Pub Date : 2023-09-25DOI: 10.1080/00393630.2023.2260631
Piero Baglioni, David Chelazzi, Rodorico Giorgi, Giovanna Poggi
ABSTRACTThe application of Ca(OH)2 nanoparticles dispersed in short chain alcohols to adjust the pH of acidic cellulosic substrates (paper, canvas, and wood) has been introduced and largely assessed in conservation practice, and commercial products are available on the market. Recently, some concerns about this methodology were expressed in a technical note (‘A Note of Caution on the Use of Calcium Nanoparticle Dispersions as Deacidifying Agents’ by Cremonesi (2023)). The main criticism is that carbonation of the hydroxide particles into calcium carbonate could be too slow, and the Ca(OH)2 remaining on the fibers might cause structural damage to cellulose by producing high alkalinity in situ, when water absorbed by the alcohol dispersion or by the cellulose-based support causes dissociation in the nanoparticles. However, in Cremonesi’s note, no accurate description of the application method was given, and some fundamental information already present in the literature was overlooked. Here, we give a rebuttal of Cremonesi’s conclusions, providing: (1) further evidence that the correct application of the particles’ dispersions results in carbonation and in neutral pH values in a few days; and (2) an up-to-date literature survey, in which the Ca(OH)2 nanoparticles’ carbonation kinetics is studied in detail, and potential structural damage to cellulosic materials in an alkaline environment is evaluated and ruled out.KEYWORDS: DeacidificationpH adjustmentpaper restorationcalcium hydroxide nanoparticles AcknowledgementsThe Consorzio Interuniversitario per lo Sviluppo dei Sistemi a Grande Interfase, CSGI (Center for Colloid and Surface Science) is gratefully acknowledged for financial support.Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThis work was supported by CSGI.
{"title":"A Reply to ‘A Note of Caution on the Use of Calcium Nanoparticle Dispersions as Deacidifying Agents’","authors":"Piero Baglioni, David Chelazzi, Rodorico Giorgi, Giovanna Poggi","doi":"10.1080/00393630.2023.2260631","DOIUrl":"https://doi.org/10.1080/00393630.2023.2260631","url":null,"abstract":"ABSTRACTThe application of Ca(OH)2 nanoparticles dispersed in short chain alcohols to adjust the pH of acidic cellulosic substrates (paper, canvas, and wood) has been introduced and largely assessed in conservation practice, and commercial products are available on the market. Recently, some concerns about this methodology were expressed in a technical note (‘A Note of Caution on the Use of Calcium Nanoparticle Dispersions as Deacidifying Agents’ by Cremonesi (2023)). The main criticism is that carbonation of the hydroxide particles into calcium carbonate could be too slow, and the Ca(OH)2 remaining on the fibers might cause structural damage to cellulose by producing high alkalinity in situ, when water absorbed by the alcohol dispersion or by the cellulose-based support causes dissociation in the nanoparticles. However, in Cremonesi’s note, no accurate description of the application method was given, and some fundamental information already present in the literature was overlooked. Here, we give a rebuttal of Cremonesi’s conclusions, providing: (1) further evidence that the correct application of the particles’ dispersions results in carbonation and in neutral pH values in a few days; and (2) an up-to-date literature survey, in which the Ca(OH)2 nanoparticles’ carbonation kinetics is studied in detail, and potential structural damage to cellulosic materials in an alkaline environment is evaluated and ruled out.KEYWORDS: DeacidificationpH adjustmentpaper restorationcalcium hydroxide nanoparticles AcknowledgementsThe Consorzio Interuniversitario per lo Sviluppo dei Sistemi a Grande Interfase, CSGI (Center for Colloid and Surface Science) is gratefully acknowledged for financial support.Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThis work was supported by CSGI.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135864656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-22DOI: 10.1080/00393630.2023.2256626
Georgios P. Mastrotheodoros, Konstantinos G. Beltsios
ABSTRACTPainting manuals with technical and iconographical prescriptions served the needs of Greek icon painters during the post-Byzantine period. The circa 1730 CE Hermeneia of the art of painting was compiled by the hieromonk and icon painter Dionysius and is regarded as the most comprehensive pertinent Greek text. Dionysius’ Hermeneia was widely circulating among icon painters in the form of hand-written copies, many of which survive today. Most of these Hermeneia manuscripts are near-facsimiles of the Dionysius prototype text. Yet, two copies made by Father Ioannis Balpis, a Cretan icon painter, in 1782–83 CE offer an important expansion of the technical part. Here, the authors present the first ever translation of the hitherto unpublished Balpis’ Hermeneia technical additions that offer unique new insights into the materials and techniques of post-Byzantine painting. Moreover, through the critical evaluation of the Balpis additions, it is shown that the Dionysius technical part is by no means an exhaustive account of its contemporary technical knowledge.KEYWORDS: Painting manualpost-ByzantineHermeneia revisionpigmentgilding AcknowledgmentsThe authors express their sincere thanks to Dr. Agamemnon Tselikas, head of the Historical and Paleographical Archive of the National Bank of Greece Cultural Foundation, for granting permission to publish the Samos MS, as well as to Dr. Sofia Chandaka, Dr. Panorea Gaitanou, Ms. Panorea Benatou, and Mr. Sotirios Bekiaris from the Benaki Museum, for granting permission to publish and assisting the study of the Benaki Museum manuscript. Also, special thanks are due to Dr. Varvara Papadopoulou, Deputy Director of the Ioannina Ephorate of Antiquities, for providing access to the Byzantine Museum of Ioannina collection. GM expresses his gratitude to the State Scholarships Foundation (IKY) for providing financial support for this study. Finally, tke authors extend their gratitude to the three anonymous reviewers, who, through their thoughtful and constructive comments, contributed significantly to the improvement of this work.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 I.e., the period preceding the year 1453 CE, which corresponds to the seizure of Constantinople by Ottoman Turks and marks the beginning of the post-Byzantine period (1453–1830 CE).2 The standard Hermeneia text was translated to English by Paul Hetherington (Dionysius of Fourna Citation1996).3 This specific recipe, along with the recipe §52 that deals with oil painting on fabric, are of particular interest. Given the fact that these very recipes exist in a Dionysius’ source that obviously predates the compilation of the Hermeneia (ca. 1730), they clearly suggest that oil painting and textile substrates were employed by Greek painters prior to the emergence of the On painting manual (Δοξαράς Citation1871). The latter deals almost exclusively with various theoretical and practical aspects of oil painting,
{"title":"The Balpis Expansion of the Technical Part of the <i>Hermeneia</i> Painting Manual by Dionysius of Fourna","authors":"Georgios P. Mastrotheodoros, Konstantinos G. Beltsios","doi":"10.1080/00393630.2023.2256626","DOIUrl":"https://doi.org/10.1080/00393630.2023.2256626","url":null,"abstract":"ABSTRACTPainting manuals with technical and iconographical prescriptions served the needs of Greek icon painters during the post-Byzantine period. The circa 1730 CE Hermeneia of the art of painting was compiled by the hieromonk and icon painter Dionysius and is regarded as the most comprehensive pertinent Greek text. Dionysius’ Hermeneia was widely circulating among icon painters in the form of hand-written copies, many of which survive today. Most of these Hermeneia manuscripts are near-facsimiles of the Dionysius prototype text. Yet, two copies made by Father Ioannis Balpis, a Cretan icon painter, in 1782–83 CE offer an important expansion of the technical part. Here, the authors present the first ever translation of the hitherto unpublished Balpis’ Hermeneia technical additions that offer unique new insights into the materials and techniques of post-Byzantine painting. Moreover, through the critical evaluation of the Balpis additions, it is shown that the Dionysius technical part is by no means an exhaustive account of its contemporary technical knowledge.KEYWORDS: Painting manualpost-ByzantineHermeneia revisionpigmentgilding AcknowledgmentsThe authors express their sincere thanks to Dr. Agamemnon Tselikas, head of the Historical and Paleographical Archive of the National Bank of Greece Cultural Foundation, for granting permission to publish the Samos MS, as well as to Dr. Sofia Chandaka, Dr. Panorea Gaitanou, Ms. Panorea Benatou, and Mr. Sotirios Bekiaris from the Benaki Museum, for granting permission to publish and assisting the study of the Benaki Museum manuscript. Also, special thanks are due to Dr. Varvara Papadopoulou, Deputy Director of the Ioannina Ephorate of Antiquities, for providing access to the Byzantine Museum of Ioannina collection. GM expresses his gratitude to the State Scholarships Foundation (IKY) for providing financial support for this study. Finally, tke authors extend their gratitude to the three anonymous reviewers, who, through their thoughtful and constructive comments, contributed significantly to the improvement of this work.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 I.e., the period preceding the year 1453 CE, which corresponds to the seizure of Constantinople by Ottoman Turks and marks the beginning of the post-Byzantine period (1453–1830 CE).2 The standard Hermeneia text was translated to English by Paul Hetherington (Dionysius of Fourna Citation1996).3 This specific recipe, along with the recipe §52 that deals with oil painting on fabric, are of particular interest. Given the fact that these very recipes exist in a Dionysius’ source that obviously predates the compilation of the Hermeneia (ca. 1730), they clearly suggest that oil painting and textile substrates were employed by Greek painters prior to the emergence of the On painting manual (Δοξαράς Citation1871). The latter deals almost exclusively with various theoretical and practical aspects of oil painting,","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136061253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-12DOI: 10.1080/00393630.2023.2256122
Mathilde Tiennot, Odile Majérus, Daniel Caurant, Gilles Bastian, Myriam Eveno, Elisabeth Ravaud
Colourless glass particles are found in oil painting layers from the fifteenth-seventeenth centuries. Several historical sources mention the use of finely ground glass powder as a solid drier. In order to assess the siccative effect of glass particles added to paint, this research focused on red lake reconstructions and followed their natural drying using Fourier transform infrared (FTIR) analysis. Three glasses with different sodium-potassium and manganese contents were studied. Significant differences in drying rates were observed in each of the samples, indicating a relationship between both the composition – either enriched with or without manganese – and the size of the glass particles added as siccatives. This FTIR approach highlights several complex mechanisms involved in the drying effect of glass powders mixed in paint layers.
{"title":"Colourless Powdered Glass as a Drier for Red Lakes: On the Influence of Composition and Particle Size","authors":"Mathilde Tiennot, Odile Majérus, Daniel Caurant, Gilles Bastian, Myriam Eveno, Elisabeth Ravaud","doi":"10.1080/00393630.2023.2256122","DOIUrl":"https://doi.org/10.1080/00393630.2023.2256122","url":null,"abstract":"Colourless glass particles are found in oil painting layers from the fifteenth-seventeenth centuries. Several historical sources mention the use of finely ground glass powder as a solid drier. In order to assess the siccative effect of glass particles added to paint, this research focused on red lake reconstructions and followed their natural drying using Fourier transform infrared (FTIR) analysis. Three glasses with different sodium-potassium and manganese contents were studied. Significant differences in drying rates were observed in each of the samples, indicating a relationship between both the composition – either enriched with or without manganese – and the size of the glass particles added as siccatives. This FTIR approach highlights several complex mechanisms involved in the drying effect of glass powders mixed in paint layers.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"135 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135885439","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-11DOI: 10.1080/00393630.2023.2252693
Marco Zuccolo, Valeria Leoni, Gigliola Borgonovo, Stefania Mazzini, Maria Antonietta Tovini, Federico Troletti, Francesca Cocchi, Angela Bassoli, Annamaria Giorgi
{"title":"How Different Analytical and Stylistics Investigations Can Help in Describing Artefacts Made of Non-coeval Parts: the <i>Imago Pietatis</i> in Breno","authors":"Marco Zuccolo, Valeria Leoni, Gigliola Borgonovo, Stefania Mazzini, Maria Antonietta Tovini, Federico Troletti, Francesca Cocchi, Angela Bassoli, Annamaria Giorgi","doi":"10.1080/00393630.2023.2252693","DOIUrl":"https://doi.org/10.1080/00393630.2023.2252693","url":null,"abstract":"","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136024576","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-10DOI: 10.1080/00393630.2023.2250195
Olga Jarmulkiene, Milda Liubiniene, Aldona Beganskiene
{"title":"Stabilization of Iron Gall Ink Damaged Paper with Nanosized Magnesium Hydroxide and Antioxidants","authors":"Olga Jarmulkiene, Milda Liubiniene, Aldona Beganskiene","doi":"10.1080/00393630.2023.2250195","DOIUrl":"https://doi.org/10.1080/00393630.2023.2250195","url":null,"abstract":"","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136072352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-10DOI: 10.1080/00393630.2023.2256130
Georgina Rayner, Narayan Khandekar, Katherine Eremin, Daniel P. Kirby, Andrew Shortland
Bark paintings represent a unique artform that originated in Australia and continues to this day. This paper presents a scientific investigation into both the pigments and binders used by Aboriginal artists from across the Northern Territory (NT) and the Kimberley region in Western Australia (WA) and represents the first major study dedicated to identifying these materials in samples taken from paintings. Laser ablation-inductively coupled plasma-mass spectrometry (LA-ICP-MS), Fourier transform infrared (FTIR) and Raman spectroscopy were used to identify the pigments in the four colors commonly associated with works by Aboriginal artists: red, yellow, black, and white. Iron oxides are used for red and yellow. Typically, kaolin is used for white and carbon or natural manganese ores are used for black, although the use of other pigments such as huntite (white) and battery black were seen in paintings from specific locations. Evidence of trade could not be established during this study; however, analysis shows that artists may use different pigments based on location and availability. A combination of FTIR and pyrolysis-gas chromatography-mass spectrometry (pyrolysis-GC-MS) was utilized to investigate the presence of a binder in the paint. Plant-based materials were identified as the binder in the majority of the paintings. The use of orchid juice was common, both as a preparatory layer on the bark substrate and as a paint binder. The presence of synthetic resins was more widespread than anticipated, attributed to both conservation efforts and more modern painting practices.
{"title":"Pigments and Binders Used in Bark Paintings by Aboriginal Artists from Across the Northern Territory and the Kimberly Region in Western Australia","authors":"Georgina Rayner, Narayan Khandekar, Katherine Eremin, Daniel P. Kirby, Andrew Shortland","doi":"10.1080/00393630.2023.2256130","DOIUrl":"https://doi.org/10.1080/00393630.2023.2256130","url":null,"abstract":"Bark paintings represent a unique artform that originated in Australia and continues to this day. This paper presents a scientific investigation into both the pigments and binders used by Aboriginal artists from across the Northern Territory (NT) and the Kimberley region in Western Australia (WA) and represents the first major study dedicated to identifying these materials in samples taken from paintings. Laser ablation-inductively coupled plasma-mass spectrometry (LA-ICP-MS), Fourier transform infrared (FTIR) and Raman spectroscopy were used to identify the pigments in the four colors commonly associated with works by Aboriginal artists: red, yellow, black, and white. Iron oxides are used for red and yellow. Typically, kaolin is used for white and carbon or natural manganese ores are used for black, although the use of other pigments such as huntite (white) and battery black were seen in paintings from specific locations. Evidence of trade could not be established during this study; however, analysis shows that artists may use different pigments based on location and availability. A combination of FTIR and pyrolysis-gas chromatography-mass spectrometry (pyrolysis-GC-MS) was utilized to investigate the presence of a binder in the paint. Plant-based materials were identified as the binder in the majority of the paintings. The use of orchid juice was common, both as a preparatory layer on the bark substrate and as a paint binder. The presence of synthetic resins was more widespread than anticipated, attributed to both conservation efforts and more modern painting practices.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136072339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-10DOI: 10.1080/00393630.2023.2253662
Jose A. Madrid García, Effat Yahaghi, Amir Movafeghi, Mahdi Mirzapour
{"title":"Improved Utilization of Radiographs of Ancient Metal Objects under Heterogeneous Image Blurring","authors":"Jose A. Madrid García, Effat Yahaghi, Amir Movafeghi, Mahdi Mirzapour","doi":"10.1080/00393630.2023.2253662","DOIUrl":"https://doi.org/10.1080/00393630.2023.2253662","url":null,"abstract":"","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136072844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-13DOI: 10.1080/00393630.2023.2241246
J. Kemp
{"title":"Conservators, Creativity, and Control","authors":"J. Kemp","doi":"10.1080/00393630.2023.2241246","DOIUrl":"https://doi.org/10.1080/00393630.2023.2241246","url":null,"abstract":"","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42439208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-27DOI: 10.1080/00393630.2023.2236376
Han Huarui, Bai Wenlong, Liu Dawei, Han Jianhua
{"title":"Comprehensive Research on the Layered Corrosion of Archaeological Copper Wares: A Case Study from Qinghai, China","authors":"Han Huarui, Bai Wenlong, Liu Dawei, Han Jianhua","doi":"10.1080/00393630.2023.2236376","DOIUrl":"https://doi.org/10.1080/00393630.2023.2236376","url":null,"abstract":"","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47898354","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-17DOI: 10.1080/00393630.2023.2235222
Namık Kılıç, A. Kılıç
{"title":"Evaluation of the Polyethylene Glycol Impregnation and Vacuum Freeze-Drying Method for Waterlogged Archaeological Wood: Conservation of the Yenikapı 1 Shipwreck","authors":"Namık Kılıç, A. Kılıç","doi":"10.1080/00393630.2023.2235222","DOIUrl":"https://doi.org/10.1080/00393630.2023.2235222","url":null,"abstract":"","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41357295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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