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The Victoria and Albert Museum (V&A) has a fine collection of mid-eighteenth to early nineteenth-century Chinese painted silks produced for the European export market, including items of costume, f...

Ki-Hoon Shin Cheul-Woo Park Dong-Won Son Nam-Gi LimAbstractCharacteristics of heating and drying of Canadian-imported Douglas-fir timber using microwave in order to secure convenienceand quality of drying timber and to get basic data for secondary conservation treatment are as follows: As the results of analysisof change curves of internal temperature of the timber after irradiating it, round timber and board timber showed stable heat distribution, heat consumption and surface water-content in heating with 30kW for 30 minutes and 120 minutes and with 40kW for 3 minutes and 9 minutes, respectively. Especially, surface water-content distribution according to heating by microwave showed very even leveling and water-content decrease rate was also more 30% compared to its weight showing excellent dry efficiency.And in case of soaking timbers into liquid chemicals for secondary conservation according to the analysis results of heat consumption, it is expected that large amount of preservative will be permeated. Therefore, timber heated by microwave is remarkably available for using industrial materials and developing secondary utilized products with its fast water-content decreaseand dryness and higher heat consumption. Keywords : Microwave, Douglas fir, Heating schedule, Heat distribution, Heat consumption

A collection of 1980s Mexican rubberised cotton garments was investigated in order to assess conservation treatment options, to improve their long term storage conditions and to investigate the origin of the strong odour associated with the garments. Chemical and mechanical deterioration of the rubber was confirmed by Fourier transform infrared (FTIR) spectroscopy and scanning electron microscopy (SEM). Recommendations for remedial conservation were made after re-shaping tests using the application of gentle heat. Passive diffusion tube sampling was carried out to assess the levels of acids, aldehydes and VOCs emitted from the garments. Very high concentrations of acetic acid off-gassing were confirmed and deemed a risk to the cotton fabric. Test set-ups in sealed ambient and anoxic conditions, with and without the inclusion of MicroChamber® paper, showed the effectiveness of this pollutant sorbent in reducing acetic acid levels as well as general odour emitted by the garments.

Consolidation treatments are commonly employed in museum conservation studios for treating biologically deteriorated wooden cultural heritage objects. Impregnation using either a solvent/resin or a polymerizing system is an example of such an intervention, which is often difficult to describe in terms of its behavior within the object’s structure. A new simple method has been devised to evaluate the effectiveness of these impregnation treatments in terms of spatial distribution of consolidant solution. A combination of digital radiography and imaging analysis has permitted to evaluate the degree of penetration of a consolidant and to determine its location within the artifact by studying the X-ray images taken before, during, and after treatment. The adequacy of polymer solutions or their effectiveness as wood consolidants is properties which are often difficult to investigate due to limited visual access to the interior of the object. The proposed method provides an alternative way of studying these parameters through analysis of X-ray attenuation recorded on two images: taken before and after the conservation treatment. The resulting image is then converted into a two-dimensional map of consolidation agent within the object using a straightforward calibration procedure.

Blistering occurring at the stone’s subsurface layer is easily overlooked compared to different deterioration types, so conservation treatments are not applied often. Therefore, non-destructive detection and mapping of blistering zones with the infrared thermography are very important for preservation of the original forms of stone monuments. In this study, the critical temperature and transitional zone of the blistering zone were established by drawing the temperature distribution curve and the mapping for blistering zone was completed by monochrome process and extraction of vector lines. Analysis of the blistering deterioration degree of the Magoksa Temple stone pagoda with the quantitative modeling yielded a total area and average rate of blistering zones of approximately 2.6 m2 and 7.4%, respectively. Thus, there is a high probability of scaling on the stone pagoda (area of approximately 2.6 m2) if conservation treatment is not applied to the blistering zones as early as possible. Therefore, the blistering zones require joining and filling, and state changes of the blistering zones should be continuously monitored after completion of the intensive conservation treatments. Modeling will improve the reliability of deterioration maps by mapping for blistering zone; most deterioration maps to date have overlooked blistering zones.

Recording materials are the valuable historical and cultural parts themselves as well as the methods for exchanging informations. Therefore, the appropriate conservation treatments should be conducted to the recording materials respectively. In case of the paper records, some particular conservation treatments such as a deacidification and a sterilization are necessary to prevent both bio and chemical deteriorations.In this research, the nano-scaled ZnO and MgO with 10~30㎚ size were prepared for the effective and stable conservation treatment of the paper records. Deacidification and sterilization effect of nano compounds were excellent and since nano compounds had almost 100% purity(free from Pb, Cd, As), the additional damages caused by the heavy and toxic metals should not be occur to the books and papers. Key Words : Nano-sized metal oxide, ZnO, MgO, Deacidification, Sterilization 본 논문은 행정안전부 국가기록원 재원으로 2012년 기록보존기술 연구개발사업의 지원을 받아 수행된 연구임 . * Corresponding Author : Jin-Wook Ha(Soonchunhyang Univ.)Tel: +82-10-9171-5542 email: chejwh@sch.ac.krReceived December 5, 2013 Revised February 4, 2014 Accepted February 5, 2014

The removal of overpaintings from valuable easel paintings represents a very difficult challenge, which is traditionally approached using solvents and moderate mechanical actions. Here, we explore for the first time the potential of Long Q-Switching Nd:YAG (1,064 nm) laser with a pulse duration of 120 ns for selective ablation of overpainting layers. Mock-ups were prepared in order to approach in a systematic way a concrete uncovering problem concerning a modern painting on canvas. The former were prepared according to the stratigraphy and material compositions of the latter, as measured using optical and ESEM-EDX microscopy along with infrared and portable Raman spectroscopy. The parameterization achieved on the mock-ups allowed interpreting and maximizing the selectivity of the laser conservation treatment carried out on the real case.

A Japanese painting on paper, in the form of a horizontal scroll from the Stibbert Museum in Florence, is being treated at the ISCR Paper Conservation Laboratory. The scroll, entitled Bamo Dōi-zu represents 33 different types of horses. Although there is no author's seal, it has been attributed to the famous Japanese artist, Kanō Sansetsu (1589–1651). Before conservation treatment, the artefact underwent technical and scientific examination in order to identify its materials and determine its conservation condition. As sampling paint layers from paintings on paper is extremely invasive, non-destructive techniques such as X-ray fluorescence spectroscopy, Raman spectroscopy, Fourier transform infrared spectroscopy, and spectrophotometry were employed. Several points from the paper support were analysed: the metal-leaf decorations, the seals and calligraphy, as well as the painted horses. Results detected and revealed a very simple palette: cinnabar (or its synthetic equivalent vermillion), shell whi...

The Archaeological Site La Pintada is located near Hermosillo, Sonora, Mexico; this is one of the most important sites in the region due to its extension and wide archaeological evidence. This site was a gathering point for various indigenous groups since the pre-Hispanic age to the first contacts with the Spanish conquerors; they left their live experiences and worldview in the form of rock paintings along a wide natural canyon. Several of these paintings are in risk due to weathering processes of their rock support: the volcanic tuff.In order to preserve these paintings the characterization of the volcanic tuff was made with petrographic analyses and X-Ray Diffraction, and among with the results obtained from environmental monitoring, different degrees of alteration were established. According to these results, the conservation treatment proposed was the consolidation of the tuff.The consolidants used for this treatment were alkoxysilanes in two variations: Silicate and alumino-silicate which were developed in Mexico for volcanic tuff consolidation. The consolidants were synthetized in the laboratory, and afterwards were tested on powders and cubic probes of the rock in Hermosillo’s environmental conditions (24°C, 45%RH).The consolidants were tested in two different types of application: aspersion and injection. The consolidated probes were evaluated for hardness, water absorption and color change. Afterwards, in situ tests were performed. The results of this evaluation showed that the Silicate consolidant was the best for this treatment, since it was easy to manipulate, improved the rock’s properties and did not cause a change appearance; making this Mexican material suitable for the conservation of the rock paintings.

In 2007, a web-based survey of book conservation practices was conducted to document standard-practice, moderate-use, and low-use book conservation treatments for general and special collections in research libraries in the United States. This paper reports on the findings of a ten-year follow-up survey conducted in 2017 to determine whether and how book conservation treatment practices have changed over the last ten years. Overall, the data indicate that while general collections treatment practices have remained consistent, special collections practices continue to evolve, with many treatments newly qualifying as standard practice in the special collections context since 2007. The data also suggest areas of further research, including how demographic factors may correlate with particular treatment practices.

The removal of iron corrosion products is considered necessary in textile conservation and it is usually undertaken by the application of chelating agents. The efficacy of the various chelating agents is not always known and therefore, non-destructive analytical methods are often used to assess their performance. In the present work, Energy Dispersive X-ray fluorescence (EDXRF) spectroscopy was used to determine iron in textile samples before and after cleaning. It was shown that EDXRF provides a simple, rapid, non-destructive technique to determine the efficiency of iron removal after conservation treatment in textiles.

The removal of sulphate-based crusts from stone artworks using sulphate-reducing bacteria (SRB) has been proven to be an effective cleaning procedure. However, some concerns still remain: it is a time-consuming process when the crust is thick, and it is not clear how the biotechnological approach can fit within a complex conservation treatment. To address these challenges, the effects of an SRB strain ( Desulfovibrio vulgaris subsp. vulgaris ATCC 29579) coupled with a non-ionic detergent pre-treatment was studied on a stone column affected by black crusts. The coupling of the two treatments removed the black crust without affecting the original sound marble, with 38% reduction in cleaning time. The combined method was later applied to a one-century-old artistic marble statue weathered by sulphate-based crusts and grey deposits. The detergent used alone effectively removed the grey deposit, but not the black crust. However the co-treatment synergy resulted in the complete removal of the black crust layers, with the added advantages, compared to the biocleaning alone, of fewer biological applications and a 70% reduction in total cleaning time, but still retaining all the advantages of the biocleaning approach.

Z VII (1926), a painting by Hungarian-born artist Laszlo Moholy-Nagy in the collection of the National Gallery of Art, Washington, D.C., is striking for its richly varied surface, a quality unusual for his paintings from the period. Recent conservation treatment exposed a range of carefully calibrated and deliberate juxtapositions of smooth glossy and subtly textured matte paints on its surface. Subsequent scientific analysis conducted at the Gallery indicates that enamel paints were used discretely in several areas of the painting. This study addresses the use of these new materials in the artist's repainting of Z VII.

The Uiseong Tapriri Five-Storied Stone Pagoda (National Treasure No. 77) is typical stone cultural heritage in Unified Silla Dynasty, Korea. The pagoda has been occurred black, brown discoloration and microcrack, exfoliation, granularity decomposition with white discoloration because of continuous weathering. As the results of analysis for the contaminants, chemical weatherings are generated that black contaminant by manganese oxide, brown contaminant by iron oxide, white contaminants by gypsum and taranakite. And physical weatherings, such as microcrack, exfoliation, are occurred by salt(gypsum) crystallization. Therefore, these need to remove the contaminants according to the conservation treatment manual, and regular monitoring using P-XRF to preserve long-term the Five-Storied Stone Pagoda at Tapri-ri, Uiseong.

The challenge is described of devising a suitable treatment to hold the leather covering on a jousting reinforce or renntartsche in place while allowing flexibility of the leather. The piece, made for the court of Emperor Maximillian I for the Joust of War, dating from about 1500, was purchased in October 1952 by the Royal Armouries, having formerly belonged to the William Randolph Hearst collection based at St. Donat’s Castle, Glamorgan-shire. The armour was brought into the Royal Armouries Conservation Department, Leeds, as part of a refurbishment of the Tournament Gallery, Leeds, in spring 2010. The leather covering was split and cracked and was lifting away from the shield’s frame. As part of the conservation treatment, an x-ray examination revealed the unexpected reinforcement construction, the nature of which, and how that fits with accounts of the Joust of War in the pamphlet ‘The Triumph of Maximilian I’, are discussed.

This study was conducted to investigate the penetration of PEG for conservation treatment conditions of archaeological waterlogged wood. The weight percent gain was examined, depending on the solvent of PEG, concentration and treatment period and temperature of treatment solutions. The penetration of PEG in the cell lumina of treatment woods was observed by scanning electron microscope. The results showed that the type of solvents had no influence on PEG penetration. In the concentration of the PEG treatment solutions, the weight percent gains (WPGs) were increased with increase in concentration of PEG. In terms of the period of the soaking treatment, a maximum WPGs were obtained for only 20 days. There was no distinctive difference in the WPGs by difference the temperature of the treatment. In conclusion, in the conservation of small size of archaeological waterlogged wood, it is confirmed that optimal solvent type and treatment period of PEG are water and 20 days, respectively.

The Cotton Collection is one of the British Library's foundation collections and represents the single greatest known resource of medieval and early modern British history and literature. Its care and conservation are of great importance to allow access to the collection both now and in the future. The collection had suffered significant damage over the course of its history, most notably from two fires and unsuitable historical restoration treatments. This article discusses a project undertaken at the British Library to develop a strategy for the long-term preservation of the burnt Cotton Collection whilst increasing accessibility to the collection, and to provide a knowledge base for use when considering conservation of other similarly-damaged parchment manuscripts.The initial stage of the project involved a condition survey of the burnt volumes of the Cotton Collection, identifying those items which needed to be withdrawn from immediate use in the library due to their fragility. The results of ...

The wooden Ksitigarbha Triad Statues (Treasure No. 1749) of Shinhungsa temple in Sokcho are enshrined in the inside of the Myeonbujeon Hall. The Statues are highly damaged physical weathering which are crack and exfoliation. Also, the Statues were deteriorated by chemical and biological weathering. This study carried out nondestructive method as deterioration map, ultrasonic measurement, X-ray and endoscopy survey for deterioration evaluation and conservation plan. As a result, Ksitigarbha Statue coated by dust and various pollutants. And gold-gilt of Statue`s surface has peeled off. Head part of Mudokguiwang Statue was discolored from water leak in Myeongbujeon Hall. Domyeongjonja Statue is highly damaged by insects. Result of endoscopy, there were bee hives in the inside of the Statue. Therefore, we suggest that these Statues have need to do conservation treatment on the basis of diagnostic results.

The painted folding screen of Crown Prince Munhyo at Boyangcheong, Munhyo-seja Boyangcheonggyebyung, was made to record the court ceremony where Crown Prince Munhyo(1782-1786), the firstborn son of King Jeongjo, met his first teacher called Boyanggwan for the first time at Boyangcheong, a government agency specifically founded to provide education for a crown prince, in January 1784. Having never been treated before, this 8-fold screen is still in its original presentation of Joseon Dynasty screen paintings of court ceremonies in the 18th century. The mountings of folding screens in Joseon Dynasty has been researched through the study of the mounting of the Boyangcheong screen and the conservation treatment of the screen has been based on this research. The result of the pigment analysis shows the use of lead white, red lead, vermilion(cinnabar), azurite, malachite, litharge(massicot), carbon black(Chinese ink). The microscopic observation has proved that the painting was painted on verso in most areas and finished on recto to highlight the details or to produce subtle hues by applying light colors.

George Hunzinger (active 1860–1898) was an innovative furniture designer who inspired many with his unique manufacturing and production techniques. This paper discusses treatment of one of Hunzinger's innovations, a cantilevered seat scroll front edge armchair owned by the Munson-Williams-Proctor Arts Institute in Utica, New York. Although it no longer had its original show cover, and the profile of the seat had been dramatically altered during a previous reupholstery campaign, evidence of original materials was discovered during treatment. An identical chair, owned by the Brooklyn Museum of Art, that retained not only its original upholstery but also the true profile of the seat, provided crucial information for this treatment project. This paper presents information on the chair's construction and materials used to reupholster it as well as methods employed to re-create the original profile of the tufted seat. As part of the treatment, the ornate tufted seat with a vertical center decorative pan...

Breast-conserving approaches aim to attain better aesthetic results in addition to local control and achieving survival rates equivalent to mastectomy in patients with breast cancer. While the oncologic outcome of breast conserva- tion procedures is easily estimated objectively by disease-free and overall survival rates, the cosmetic outcome has no standard of evaluation. Although breast conservation techniques have been widely studied, different forms of evaluation and heterogeneous working practices have contributed to different aesthetic results. As this scenario suggests, the evalua- tion of aesthetic results should be mandatory in any institution performing breast cancer treatment, contributing to the im- provement of current strategies by enabling the identification of variables which have a significant impact on the final aes- thetic result. In the process of assessing cosmetic outcomes there are several important issues that should be considered: which factors have a crucial impact on the cosmetic outcome of Breast Cancer Conservation Treatment (BCCT); which parameters or features should be evaluated in the cosmetic assessment of BCCT; how patients are evaluated; which scales are used in this evaluation; which methods and technological solutions are available for the evaluation of cosmetic results of BCCT. In this paper we try to discuss all these questions, with an emphasis on the objective methods and corresponding tech- nologies used in the aesthetic evaluation of BCCT. The most relevant publications related to the mentioned topics are pre- sented, critically analysed and put in chronological perspective. Current and future trends are also discussed.

The Hongjimun Ogansumun (Five-arched floodgates) is composed mainly of biotite granite, pink feldspar granite and granodiorite that are very similar with granitic rocks around the Seoul. Main damage in the floodgates was gray, yellow and predominantly white discoloration on the surface of stone blocks. All floodgates showed more discoloration in the wall than ceiling, and there were growing stalactite on the ceiling. Scientific analyses determined that the white discoloring substrates were mainly calcite. Therefore, conservation treatment was carried out to remove the substrates by using dry cleaning, high pressure cleaning and chemicals. The floodgates have been restored to good state, but it is still significantly necessary to install drainage on the top of the gates.

Chil-sa head-wear excavated in Buksandong of Ulsan is precious relic with historical, cultural, social and artistic values because it shows head-wear shape at the period of Goryeo dynasty with the invaluable worth in the field of Korean traditional costumes. Also, this excavated head-wear provides the empirical information about Goryeo dynasty which has relatively insufficient remains. The purposes of this study are to recover and maintain the original states of the artifacts from various environmental factors and then to preserve the materials from rapid decomposition. As a result, the original shape of the head-wear from Goryeo dynasty can be conserved and through the material and structure analysis it is found out that the head-wear`s surface structure is composed of silk(紗) and the ground structure is made by bamboo(竹絲).

This article examines how popular music and its material culture have been exhibited within museums. More specifically, it is concerned with how decision-making and processes within museums impact on how materials are interpreted and presented to museum visitors. The article uses one central case study relating to a highly mythologised moment within popular music history, claimed as the starting point of the Beatles. On 6 July 1957, John Lennon, member of the Quarrymen, was introduced to Paul McCartney at St Peter’s Church fete in Liverpool. Consideration will be given to how the church stage on which the Quarrymen played, along with a sound recording of their performance, have been presented within displays by National Museums Liverpool. Drawing on interviews with staff, the article will discuss how the curatorial and conservation treatment of the stage aimed to intensify its connection to a moment in history. It will also discuss to what extent a sound recording can capture and communicate the ‘presentn...

This paper describes the conservation treatment at the Monastery of St Catherine, Sinai of an illuminated manuscript preserved in an important but severely damaged sixteenth-century Greek-style Sinai binding. The conservation treatment aimed to restore functionality to this binding with minimum intervention enabling the important manuscript to travel to an exhibition. The repair techniques evolved during treatment as the two conservators studied and used the techniques of the original binder. The repair included the partial in situ re-sewing of the manuscript, working around and supplementing the original sewing, and reattaching the wooden bookboards. The primary endbands were repaired to preserve and support the unique secondary metal-thread endbands and a new method was devised to repair an interlaced clasp-strap. The planning, as well as the working methods and techniques described, highlight new avenues both for the conservation of Byzantine manuscripts and for future conservation at this important library.

In this study, an enameled glass mosque lamp in the Brooklyn Museum collection is investigated to elucidate the origin and date of production of each of its components—the body, handles, wick-holder, and foot—to establish whether the lamp was produced during the Mamluk period (13th–14th century) or is a 19th-century European creation. Using X-ray fluorescence spectrometry and scanning electron microscopy with energy dispersive X-ray spectrometry (SEM–EDS), the body, handles, and wick-holder were found to exhibit identical composition. The lamp’s foot, however, presents a dissimilar composition, one significantly richer in sodium, magnesium, and potassium. The matrix compositions, colorants, and opacifiers of the body’s enamel decorations were characterized by SEM–EDS and Raman spectroscopy analyses and compared with Mamluk and 19th-century production. The lamp’s body, handles, and wick-holder were produced using the same type of glass, one likely incorporating a plant ash flux typical of medieval Islamic glass. Materials composing the body’s enamel decorations are consistent with Mamluk production. The foot’s distinct composition indicates that it is a later addition to the object. Combining the analytical, stylistic, and historical evidences, this glass lamp can now be identified as a Mamluk example, one of few comprising an integral wick-holder. The presence of a wick-holder is discussed and connected to the small size of the lamp. Details informing understanding of the lamp’s manufacture are also included. The implications of these new findings on the object’s conservation treatment and display are discussed in the context of the upcoming reinstallation of the Arts of the Islamic World gallery at the Brooklyn Museum.

To assess the accuracy of virtual cleaning of Old Master paintings (i.e. digital removal of discolored varnishes), a physical model was developed and experimentally tested using reflectance imaging spectroscopy on three paintings undergoing conservation treatment. The model predicts the reflectance spectra of the painting without varnish or after application of a new varnish from the reflectances of the painting with the aged varnish, given the absorption of the aged varnish and the scattering terms. The resulting color differences between the painting actually and virtually cleaned can approach the perceivable limit. Residual discrepancies are ascribable to spatial variations in the characteristics of the aged varnish (scattering, optical thickness) and the exposed painting (surface roughness). (C) 2015 Optical Society of America

Multidisciplinarna studija o temi naslova počela je u sklopu konzervatorsko-restauratorskog zahvata koji je izveden in situ 2006. - 2011. godine, a razvijala se postupno i slojevito gotovo deset godina. Polazna kompleksnost shvaćanja i daljnjeg objašnjenja današnje kompozicije oltara seže duboko u povijest katedrale, dotičući i pitanje prvog arhitektonskog koncepta svetišta u vrijeme pretvorbe antičkog mauzoleja u crkvu posvećenu Uznesenju Blažene Djevice Marije. To dugo razdoblje rekonstruirano je promatranjem i bilježenjem povijesnih tragova na raznorodnim materijalima u svetištu, njihovim Tehnološkim i kronološkim analizama, kao i obradom do sada otkrivenih povijesnih izvora i radova niza autora koji su istraživali pojedine aspekte povezane s tom temom. Naposljetku je prikupljeni materijal strukturiran kronološki kao prikaz konstrukcije oltara i njegova povijesnog razvoja, opsežan onoliko koliko je to moguće u ovom trenutku. Članak je nastavak prethodnoga rada iste autorice iz 2014. godine, u kojem je obrađen povijesni razvoj istočne niše s oltarom i svetišta s drvenim korom, i to multidisciplinarnom obradom tragova na materijalima koji su bili polazište i uporište istraživanja, dakle dokazi predložene kronologije razvoja cjeline. Zamišljeno je da zajedno tvore bazu tehničkih i povijesnih podataka koja će se preispitivati, redefinirati i dopunjavati na temelju novih otkrića. Istraživanje se nastavlja prema istom modelu, obuhvaćajući tehnološke analize drvene građe, konstrukcije, obrade i polikromije naslona romaničkih sjedala koja su danas u koru katedrale, te monumentalne romaničke vratnice, čija se izvorna faza i povijesne preinake dovode u vezu najprije s romaničkim izgledom svetišta, a onda u svim kasnijim fazama njegova razvoja, do suvremenih izazova očuvanja i prezentacije., The multidisciplinary study of the subject originated from a conservation treatment conducted in situ from 2006 to 2011 and has developed gradually and across the board over the course of almost ten years. The initial complexity in how the existing composition of the altar was understood and interpreted has extended, in almost the same way, deep into the cathedral history, touching upon the question of the first architectural design for the sanctuary at the time the Roman mausoleum was being transformed into a church dedicated to the Assumption of the Blessed Virgin Mary. This long period has been reconstructed by observation and the recording of historical traces on the diverse kinds of materials in the sanctuary, the technological and chronological analyses of them, as well as by consulting published sources and works by many authors who researched individual aspects of this subject. Finally, the collected material was structured chronologically into a timeline of the altar’s construction and historical development, in the extent possible at this stage. This article is a follow up to an earlier one by the same author. The 2014 article discussed the historical development of the east niche with the altar and of the sanctuary with the wooden choir through a multidisciplinary analysis of traces on the materials. These were the starting point and basis for the research, therefore proofs for the proposed chronology of development of the ensemble. It was envisaged for the articles to together form a basis of technical and historical data that would be further questioned, redefined and supplemented with new discoveries. The research continues according to the same model, encompassing technological analyses of the wooden material, structure, carving and polychromy of the backrests of the Romanesque choir stalls that are presently located in the cathedral choir. Also under way is the research of the monumental Romanesque doors whose original phase, along with their historical alterations, is first brought into connection with the Romanesque character of the sanctuary and then, through all subsequent phases of it development, with the contemporary challenges of protection and presentation.

The diffusion of the organic-polymeric or inorganic-mineral products inside a decayed porous material is a key factor for the evaluation of the efficacy of a conservation treatment. Here, we present a study aimed at the evaluation of neutron imaging as a non-destructive tool for the investigation of stones treated with ammonium oxalate, an inorganic-mineral product. Neutron tomography gained an overview of products diffusion and deep insight into the interaction between product and crystalline matrix.

The painting Saul and David, considered to date from c. 1652 and previously attributed to Rembrandt van Rijn and/or his studio, is a complex work of art that has been recently subjected to intensive investigation and conservation treatment. The goal of the research was to give insight into the painting's physical construction and condition in preparation for conservation treatment. It was also anticipated that analysis would shed light on authenticity questions and Rembrandt's role in the creation of the painting. The painting depicts the Old Testament figures of King Saul and David. At left is Saul, seated, holding a spear and wiping a tear from his eye with a curtain. David kneels before him at the right playing his harp. In the past, the large sections with the life-size figures were cut apart and later reassembled. A third piece of canvas was added to replace a missing piece of canvas above the head of David. As part of the investigation into the authenticity of the curtain area, a number of paint micro samples were examined with LM and SEM-EDX. Given that the earth, smalt and lake pigments used in the painting could not be imaged with traditional imaging techniques, the entire painting was also examined with state of the art non-destructive imaging techniques. Special attention was devoted to the presence of cobalt-containing materials, specifically the blue glass pigment smalt considered characteristic for the late Rembrandt. A combination of quantitative electron microprobe analysis and macroscopic X-ray fluorescence scanning revealed that three types of cobalt-containing materials are present in the painting. The first type is a cobalt drier that was found in the overpaint used to cover up the canvas inset and the joins that were added in the 19th century. The other two Co-containing materials are part of the original paint used by Rembrandt and comprise two varieties of smalt, a K-rich glass pigment that derives its gray-blue color by doping with Co-ions. Smalt paint with a higher Ni content (NiO:CoO ratio of around 1:4) was used to depict the blue stripes in Saul's colorful turban, while smalt with a lower Ni content was employed (NiO:CoO ratio of around 1:5) for the broad expanses of Saul's garments. The presence of two types of smalt not only supports the recent re-attribution of the painting to Rembrandt, but also that the picture was painted in two phases. Saul's dark red garment is painted in a rough, "loose" manner and the now discolored smalt-rich layer was found to have been partially removed during a past restoration treatment/s. In contrast, the blue-green smalt in the turban is much better preserved and provides a colorful accent. While the use of different types of smalt in a Rembrandt painting has been previously identified using quantitative EDX analysis of paint cross-sections, to the best of our knowledge this is the first time such a distinction has been observed in a 17th-century painting using non-destructive imaging techniques. In addition to the XRF-based non-invasive elemental mapping, hyperspectral imaging in the visual to near-infrared (VNIR) region was also carried out. (C) 2016 Elsevier B.V. All rights reserved.

This study was interpreted the making techniques of the Four Guardian Statues in Wanju Songkwangsa Temple, and retained basic data necessary for conservation treatment and restoration of the same material by estimating the soil source. The molding clay used in the Statues showed a variety of material characteristics according to different layers. The first and mid layers estimated as the original molding clay are composed of the same kind of soil. The soil of the finish layer was also confirmed to be genetically similar to that of the first and mid layers, despite little discrepancy. The former restoration layer was inconsistent in material characteristics with the original molding clay in every result of analysis. As a result of gamma radiography, making techniques of the Statues were able to identify the figure of the frame connecting the woods of main pillar frame to sub-frame and steel wire with ㄷ-clamp, nails and straw ropes, and the molding clay constructed upon the frame. Meanwhile, provenance interpretation confirmed that the soil of the estimated provenance area is of the same origin as the soil of the finish layer, and therefore is an appropriate material for conservation treatment. This result will contribute to the research on making techniques of the molding clay Statues.

An early nineteenth-century pink silk crepe gown adorned with thousands of faux pearls was one of the highlights of the Los Angeles County Museum of Art’s Autumn 2010 exhibit Fashioning Fashion. During conservation treatment, the faux pearls were examined in detail in order to inform conservation decision-making and a curious manufacturing method was found, namely a practice developed in the seventeenth century by a French rosary maker: delicate and hollow glass beads were filled with a slurry of material derived from fish scales and gelatin or sturgeon glue. This information supported treatment decisions for the piece and is shared here to disseminate information on the history and manufacture of faux pearls and to inform collections care approaches for costume decorated with these extraordinary and fragile beads. This approach demonstrates how detailed examination of an object can act as the catalyst for exploring the history of manufacturing technology as well as deepening understanding of dres...

Botanical illustrations record the physical characteristics of plants. As well as providing a scientific record, the resulting paintings and drawings are often of great artistic merit. This article describes the conservation treatment and preparation of illustrations on vellum for exhibition and long-term storage, focusing on the collections of the Royal Botanic Gardens, Kew. Information is given on the history of the collections, their display at the Shirley Sherwood Gallery of Botanical Art during 2008–10 and their future preservation. Methods developed for the humidification, reshaping and mounting of paintings on vellum from the Kew collections are described. This article also reports on interviews with leading contemporary artists working on vellum. Aspects of their materials and working methods that relate to future conservation issues are recorded and future directions for collaboration between botanical artists and conservators are suggested.

This article describes conservation of the ninth-century Stuttgart Psalter, Wurttembergische Landesbibliothek, which contains over 300 illuminations on parchment. Some of the illuminations were consolidated with a special brush and sturgeon glue. The spine of the manuscript was released from synthetic glue with Laponite. Two types of repair tissue were used, both of them protein-based, handmade and reproducible in terms of thickness and components. Some losses were filled with handmade goldbeater's skin. Losses due to corrosion of the copper green pigment occur throughout the manuscript; these parts were stabilized with reconstituted parchment with a thickness of 0.03mm (1.4g·m−2). This represents a refinement of existing techniques to create a much thinner sheet than is typically used. Because the hide powder had changed in quality over the years, the preparation procedure needed to be adapted. For highly valuable manuscripts with copper green corrosion, this lightweight reconstituted parchment ...

Two ebony cabinets, each over 3 m tall and decorated with elaborate pietre dure panels, commissioned by Louis XIV, designed by Charles Le Brun, made at the Manufacture des Gobelins by Domenico Cucci and delivered to the Palace of Versailles in 1683, are the only fully documented and surviving Sun King cabinets, and are among the richest ever made. This is the first conservation treatment since 1823. Both had lifting inlays. Conservation combined analysis of the original adhesive with traditional techniques, to address numerous problems, in particular the re-application of the pietre dure (hard-stone) decoration and the challenge of matching then modifying the original wax-based adhesive. This offered a good and reliable treatment without compromising the quality or reversibility of the conservation work or the stability of the object.

A built-in kitchen unit from the Unite d'Habitation, Marseilles, France, Cuisine Atelier Le Corbusier, type 1, designed by Charlotte Perriand in cooperation with the Atelier Le Corbusier, is described. A total of 321 apartments of the Unite were furnished with this kitchen. In order to define an effective treatment plan and to acknowledge the importance of this kitchen, extensive research was essential. The analytical results, the decision-making process, and the ongoing conservation treatment of the kitchen unit now in the collection of Die Neue Sammlung, Munich, are presented.

Carpets are often neglected within the decorative arts even though they enhance architect-designed interiors and furniture of the highest quality. Moreover, conservation of carpets is also seldom reported. This paper provides insights into the conservation of British-made carpets based on the author's experience over 25 years as a specialist in carpet conservation in the UK. Preventive conservation measures such as the rolling of large carpets, and strategies for dealing with pest infestations and wear from visitor routes, are introduced. Three remedial interventions are described: the treatment of an Axminster carpet made by Thomas Whitty for Dumfries House in 1759 (cleaning, support, and restoration of the pile), and the treatment of two chenille carpets of double-weave construction from the Stoddard-Templeton Archive (adhesive-tape removal and stitched support).

Between 1941 and 1968, Marcel Duchamp produced a series of roughly 300 boxes, or Boites, containing, in his words, ‘everything important that I have done’ (Sargeant, W. 1952. Dada's Daddy: A New Tribute is Paid to Duchamp, Pioneer of Nonsense and Nihilism. Life, 32(17): 102). Over the course of 30 years and seven editions, Duchamp and his assistants filled these ‘portable museums’ with miniature reproductions of his most significant works. The materials used included leather, paper, cloth, metal, glass, ceramic, cellulose acetate, gouache, varnish, and wood. The variety of the constituent materials, and the complex physical and conceptual ways in which they interact, make conservation treatment of the Boites unusually challenging. The conservator must consider both the condition of the specific Boite being treated and its relationship to the dozens of other Boites still in existence. After an overview of the history and manufacture of Duchamp's miniature museum, the results of a pilot survey of th...

Within the framework of an excavation project aimed to systematically characterize the various aspects of settlement and activities in Northern Jordan, a considerable collection of slag lumps and iron artifacts of different forms and typologies excavated from the archaeological site of Barsinia were collected. Excavations have revealed other metallurgical materials such as pottery tuyeres and furnace-like structure. Studying those finds was important because of their archaeological and technological interests. For the analytical and metallurgical study, X-ray diffraction was used to identify the mineralogical composition of samples. Inductively coupled plasma-optical emission spectrometer, energy dispersive X-ray and X-ray fluorescence spectrometer were used to determine the accurate elemental composition of these finds. Furthermore examinations by using metallographic, polarizing microscope and scanning electron microscopy were employed to diagnose the characteristic morphology and environmental effects of these archaeometallurgical finds. Microstructural investigations emphasized that iron production processes were performed locally at the archaeological site of Barsinia even if the iron ores were imported from other mining location in Jordan. Direct or “bloomer” was the main method used for smelting iron ores followed by smithing methods to locally produce iron artifacts. This, most probably, was the state of technology from the Bronze Age to the Byzantine period. To ensure the stability of these deteriorated finds for future research, required treatment and conservation processes were successfully carried out.

Recent archaeological field surveys and excavations at Qiaojiayuan , a platform 40 km west of the Yun County in present-day northwestern Hubei Province (central China), revealed four tombs (M 3 , M 4 , M 5 and M 6 ) dating back to around 6th to 5th century BC. The grave's layout, artifact assemblages and burial practice indicate that the owners of these four graves were aristocrats of the Chu state. Five turquoise-inlaid bronze artifacts (two swords and three dagger-axes) were excavated. The sword from M 4 , imbedded with pieces of well-cut and finely-polished turquoise on its handle, was in a very bad state of preservation and underwent conservation treatment. Some sticky, whitish pastes were exposed when the inlaid turquoises dropped off. The pastes were supposed to be residues of unknown binding agents. Samples of the pastes were collected for FTIR (Fourier Transform Infrared Spectroscopy) and XRD (X-Ray Diffraction) analyses to determine the chemical component(s). The results revealed that the pastes were composed of almost pure beeswax. This indicated that beeswax was used as binding agent in turquoise-inlaid bronzes as early as the 6th to 5th century BC in China. Review of recent technical studies suggested that beeswax was used in early China in several different regions (mostly southern part of China) for at least two different purposes (binding agent and lightening).

A better knowledge of the effect of refrigerated storage on the nutritional and physicochemical characteristics of foods processed by emerging technologies with regard to unprocessed juices is necessary. Thus, blueberry juice was processed by high pressure (HP) (600 MPa/42 °C/5 min) and pulsed electric fields (PEF) (36 kV/cm, 100 μs). The stability of physicochemical parameters, antioxidant compounds (ascorbic acid, total phenolics, total anthocyanins) and antioxidant capacity was studied just after treatment and during 56 days at refrigerated storage at 4 °C. Just after treatment, all treated blueberry juices showed a decrease lower than 5% in ascorbic acid content compared with the untreated one. At the end of refrigerated storage, unprocessed and PEF juices showed similar ascorbic acid losses (50%) in relation to untreated juice, although HP juices maintained better the ascorbic acid content during storage time (31% losses). All juices exhibited fluctuations in total phenolic values with a marked decrease after 7 days in refrigerated storage, however prolonged storage of the juices at 4 °C, up to 56 days resulted in another in the total phenolic content for all juices in comparison with day 7. HP preserved antioxidant activity (21% losses) more than unprocessed (30%) and PEF (48%) juices after 56 days at 4 °C. Color changes (a*, b*, L, Chroma, ho and ΔE) were slightly noticeable after refrigerated storage for all juices. Industrial relevance Non-thermal technologies allow the acquisition of drinks that keep their characteristics similar to the fresh product. They must join second conservation treatment such as refrigerated storage. A better knowledge of the effect of refrigerated storage on the nutritional and physicochemical characteristics of foods processed by emerging technologies with regard to unprocessed juices is necessary.

The Usuki Stone Buddha Statues in Oita are consisted of 60 Buddhas which represent of Japan carved on the rock-cliff in the 12 to 14th centuries. The basement rock of the statues is dark gray welded lapilli tuff that containing the Aso-4 pyroclastic rock group. Deterioration maps for the Hoki I and the Furuzono Buddha Statues group show multi-directional fissures on the Cakra, and sheeting-off zone at the margin of uprising water. Deterioration rate of the Hoki I group was calculated fissure about 121 in number, 19% of sheeting-off zone and 51% of biological weathering in surface of area. And the Furuzono group was also evaluated as about 48 of fissures in number, 24% of sheeting-off zone and 41% biological weathering. The slope stability assessment results, the Hoki I developed discontinuous planes has possibility of planar, toppling and wedge failures in all caves. Ultrasonic velocity of the Aizen-myooh (basement rock) ranges from 1,520 to 2,794 (average 2,298m/s). And pedestal of Amita-yeorae which has been replaced by new fresh rock is measured as 3,242 to 4,141 (average 3,813m/s). Therefore, we establish of planing conservation treatment and reinforcement methods to fissure, cavity, sheeting-off zone in the Buddha surface.

This paper presents preliminary studies and work in progress in the framework of two FP7 projects: MEMORI (Measurement, Effect Assessment and Mitigation of Pollutant Impact on Movable Cultural Assets - Innovative Research for Market Transfer) and NANOFORART (Nano-materials for the conservation and preservation of movable and immovable artworks). One of the aims of the MEMORI project is the determination of threshold levels of damage to exposed organic-based heritage objects as little is known about the impact of organic compounds, especially volatile organic acids, on organic-based cultural objects. In the previous PROPAINT project (Protection of Paintings during Exhibition, Storage Transit) it was recently demonstrated that levels of volatile organic compounds (VOCs) were often much higher in the micro-climate frames used to protect paintings than recommended levels. In this paper, examples will be given of changes observed in varnished strips exposed at selected sites. Studies on the effect on collagen-based materials will also be presented. Techniques used in both projects include Dynamic Mechanical Analysis (DMA), micro-thermal analysis (μ-TA), and atomic force microscopy (AFM). The NANOFORART project explores the effects of using nanoparticle-based conservation treatment on cellulosic and collagen-based cultural materials. It builds on previous work performed on deacidification of canvas paintings using conventional materials. For collagen-based materials, no previous conservation treatment using nanoparticles has been performed on historical parchment or leather objects. Preliminary work is directed at understanding the type of nanoparticles to use to improve the physicochemical state of collagen-based objects. Dept. of Biological Sciences, Birkbeck, University of London, Malet St., London WC1E 7HX, UCL Eastman Dental Institute, 256 Gray's Inn Road London, WC1X 8LD, NILU-Norwegian Institute for Air Research Kjeller, Norway, Dept. of Chemistry, University of Florence, Department of Chemistry and Industrial Chemistry, University of Pisa, School of Conservation, Esplanaden 34 DK-1263 Copenhagen, Tate Conservation Dept Millbank, London SW1P 4RG, English Heritage, 1 Waterhouse Square138 London EC1N 2ST

The paper describes an evaluation of the applicability of computer tomography in archaeological dendrochronology. Two different computer tomographs were tested, a Siemens Somatom Emotion single slice scanner developed for medical use, and a Nikon Metrology model XT H 225 LC, which is an industrial type scanner. Both scanners were tested against air-dried, archaeological oak wood, and more limited experiments were made with waterlogged archaeological oak wood and archaeological oak wood which had been treated with high-molecular polyethyleneglycol as a conservation treatment. After scanning the resulting imagery were measured and analysed for dendrochronology using off-the-shelf software for handling and measuring on the images and the specialist programme DENDRO for the dendrochronological analyses. The results showed that only the industrial scanner produced sufficiently clear imagery to allow for dendrochronological analyses. In the scans it was possible to separate tree-rings down to 0.2 mm width, and it was possible to identify the sapwood–heartwood border when sufficient sapwood rings were present. It was found, however, that a visual inspection of the object was required to distinguish between sapwood and decayed wood. Comparisons between direct measurements of tree-rings and measurements based on CT-imagery revealed no significant differences. The scanning and subsequent dating of more than 90 objects showed that dendrochronological dating based on CT-scanning has a success rate equal to conventional dating, albeit more time consuming. The attempts to scan waterlogged and PEG-impregnated archaeological oak wood were unsuccessful, due to a low degree of contrast between the water/PEG and the preserved wood. The experiments were too limited to exclude, however, that a successful protocol can be developed also for these types of materials.

The Hamilton Inn sofa was acquired by the Tasmanian Museum and Art Gallery (TMAG) in 2005. It is a double-ended Regency-style sofa that is particularly significant on account of its very early date of manufacture (considered to be ca 1820–25), its upholstery being original, and its unaltered and very largely unrestored form. International Conservation Services (ICS) were commissioned to undertake conservation treatment on the sofa in January 2008. The process began with the creation of a conservation plan, extensive analysis and review of treatment options, both with the museum and fellow conservators, and also with interested parties such as the Furniture History Society.