Pub Date : 2025-10-08DOI: 10.1016/j.culher.2025.09.013
Annamaria Alabiso , Danilo Bersani , Maria Grazia Bridelli , Elisabetta Cilli , Luigi Cristofolini , Irene Faenza , Gianandrea Pasquinelli , Sara Salucci , Mirko Traversari
A human skeleton exhibiting extensive green coloration and partial mummification was discovered inside a copper-alloy cist beneath an ancient villa in Bologna (Italy). The preservation of bone and soft tissue, together with the green staining, prompted to infer the diagenetic processes that occurred in this unique case during the post-mortem period, analyzing the chemical and structural alterations of the tissues in a copper-rich burial environment.
A multidisciplinary analytical approach was employed, by combining Fourier Transform Infrared (FTIR) spectroscopy, Raman spectroscopy, and Scanning Electron Microscopy coupled with Energy Dispersive X-ray Spectroscopy (SEM-EDS). These techniques were applied to both stained and unstained samples of bone and skin in order to characterize their organic and inorganic components, identify potential corrosion products—specifically malachite (Cu₂(CO₃)(OH)₂) and pseudomalachite (Cu₅(PO₄)₂(OH)₄)—and evaluate the role of the burial context—particularly the copper container—in shaping the state of preservation.
{"title":"The curious case of the green-colored body: A multidisciplinary investigation of a mummy preserved in a copper-rich environment","authors":"Annamaria Alabiso , Danilo Bersani , Maria Grazia Bridelli , Elisabetta Cilli , Luigi Cristofolini , Irene Faenza , Gianandrea Pasquinelli , Sara Salucci , Mirko Traversari","doi":"10.1016/j.culher.2025.09.013","DOIUrl":"10.1016/j.culher.2025.09.013","url":null,"abstract":"<div><div>A human skeleton exhibiting extensive green coloration and partial mummification was discovered inside a copper-alloy cist beneath an ancient villa in Bologna (Italy). The preservation of bone and soft tissue, together with the green staining, prompted to infer the diagenetic processes that occurred in this unique case during the post-mortem period, analyzing the chemical and structural alterations of the tissues in a copper-rich burial environment.</div><div>A multidisciplinary analytical approach was employed, by combining Fourier Transform Infrared (FTIR) spectroscopy, Raman spectroscopy, and Scanning Electron Microscopy coupled with Energy Dispersive X-ray Spectroscopy (SEM-EDS). These techniques were applied to both stained and unstained samples of bone and skin in order to characterize their organic and inorganic components, identify potential corrosion products—specifically malachite (Cu₂(CO₃)(OH)₂) and pseudomalachite (Cu₅(PO₄)₂(OH)₄)—and evaluate the role of the burial context—particularly the copper container—in shaping the state of preservation.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 157-164"},"PeriodicalIF":3.3,"publicationDate":"2025-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145267591","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}
<div><div>As a traditional Japanese fixture, <em>fusuma</em> is sliding doors, often displaying paintings on paper. However, because <em>fusuma</em> is also building components, it is often preserved and exhibited inside cultural heritage buildings, such as temples, shrines, and castles, which have low thermal insulation and airtightness; therefore, fluctuations in temperature and humidity may cause deformation of <em>fusuma</em> and tears in painted paper. This study focused on the deformation mechanisms of <em>fusuma</em> paintings preserved and exhibited inside cultural property buildings. Specifically, the study investigated the warping behavior of <em>tobusuma</em>—a type of <em>fusuma</em> made by attaching a support such as plywood or carbon fiber reinforced plastic (CFRP) board to one side to increase strength—when temperature and humidity differences occur on the front and back, clarified the warping mechanism, and evaluated the effect of different support types on warpage. In the experiment, an actual-sized <em>tobusuma</em> was prepared, and warpage was measured by subjecting its front and back surfaces to different temperatures and relative humidity. Additionally, we reproduced our experimental results using a finite element method (FEM) simulation and analyzed the effect of each <em>tobusuma</em> component on the warpage. The results showed that <em>tobusuma</em> tends to warp toward higher relative humidity if temperatures on both sides are the same, and that the direction and magnitude of warpage depend on the support type. For the plywood support, greater warpage occurred when the interior side was humid, whereas for the CFRP support, greater warpage occurred when the exterior side was humid because of its low moisture permeability; however, when the exterior side was humid, the amout of warpage was similar for both supports. In typical field environments, where the interior is generally more stable and less humid, the type of support may have a limited impact on warping. In the FEM simulation, the reproducibility of the simulation model was lower for the CFRP support than for the plywood support, which is considered to be due to uncertainties in the mechanical boundary conditions and moisture content input of the components. In particular, when the hygrothermal properties of components differ significantly, like CFRP, it is more important to perform coupling between moisture transfer and moisture-induced mechanical deformation simulation. The study results contribute to the selection of suitable support for preserving <em>fusuma</em> paintings and to investigation of environments in which they are installed. For a deeper understanding of <em>fusuma</em> paintings’ deterioration mechanism, it is necessary to investigate not only the warping of <em>tobusuma</em> but also the deformation behavior of painted paper and the discoloration/fading of the paintings. Since these phenomena are closely related to environmental factors such as
{"title":"Experimental and simulation studies on the mechanism of moisture-induced warping of traditional Japanese sliding doors","authors":"Nobumitsu Takatori , Daisuke Ogura , Shiori Izukura , Mie Toki , Tomoaki Okamura","doi":"10.1016/j.culher.2025.09.014","DOIUrl":"10.1016/j.culher.2025.09.014","url":null,"abstract":"<div><div>As a traditional Japanese fixture, <em>fusuma</em> is sliding doors, often displaying paintings on paper. However, because <em>fusuma</em> is also building components, it is often preserved and exhibited inside cultural heritage buildings, such as temples, shrines, and castles, which have low thermal insulation and airtightness; therefore, fluctuations in temperature and humidity may cause deformation of <em>fusuma</em> and tears in painted paper. This study focused on the deformation mechanisms of <em>fusuma</em> paintings preserved and exhibited inside cultural property buildings. Specifically, the study investigated the warping behavior of <em>tobusuma</em>—a type of <em>fusuma</em> made by attaching a support such as plywood or carbon fiber reinforced plastic (CFRP) board to one side to increase strength—when temperature and humidity differences occur on the front and back, clarified the warping mechanism, and evaluated the effect of different support types on warpage. In the experiment, an actual-sized <em>tobusuma</em> was prepared, and warpage was measured by subjecting its front and back surfaces to different temperatures and relative humidity. Additionally, we reproduced our experimental results using a finite element method (FEM) simulation and analyzed the effect of each <em>tobusuma</em> component on the warpage. The results showed that <em>tobusuma</em> tends to warp toward higher relative humidity if temperatures on both sides are the same, and that the direction and magnitude of warpage depend on the support type. For the plywood support, greater warpage occurred when the interior side was humid, whereas for the CFRP support, greater warpage occurred when the exterior side was humid because of its low moisture permeability; however, when the exterior side was humid, the amout of warpage was similar for both supports. In typical field environments, where the interior is generally more stable and less humid, the type of support may have a limited impact on warping. In the FEM simulation, the reproducibility of the simulation model was lower for the CFRP support than for the plywood support, which is considered to be due to uncertainties in the mechanical boundary conditions and moisture content input of the components. In particular, when the hygrothermal properties of components differ significantly, like CFRP, it is more important to perform coupling between moisture transfer and moisture-induced mechanical deformation simulation. The study results contribute to the selection of suitable support for preserving <em>fusuma</em> paintings and to investigation of environments in which they are installed. For a deeper understanding of <em>fusuma</em> paintings’ deterioration mechanism, it is necessary to investigate not only the warping of <em>tobusuma</em> but also the deformation behavior of painted paper and the discoloration/fading of the paintings. Since these phenomena are closely related to environmental factors such as","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 165-176"},"PeriodicalIF":3.3,"publicationDate":"2025-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145267645","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 : 2025-10-08DOI: 10.1016/j.culher.2025.09.006
Patrick Goldbach , Jana Gelbrich
At the end of the 19th century, Otto Lilienthal (1848–1896) built humanity’s first airplanes. The Deutsches Museum Munich owns Lilienthal’s personal glider since 1904 and investigates preservation methods since the 1980s. The wooden fragments were severely damaged by the so called ‘woodworm’. Therefore, the frame of the glider needed to be stabilised in order to preserve it for future handling during conservation and exhibition. The choice of materials followed methods used at the University of the Arts Bern in Switzerland. In particular, the approach to reinforce Methyl cellulose with Nanocellulose was further investigated for the purpose of stabilising the infested wood of the glider. Pre – tests with celluloses showed that they meet the requirements of the conservation concept. Therefore, an object-related laboratory testing series was carried out in collaboration with the Leibniz Institute for Materials Engineering - IWT in Bremen, Germany. The laboratory results enabled the celluloses to be applied with respective to individual situations of the wooden fragments of the glider in 2024. They proved to be practical as wood stabilising agents, and the characteristic thixotropy of Nanocellulose was beneficial while using the mixtures on the fragments of the glider. The chemical properties of celluloses, their almost unchanged surface appearance after drying, and the non-toxic application of this natural polymer make these mixtures an attractive and sustainable wood stabilisation agent for the conservation of historic wooden artefacts.
{"title":"Using nanocellulose mixtures for the wood stabilisation of a Lilienthal glider","authors":"Patrick Goldbach , Jana Gelbrich","doi":"10.1016/j.culher.2025.09.006","DOIUrl":"10.1016/j.culher.2025.09.006","url":null,"abstract":"<div><div>At the end of the 19th century, Otto Lilienthal (1848–1896) built humanity’s first airplanes. The Deutsches Museum Munich owns Lilienthal’s personal glider since 1904 and investigates preservation methods since the 1980s. The wooden fragments were severely damaged by the so called ‘woodworm’. Therefore, the frame of the glider needed to be stabilised in order to preserve it for future handling during conservation and exhibition. The choice of materials followed methods used at the University of the Arts Bern in Switzerland. In particular, the approach to reinforce Methyl cellulose with Nanocellulose was further investigated for the purpose of stabilising the infested wood of the glider. Pre – tests with celluloses showed that they meet the requirements of the conservation concept. Therefore, an object-related laboratory testing series was carried out in collaboration with the Leibniz Institute for Materials Engineering - IWT in Bremen, Germany. The laboratory results enabled the celluloses to be applied with respective to individual situations of the wooden fragments of the glider in 2024. They proved to be practical as wood stabilising agents, and the characteristic thixotropy of Nanocellulose was beneficial while using the mixtures on the fragments of the glider. The chemical properties of celluloses, their almost unchanged surface appearance after drying, and the non-toxic application of this natural polymer make these mixtures an attractive and sustainable wood stabilisation agent for the conservation of historic wooden artefacts.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 177-183"},"PeriodicalIF":3.3,"publicationDate":"2025-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145267590","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 : 2025-10-03DOI: 10.1016/j.culher.2025.09.012
Savannah Ulalian Bishop , Munam Arshad , Ismail Lazoğlu , Matthew Harpster , Hammad Ur Rehman
Archaeological materials from underwater contexts present unique challenges for study, conservation, and analysis – among them mechanical, chemical, and biological deterioration factors. These issues can be especially apparent in the context of loss compensation, a process in which the ceramic is stabilized, with the supplementation of a non-original fill material. The diverse applicability of 3D technologies through their responsive materials, adaptability, and ability to pair with existing analyses have the potential to solve some of these difficulties while at the same time streamlining the documentation process. The goal of this study, from virtual model creation to model manipulation and reverse engineering to sensorization, is to provide a fill for an artifact’s missing pieces through near-lossless reverse engineering. While the straightforward use of 3D printing for archaeological conservation is a burgeoning technique with even fewer studies additively manufacturing ceramic, the pairing of this mode of 3D printing with sensorization offers unique benefits. Using sensors fabricated into the printed fill, these cutting-edge materials can respond to – and signal – changes in temperature, humidity, pH, or stress. These are all environmental factors important to the curation and stability of objects in a museum environment. Yet, this specific application of additive manufacturing for a collection has almost never been tested or applied at any scale. This leaves a distinct gap in the research that this methodology can begin to fill. The underlying aim is to create a systematic approach to reconstruct missing pieces of archaeological ceramic, specifically maritime context amphorae, with their range of sizes, curvature, and other variable qualities, and address and solve the challenges faced during this reconstruction process. Through a partnership between the Koç University Mustafa V. Koç Maritime Archaeology Research Center (KUDAR) and the Manufacturing and Automation Research Center (MARC) lab at Koç University, this project aims not only to produce loss compensation through 3D printed prototyping of fills for the missing amphora pieces but to do so with sensor integration to monitor the application’s stability. This method has numerous advantages, the greatest of which being the nature of the 3D printed responsive fill – as a curatorial process that is both proactive and reactive – expands the discourse around this conservation technique.
{"title":"Photogrammetry, additive manufacturing, and sensorization for archaeological ceramic loss compensation","authors":"Savannah Ulalian Bishop , Munam Arshad , Ismail Lazoğlu , Matthew Harpster , Hammad Ur Rehman","doi":"10.1016/j.culher.2025.09.012","DOIUrl":"10.1016/j.culher.2025.09.012","url":null,"abstract":"<div><div>Archaeological materials from underwater contexts present unique challenges for study, conservation, and analysis – among them mechanical, chemical, and biological deterioration factors. These issues can be especially apparent in the context of loss compensation, a process in which the ceramic is stabilized, with the supplementation of a non-original fill material. The diverse applicability of 3D technologies through their responsive materials, adaptability, and ability to pair with existing analyses have the potential to solve some of these difficulties while at the same time streamlining the documentation process. The goal of this study, from virtual model creation to model manipulation and reverse engineering to sensorization, is to provide a fill for an artifact’s missing pieces through near-lossless reverse engineering. While the straightforward use of 3D printing for archaeological conservation is a burgeoning technique with even fewer studies additively manufacturing ceramic, the pairing of this mode of 3D printing with sensorization offers unique benefits. Using sensors fabricated into the printed fill, these cutting-edge materials can respond to – and signal – changes in temperature, humidity, pH, or stress. These are all environmental factors important to the curation and stability of objects in a museum environment. Yet, this specific application of additive manufacturing for a collection has almost never been tested or applied at any scale. This leaves a distinct gap in the research that this methodology can begin to fill. The underlying aim is to create a systematic approach to reconstruct missing pieces of archaeological ceramic, specifically maritime context amphorae, with their range of sizes, curvature, and other variable qualities, and address and solve the challenges faced during this reconstruction process. Through a partnership between the Koç University Mustafa V. Koç Maritime Archaeology Research Center (KUDAR) and the Manufacturing and Automation Research Center (MARC) lab at Koç University, this project aims not only to produce loss compensation through 3D printed prototyping of fills for the missing amphora pieces but to do so with sensor integration to monitor the application’s stability. This method has numerous advantages, the greatest of which being the nature of the 3D printed responsive fill – as a curatorial process that is both proactive and reactive – expands the discourse around this conservation technique.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 148-156"},"PeriodicalIF":3.3,"publicationDate":"2025-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145221308","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}
Drying oils, rich in triacylglycerols with unsaturated fatty acyl chains, are widely used in artworks for their ability to transform them into cross-linked polymer networks upon exposure to oxygen, forming protective layers. However, over time, ester bond hydrolysis releases fatty acids (FAs) that can aggregate, migrate, and interact with pigments, causing artwork degradation. Understanding the lipid profiles of siccative oils is critical for preserving cultural heritage. This study investigated the composition of free and total FAs in common drying oils, including safflower (Carthamus tinctorius), linseed (Linum usitatissimum L.), walnut (Juglans regia), and poppy seed (Papaver somniferum), using reversed-phase liquid chromatography (RPLC) coupled with electrospray ionisation (ESI) and high-resolution mass spectrometry (HRMS) and tandem HRMS (MS/MS). To determine the position and geometry (cis/trans) of CC double bonds in unsaturated FAs, a mild epoxidation reaction with meta-chloroperoxybenzoic acid was applied. Oils were analysed under three conditions: without prior hydrolysis, after enzymatic hydrolysis using Candida rugosa lipase (0.25 mg enzyme per mL of extracted sample, incubated at 37 °C for 45 minutes), or following chemical hydrolysis (0.5 M HCl, 100 °C, 1 h). The results demonstrate clear differences between hydrolysis methods: chemical hydrolysis induced isomerisation in the presence of metal traces, yielding additional unsaturated species compared to enzymatic hydrolysis. These transformations were characterised by MS/MS diagnostic ions of FA epoxides and their retention times. To preserve the native FA profile and minimise artefacts, enzymatic hydrolysis or mild chemical conditions are recommended, with C. rugosa lipase providing a reliable reference standard. This approach was successfully applied to a 1970s oil-on-canvas painting by F. Rispoli, revealing lipid alterations associated with aging.
{"title":"Exploring chemical vs. enzymatic hydrolysis for fatty acid profiling of drying oils by liquid chromatography with high-resolution mass spectrometry","authors":"Davide Coniglio , Cosima Damiana Calvano , Ilario Losito , Tommaso R.I. Cataldi","doi":"10.1016/j.culher.2025.09.011","DOIUrl":"10.1016/j.culher.2025.09.011","url":null,"abstract":"<div><div>Drying oils, rich in triacylglycerols with unsaturated fatty acyl chains, are widely used in artworks for their ability to transform them into cross-linked polymer networks upon exposure to oxygen, forming protective layers. However, over time, ester bond hydrolysis releases fatty acids (FAs) that can aggregate, migrate, and interact with pigments, causing artwork degradation. Understanding the lipid profiles of siccative oils is critical for preserving cultural heritage. This study investigated the composition of free and total FAs in common drying oils, including safflower (<em>Carthamus tinctorius</em>), linseed (<em>Linum usitatissimum</em> L.), walnut (<em>Juglans regia</em>), and poppy seed (<em>Papaver somniferum</em>), using reversed-phase liquid chromatography (RPLC) coupled with electrospray ionisation (ESI) and high-resolution mass spectrometry (HRMS) and tandem HRMS (MS/MS). To determine the position and geometry (<em>cis/trans</em>) of C<img>C double bonds in unsaturated FAs, a mild epoxidation reaction with <em>meta</em>-chloroperoxybenzoic acid was applied. Oils were analysed under three conditions: without prior hydrolysis, after enzymatic hydrolysis using <em>Candida rugosa</em> lipase (0.25 mg enzyme per mL of extracted sample, incubated at 37 °C for 45 minutes), or following chemical hydrolysis (0.5 M HCl, 100 °C, 1 h). The results demonstrate clear differences between hydrolysis methods: chemical hydrolysis induced isomerisation in the presence of metal traces, yielding additional unsaturated species compared to enzymatic hydrolysis. These transformations were characterised by MS/MS diagnostic ions of FA epoxides and their retention times. To preserve the native FA profile and minimise artefacts, enzymatic hydrolysis or mild chemical conditions are recommended, with <em>C. rugosa</em> lipase providing a reliable reference standard. This approach was successfully applied to a 1970s oil-on-canvas painting by F. Rispoli, revealing lipid alterations associated with aging.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 136-147"},"PeriodicalIF":3.3,"publicationDate":"2025-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145221309","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 : 2025-09-27DOI: 10.1016/j.culher.2025.09.008
Mauro Bernabei , Stefano Celletti
In his constant search for inspiration, William Turner embarked on numerous trips to Europe, especially Italy. The Italian landscape, rich in history and nature, profoundly influenced his artistic production, frequently resurfacing in his later paintings. During these trips, Turner produced a substantial number of sketches and some paintings, often of landscapes that were difficult to identify. One such painting, created during his second visit to Italy in 1828, was tentatively attributed to Civita di Bagnoregio (VT) or Pitigliano (GR). This study proposes to revisit these hypotheses in light of new geomorphological and topographical evaluations, suggesting an alternative site in the countryside of Tuscia (VT) that Turner visited in 1828. This location matches all systematically compared characteristics, including the painting’s essential compositional elements, such as a small road and bridge, situated in a similar landscape context.
{"title":"The Devil’s Bridge in Blera (VT, Italy) in a painting by William Turner","authors":"Mauro Bernabei , Stefano Celletti","doi":"10.1016/j.culher.2025.09.008","DOIUrl":"10.1016/j.culher.2025.09.008","url":null,"abstract":"<div><div>In his constant search for inspiration, William Turner embarked on numerous trips to Europe, especially Italy. The Italian landscape, rich in history and nature, profoundly influenced his artistic production, frequently resurfacing in his later paintings. During these trips, Turner produced a substantial number of sketches and some paintings, often of landscapes that were difficult to identify. One such painting, created during his second visit to Italy in 1828, was tentatively attributed to Civita di Bagnoregio (VT) or Pitigliano (GR). This study proposes to revisit these hypotheses in light of new geomorphological and topographical evaluations, suggesting an alternative site in the countryside of Tuscia (VT) that Turner visited in 1828. This location matches all systematically compared characteristics, including the painting’s essential compositional elements, such as a small road and bridge, situated in a similar landscape context.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 121-125"},"PeriodicalIF":3.3,"publicationDate":"2025-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145155846","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 : 2025-09-27DOI: 10.1016/j.culher.2025.08.002
Qing Wu , Jack Harrison , Patrycja Janina Petrasz , Lidia Mathys , Edith Joseph
We present a preliminary study of the cleaning of artificially tarnished silver mock-ups with several greener materials, including sodium glycinate, ethylenediamine-N,N’-disuccinic acid (EDDS), saponin, and deep eutectic solvents (DESs), in comparison to a commercial silver polish product. While sodium glycinate, EDDS and saponin did not show substantial cleaning effects on light silver tarnish, a two-step method combining (i) oxidative DESs and (ii) sodium glycinate-based suspension proved effective for the removal of heavy tarnish. However, observations via colorimetry, interferometry microscopy, optical microscopy, and scanning electron microscopy showed that this two-step method could lead to surface roughening. While clear scratches and over-polishing issues were observed on coupon surfaces cleaned by the commercial silver polish product, the use of a slurry composed of sodium glycinate, citric acid, glycerol and water resulted in optimal cleaning effects, despite its relatively low cleaning rate.
{"title":"A preliminary study of using greener materials including deep eutectic solvents (DESs) for the cleaning of silver tarnish","authors":"Qing Wu , Jack Harrison , Patrycja Janina Petrasz , Lidia Mathys , Edith Joseph","doi":"10.1016/j.culher.2025.08.002","DOIUrl":"10.1016/j.culher.2025.08.002","url":null,"abstract":"<div><div>We present a preliminary study of the cleaning of artificially tarnished silver mock-ups with several greener materials, including sodium glycinate, ethylenediamine-N,N’-disuccinic acid (EDDS), saponin, and deep eutectic solvents (DESs), in comparison to a commercial silver polish product. While sodium glycinate, EDDS and saponin did not show substantial cleaning effects on light silver tarnish, a two-step method combining (i) oxidative DESs and (ii) sodium glycinate-based suspension proved effective for the removal of heavy tarnish. However, observations via colorimetry, interferometry microscopy, optical microscopy, and scanning electron microscopy showed that this two-step method could lead to surface roughening. While clear scratches and over-polishing issues were observed on coupon surfaces cleaned by the commercial silver polish product, the use of a slurry composed of sodium glycinate, citric acid, glycerol and water resulted in optimal cleaning effects, despite its relatively low cleaning rate.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 126-135"},"PeriodicalIF":3.3,"publicationDate":"2025-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145155847","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 : 2025-09-25DOI: 10.1016/j.culher.2025.09.001
Yuehan Pan , Miaole Hou , Su Yang , Huabiao Li , Songze Wei , Hongchao Fan
Aiming to support intraoperative and quantitative analysis on 3D Buddhist models, this paper presents a new mechanism of integrating semantic and attribute information within 3D geometries of Buddhist statues using the CityGML Application Domain Extension (ADE). For this purpose, a framework is designed for the process of ADE development which includes the definition of component Thesaurus, the establishment of semantic structure, the development of logic and physical models. By deploying this framework, the ADE is developed to model Buddhist statues in any type with semantic and attribute information, because with this ADE it is possible to decompose a statue into small meaningful component and record semantic and attribute information with the geometries. The ADE is tested by interactively selecting and visualizing one component of a Buddhist statue and validate that capability of modelling. 3D Buddhist statues modeled using this ADE can then support automatic analysis and calculations. Hence, this research work is one of the fundaments for the digitalization in the domain of culture heritage.
{"title":"A CityGML ADE for modeling Buddhist statues in 3D with semantic information","authors":"Yuehan Pan , Miaole Hou , Su Yang , Huabiao Li , Songze Wei , Hongchao Fan","doi":"10.1016/j.culher.2025.09.001","DOIUrl":"10.1016/j.culher.2025.09.001","url":null,"abstract":"<div><div>Aiming to support intraoperative and quantitative analysis on 3D Buddhist models, this paper presents a new mechanism of integrating semantic and attribute information within 3D geometries of Buddhist statues using the CityGML Application Domain Extension (ADE). For this purpose, a framework is designed for the process of ADE development which includes the definition of component Thesaurus, the establishment of semantic structure, the development of logic and physical models. By deploying this framework, the ADE is developed to model Buddhist statues in any type with semantic and attribute information, because with this ADE it is possible to decompose a statue into small meaningful component and record semantic and attribute information with the geometries. The ADE is tested by interactively selecting and visualizing one component of a Buddhist statue and validate that capability of modelling. 3D Buddhist statues modeled using this ADE can then support automatic analysis and calculations. Hence, this research work is one of the fundaments for the digitalization in the domain of culture heritage.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 111-120"},"PeriodicalIF":3.3,"publicationDate":"2025-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145155849","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 : 2025-09-24DOI: 10.1016/j.culher.2025.09.010
Mila Crippa , Dominique Cardon , Diego Tamburini , Takumasa Kondo , Paula Nabais
{"title":"Corrigendum to “Lac Dye Colours: A Review of the Origin, History and Identification Techniques in Textiles” [Journal of Cultural Heritage 75 (2025) 307-325]","authors":"Mila Crippa , Dominique Cardon , Diego Tamburini , Takumasa Kondo , Paula Nabais","doi":"10.1016/j.culher.2025.09.010","DOIUrl":"10.1016/j.culher.2025.09.010","url":null,"abstract":"","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Page 99"},"PeriodicalIF":3.3,"publicationDate":"2025-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145155832","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 : 2025-09-24DOI: 10.1016/j.culher.2025.09.007
Pia Götz , David Melamed , Hendrik Bohling , Christine Brovkina , Istabraq Hussain , Nils Reims , Luca Junge , Dennis Hoffmann , Karolin Wiskandt , Ruth Schilling , Martin Hering-Bertram , Lucio Colombi Ciacchi
X-ray computed tomography (CT) has become a common method for conservators, historians and archaeologists to examine the interior of museum objects in a non-destructive way. This paper demonstrates an additional application of CT data sets. We namely show how the data can be processed and converted to interactive, computer-animated models embedded in web applications to bring back the historical objects to novel virtual life. This opens up a new way for museum visitors to interact with the virtual objects in both on-site and online exhibitions. The use of freely accessible software at all stages ensures that the involved costs remain accessible to public institutions. The approach is demonstrated using three technical instruments of historical significance spanning three centuries of maritime navigation: a pocket sundial, a maritime chronometer, and a pocket barometer manufactured in the 18th, 19th and early 20th centuries. Each object presents its own attributes and characteristics that require different approaches and solutions along the data process chains. The outcomes of these chains are interactive applications demonstrating the functionalities of the old instruments. This contributes to a better understanding of their modes of operation, and can focus the attention of the visitors to individual technical details, material composition and appearance, or other attributes of historical significance. The accessibility and appeal of the virtual objects results in a more immersive interaction experience facilitating a better transfer of knowledge to the visitors.
{"title":"Embedding of X-ray computed tomography data of cultural heritage objects in interactive web applications – old technical instruments brought back to novel virtual life","authors":"Pia Götz , David Melamed , Hendrik Bohling , Christine Brovkina , Istabraq Hussain , Nils Reims , Luca Junge , Dennis Hoffmann , Karolin Wiskandt , Ruth Schilling , Martin Hering-Bertram , Lucio Colombi Ciacchi","doi":"10.1016/j.culher.2025.09.007","DOIUrl":"10.1016/j.culher.2025.09.007","url":null,"abstract":"<div><div>X-ray computed tomography (CT) has become a common method for conservators, historians and archaeologists to examine the interior of museum objects in a non-destructive way. This paper demonstrates an additional application of CT data sets. We namely show how the data can be processed and converted to interactive, computer-animated models embedded in web applications to bring back the historical objects to novel virtual life. This opens up a new way for museum visitors to interact with the virtual objects in both on-site and online exhibitions. The use of freely accessible software at all stages ensures that the involved costs remain accessible to public institutions. The approach is demonstrated using three technical instruments of historical significance spanning three centuries of maritime navigation: a pocket sundial, a maritime chronometer, and a pocket barometer manufactured in the 18th, 19th and early 20th centuries. Each object presents its own attributes and characteristics that require different approaches and solutions along the data process chains. The outcomes of these chains are interactive applications demonstrating the functionalities of the old instruments. This contributes to a better understanding of their modes of operation, and can focus the attention of the visitors to individual technical details, material composition and appearance, or other attributes of historical significance. The accessibility and appeal of the virtual objects results in a more immersive interaction experience facilitating a better transfer of knowledge to the visitors.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 100-110"},"PeriodicalIF":3.3,"publicationDate":"2025-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145155848","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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