侵入性的方法为理解艺术家材料提供了新的工具，并通过澄清何时以及如何去除清漆来支持保护决策。
{"title":"Non-invasive characterisation of varnished modern paintings: comparative insights and conservation implications","authors":"Laura Homer , Piotr Targowski , Magdalena Kowalska , Magdalena Iwanicka , Francesca Rosi , Laura Cartechini , David Buti , Haida Liang , C.S. Cheung , Florence Liggins , Patrick Atkinson , Raffaella Fontana , Emma Vannini , Irene Lunghi , Georgios Karagiannis , Theodoros Karagiannis , Angelica Bartoletti , Bronwyn Ormsby","doi":"10.1016/j.culher.2025.11.007","DOIUrl":"10.1016/j.culher.2025.11.007","url":null,"abstract":"<div><div>This study presents the results of a non-invasive analytical investigation into eight varnished modern paintings from the Norwegian National Museum, dating from 1966 to 1982. These works, executed in either waterborne acrylic dispersion resin or polyvinyl acetate (PVAc) media, have not been examined before. They form part of a broader research initiative aimed at documenting the use and degradation of synthetic, waterborne varnishes over acrylic and vinyl paints in the context of Norwegian modern art, and the implications for conservation treatments. The eight paintings were examined through the mobile laboratory (MOLAB) platform of the European infrastructure for Heritage Science (E-RIHS). Multiple complementary techniques, including optical coherence tomography (OCT), external reflection infrared spectroscopy (ERIRS), x-ray fluorescence (XRF) mapping and optical micro-profilometry, were employed to identify binders and pigments, assess varnish thickness and distribution and document the layer structure without sampling. The results of a central case study, <em>Winter Sun</em>, 1966, by Gunnar S. Gundersen (1921–1983) (MS-02579-2988, acrylic on canvas, 165×110 cm), are presented including characterisation of the layer structure, and identification of the paint and varnish compositions.</div><div>Comparative analysis between the case study paintings highlights both prevalences and differences within the materials used, informing material history and artistic practices within the mid-century Norwegian context. This in turn informs conservation approaches to the as-yet unresolved challenge of varnish removal from waterborne modern paints. The findings have the potential to inform the future design of representative mock-ups to test potential varnish removal systems. This multimodal, non-invasive approach offers new tools for understanding artist materials and supports conservation decision-making by clarifying when and how varnish removal may be appropriate.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"77 ","pages":"Pages 127-139"},"PeriodicalIF":3.3,"publicationDate":"2025-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145621535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-11-24DOI: 10.1016/j.culher.2025.10.027
Fernando Carrera-Ramírez , Vera Moreira Caetano
As part of a project with very ambitious goals (LandCRAFT - the sociocultural contexts of art from Recent Prehistory in the Côa Valley), the authors were entrusted with tasks related to the conservation of a large set of rock art sites. In order to achieve these goals, and given their complexity, a standardized inspection and measurement strategy was designed to determine the degree of vulnerability and risk of this group of archaeological sites.
In a research area in which proposals and bibliographic references are particularly rare, the developed formula has reached such a high level of complexity and interest that its publication and submission to the analysis and criticism of the scientific community has been deemed necessary. Indeed, we consider that scientific dissemination could not only improve this formula but also turn it into a useful tool for public use.
Consequently, we would like to present here the first version of VuRA (Vulnerability of Rock Art), an integrated set of record sheets aimed at determining vulnerability and risk in rock art sites. This proposal combines detailed field observation with territorial information and the support of data offered by other disciplines (archaeology, chemistry, geotechnics, etc.), with a level of detail and complexity that can be regulated by the editors, depending on the objectives of the study. In the case of the LandCRAFT project, VuRA was used to define in detail the management strategies (protection, presentation, conservation, etc.) of the set of sites covered by the project.
{"title":"VuRA: A proposal for calculating vulnerability and risk in rock art sites. The experience in Foz Côa","authors":"Fernando Carrera-Ramírez , Vera Moreira Caetano","doi":"10.1016/j.culher.2025.10.027","DOIUrl":"10.1016/j.culher.2025.10.027","url":null,"abstract":"<div><div>As part of a project with very ambitious goals (<em>LandCRAFT - the sociocultural contexts of art from Recent Prehistory in the Côa Valley</em>), the authors were entrusted with tasks related to the conservation of a large set of rock art sites. In order to achieve these goals, and given their complexity, a standardized inspection and measurement strategy was designed to determine the degree of vulnerability and risk of this group of archaeological sites.</div><div>In a research area in which proposals and bibliographic references are particularly rare, the developed formula has reached such a high level of complexity and interest that its publication and submission to the analysis and criticism of the scientific community has been deemed necessary. Indeed, we consider that scientific dissemination could not only improve this formula but also turn it into a useful tool for public use.</div><div>Consequently, we would like to present here the first version of VuRA (Vulnerability of Rock Art), an integrated set of record sheets aimed at determining vulnerability and risk in rock art sites. This proposal combines detailed field observation with territorial information and the support of data offered by other disciplines (archaeology, chemistry, geotechnics, etc.), with a level of detail and complexity that can be regulated by the editors, depending on the objectives of the study. In the case of the LandCRAFT project, VuRA was used to define in detail the management strategies (protection, presentation, conservation, etc.) of the set of sites covered by the project.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"77 ","pages":"Pages 117-126"},"PeriodicalIF":3.3,"publicationDate":"2025-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145621534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-11-21DOI: 10.1016/j.culher.2025.11.005
Marco Casazza , Rosa Fiorillo , Fabrizio Barone
Church bells, as historical artifacts and musical instruments, represent a unique intersection between tangible and intangible elements of cultural heritage. While previous works suggested that systematic bell tuning only emerged in the 18th century, this work hypothesizes and presents experimental evidence indicating otherwise. Focusing on the bells of Salerno Cathedral (Italy), casted between the 13th and 19th centuries, we investigated whether their tuning reference evolved coherently with the historical evolution of Western music theory or followed independent standards. A non-invasive spectral analysis was applied to identify tonal components and compare them with historical musical temperaments. Results show that reference tuning systems were already in use by the 13th century, centuries earlier than previously documented. A consistent evolution in tuning, matching the historical development of temperaments, was also observed. These findings suggest the existence of a non-formalized implicit know-how in bell-making, having important implications for heritage conservation. The proposed approach also provides a preliminary diagnostic tool to support the identification of a church bell features for its functional restoration, supporting the recognition of this know-how as a part of the intangible heritage related to church bells.
{"title":"Church bells tuning temperament evaluation through spectral acoustic emission matching","authors":"Marco Casazza , Rosa Fiorillo , Fabrizio Barone","doi":"10.1016/j.culher.2025.11.005","DOIUrl":"10.1016/j.culher.2025.11.005","url":null,"abstract":"<div><div>Church bells, as historical artifacts and musical instruments, represent a unique intersection between tangible and intangible elements of cultural heritage. While previous works suggested that systematic bell tuning only emerged in the 18th century, this work hypothesizes and presents experimental evidence indicating otherwise. Focusing on the bells of Salerno Cathedral (Italy), casted between the 13th and 19th centuries, we investigated whether their tuning reference evolved coherently with the historical evolution of Western music theory or followed independent standards. A non-invasive spectral analysis was applied to identify tonal components and compare them with historical musical temperaments. Results show that reference tuning systems were already in use by the 13th century, centuries earlier than previously documented. A consistent evolution in tuning, matching the historical development of temperaments, was also observed. These findings suggest the existence of a non-formalized implicit know-how in bell-making, having important implications for heritage conservation. The proposed approach also provides a preliminary diagnostic tool to support the identification of a church bell features for its functional restoration, supporting the recognition of this know-how as a part of the intangible heritage related to church bells.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"77 ","pages":"Pages 109-116"},"PeriodicalIF":3.3,"publicationDate":"2025-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145577793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-11-20DOI: 10.1016/j.culher.2025.11.001
Daria A. Avdanina , Olga B. Vorobyova , Anna A. Ermolyuk , Nikolay P. Simonenko , Ivan A. Volkov , Liudmila A. Alexandrova , Maxim V. Jasko , Dmitry A. Makarov , Maxim A. Khomutov , Elena N. Khurs , Alexey R. Khomutov , Olga B. Riabova , Vadim A. Makarov , Egor V. Troyan , Michael V. Shitov , Alexander A. Zhgun
<div><div>Cultural heritage objects—particularly, paintings—consist of materials that can be deteriorated by specialized microorganisms. In this regard, it is imperative to both delineate their biodegradation capacity as well as select target antiseptics that can prevent this process, while remaining inert towards the painting materials. This study characterized the fungus <em>Iodophanus</em> sp. STG-150, belonging to the <em>Pezizaceae</em> family, which was isolated from bio-lesion sites of the 16th century painting “Deesis Tier of 13 Figures”—a unique habitat that has not been described before. To analyse their ability to degrade painting materials, cells of the STG-150 strain were inoculated onto crafted mock layers that were coloured with individual painting materials, including basis, adhesives, egg yolk emulsion and tempera paints, watercolour, and varnishes. STG-150 was able to actively grow on basis (pavoloka), adhesives (sturgeon glue and mordant), egg yolk emulsion, and ochre-pigment. Contrastingly, moderate growth was observed on watercolour black and varnishes (linseed oil, acrylic varnish). The addition of cobalt green, strontian yellow, cadmium red, and grey-green to the egg yolk resulted in significant antifungal resistance. Furthermore, the addition of zinc white and burnt sienna completely inhibited STG-150 growth. Using scanning electron microscopy (SEM), it was observed that STG-150 produced two morphological forms of mycelium on the egg yolk emulsion and ochre-pigment—vegetative and aerial with conidia. All other art materials revealed only vegetative mycelium. Fourier-transform infrared spectroscopy (FTIR) also detected areas of STG-150 growth at the periphery of the inoculation site that were invisible to the eye. Mineral pigments as an antiseptic cannot be used to protect paintings from biodegradation, as they introduce unwanted colouration and degrade the original colour. Consequently, a targeted selection of new generation antiseptics were developed for the protection of paintings against STG-150: (i) nucleoside derivatives: <em>N<sup>4</sup></em>-dodecyl-5-methyl-2′-deoxycytidine (Ala 54), <em>N<sup>4</sup></em>-dodecyl-5-methylcytidine (Ala 106), 3′-amino-<em>N<sup>4</sup></em>-dodecyl-5-methyl-2′,3′-dideoxycytidine (SOV4); (ii) sulphur-containing heterocyclic compounds: 3,5-dinitropyridin-2-yl thiocyanate – (М1), 4-nitro-2,1,3-benzothiadiazol-5-yl thiocyanate (M2), 3-cyano-5-nitropyridin-2-yl thiomorpholine-4-carbodithioate (M3), and ethyl 1‑hydroxy-6-thioxo-1,6-dihydropyridine-3-carboxylate (М4); as well as (iii) <em>H</em>-phosphinic amino acid analogues: 1-Aminoethyl-<em>H</em>-phosphinic acid (Ala-pH), <span>l</span>-amino-2-methylpropyl-<em>H</em>-phosphinic acid (Val-pH), 1-amino-3-methylthiopropyl-<em>H</em>-phosphinic acid (Met-pH), and <span>l</span>-amino-2-carboxyethyl-<em>H</em>-phosphinic acid (Asp-α-pH). Their effects completely suppressed the growth of <em>Iodophanus</em> sp. STG-150. Further exploratio
文化遗产——尤其是绘画——由可能被特殊微生物腐蚀的材料组成。在这方面，必须描述它们的生物降解能力，并选择能够阻止这一过程的目标防腐剂，同时保持对涂漆材料的惰性。本研究鉴定了一种名为ioodophanus sp. STG-150的真菌，属于Pezizaceae科，它是从16世纪绘画“Deesis Tier of 13 Figures”的生物损伤部位分离出来的，这是一种以前从未被描述过的独特栖息地。为了分析它们降解绘画材料的能力，STG-150菌株的细胞被接种到精心制作的模拟层上，这些模拟层用不同的绘画材料着色，包括基色、粘合剂、蛋黄乳液和蛋彩画颜料、水彩和清漆。STG-150能够在基质（pavoloka）、粘合剂（鲟鱼胶和媒染剂）、蛋黄乳液和赭石色素上积极生长。相比之下，在水彩黑色和清漆（亚麻籽油，丙烯酸清漆）上观察到适度的增长。在蛋黄中加入钴绿、强韧黄、镉红和灰绿色，产生了显著的抗真菌能力。此外，添加锌白和烧sienna完全抑制了STG-150的生长。通过扫描电镜（SEM）观察到，STG-150在卵黄乳剂上产生菌丝和赭色色素-营养和气生分生孢子两种形态。所有其他艺术材料显示只有营养菌丝体。傅里叶变换红外光谱（FTIR）还检测到了接种部位周围肉眼看不见的STG-150生长区域。矿物颜料作为防腐剂不能用于保护画作免受生物降解，因为它们会引入不必要的颜色并降低原始颜色。因此，我们有针对性地选择了新一代的防腐剂来保护STG-150的画作：(i)核苷衍生物：n4 -十二烷基-5-甲基-2 ' -脱氧胞苷（Ala 54）， n4 -十二烷基-5-甲基胞苷（Ala 106）， 3 ' -氨基- n4 -十二烷基-5-甲基-2 ',3 ' -二脱氧胞苷（SOV4）；（ii）含硫杂环化合物：3,5-二硝基吡啶-2-基硫氰酸酯（М1）、4-硝基-2,1,3-苯并噻唑二唑-5-基硫氰酸酯（M2）、3-氰基-5-硝基吡啶-2-基硫吗啡-4-碳二硫酸酯（M3）和1 -羟基-6-硫氧基-1,6-二氢吡啶-3-羧酸酯乙酯（М4）；以及（iii） h -膦酸类似物：1-氨基乙基- h -膦酸（Ala-pH）、1-氨基-2-甲基丙基- h -膦酸（Val-pH）、1-氨基-3-甲基硫丙基- h -膦酸（Met-pH）和1-氨基-2-羧乙基- h -膦酸（Asp-α-pH）。它们的作用完全抑制了碘藻STG-150的生长。进一步探索这些成功的杀菌剂与油漆和清漆的抗真菌活性和相容性应该在未来的模拟层研究中进行。
{"title":"Biodeterioration aspects of the 16th century icon “Deesis tier of thirteen figures” by the fungus Iodophanus sp. STG-150: a range of materials for biodegradation and selection of target antiseptics","authors":"Daria A. Avdanina , Olga B. Vorobyova , Anna A. Ermolyuk , Nikolay P. Simonenko , Ivan A. Volkov , Liudmila A. Alexandrova , Maxim V. Jasko , Dmitry A. Makarov , Maxim A. Khomutov , Elena N. Khurs , Alexey R. Khomutov , Olga B. Riabova , Vadim A. Makarov , Egor V. Troyan , Michael V. Shitov , Alexander A. Zhgun","doi":"10.1016/j.culher.2025.11.001","DOIUrl":"10.1016/j.culher.2025.11.001","url":null,"abstract":"<div><div>Cultural heritage objects—particularly, paintings—consist of materials that can be deteriorated by specialized microorganisms. In this regard, it is imperative to both delineate their biodegradation capacity as well as select target antiseptics that can prevent this process, while remaining inert towards the painting materials. This study characterized the fungus <em>Iodophanus</em> sp. STG-150, belonging to the <em>Pezizaceae</em> family, which was isolated from bio-lesion sites of the 16th century painting “Deesis Tier of 13 Figures”—a unique habitat that has not been described before. To analyse their ability to degrade painting materials, cells of the STG-150 strain were inoculated onto crafted mock layers that were coloured with individual painting materials, including basis, adhesives, egg yolk emulsion and tempera paints, watercolour, and varnishes. STG-150 was able to actively grow on basis (pavoloka), adhesives (sturgeon glue and mordant), egg yolk emulsion, and ochre-pigment. Contrastingly, moderate growth was observed on watercolour black and varnishes (linseed oil, acrylic varnish). The addition of cobalt green, strontian yellow, cadmium red, and grey-green to the egg yolk resulted in significant antifungal resistance. Furthermore, the addition of zinc white and burnt sienna completely inhibited STG-150 growth. Using scanning electron microscopy (SEM), it was observed that STG-150 produced two morphological forms of mycelium on the egg yolk emulsion and ochre-pigment—vegetative and aerial with conidia. All other art materials revealed only vegetative mycelium. Fourier-transform infrared spectroscopy (FTIR) also detected areas of STG-150 growth at the periphery of the inoculation site that were invisible to the eye. Mineral pigments as an antiseptic cannot be used to protect paintings from biodegradation, as they introduce unwanted colouration and degrade the original colour. Consequently, a targeted selection of new generation antiseptics were developed for the protection of paintings against STG-150: (i) nucleoside derivatives: <em>N<sup>4</sup></em>-dodecyl-5-methyl-2′-deoxycytidine (Ala 54), <em>N<sup>4</sup></em>-dodecyl-5-methylcytidine (Ala 106), 3′-amino-<em>N<sup>4</sup></em>-dodecyl-5-methyl-2′,3′-dideoxycytidine (SOV4); (ii) sulphur-containing heterocyclic compounds: 3,5-dinitropyridin-2-yl thiocyanate – (М1), 4-nitro-2,1,3-benzothiadiazol-5-yl thiocyanate (M2), 3-cyano-5-nitropyridin-2-yl thiomorpholine-4-carbodithioate (M3), and ethyl 1‑hydroxy-6-thioxo-1,6-dihydropyridine-3-carboxylate (М4); as well as (iii) <em>H</em>-phosphinic amino acid analogues: 1-Aminoethyl-<em>H</em>-phosphinic acid (Ala-pH), <span>l</span>-amino-2-methylpropyl-<em>H</em>-phosphinic acid (Val-pH), 1-amino-3-methylthiopropyl-<em>H</em>-phosphinic acid (Met-pH), and <span>l</span>-amino-2-carboxyethyl-<em>H</em>-phosphinic acid (Asp-α-pH). Their effects completely suppressed the growth of <em>Iodophanus</em> sp. STG-150. Further exploratio","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"77 ","pages":"Pages 96-108"},"PeriodicalIF":3.3,"publicationDate":"2025-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145577754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this research was the diagnosis of the detachments and the analysis of the subsequent stabilization intervention of antique roman plaster in Room 38 of the Domus Aurea. We carefully assessed the extent of the detachments in the fresco-decorated plaster before initiating the stabilization intervention. Two methods were implemented: manual auscultation and automatic scanning using the PICUS system. Both produced a map representing the defects prior and after the intervention. The comparison between the map obtained by the auscultation method and the PICUS map shows that they can be superimposed. The map obtained with the PICUS system highlights the most severe defects using a colorimetric scale, which is normally not used in a manual scan. The PICUS system has proven to be a valid support to the classical manual auscultation to prepare the map of the defects of antique, damaged cultural heritage.
{"title":"Detachments detection at the ‘Grand Stairway’ in the Room 38 of the Domus Aurea using the PICUS system","authors":"Francesca Mariani , Michele Lo Giudice , Alessandro Salvini , Stefano Borghini , Giosué Caliano","doi":"10.1016/j.culher.2025.11.002","DOIUrl":"10.1016/j.culher.2025.11.002","url":null,"abstract":"<div><div>The purpose of this research was the diagnosis of the detachments and the analysis of the subsequent stabilization intervention of antique roman plaster in Room 38 of the <em>Domus Aurea</em>. We carefully assessed the extent of the detachments in the fresco-decorated plaster before initiating the stabilization intervention. Two methods were implemented: manual auscultation and automatic scanning using the PICUS system. Both produced a map representing the defects prior and after the intervention. The comparison between the map obtained by the auscultation method and the PICUS map shows that they can be superimposed. The map obtained with the PICUS system highlights the most severe defects using a colorimetric scale, which is normally not used in a manual scan. The PICUS system has proven to be a valid support to the classical manual auscultation to prepare the map of the defects of antique, damaged cultural heritage.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"77 ","pages":"Pages 81-86"},"PeriodicalIF":3.3,"publicationDate":"2025-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145577756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-11-20DOI: 10.1016/j.culher.2025.10.022
Valentina Ljubic Tobisch , Anna Artaker , Martin Klobassa , Wolfgang Kautek
Technical and methodological aspects of the production of galvanographs, a printing technique from the 1840s, were investigated both in a techno-historical and experimental manner. This new graphic technique was invented by Franz von Kobell in Munich. The businessman and owner of the paper shop Theyer & Hardtmuth, Franz Theyer, further developed and optimized the technique in the first Austrian laboratory for electrotyping in Vienna. The presented investigations support a better and more accurate identification of galvanographically generated printing plates and prints. The historical printing plates examined showed the use of various conventional graphic techniques and tools in combination with galvanography. Traces of a dry needle, wooden spatulas, roulettes and various burins indicated the use of mixed techniques. Experiments conducted showed that viscosity, heterogeneity, layer thickness and composition of the paints influenced the electrodeposited copper layer. The best results were achieved with a conductive powder layer over the paint, with graphite proving to be superior to silver.
{"title":"Experimental artistic research on the basis of the galvanography technique by Franz von Kobell (1840)","authors":"Valentina Ljubic Tobisch , Anna Artaker , Martin Klobassa , Wolfgang Kautek","doi":"10.1016/j.culher.2025.10.022","DOIUrl":"10.1016/j.culher.2025.10.022","url":null,"abstract":"<div><div>Technical and methodological aspects of the production of galvanographs, a printing technique from the 1840s, were investigated both in a techno-historical and experimental manner. This new graphic technique was invented by Franz von Kobell in Munich. The businessman and owner of the paper shop Theyer & Hardtmuth, Franz Theyer, further developed and optimized the technique in the first Austrian laboratory for electrotyping in Vienna. The presented investigations support a better and more accurate identification of galvanographically generated printing plates and prints. The historical printing plates examined showed the use of various conventional graphic techniques and tools in combination with galvanography. Traces of a dry needle, wooden spatulas, roulettes and various burins indicated the use of mixed techniques. Experiments conducted showed that viscosity, heterogeneity, layer thickness and composition of the paints influenced the electrodeposited copper layer. The best results were achieved with a conductive powder layer over the paint, with graphite proving to be superior to silver.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"77 ","pages":"Pages 87-95"},"PeriodicalIF":3.3,"publicationDate":"2025-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145577755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-11-18DOI: 10.1016/j.culher.2025.10.021
Marta Porcaro , Laura M. Michetti , Alessandro Conti , Giacomo Mazzotta , Tilde de Caro , Matteo Paciucci , Antonio Doménech-Carbó , Caterina De Vito
The archaeological site of Pyrgi (Santa Severa, Rome, Italy) has yielded a diverse range of metal artifacts that provide valuable insights into the Etruscans' metallurgical knowledge and material selection practices. This study focuses on micro-inclusions, microstructure, chemical composition, and corrosive process of arrowheads, nails, and aes rude. Scanning Electron Microscopy with Energy Dispersive Spectroscopy (SEM-EDS), micro-Raman spectroscopy, and electrochemical analysis, i.e., Voltammetry of Immobilized Particles (VIMP), and Mott-Schottky (MS) were used. The nails and aes rude are pure copper, with minor contents of tin and lead, while the arrowheads are ternary bronze alloy (Cu-Sn-Pb). The microstructures of nails and aes rude are characterized by the presence of Pb-Bi, Pb-Te-Se, and S-Te-Se-Fe micro-inclusions within the metal matrix, which provide insights into smelting processes, the nature of the ores used, and technological capabilities. The variability of inclusions suggests the use of polymetallic minerals as starting materials. Tellurium and selenium suggest refining practices and smelting techniques that were not fully optimized. The corrosion patinas are composed of cuprite, malachite, and trihydroxychlorides. The Mott-Schottky analysis highlighted variations in the electrochemical response of the corrosion layers, suggesting different alteration conditions among areas of Pyrgi. These results contribute to the exploration of Etruscan metallurgical choices and techniques, highlighting variations in smelting processes, raw materials, and processing practices.
{"title":"The key role of Pb-Bi, Pb-Te-Se and S-Fe-Te-Se inclusions, microstructures, and corrosion processes in reconstructing Etruscan metallurgy at Pyrgi (Latium, Italy)","authors":"Marta Porcaro , Laura M. Michetti , Alessandro Conti , Giacomo Mazzotta , Tilde de Caro , Matteo Paciucci , Antonio Doménech-Carbó , Caterina De Vito","doi":"10.1016/j.culher.2025.10.021","DOIUrl":"10.1016/j.culher.2025.10.021","url":null,"abstract":"<div><div>The archaeological site of Pyrgi (Santa Severa, Rome, Italy) has yielded a diverse range of metal artifacts that provide valuable insights into the Etruscans' metallurgical knowledge and material selection practices. This study focuses on micro-inclusions, microstructure, chemical composition, and corrosive process of arrowheads, nails, and <em>aes rude</em>. Scanning Electron Microscopy with Energy Dispersive Spectroscopy (SEM-EDS), micro-Raman spectroscopy, and electrochemical analysis, <em>i.e.</em>, Voltammetry of Immobilized Particles (VIMP), and Mott-Schottky (MS) were used. The nails and <em>aes rude</em> are pure copper, with minor contents of tin and lead, while the arrowheads are ternary bronze alloy (Cu-Sn-Pb). The microstructures of nails and <em>aes rude</em> are characterized by the presence of Pb-Bi, Pb-Te-Se, and S-Te-Se-Fe micro-inclusions within the metal matrix, which provide insights into smelting processes, the nature of the ores used, and technological capabilities. The variability of inclusions suggests the use of polymetallic minerals as starting materials. Tellurium and selenium suggest refining practices and smelting techniques that were not fully optimized. The corrosion patinas are composed of cuprite, malachite, and trihydroxychlorides. The Mott-Schottky analysis highlighted variations in the electrochemical response of the corrosion layers, suggesting different alteration conditions among areas of Pyrgi. These results contribute to the exploration of Etruscan metallurgical choices and techniques, highlighting variations in smelting processes, raw materials, and processing practices.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"77 ","pages":"Pages 67-80"},"PeriodicalIF":3.3,"publicationDate":"2025-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145577753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-11-14DOI: 10.1016/j.culher.2025.10.009
Jakub Kołodziejczak, Lucyna Nyka
Polders are particular territories where centuries-long land reclamation processes led to the emergence of highly anthropogenic landscapes with dikes, canals, ditches and drainage devices - windmills and pumping stations. The dependence on pumping action was visually evident in the landscape for many centuries, underscoring the identification of polders as both spatial concepts and balanced hydraulic systems. However, knowledge of the centuries-long locations of pumping devices in the Vistula Delta area as historic hydraulic components of landscape remains limited and is seldom incorporated into landscape planning procedures. The goal of this study is to present the process of unveiling the layered patterns of distribution of the historical drainage devices between the 18th and 21st centuries, and to advocate for the development of tools and procedures to facilitate the integration of this knowledge into heritage preservation and contemporary planning. The retrogressive method and geographic information technologies are applied for the investigation of the historic landscape components in the selected study area between the Tina and Balewka rivers in the Vistula Delta. The transfer of historic components of landscape - non-existent windmills and pump stations - as time-related layers in the GIS system enables the identification of most drainage windmills and other vanished drainage devices in an analysed case study area. This layered mapping made it possible to pinpoint locations where drainage windmills and historic pumping stations existed for centuries, strengthening the evidence for spatial continuity in drainage infrastructure.
The analysis demonstrates that the retrogressive method, when combined with GIS and historical cartographic analysis, allows for a precise reconstruction of the layered spatial distribution and historical transformation of drainage infrastructure in the Vistula Delta area. Key sites of ‘drainage technology heritage’ were identified in Różany and Markusy, where surviving landscape features and physical remnants testify to the long-term evolution of hydraulic systems. By representing these historical structures as GIS layers, the approach provides a systematic framework for integrating water management heritage into conservation and spatial planning practices. This approach addresses gaps in heritage documentation, promotes sustainable landscape management, and lays the groundwork for extending retrogressive mapping to broader areas, thereby enhancing the recognition, valorization, and preservation of the distinctive hydraulic and spatial heritage of the Vistula Delta area. The findings support the anchoring of planning solutions for the Vistula Delta polder areas in heritage values and extend an understanding of which elements require effective exposition and protection.
{"title":"Unveiling layered legacies: A retrogressive method and GIS for mapping historical device distribution in the water-dependent landscape of the vistula delta","authors":"Jakub Kołodziejczak, Lucyna Nyka","doi":"10.1016/j.culher.2025.10.009","DOIUrl":"10.1016/j.culher.2025.10.009","url":null,"abstract":"<div><div>Polders are particular territories where centuries-long land reclamation processes led to the emergence of highly anthropogenic landscapes with dikes, canals, ditches and drainage devices - windmills and pumping stations. The dependence on pumping action was visually evident in the landscape for many centuries, underscoring the identification of polders as both spatial concepts and balanced hydraulic systems. However, knowledge of the centuries-long locations of pumping devices in the Vistula Delta area as historic hydraulic components of landscape remains limited and is seldom incorporated into landscape planning procedures. The goal of this study is to present the process of unveiling the layered patterns of distribution of the historical drainage devices between the 18th and 21st centuries, and to advocate for the development of tools and procedures to facilitate the integration of this knowledge into heritage preservation and contemporary planning. The retrogressive method and geographic information technologies are applied for the investigation of the historic landscape components in the selected study area between the Tina and Balewka rivers in the Vistula Delta. The transfer of historic components of landscape - non-existent windmills and pump stations - as time-related layers in the GIS system enables the identification of most drainage windmills and other vanished drainage devices in an analysed case study area. This layered mapping made it possible to pinpoint locations where drainage windmills and historic pumping stations existed for centuries, strengthening the evidence for spatial continuity in drainage infrastructure.</div><div>The analysis demonstrates that the retrogressive method, when combined with GIS and historical cartographic analysis, allows for a precise reconstruction of the layered spatial distribution and historical transformation of drainage infrastructure in the Vistula Delta area. Key sites of ‘drainage technology heritage’ were identified in Różany and Markusy, where surviving landscape features and physical remnants testify to the long-term evolution of hydraulic systems. By representing these historical structures as GIS layers, the approach provides a systematic framework for integrating water management heritage into conservation and spatial planning practices. This approach addresses gaps in heritage documentation, promotes sustainable landscape management, and lays the groundwork for extending retrogressive mapping to broader areas, thereby enhancing the recognition, valorization, and preservation of the distinctive hydraulic and spatial heritage of the Vistula Delta area. The findings support the anchoring of planning solutions for the Vistula Delta polder areas in heritage values and extend an understanding of which elements require effective exposition and protection.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"77 ","pages":"Pages 37-50"},"PeriodicalIF":3.3,"publicationDate":"2025-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145527941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-11-14DOI: 10.1016/j.culher.2025.10.024
Silvia Marín-Ortega , Manuel Ángel Iglesias-Campos , M․ Àngels Calvo i Torras
This research evaluates microbially induced calcium carbonate precipitation (MICP) generated by means of two endogenous bacterial strains inhabiting Titanochelon richardi (formerly Cheirogaster richardi) fossil bone remains; in this case, Bacillus subtilis and Sporosarcina pasteurii. Both bacterial strains were inoculated on different samples to study their possible effectiveness and to verify whether an improvement in the cohesion and mechanical strength of the fossil surface is achieved by the formation of a bioconsolidated carbonate matrix within the specimen. Treatment chemical compatibility was also considered as well as non-occurrence of noticeable changes in the main properties and appearance of the substrate. Several methods were used to analyse and compare samples before and after treatment and the benefits and limitations of both treatments, including ATP analysis, Field Emission Scanning Electron Microscopy, X-ray Diffraction, surface roughness analysis, pH and conductivity measurements, weight monitoring, water absorption tests, Vickers microindentation, peeling tape test and spectrophotometry. Results indicate that both strains, with some differences between them, significantly improved fossil hardness and cohesion by filling pores, valleys and fissures and by binding disaggregated particles with minimal impact on surface topography and appearance. Weight, pH and conductivity hardly changed, while porosity was reduced but not blocked.
Overall, bioconsolidation with both strains proved to be effective and highly compatible with carbonate fossil bones, making it a feasible, suitable and alternative treatment for these substrates. Furthermore, bacterial-induced calcium carbonate precipitation is a safe and environmentally sustainable technique for consolidation treatments.
{"title":"Comparative evaluation of fossil bone bioconsolidation via two endogenous bacterial strains: Bacillus subtilis and Sporosarcina pasteurii","authors":"Silvia Marín-Ortega , Manuel Ángel Iglesias-Campos , M․ Àngels Calvo i Torras","doi":"10.1016/j.culher.2025.10.024","DOIUrl":"10.1016/j.culher.2025.10.024","url":null,"abstract":"<div><div>This research evaluates microbially induced calcium carbonate precipitation (MICP) generated by means of two endogenous bacterial strains inhabiting <em>Titanochelon richardi</em> (formerly <em>Cheirogaster richardi</em>) fossil bone remains; in this case, <em>Bacillus subtilis</em> and <em>Sporosarcina pasteurii.</em> Both bacterial strains were inoculated on different samples to study their possible effectiveness and to verify whether an improvement in the cohesion and mechanical strength of the fossil surface is achieved by the formation of a bioconsolidated carbonate matrix within the specimen. Treatment chemical compatibility was also considered as well as non-occurrence of noticeable changes in the main properties and appearance of the substrate. Several methods were used to analyse and compare samples before and after treatment and the benefits and limitations of both treatments, including ATP analysis, Field Emission Scanning Electron Microscopy, X-ray Diffraction, surface roughness analysis, pH and conductivity measurements, weight monitoring, water absorption tests, Vickers microindentation, peeling tape test and spectrophotometry. Results indicate that both strains, with some differences between them, significantly improved fossil hardness and cohesion by filling pores, valleys and fissures and by binding disaggregated particles with minimal impact on surface topography and appearance. Weight, pH and conductivity hardly changed, while porosity was reduced but not blocked.</div><div>Overall, bioconsolidation with both strains proved to be effective and highly compatible with carbonate fossil bones, making it a feasible, suitable and alternative treatment for these substrates. Furthermore, bacterial-induced calcium carbonate precipitation is a safe and environmentally sustainable technique for consolidation treatments.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"77 ","pages":"Pages 51-66"},"PeriodicalIF":3.3,"publicationDate":"2025-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145527911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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