TY - CONF A1 - Nöller, Renate A1 - Hahn, Oliver A1 - Danielewski, A. A1 - Giel, R. A1 - Overgaauw, E. T1 - Untersuchungen der Humboldt Codices "Fragmens de peinture hiéroglyphique Aztèques, deposés à la bibliotheque royale de Berlin" N2 - In der Berliner Sammlung "Manuscripta Americana" befinden sich Fragmente von Bilderhandschriften, die Alexander von Humboldt 1804 in Mexiko erwarb und der Königlichen Bibliothek schenkte. Die in der frühen Kolonialzeit hergestellten verschiedenartigen Codices waren damals schon nicht mehr an den Orten ihrer ursprünglichen Verwendung. Entsprechend ihres Seltenheitswertes gelangten einzelne Schriftstücke seit der Conquista in die Bestände bedeutender Persönlichkeiten. Hierzu fertigte man auch Abschriften oder Kopien an, oder zerstückelte sogar einzelne Blätter, so dass die Darstellungen auf den abgetrennten Fragmenten oft nur zum Teil abgebildet vorliegen. Um herauszufinden, ob einige Schriftstücke der "Humboldt Codices" in Bezug zu einander stehen, werden die Dokumente, ihre Symbole und Schriftzeichen und das zur Herstellung verwendete Material miteinander verglichen. Mit den für die Analyse von Manuskripten bewährten Untersuchungsmethoden werden Papier und Farbmittel identifiziert. Hierzu zählen Raman-, FTIR-, Röntgenfluoreszenz- und VIS- Spektroskopie. Charakteristisch für die Herstellung von schriftlichen Dokumenten in der Kolonialzeit von Amerika ist die Verwendung von indigenem Material wie Papier aus Baumrinde und Pflanzenfarben zusammen mit den aus Europa bekannten Materialien. Geklärt wird, inwieweit neben den bekanntesten Farbstoffen wie Cochenille, Mayablau oder Mischungen mit Tonmineralen auch mineralische Pigmente zum Einsatz kamen. Vorgestellt werden die auf Tafel 36 in den "Vues des Cordillères et Monuments des Peuples Indigènes de l`Amerique, Voyage de Humboldt et Bonpland" abgebildeten Fragmente. Die hier von Humboldt vorgenommene Zusammenstellung wird mit der Farbpalette der in Berlin archivierten originalen Schriftstücke verglichen. Die Interpretation der Ergebnisse gibt einen Hinweis auf die Zuordnung oder auch Zusammengehörigkeit dieser einzigartigen Dokumente amerikanischer Geschichte. Hierbei wird die Frage aufgeworfen, inwiefern davon auszugehen ist, dass diese mit weiteren Fragmenten in Verbindung gebracht werden können, was für die Beleuchtung der kulturhistorischen Zusammenhänge von großer Bedeutung ist. T2 - Archäometrie und Denkmalpflege 2018 CY - Hamburg, Germany DA - 20.03.2018 KW - FTIR KW - Humboldt Codices KW - XRF KW - VIS KW - RAMAN PY - 2018 AN - OPUS4-44746 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Bonnerot, Olivier A1 - Bosch, S. A1 - Rabin, Ira A1 - Hahn, Oliver T1 - Scientific service project Z02 at the CSMC: Material-science methods of reconstructing the history of manuscripts N2 - Z02 is one of the three technically supporting projects at the CSMC. In collaboration with Z01 and Z03, it aims at bridging the gap between humanities and natural sciences and technology. To that purpose, we set up a laboratory with a range of high-end instruments, most of them mobile, allowing thorough non-destructive analysis of manuscripts. In addition to working on constantly improving the laboratory and the methods of analysis, a substantial part of our activities is dedicated to service, by supporting different research projects conducted at the center. In this talk, we will present our equipment and the possibilities offered by the different techniques available regarding the different kinds of missions: typology and classification of inks, provenance studies, recovery of faded inscriptions and palimpsests, reconstruction of the history of manuscripts, authentication and dating. We will give a brief overview of our past and ongoing activities in the frame of the second phase of the CSMC. Finally, a selection of three projects will be presented in greater detail to highlight the possibilities of our laboratory and the diversity of missions which can be carried out: - Support of project C08 on East Frankish manuscripts containing collections of formulae - Identifying color materials applied in Muhammad Juki's Shahnamah with non-invasive combined methods - Checking for the presence of metals in the Herculaneum papyri T2 - 3rd International Conference on Natural Sciences and Technology in Manuscript Analysis CY - Hamburg, Germany DA - 13.06.2018 KW - CSMC KW - Manuscript KW - Ink KW - Pigment PY - 2018 AN - OPUS4-45504 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Rabin, Ira T1 - Material studies of historic inks: From antiquity to the Middle Ages N2 - While studying the history of inks, division 4.5 of the BAM (Bundesanstalt für Materialforschung und Prüfung) together with the Centre for the Study of Manuscript Cultures in Hamburg has developed a protocol for ink analysis. It consists of a primary screening to determine the type of the ink, and a subsequent in-depth analysis using several spectroscopic techniques. One of them, X-ray Fluorescence (XRF) aims primarily at establishing the fingerprints of inks containing metals, making it possible to distinguish among different inks. Our research aims primarily at recreating a socio-geographic history of inks, parchment, and papyrus and includes the comparative analysis of the writing materials of the Dead Sea Scrolls, ink and papyrus in Ancient and Hellenistic Egypt, and inks in documents from various contemporary medieval communities in Fustat (first nucleus of Cairo) as well as other medieval Jewish and Armenian communities. The presentation shows the panorama of historic inks and our attempt to follow up the transition of the inks from those based on soot to the iron-gall inks commonly used in the Middle Age. T2 - Kolloqium CY - KIT, Germany DA - 17.05.2019 KW - historic inks PY - 2019 AN - OPUS4-48131 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Rabin, Ira T1 - Material studies of the Dead Sea Scrolls N2 - Our study is dedicated to non-destructive characterization of the support and the inks of the DSS. To that aim we use micro-XRF, 3D- SY-XRF, different IR methods including synchrotron radiation based reflectance spectroscopy, optical and electron microscopy. The lecture discusses advantages and the shortcomings of the non-destructive testing approach. T2 - Seminar CY - Freie Universität Berlin, Germany DA - 04.02.2019 KW - Dead Sea Scrolls PY - 2019 AN - OPUS4-48132 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Rabin, Ira T1 - Materialwissenschaftliche Untersuchungen an Qumranrollen N2 - Heute stimmen die meisten Gelehrten und Historiker darin überein, dass die Höhlen von Qumran eine Essener-Bibliothek beherberg-ten. Über ihren Ursprung, sowie die Herkunft der einzelnen Schriften, wird noch immer rege debattiert. Der aktuelle Beitrag präsentiert detaillierte Lösungsansätze zu Klärung der Provenienzfrage der Schriftrollen von Qumran. T2 - Vorlesungsreihe CY - Freie Universität Berlin, Germany DA - 14.01.2019 KW - Qumranrollen PY - 2019 AN - OPUS4-48133 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Rabin, Ira T1 - Evolution of writing black inks N2 - Our research aims primarily at recreating a socio-geographic history of inks, parchment, and papyrus and includes the comparative analysis of the writing materials of the Dead Sea Scrolls, ink and papyrus in Ancient and Hellenistic Egypt, and inks in documents from various contemporary medieval communities in Fustat (first nucleus of Cairo) as well as other medieval Jewish and Armenian communities. The presentation shows the panorama of historic inks and our attempt to follow up the transition of the inks from those based on soot to the iron-gall inks commonly used in the Middle Age. T2 - Elephantine Salon CY - Ägyptisches Museum Berlin, Germany DA - 22.03.2019 KW - Carbon ink KW - Iron-gall ink KW - Historic ink PY - 2019 AN - OPUS4-48134 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Rabin, Ira T1 - Analyzing historic inks: From antiquity to the Middle Ages. N2 - While studying the socio-geographic history of inks, division 4.5 of the Bundesanstalt für Materialforschung und Prüfung (BAM) together with the Centre for the Study of Manuscript Cultures (CSMC) in Hamburg has developed a non-invasive protocol for ink analysis. It consists of a primary reflectographic screening to determine the type of the ink (soot, tannin or iron-gall) and a subsequent in-depth analysis using several spectroscopic techniques: X-ray fluorescence (XRF), Infrared and Raman spectroscopies. The first of them, XRF elemental analysis aims at establishing the unique fingerprints of inks containing metals or trace elements in carbon inks. In addition, we use Raman analysis to identify so-called mixed inks, an ink category that received little attention so far. Finally, with the help of IR spectroscopy we obtain information about the ink binders. T2 - Coptic Literature in Context. The Contexts of Coptic Literature Late Antique Egypt in a dialogue between literature, archaeology and digital humanities CY - Rom, Italy DA - 25.02.2019 KW - Ink PY - 2019 AN - OPUS4-48135 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Rabin, Ira T1 - Evolution of writing black inks N2 - The evolution and socio-geographic distribution of writing inks from Late Antiquity to the Middle Ages are one of the foci of our investigative work at the Bundesanstalt für Materialforschung und -prüfung (BAM) in Berlin and the Centre for the Study of Manuscript Cultures, Hamburg University. This presentation will examine the inks used by Jews in the in different geographical zones try to correlate the results of the material analysis with written records and existing traditions. We will compare the inks proposed by Maimonides, who lived in 12th-century Egypt, with the considerations of Rashi, who lived in 11th-century northern France, and see that they both advocated use of the inks commonly known and produced in their respective regions. It is Maimonides who proposes to add tannins to the soot inks, but rejects the metallic salt, both of which were practices that were well attested in contemporary Arabic recipes for making ink. In contrast, Rashi was favourable to employing the plant inks in use in contemporary Northern Europe. T2 - Jewish-Christian Relations from the Mediterranean to the Indian Ocean: Evidence from Material Culture CY - Bochum, Germany DA - 26.03.2019 KW - Ink KW - Jewish cultures PY - 2019 AN - OPUS4-48136 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Rabin, Ira A1 - Hahn, Oliver T1 - Material analysis of manuscripts: methodological introduction N2 - Natural sciences play auxiliary role in the studies of manuscripts. The success of their contribution depends strongly on the formulation of the question and the choice of the methods to obtain the requested answer. Therefore, one should try to go beyond the understanding of the basic principles of the scientific analysis. We will start with a glance at the basic principles of the techniques used in the material science for determination of the elemental composition (X-ray emission) and molecular composition (FTIR & Raman). We will move then to the bench and mobile equipment commonly used in the field of cultural heritage. At the end we will choose a question to be answered and design an ideal experiment that will be modified according to the limitations dictated by on-site conditions. In the ateliers in the afternoon we will a) compare two XRF devices that differ in their spatial resolution; b) use a high resolution microscope (Keyence) to obtain a close look at writing surfaces and materials; c) we will learn to determine the type of the inks with the help of another microscope (DinoLite AD413T-12V), a usb microscope with visible, UV and NIR illumination; d) we will learn to use FTIR-ATR device for determination of the type of the writing surface; e) We will use mobile Raman device for identification of pigments. T2 - Summer School: Manusciences19 CY - Frejus, France DA - 10.03.2019 KW - Material science KW - Cultural heritage PY - 2019 AN - OPUS4-48137 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Rabin, Ira T1 - Parchment N2 - This lecture will present history of parchment based on written sources and chemical examination of antique, medieval and modern parchment. Our studies of the Dead Sea Scrolls writing surfaces show that they can be divided roughly into three groups: leather, parchments of a light tint, and those of various shades of brown. The latter ones are invariably tanned, whereas the middle group is characterized by the presence of various inorganic salts. Some of the pale parchments, among them the Temple Scroll (11Q19), are remarkably similar to medieval European parchment. Therefore we have formulated the working theory that in the Judaea of the Hellenistic period two different parchment-making traditions existed side by side: an ‘eastern’ one (represented by the tanned parchments of Qumran, closely resembling Aramaic documents from the fifth century BC, and a ‘western’ one (represented by the untanned/lightly tanned ones similar to early Christian Greek parchments). This division has found support during our studies of the Geniza fragments, in which Babylonian and Palestinian traditions seem to follow the “eastern” and “western” technologies, respectively. T2 - Sumer School: Manusciences19 CY - Frejus, France DA - 10.03.2019 KW - Parchment KW - Leather KW - Tanning PY - 2019 AN - OPUS4-48138 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Rabin, Ira A1 - Hahn, Oliver T1 - Inks and pigments N2 - The writing materials used in various cultures and epochs can be divided into two groups. The first comprises materials that write themselves, producing script by rubbing their own material off onto the writing surface. It includes charcoal, graphite, chalk, raddle, and metal styluses. Depending on the material and consistency, these are cut or pressed to make styluses and then used for writing. The second group comprises all coloring liquids that are applied to the writing surface with a quill, pen, or printing block. It includes inks made from dye solutions (for example, tannin inks) and those made from pigment dispersions (for example, sepia, soot, and bister inks). The latter are sometimes also rubbed as pastes into letters incised into the writing surface, where they increase visual contrast. Due to the variety of recipes and the natural origin of raw materials, there is a wide range of different components and impurities in writing materials. Soluble inks (Tinten) Soluble inks are based mainly on dyes forming a water solution. Colored inks were manufactured with different plant or insect dyes (e.g. Brazil wood, kermes). To stabilize the volatile material, the dyes were mixed with a mordant (e.g., alum). Brown plant inks – best-known as blackthorn or Theophilus’ inks – are usually produced from the blackthorn bark and wine. In the early European Middle Ages, inks of this kind were widely used in the production of manuscripts in monasteries. Usually, they are light brown, so sometimes small amounts of iron sulfate were added, which led to what was called an “imperfect” iron gall ink. The difference between “classic” iron gall ink and such imperfect ink is therefore not clear: the distinction is not possible, especially with the naked eye. Dispersion inks (Tuschen) According to its generic recipe, one of the oldest black writing materials is produced by mixing soot with a binder dissolved in a small amount of water. Thus, along with soot, binders such as gum arabic (ancient Egypt) or animal glue (China) are among the main components of soot inks. From Pliny’s detailed account of the manufacture of various soot-based inks, we learn that, despite its seeming simplicity, producing pure soot of high quality was not an easy task in Antiquity. Therefore, we expect to find various detectable additives that might be indicative of the time and place of production. One such carbon ink requires the addition of copper sulfate . The experimental discovery of this ink in 1990 led to a misleading expression “metal ink” that is sometimes found in the literature. Colored dispersion inks based on pigments such as orpiment, cinnabar, or azurite have been known since Antiquity. Natural or artificially produced minerals are finely ground and dispersed in a binding medium. As in soot inks, water-soluble binders such as gum arabic or egg white were used. Iron gall ink (Eisengallustinten) Iron gall inks are a borderline case between these two groups. They are produced from four basic ingredients: galls, vitriol as the main source of iron, gum arabic as a binding media, and an aqueous medium such as wine, beer, or vinegar. By mixing gallic acid with iron sulfate, a water-soluble ferrous gallate complex is formed; this product belongs to the type “soluble inks”. Due to its solubility, the ink penetrates the writing support’s surface, making it difficult to erase. Exposure to oxygen leads to the formation of insoluble black ferric gallate pigment, i.e., “dispersion ink”. Natural vitriol consists of a varying mixture of metal sulfates. Since for ink making it was obtained from different mines and by various techniques, inks contain many other metals, like copper, aluminum, zinc, and manganese, in addition to the iron sulfate. These metals do not contribute to color formation in the ink solution, but possibly change the chemical properties of the inks. T2 - Summer School Manusciences 19 CY - Frejus, France DA - 10.03.2019 KW - Ink KW - Material science KW - Cultural heritage PY - 2019 AN - OPUS4-48139 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Hahn, Oliver T1 - Paper: history, manufacture, properties N2 - The lecture traces the origins of paper, the manufacture and the spread from China to the Middle East and Europe. Though technological progress considerably affected each step of the manufacture of paper, the essence of the invention remains unchanged until today. The process of manufacturing handmade paper can be divided into a number of steps: - choosing the raw material (e.g. cellulose from wood, cotton, rags) - beating and grinding the fibres into small pieces - producing a liquid pulp of the desired texture - treating the pulp with various additives - filling the pulp suspension into a paper mould - draining the water - pressing and drying to get the actual sheet - various post-production treatments We will see how the manufacturing process is reflected in the properties of the paper and its degradation. A special attention will be paid to the instrumental analysis for identification of the paper types. Also watermark play an important role in the studies of the manuscripts. A short overview will be offered at the ends of the lecture. T2 - Summer School Manusciences 19 CY - Frejus, France DA - 10.03.2019 KW - Material science KW - Cultural heritage PY - 2019 AN - OPUS4-48140 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Dietz, Georg T1 - Wasserzeichen- und Papierstrukturanalysen für die kunstgeschichtliche Forschung N2 - Wasserzeichen und Papierstrukturen können einen wesentlichen Beitrag bei der Analyse von Kunstobjekten auf Papier darstellen. Ausgangspunkt hierfür bildet die korrekte Dokumentation mit entsprechender Bildaufnahme und der richtigen Erfassung und Interpretation der Phänomene. An Fallbeispielen aus Forschungsprojekten zu niederländischen Zeichnungen am Kupferstich-Kabinett Dresden und der Grafischen Sammlung Weimar sollen die Möglichkeiten der Papier- und Wasserzeichenforschung als historische Hilfswissenschaft demonstriert werden. Dieser Abendvortrag dient zugleich als Einführung in die Technologie der (Hand-)Papierherstellung, Wasserzeichenerfassung und –recherche. T2 - Papier - unde venis? Hochschule der Künste Bern CY - Bern, Switzerland DA - 16.01.2020 KW - Papier KW - Wasserzeichen KW - ZfP PY - 2020 AN - OPUS4-50617 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Dietz, Georg T1 - Sieb und Filz - Entwicklungsgeschichtliche Meilensteine des Papiermaschinenbaus / der Papiermaschinenbespannungen N2 - Im Jahr 2019 jährt sich die Inbetriebnahme der ersten Papiermaschine in Deutschland zum 200. Male. Mit dem Vortrag wird eine Einführung in die Technologie der Maschinenpapierherstellung, samt entwicklungsgeschichtlicher Meilensteine gegeben. Es gilt die Produktvielfalt von Papier und die Gründe für die enormen Produktionssteigerungen bei der Papierherstellung aufzuzeigen. T2 - 27. Tagung des Deutschen Arbeitskreises für Papiergeschichte CY - Düren, Germany DA - 24.10.2019 KW - Papier KW - ZfP KW - Archäometrie PY - 2019 AN - OPUS4-50633 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Dietz, Georg T1 - Papieranalysen für die kunstgeschichtliche Forschung N2 - Wasserzeichen und Papierstrukturen können einen wesentlichen Beitrag bei der Analyse von Kunstobjekten auf Papier darstellen. An Fallbeispielen aus der gutachterlichen Praxis und Forschungsprojekten der Vergangenheit sollen die Möglichkeiten der Papier- und Wasserzeichenforschung bei Datierungen und Authentizitätsprüfungen demonstriert werden. T2 - PTS-Workshop in Heidenau zu Thema: Materialwissenschaftliche Untersuchungsmethoden zur Charakterisierung und Authentifizierung von Dokumenten und Kunstwerken auf Papier CY - Dreden-Heidenau, Germany DA - 07.11.2019 KW - Papier KW - Fälschungserkennung KW - ZfP PY - 2019 AN - OPUS4-50634 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Rahrig, M. A1 - Torge, Manfred T1 - 3D Inspection of the restoration and conservation of stained glass N2 - The initial focus of this research was on the development of a general workflow for the documentation and monitoring of historical stained glass windows using structured light scanning. Therefore windows from different churches, time periods and with different corrosion and damage phenomena were scanned before and after conservation measures. T2 - 27th CIPA International Symposium “Documenting the past for a better future” CY - Ávila, Spain DA - 01.09.2019 KW - Stained glass KW - Restoration and conservation KW - Structured light scanning KW - 3D inspection KW - Glass scanning PY - 2019 AN - OPUS4-49600 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Colini, Claudia A1 - Sturkenboom, I. T1 - Chinese paper in Persian manuscript: Preliminary results of a of a codicological, technological and scientific study N2 - In the 15th century, Persian manuscripts underwent significant and lasting changes. Possibly as a response to the import of tinted and gold-decorated paper from China, which was used for manuscript production in Greater Iran, Persian papers were also tinted and embellished with gold-decorated and marbled margins or frames. In a joint project between CSMC and the University of St Andrews, we aim to analyse papers and their decorations in Persian The analyses aim to determine the consistencies of papers, pigments and metals and the techniques used for their production and application. The support will be first described in its codicological characteristics such as dimensions, thickness, colour (expressed in colour coordinates), pattern left from the sieve (observed in transmitted light). The plant used as raw material in paper production will be studied by fibres analysis, while the sizing agents, the pigments, dyes and metals will be analysed by the application of several methods: in particular Reflectography, X-Ray Fluorescence and InfraRed, Raman and Visible Reflectance Spectroscopy. The results of the analyses will form an important resource for the material aspects of Persian manuscripts and be a starting point for establishing a first chronology of the materials and techniques used in Persian manuscript production. An example of the application of the techniques on the analysis of a fragment from a 15th c. Persian Manuscript will be provided. T2 - The Second International Seminar on Traditional Writing and Printing Materials (Fudan University) CY - Shanghai, Republic of China DA - 12.11.2019 KW - Persian manuscript KW - Chinese paper KW - Paper tinting KW - UV-VIS reflectance spectroscopy KW - XRF KW - ATR PY - 2019 AN - OPUS4-50131 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Colini, Claudia T1 - Ink for papyri, ink of papyrus: Recipes from the Arabic world N2 - Papyrus was in use in the Islamic world until the 11th century and few ink recipes collected from treatises about the art of the books are dedicated to this support. But papyrus was also burnt in order to obtain soot used as an ingredient for a particular type of ink (midād al-qarāṭīs). In this talk I will give an overview of the recipes – in particular those by ar-Rāzī –, their context and transmission in order to evaluate this double nature of papyrus, which is considered at the same time a writing support and a material to be recycled. Moreover, I will discuss what kinds of ink are most likely to be found, according to these literary sources, on Arabic manuscripts and documents written on papyrus and compare them to the typologies mentioned for paper and parchment. These results are the premises of a research project starting at the beginning of 2019, in which a number of dated fragments from several European institutions will be analysed with non-destructive techniques in order to establish a profile of the main writing media used in the early centuries of the Islamic Era. T2 - 29th International Congress of Papyrology CY - Lecce, Italy DA - 28.07.2019 KW - Inks KW - Arabic recipes KW - Papyrus PY - 2019 AN - OPUS4-50158 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Colini, Claudia T1 - Fifty shades of black: Typologies and terminology of black inks in the light of new discoveries N2 - The identification of the materials constituting an artefact is the basis of any correct conservation project. For this reason (among others) in the last 50 years analytical techniques have been applied to the study of manuscripts. Unfortunately, the scientific investigation of Arabic books is still uncommon, focusing mainly on single case studies of illuminated manuscripts where the black media used to write the text is largely overlooked. This lack of knowledge prompted a recent research in which black ink recipes have been collected from written Arabic sources, their feasibility has been assessed, and some of them have been reproduced. These samples were artificially aged and analysed through an array of analytical techniques, mostly non-invasive and non-destructive, in order to build a database of Arabic inks and their ingredients and to verify the detection limits of the equipment employed. Finally, the results were compared to the data collected from historical manuscripts. In this talk I will focus on the ink typologies and the terminology (ancient and modern) used to describe them. In particular I will highlight how even the modern classification fails to capture the variety encountered in both recipes and manuscripts, particularly in the light of recent discoveries. I will address especially the terminological and conceptual issues of mixed inks – in the form of carbon inks and tannins, of carbon and iron gall inks, and of carbon and metallic salts –, iron gall inks made without vitriol and iron gall inks made with sources of tannins different from gall nuts. T2 - First International Conference Oriental Manuscripts: Codicology and Conservation issues CY - Saint Petersburg, Russia DA - 04.12.2019 KW - Ink terminology KW - Codicology KW - Non destructive analytical techniques PY - 2019 AN - OPUS4-50159 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Colini, Claudia T1 - Ink recipes from the islamic era: Texts, manuscripts, ink reproductions and scientific analyses N2 - Ink recipes can often be found in Arabic manuscripts. They may be included in treatises of diverse subjects – from handbooks for secretaries or calligraphers to books on arts and crafts, to alchemical and astrological essays. Recipes can also appear, with or without relation to the main text in the manuscript, in the form of lists or collections or even added in empty spaces as single entries. Why were these recipes written down? Were they used by the many professionals dealing with inks in their every-day work? Or were they part of the literary genre of adab with little or no practical application? To answer these questions a research project was set up: ink recipes have been collected from written Arabic sources, their feasibility has been assessed and some of them have been reproduced. These samples were artificially aged and analysed through an array of analytical techniques, most non-invasive and non-destructive, and the results compared to the data obtained by the application of the same analyses on concrete manuscripts. The codicological characteristics of the manuscripts have also been studied. My aim in this talk is to show how such an interdisciplinary approach could be beneficial for the study of material culture. T2 - Broadening Horizons 6 CY - Berlin, Germany DA - 24.06.2019 KW - Inks KW - Arabic Recipes KW - Non destructive analytical techniques PY - 2019 AN - OPUS4-50160 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Colini, Claudia T1 - Analyses of decorated papers: Potential and preliminary results on persianate manuscripts from 15th – 17th centuries N2 - This talk will be divided into two parts. In the first part I will present the analytical techniques and the equipment used by the Centre for the Study of Manuscript Cultures that can be applied for the study of decorated papers. The analyses aim to determine the constituent materials of papers, pigments, dyes and metals and the techniques used for their production. I will focus in particular on the kind of information these techniques allow us to gather: through optical microscopy we conduct fibre analysis in order to identify the plant used as raw material in paper production while Reflectography, X-Ray Fluorescence and InfraRed, Raman and Visible Reflectance Spectroscopy are used to study the sizing agents, the pigments, dyes and metals. In the second part I will show some results obtained by the application of these techniques on a few Persianate manuscripts, dating between the 15th and 17th centuries, belonging to the corpus of Ilse Sturkenboom. T2 - Symposium Decorated Paper in Early Modern Islamic Cultures CY - Istanbul, Turkey DA - 23.11.2019 KW - XRF KW - UV-VIS Reflectance spectroscopy KW - Fibre analysis KW - Persian manuscripts KW - Chinese Paper KW - FTIR spectroscopy PY - 2019 AN - OPUS4-50161 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Colini, Claudia A1 - Sturkenboom, I. T1 - Analyses of paper, tinting and illumination in persian manuscripts held in the Golestan Palace library N2 - In the 15th century, Persian manuscripts underwent significant and lasting changes. Possibly as a response to the import of tinted and gold-decorated paper from China, which was used for manuscript production in Greater Iran, Persian papers were also tinted and embellished with gold-decorated and marbled margins or frames. In a joint project between CSMC and the University of St Andrews, and in co-operation with the Golestan Palace Museum, we aim to analyse papers and their decorations in manuscripts in the holdings of the Golestan Palace Library. The analyses aim to determine the consistencies of papers, pigments and metals and the techniques used for their production and application. The support will be first described in its codicological characteristics such as dimensions, thickness, colour (expressed in colour coordinates), pattern left from the sieve (observed in transmitted light). The plant used as raw material in paper production will be studied by fibres analysis, while the sizing agents, the pigments, dyes and metals will be analysed by the application of several methods: in particular Reflectography, X-Ray Fluorescence and InfraRed, Raman and Visible Reflectance Spectroscopy. The results of the analyses will be published in an online database that will form an important resource for the material aspects of Persian manuscripts and be a starting point for establishing a first chronology of the materials and techniques used in Persian manuscript production. T2 - DFG workshop at Golestan Palace CY - Tehran, Iran DA - 07.04.2019 KW - Persian manuscripts KW - Chinese paper KW - Non destructive analytical techniques KW - Tinting KW - Gold PY - 2019 AN - OPUS4-50164 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Nehring, Grzegorz A1 - Pronobis-Gajdzis, M. A1 - Targowski, P. A1 - Rabin, Ira T1 - What should we take into an account in the characterization of iron-gall ink by means of X-ray fluorescence? N2 - The earliest known recipes for iron gall inks include four basic ingredients: oak galls – pathological growths of oak leaves; metal salts – usually referred to as vitriol; a binder such as gum Arabic; and water. The final product differs in the elemental composition due to the multitude of recipes as well as differences within the composition of the ink’s ingredients. Nowadays, based on the qualitative and semi-quantitative evaluation of X-ray fluorescence data, it is possible to distinguish inks on the basis of the so-called fingerprint model. The first goal of our study was to determine to what extent the type of XRF spectrometer affects the quality of the ink evaluation. We tested two types of spectrometers, semi-stationary machines equipped with polycapillary focusing optics and a handheld spectrometer with a diaphragm collimator and a relatively big interaction spot. The second goal was to address the issue of whether the ink composition might be affected by storage in a metal container. The presentation will discuss the role of the spectrometer type in the evaluation of a thin layer material such as ink. We have also learned that the iron-gall ink composition might depend on the type of vessel in which ink was being stored. T2 - Konferenz - XIV IADA Congress - Warsaw 2019 CY - Warsaw, Poland DA - 23.09.2019 KW - Iron-gall ink KW - XRF KW - Inkwells KW - Ink composition PY - 2019 AN - OPUS4-49149 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Nehring, Grzegorz A1 - Targowski, P. A1 - Rabin, Ira T1 - Can an inkwell leak into ink? N2 - X-ray fluorescence analysis, due to its non-destructive nature and ist suitability to work with historic objects in situ, quickly became one of the most important methods for the evaluation of iron-gall ink. The main advantage of this qualitative and semi-quantitative method is that it makes it easy to differentiate between inks, based on the assumption that the differences result from the manufacture of the ink. This work explores the question whether the ink ‘fingerprint’ results strictly from the elemental composition of the basic ink ingredients even if it is stored in vessels made of metals or metal alloys. In addition, we tested and compared the performance of three different XRF spectrometers. We prepared various lab-grade inks according to historical ink recipes and measured the metal content of the ink deposited on sized cotton Linters paper with three types of XRF spectrometers: a simple hand-held device with an interaction spot of 4 mm and two devices equipped with poly-capillary Xray optics for line scanning and imaging. Since the exact elemental mass composition of the non-aged ink samples was known, we were able to evaluate the accuracy of the research procedure. Lab-grade inks were then aged in the metal jars imitating inkwells. The aging of the inks in the metal containers resulted in the significant change of the primary inks fingerprint as opposed to that of the control inks stored in glass containers. This effect was independently confirmed by the measurements conducted with every instrument we used. We will present a brief comparison of the results 43 achieved when using different spectrometers and a possible hypothesis explaining the processes that occurred. T2 - Konferenz -7th Meeting X-ray and other techniques in investigations of the objects of cultural heritage CY - Krakow, Poland DA - 17.05.2018 KW - Iron-gall ink KW - XRF KW - Inkwells KW - Ink composition KW - Performance comparison PY - 2018 AN - OPUS4-49157 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Steger, Simon A1 - Bretz, S. A1 - Stege, H. A1 - Hahn, Oliver T1 - Non-invasive Identifizierung von Pigmenten in modernen Hinterglasbildern (1905-1955) - Highlights aus der Hinterglasforschung N2 - Im Rahmen des Projektes „Hinterglasmalerei als Technik der Klassischen Moderne von 1905 – 1955“, welches vom Museum Penzberg – Sammlung Campendonk, Penzberg (Gisela Geiger und Diana Oesterle) geleitet wurde und in Zusammenarbeit mit der freischaffenden Restauratorin Simone Bretz, der Bundesanstalt für Materialforschung und -prüfung (BAM) und dem Doerner Institut erfolgte, konnte im Rahmen einer Promotion erstmals ein Konvolut von mehr als 60 Hinterglasbildern mit nicht-invasiven Analysemethoden untersucht werden. Die eingesetzten Verfahren ermöglichten die Identifizierung der Pigmente und eine Klassifizierung der verwendeten Bindemittel. Die materialwissenschaftliche Beschäftigung mit der Hinterglaskunst in ihrer Vielfalt ist ein relativ junges Forschungsfeld. Lange wurde ihr mit Unkenntnis, Missverständnis und sogar Geringschätzung begegnet. Im kunsthistorischen Kontext wurde diese Art der Kaltmalerei zumeist mit dem Begriff der Glasmalerei belegt und nicht als eigenständige Kunstform anerkannt, da in beiden Fällen Glas als Bildträger seinen Einsatz findet. In der Hinterglasmalerei wird die Tafelrückseite mit organisch gebundenen Malfarben verziert und das Werk ausschließlich bei auffallendem Licht betrachtet. Die künstlerische Herausforderung liegt immer in der technischen Notwendigkeit eines umgekehrten Malvorganges: die oberste, durch das Glas sichtbare Schicht muss zuerst auf den Bildträger Glas aufgetragen werden, der optische Hintergrund wird zuletzt aufgebracht. Im Vergleich zum Tafelbild, bei dem die Malerei erst durch den Firnisauftrag Tiefenlicht erhält, entfalten die Farben in der Hinterglasmalerei bereits beim Malen ihre Intensität und erhalten gleichzeitig Schutz durch den gläsernen Bildträger (Bretz et al. 2016). Neben der kunstgeschichtlichen und kunsttechnologischen Bearbeitung der Hinterglasbilder spielten materialwissenschaftliche Untersuchungen an einer Auswahl von 66 Bildern im Rahmen des von der VolkswagenStiftung finanzierten Forschungsprojektes eine zentrale Rolle. Grundsätzlich wurde ein nicht-invasiver Ansatz gewählt, um die fragilen Kunstwerke in-situ zu messen und somit einen Transport zu vermeiden. Die Methodik umfasst neben VIS-Spektrometrie in Reflexion und energiedispersiver Röntgenfluoreszenzanalyse (RFA) auch Infrarotspektroskopie in diffuser Reflexion (DRIFTS) und Raman-Spektroskopie. Mit Hilfe des gewählten methodischen Ansatzes lassen sich sowohl anorganische als auch organische Pigmente identifizieren und die Zusammensetzung von Metallfarben und Folien sowie die Glaszusammensetzung qualitativ bestimmen. Ferner ermöglicht die DRIFT-Spektroskopie eine Klassifizierung der Bindemittel. Die im Rahmen des Forschungsprojektes analysierten Hinterglasbilder können folgendermaßen chronologisch gruppiert werden: 1910-1919 (17 Bilder), 1920-1929 (18 Bilder), 1930-1939 (6 Bilder), 1940-1949 (7 Bilder), 1950-1955 (13 Bilder) und >1955 (5 Bilder). Die Auswertung der Ergebnisse ermöglicht grundsätzliche Aussagen über die verwendeten Malmaterialien in Hinterglasbildern in der ersten Hälfte des 20. Jahrhunderts und zeigt Änderungen der verwendeten Pigmente im zeitlichen Kontext auf. Während der ersten Hälfte des 20. Jahrhunderts kamen viele neue Pigmente und Malmaterialien auf den Markt, wobei speziell die synthetischen organischen Pigmente (SOP) zu nennen sind. Eine Vielzahl an SOP konnte in Hinterglasbildern aus allen Zeitgruppen identifiziert werden, wobei hier vor allem Farblacke aus synthetischem Alizarin (PR83), Vertreter der roten und orangen β-Naphthol Pigmente [(z.B. PR3, PR4, PO5 (in Nächtliche Fahrt, 1921 von L. Hildebrandt nachgewiesen)], die blauen und grünen Kupferphthalocyanine [z.B. PG7, PB15 (taucht ab 1949 in Hinterglasbildern auf)] und einige gelbe Azopigmente [z.B. PY1, PY3, PY12 (in Geneigter Mädchenkopf, 1941 von Oskar Schlemmer gefunden)] aufzuführen sind (Steger et al. 2018; Steger et al. 2019a). Einige seltene SOP der Triarylcarboniumgruppe konnten ebenso nachgewiesen werden. Darunter fallen neben der Identifizierung von PR81 (Ohne Titel, 1954, M. Uhlenhuth) auch die erstmaligen Nachweise von PV2 (Hahn, um 1945, L.-G. Buchheim) und PG1 (Exzellente und einmalige Dressuren, 1945/46, L.-G. Buchheim) in Kunstwerken überhaupt (Steger et al. 2018; Steger et al. 2019a). Ferner konnten mit PB52 aus der Gruppe der Anthrachinone und PR60 aus der Gruppe der verlackten Naphthalin-Sulfonsäure-Pigmente weitere seltene SOP in den Bildern Rudern (um 1912) beziehungsweise Apokalyptischer Reiter II (1914) von Wassily Kandinsky nachgewiesen werden (Steger et al. 2019b). Neben den Entwicklungen der SOP können auch eindeutige Trends in den anorganischen Pigmenten veranschaulicht werden. Seltene anorganische Pigmente wie zum Beispiel Strontiumweiß (SrSO4) in der Kreuzabnahme (1914/15) von Carlo Mense (Steger et al. 2019c) wurden identifiziert. Neu entwickelte anorganische Pigmente wie zum Beispiel Cadmiumrot (Cd(S,Se); ab 1928 in 11 Hinterglasbildern nachgewiesen) oder Titanweiß (TiO2; Anatas kommt ab 1922 vor, Rutil konnte nur in Kissen der Träume, 1976 von Werner Schriefers identifiziert werden) tauchen in einigen Hinterglasbildern auf. Schweinfurter Grün (3Cu(AsO2)2·Cu(CH3COO)2) oder Strontiumgelb (SrCrO4) wurden in einigen Bildern bis etwa um 1925 gefunden; diese Pigmente konnten dagegen in späteren Bildern nicht mehr nachgewiesen werden. Als Beispiel sind hier vier frühe Hinterglasbilder (1909–1914) von Wassily Kandinsky zu nennen, wobei Strontiumgelb in vielen Bildpartien zu finden war (Steger et al. 2019b). Publizierte materialwissenschaftliche Ergebnisse von Kandinskys Leinwandgemälden aus späteren Werksperioden zeigen, dass Strontiumgelb zu dieser Zeit vollkommen aus seiner Palette verschwunden ist und vor allem durch ein anderes Gelbpigment, nämlich Cadmiumgelb, ersetzt wurde (McMillan et al. 2013). Eine materialtechnische Besonderheit in der Hinterglaskunst ist die Verwendung von Metallfolien und Metalleffektpigmenten. Metallfolien aus Silber, Zinn, Aluminium oder Messing wurden vielfach als künstlerisches Element in die Komposition integriert, wobei sie als finale Schicht auf, die bereits gestaltete, leicht transparente Malerei geklebt wurden. Durch die Betrachtung im auffallenden Licht erzeugten die Folien bemerkenswerte Glitzereffekte. Zinn- und Aluminiumfolien wurden zum Beispiel in Rudern (um 1912, W. Kandinsky) nachgewiesen, während Messingfolien häufig in Bildern von L.-G. Buchheim gefunden wurden. Die Zinnfolien wurden im 19. und frühen 20. Jahrhundert für Verpackungszwecke (z.B. Zigaretten, Schokolade) verwendet. Aluminiumfolie wurde erst ab 1910 industriell in der Schweiz hergestellt und zu Beginn vor allem für Schokoladenverpackungen eingesetzt (Skrabec 2016). Die frühe Verwendung solche Folien in Hinterglasbildern (z.B. Rudern, um 1912) zeigen eine rasche Verbreitung dieses Materials bei den Künstlern an. Unter Metalleffektpigmenten versteht man feingemahlene Pulver aus Metall (z.B. Zinn, Nickel, Kupfer) und Legierungen (z.B. Messing, Neusilber) mit unterschiedlichen Tönungen, welche bei seitlichem Lichteinfall auf Hinterglasbildern ein merkbares Funkeln erzeugen. Solche Metalleffektpigmente wurden vielfach bei Werken von Heinrich Campendonk nachgewiesen (Geiger und Bretz 2017) und konnten in allen chronologischen Gruppen gefunden werden. Grundsätzlich ermöglichen die Ergebnisse ein besseres Verständnis für die Technik der Hinterglasmalerei und helfen insbesondere, diese eigenständige Kunst im Hinblick auf die „klassische“ Tafel- bzw. Leinwandmalerei abzugrenzen. So zeigen Vergleiche mit Gemälden auf Leinwand von Wassily Kandinsky deutliche Unterschiede in den verwendeten Farbmitteln für beide Techniken. Die Anzahl von 66 gemessenen Hinterglasbildern von 39 Künstlern erscheint im Kontext von über 1200 Arbeiten, welche im Rahmen des Projektes lokalisiert werden konnten, gering. Allerdings können die durchgeführten Untersuchungen als Startpunkt für zukünftige Projekte in diesem Forschungsfeld, beispielsweise für einzelne Werkkomplexe verstanden werden. Die Forschungsergebnisse werden auf die Webseite www.hinterglas-klassischemoderne.de eingestellt. Im Sommer 2020 präsentiert das Museum Penzberg – Sammlung Campendonk Hinterglasbilder von 1910 bis 1960 als Abschlussausstellung des Forschungsprojektes. Die Ausstellung wird von einem ausführlichen Katalog über die fächerübergreifende Forschung begleitet. Für Herbst 2020 ist ein Hinterglas-Symposium an der Bundesanstalt für Materialforschung und -prüfung (BAM) Berlin im Rahmen eines N.i.Ke. Workshops geplant. T2 - Jahrestagung Archäometrie und Denkmalpflege 2019 CY - Vienna, Austria DA - 11.09.2019 KW - Reverse glass painting KW - Raman spectroscopy KW - DRIFTS PY - 2019 AN - OPUS4-49259 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Colini, Claudia T1 - The Interdisciplinary Alchemist: Reproduction and Study of Black Inks from the Islamicate World N2 - The identification of the materials constituting an artefact is the basis of any correct conservation project, for this reason (among others) in the last 50 years analytical techniques have been applied to the study of manuscripts. Unfortunately, the scientific investigation of Arabic books is still uncommon, focusing mainly on single case studies, often producing unclear results, especially for black inks. This lack of knowledge prompted a recent research in which black ink recipes have been collected from written Arabic sources on bookmaking, their feasibility has been assessed, and finally some of them have been reproduced. These samples were artificially aged and analysed through an array of analytical techniques, mostly non-invasive and non-destructive, in order to build a database of Arabic inks and their ingredients and also to verify the detection limits of the portable equipment employed. In this talk I will present some instances of how this approach can help textual criticism, for example in evaluating variants and determining the competence of authors and compilers. At the same time the research highlights how much this scientific work depends on textual studies, especially concerning the identification of ingredients. Moreover, I will focus on some of the problematics I faced both during the textual interpretation and the actual reproduction of the recipes and how they influenced the results of the scientific analyses. In particular I’ll look into the role played by the degree of purity of the components and the function (real and perceived) of some of the ingredients. T2 - International Medieval Conference 2019 CY - Leeds, UK DA - 01.07.2019 KW - Black Ink KW - Arabic Recipes KW - Interdisciplinary PY - 2019 AN - OPUS4-50114 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Ketelsen, T. A1 - Hahn, Oliver A1 - Golle, U. A1 - Wintermann, C. A1 - Melzer, C. A1 - Dietz, Georg T1 - Blindness and Insight. The Rhetoric of Connoisseurship and the Investigation of Materiality. N2 - The aim of the lecture is to present the productive interplay of connoisseurs and material analysis using the example of selected drawings from the Rembrandt collection of the Klassik Stiftung Weimar. We try to determine the point at which the question of the materiality of the drawings makes sense in the traditional discourse of connoisseurship. On the one hand, this involves the question of authorship – Rembrandt – or not? – and the locating of attributed drawings in the context of the work. On the other hand, it is about making drawing processes visible, characterizing ways of drawing and workshop practices as well as distinguishing different forms of reworking and copying within the Rembrandt workshop. The material analyses culminate in the question of whether Rembrandt’s inks can be distinguished at all. It becomes apparent that the newly gained knowledge about the materiality of the drawing no longer reveals itself to the “mere” view of the connoisseur. Rather, it is only generated by the digital image. The rhetoric of connoisseurs must therefore be contrasted with the necessity of a hermeneutics of the digital image. The envisaged “material turn” of drawing science is thus simultaneously able to take up the critique of the question of authorship, which has been growing ever more recently, and to transfer it to a more comprehensive perspective of aesthetics of production. T2 - Drawings by Rembrandt. Connecting art history, science and conservation CY - Amsterdam, Rijksmuseum, The Netherlands DA - 06.02.2020 KW - Rembrandt KW - Drawings KW - Non-destructive testing KW - Inks KW - Paper PY - 2020 AN - OPUS4-50384 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Steger, Simon T1 - Spectroscopic analysis of colourants and binders of Chinese reverse glass paintings tracing a cultural dialogue N2 - Scientific analysis based on spectroscopic methods provide essential information on the composition of colourants and binders in paintings. These results can be set in a historical context and help to confirm art historical interpretations. Proofs of certain pigments can be used for dating purposes and may reveal if the artist used not only local but also imported materials. A pilot study of two Chinese reverse glass paintings from the late 19th (Yingying and Hongniang) and early 20th centuries (The Archer) was performed using a multi-analytical approach including X-ray fluorescence (XRF), diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS) and Raman spectroscopy. This approach allowed the identification of the pigments and the classification of the binding media. The results reveal a combined use of traditional Chinese and imported European materials. Several pigments like cinnabar, lead white, orpiment, carbon black and copper-arsenic green (probably emerald green) were found in both paintings; red lead, artificial ultramarine blue, Prussian blue and ochre appear in at least one of the paintings. The proof of limewash (calcite and small amounts of portlandite) as a backing layer in “Yingying and Hongniang” indicates that clamshell white was also used for reverse glass paintings. Drying oil was classified as a binding media in most areas of both paintings. However, the orange background of The Archer yielded prominent bands of both proteinaceous and fatty binder. T2 - China and the West Reconsidering Chinese Reverse Glass Painting CY - Romont, Switzerland DA - 14.02.2020 KW - Reverse glass painting KW - DRIFTS KW - Raman spectroscopy PY - 2020 AN - OPUS4-50445 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Bonnerot, Olivier A1 - Del Mastro, G. A1 - Hammerstaedt, J. A1 - Mocella, V. A1 - Rabin, Ira T1 - XRF ink analysis of selected fragments from the Herculaneum collection N2 - Hundreds of papyrus rolls, carbonized during the 79CE eruption of Mount Vesuvius, were discovered in 1754 at Herculaneum. Sophisticated mechanical methods for unrolling the best-preserved scrolls have been applied, with varying success. However, such processes have been abandoned, to prevent risk from irremediable damage or loss and to preserve the integrity of the extremely fragile rolls. Following the development of X-ray based non-invasive techniques, attempts to virtually unroll the scrolls were made. The most common ink in Antiquity was carbon-based, and the main element of carbonized papyrus is carbon, making these investigations difficult. However, some attempts with synchrotron X-ray phase-contrast tomography (XPCT) were successful. Recently, the identification of antique inks containing metals raised hope that if some of the inks contain metal the rolls can be virtually unrolled using conventional CT- technique. We are presenting here the first results of a preliminary analysis, which aimed at identifying scrolls whose ink contains metals. T2 - Konferenz: 29th International Congress of Papyrology CY - Lecce, Italy DA - 28.07.2019 KW - Herculaneum KW - Papyrus KW - Tomography KW - XRF KW - Ink PY - 2019 AN - OPUS4-48615 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Bonnerot, Olivier A1 - Bosch, S. A1 - Rabin, Ira A1 - Hahn, Oliver T1 - Scientific service project z02 at the CSMC: material science methods of reconstructing the history of manuscripts N2 - Z02 is one of the three technically supporting projects at the Centre for the Study of Manuscript Cultures (CSMC). In collaboration with the other two service projects, Z01 and Z03, it aims at bridging the gap between humanities and natural sciences and technology. To that purpose, we set up a laboratory with a range of high-end instruments, most of them mobile, allowing thorough non-destructive analysis of manuscripts. In addition to working on constantly improving the laboratory and the methods of analysis, a substantial part of our activities is dedicated to service, by supporting different research projects conducted at the centre. In this talk, we will present our equipment and the possibilities offered by the different techniques available regarding the different kinds of missions: typology and classification of inks, provenance studies, recovery of faded inscriptions and palimpsests, reconstruction of the history of manuscripts, authentication and dating. We will give a brief overview of our past and ongoing activities in the frame of the second phase of the CSMC. Finally, a selection of three projects will be presented in greater detail to highlight the possibilities of our laboratory and the diversity of missions which can be carried out. T2 - International Medieval Conference CY - Leeds, United Kingdom DA - 01.07.2019 KW - Manuscript KW - Ink KW - Pigment PY - 2019 AN - OPUS4-48465 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Ghigo, Tea A1 - Rabin, Ira A1 - Buzi, P. T1 - Archaeometric analysis of inks from Coptic Manucripts N2 - Understanding the technological evolution of inks from Coptic Manuscripts. T2 - III International PAThs Conference CY - Rome, University of La Sapienza, Italy DA - 25.02.2019 KW - Archaeometry PY - 2019 AN - OPUS4-48037 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Horn, Wolfgang A1 - Jann, Oliver A1 - Hahn, Oliver T1 - The BEMMA-Scheme helpful for low VOC inside display cases? N2 - Museums worldwide are equipped with different display cases. Exhibit display cases should protect cultural objects from dust as well as from mechanical and physical damage. To ensure a stable climate inside the display cases, a low air exchange rate is maintained. Typically, air exchange rates are often smaller than 0.1 d-1, which can result in rising concentrations of potential harmful VOC inside of the display cases due to emissions from materials. Especially organic acids, e. g. formic or acetic acid which can emit from e.g. sealing materials or wood-based materials, can produce damage of cultural objects. In 2012 BAM introduced a procedure which is called: BEMMA-Scheme (Bewertung von Emissionen aus Materialien für Museums¬ausstattungen) which stands for: “Assessment of Emissions from Materials for Museum Equipment”. Regarding the testing procedure only construction materials were evaluated, not the display cases their self. Micro chambers are used for VOC emission tests of display case construction materials, e.g. plastics, sealing materials, coatings, textiles and others. Each sampling procedure is carried out in duplicate. Emissions like formic acid, acetic acid, formaldehyde, piperidine-derivates and oximes are excluded and the sum of emissions of VVOCs, VOCs and SVOCs is limited. For a positive assessment all listed criteria must be fulfilled; otherwise the display construction material fails the BEMMA scheme. T2 - Indoor Air Quality in Heritage and Historic Environments CY - Online meeting DA - 12.10.2020 KW - Museum KW - VOC-emission KW - BEMMA KW - Display case PY - 2020 AN - OPUS4-51470 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Ghigo, Tea A1 - Rabin, Ira A1 - Buzi, Paola T1 - Archaeometric analysis of Egyptian inks from Late Antiquity N2 - Presentation of the results obtained on a corpus of Egyptian papyri from Late Antiquity T2 - Research Showcase: studying Greco-Roman Egypt CY - University of Basel, Switzerland DA - 26.09.2019 KW - Ink KW - Archaeometry KW - Manuscripts KW - Coptic PY - 2019 AN - OPUS4-49969 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Ghigo, Tea A1 - Rabin, Ira A1 - Buzi, Paola T1 - Análisis arqueométrico de tintas N2 - Análisís arquéometrico de tintas de manuscritos Egipcios T2 - IX Jornadas de Papirología CY - Abadía de Montserrat, Spain DA - 08.07.2019 KW - Coptic KW - Archaeometry KW - Ink KW - Manuscripts PY - 2019 AN - OPUS4-49970 LA - spa AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Ghigo, Tea A1 - Rabin, Ira A1 - Buzi, Paola T1 - Archaeometric analisis of Egyptian inks from Late Antiquity N2 - Archaeometric analisis of Egyptian inks from Late Antiquity: presentation of the results obtaine on a curpus of literary and documentary manuscripts. T2 - International congress of papyrology CY - Lecce, Italy DA - 28.07.2019 KW - Coptic KW - Archaeometry KW - Ink KW - Manuscripts PY - 2019 AN - OPUS4-49971 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Hahn, Oliver T1 - Zerstörungsfreie Prüfverfahren zur Authentifizierung von Manuskripten und Zeichnungen – Möglichkeiten und Grenzen N2 - Untersuchungen von Zeichnungen und Manuskripten mit zerstörungsfreien Methoden haben in den letzten Jahren enorm zugenommen. Die nicht-invasiven Analysen ermöglichen Informationen zur Herkunft, zum Herstellungsprozess und möglicherweise zum Alter (direkte Dating nicht möglich, Ausnahme: Papierstruktur, Wasserzeichen). Die zerstörungsfreien Analysen können Rückschlüsse auf mögliche Fälschungen geben, sind neben den offensichtlichen Vorteilen jedoch auch mit einzelnen Limitierungen behaftet. Der Vortrag soll anhand einiger Fallbeispiele die Möglichkeiten aber auch Grenzen bei der zerstörungsfreien (mobilen) Auffindung von Fälschungen aufzeigen. T2 - PTS Workshop"Materialwissenschaftliche Untersuchungsmethodenzur Charakterisierung und Authentifizierung von Dokumenten und Kunstwerken auf Papier" CY - Heidenau, Germany DA - 07.11.2019 KW - ZfP KW - Authentifizierung KW - Papier PY - 2019 AN - OPUS4-49666 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Hahn, Oliver A1 - Wintermann, C. A1 - Dietz, Georg A1 - Golle, U. A1 - Ketelsen, T. A1 - Melzer, C. T1 - Braune Tinten – Geschichte und Materialität N2 - Eine Vielzahl unterschiedlicher Materialien findet für die Gestaltung von Zeichnungen Verwendung. So sind es insbesondere „braune Tinten“, welche die Zeichnungen dominieren. Der Vortrag möchte zunächst einen kurzen Überblick über die Terminologie und die Kunsttechnologie farbiger Tinten geben, um den Kosmos dieser Vielfältigkeit und auch deren Vergänglichkeit zu illustrieren. Der zweite Teil des Vortrags ist dann den sogenannten Bistertinten und deren analytischen Nachweisen gewidmet. Es handelt sich um Zeichentinten, die aus den wasserlöslichen Bestandteilen von Kaminruß gewonnen werden. Die farbliche Bandbreite reicht von gelb-orange bis braun. Zuweilen wurden diese Tinten mit weiteren Pigmenten versetzt, um eine bestimmte Farbtiefe zu erzielen. T2 - 29. Treffen der Grafikrestauratoren CY - Weimar, Germany DA - 25.10.2019 KW - Zerstörungsfreie Prüfung KW - Zeichenmaterialien KW - Archäometrie PY - 2019 AN - OPUS4-49731 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Melzer, C. A1 - Wintermann, C. A1 - Hahn, Oliver A1 - Golle, U. A1 - Ketelsen, T. A1 - Dietz, Georg T1 - Red chalk as a medium of transfer in dutch and flemish drawings N2 - The Weimar research project has set the goal of placing style-critical research on Old Master drawings on a new, methodologically proven foundation. The starting point is the stock of Dutch drawings possessed by the Klassik Stiftung Weimar, whose extent (ca. 1,400 items) and character make it one of the most significant outside the Netherlands. The focus here is on drawings that were executed with red chalk. This drawing material has different functions - one of which is the use as a transmission material. The methodological approach is double: first, the scientific indexing of this stock. The foundations for this, along with classic analysis of style, are innovative material-scientific methods of investigation. T2 - Red Chalk Drawings. Sources, Techniques and Styles c. 1500-1800 CY - Florence, Italy DA - 18.09.2019 KW - Drawing KW - Red chalk KW - Non-destructiv testing PY - 2019 AN - OPUS4-50240 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Steger, Simon A1 - Hahn, Oliver A1 - Stege, H. A1 - Oesterle, D. A1 - Bretz, S. A1 - Geiger, G. T1 - Disclosing a new aspect in modern European art: multidisciplinary analysis of modern reverse paintings on glass (1905-1955) N2 - The technique of painting on the reverse side of a glass panel was rediscovered by German artists at the beginning of the 20th century. They appreciated the impressive gloss, luminosity, and depth of colours in this genre. Compared to stained glass, the distinctive properties of this technique are: (1) the paint is applied “cold”, hence, it doesn’t involve a firing step, (2) reverse paintings on glass are framed and always viewed in reflected light and (3) the reverse paint stratigraphy is different from canvas paintings, starting with the front most layer and ending with the backing layer. In 1908 several artists, including Gabriele Münter, Wassily Kandinsky, Heinrich Campendonk, August Macke and Franz Marc of the “Der Blaue Reiter” (the Blue Rider) collective took an interest in this technique and started to share their interest with other colleagues in Europe. Our pioneering project is tracing this transfer of knowledge by a multidisciplinary approach in terms of art history, paint technology and material science. More than 100 artists and >1000 reverse paintings on glass were identified during the project. This high number of objects clearly points out that this technique was by far more important for modern art than previously assumed. In-situ, non-invasive measurements (XRF, Raman, VIS, DRIFTS) on a well-considered selection of 67 paintings reveal the broad palette of colorants ranging from traditional to experimental. Special attention is paid to the impact of synthetic organic pigments (SOP) in artists palette. Demonstrative examples by W. Kandinsky, L. G. Buchheim and F. Jespers are used to discuss analytical challenges and highlights. T2 - Art & Archaeology 2018 CY - Jerusalem, Israel DA - 09.12.2018 KW - Reverse glass painting KW - Spectroscopy KW - In-situ analysis PY - 2018 AN - OPUS4-47042 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Cohen, Zina A1 - Rabin, Ira A1 - Schlanger, Judith T1 - Quelles informations une approche archéométrique peut-elle nous apporter pour enrichir notre connaissance des manuscrits hébreux et du monde de la Génizah du Caire ? N2 - L'archéométrie est une discipline riche qui peut nous apporter beaucoup d'informations sur l'étude des manuscrits et qui, conjuguée à la paléographie et la codicologie, peut s'apporter un outil précieux pour mieux appréhender les sociétés qui ont produits ces manuscrits. Nous verrons ici quelques exemples de techniques scientifiques non destructives, principalement appliqués à la Génizah du Caire, appliquées à l'étude des manuscrits. T2 - Tagung CY - Paris, France DA - 10.12.2018 KW - XRF KW - Ink KW - Archaeometry KW - Manuscripts KW - Non destructive PY - 2018 AN - OPUS4-47098 LA - fra AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Cohen, Zina A1 - Schlanger, J. A1 - Hahn, Oliver A1 - Rabin, Ira T1 - Cairo Genizah documents of the 11th century: analysis of writing materials N2 - The Cairo Geniza is an “archive” discovered in the 19th century in Ben Ezra Synagogue in Fustat, a district in Old Cairo (Egypt). The collection of mostly Jewish documents that vary in genres, languages and writing supports contains a large number of early medieval Hebrew manuscripts. The Geniza provides sources for the literary, linguistic, historical studies of the various aspects Jewish life. As the documents attest, at least two Jewish communities co-existed in Fustat up to 11th century: a so-called Babylonian and Palestinian. These communities had different leaders, different traditions and lived independently. The differences seem to manifest themselves also in the paleographical, codicological and some material properties of the manuscripts produced by each community. The aim of this project is to compare the inks used in the Jewish documents depending on different variables: support (paper, parchment), purpose of the manuscript (legal, private, religious), provenance of the scribe. For the determination of the inks type and composition we had to choose non-invasive, non-destructive and portable techniques to analyze the corpus directly on-situ. The analyses were carried out with a micro-X-ray spectrometer ArtTAX® (Bruker GmbH) and a digital stereomicroscope features built-in LED illumination at 395 nm and 940nm, Dino Lite. We would like to stress that though the methods of material analysis listed above have been successfully employed in the field of cultural heritage and conservation including ancient and medieval manuscripts they have not yet been used to study fragments from the Cairo Genizah. Therefore, we believe that this research project is a pioneering study that will provide new insights into the history of Hebrew writing materials, their production techniques and materials and, thus, contribute new data to the field of Hebrew paleography. T2 - Konferenz Art&Archaeology2018 – 3rd International Conference CY - Jerusalem, Israel DA - 09.12.2018 KW - XRF KW - Ink KW - Manuscripts KW - Cairo Genizah KW - Reflectography PY - 2018 AN - OPUS4-47100 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Bonnerot, Olivier A1 - Bosch, S. A1 - Rabin, Ira A1 - Hahn, Oliver T1 - Scientific service project z02 at the csmc: material-science methods of reconstructing the history of manuscripts N2 - Z02 is one of the three technically supporting projects at the Centre for the Study of Manuscript Cultures (CSMC). In collaboration with the other two service projects, Z01 and Z03, it aims at bridging the gap between humanities and natural sciences and technology. To that purpose, we set up a laboratory with a range of high-end instruments, most of them mobile, allowing thorough non-destructive analysis of manuscripts. In addition to working on constantly improving the laboratory and the methods of analysis, a substantial part of our activities is dedicated to service, by supporting different research projects conducted at the centre. In this talk, we will present our equipment and the possibilities offered by the different techniques available regarding the different kinds of missions: typology and classification of inks, provenance studies, recovery of faded inscriptions and palimpsests, reconstruction of the history of manuscripts, authentication and dating. We will give a brief overview of our past and ongoing activities in the frame of the second phase of the CSMC. Finally, a selection of projects will be presented in greater detail to highlight the possibilities of our laboratory and the diversity of missions which can be carried out. T2 - Konferenz: Art & Archaeology 2018 CY - Jerusalem, Israel DA - 09.12.2018 KW - Manuscripts KW - Inks KW - CSMC KW - Pigments PY - 2018 AN - OPUS4-47039 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Ghigo, Tea A1 - Buzi, Paola A1 - Rabin, Ira T1 - New approaches to the analysis of ancient inks N2 - 4.5 protocol for ink analysis and new possible fronteers: SERS and ASAP-MS. T2 - Art and Archaeology conference - Jerusalem CY - Jerusalem, Israel DA - 10.12.2018 KW - ASAP-MS KW - Ancient INKS KW - NIR reflectography KW - XRF KW - SERS PY - 2018 AN - OPUS4-47080 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Steger, Simon A1 - Stege, Heike A1 - Hahn, Oliver T1 - In-situ spectroscopic analysis of modern reverse paintings on glass (1905-1955) N2 - The technique of painting on the reverse side of a glass panel was rediscovered by German artists at the beginning of the 20th century. In contrast to other paint techniques (e.g. panel and mural painting), the paint layers are applied in reverse succession starting with the foremost paint layer and ending with the primer (backmost layer). The paintings are viewed in reflected light, thus revealing an impressive gloss, luminosity and depth of colour. The artist group “Der Blaue Reiter” (the Blue Rider) around W. Kandinsky and F. Marc got in touch with this technique in the summers of 1908 and 1909 and spread their knowledge in different regions. Our pioneering project is tracing this transfer of knowledge by a multidisciplinary approach in terms of art history, painting technology and material science. More than 100 artists and >1000 reverse paintings on glass (1905-1955) were identified during the project. This numbers clearly point out that this technique was by far more important for modern art than previously assumed. In-situ, non-invasive measurements (XRF, Raman, VIS, DRIFTS) on a well-considered selection of 67 paintings reveal the broad palette of colorants ranging from traditional to experimental materials. Special attention is paid on artists who are strongly connected to Berlin. Demonstrative examples by W. Dexel, G. Muche and L. Hildebrandt are used to discuss analytical challenges and highlights. T2 - Young Researchers in Archaeometry (YRA) 2nd Workshop CY - Berlin, Germany DA - 23.09.2018 KW - Raman spectroscopy KW - DRIFTS KW - Reverse glass painting PY - 2018 AN - OPUS4-46066 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Cohen, Zina A1 - Schlanger, J. A1 - Rabin, Ira T1 - X-Ray Fluorescence Analysis of black Medieval Inks: Characterization and Interpretation. Case Study of an 11th century Egyptian Corpus N2 - This study focuses on the analysis of a corpus of manuscripts found in Fustat (medieval Cairo, Egypt) in the biggest medieval “archive” found until now: the Cairo Geniza. The giant collection of mostly Jewish documents has been attracting scholars’ attention a lot but so far, the material aspects of these documents seem to have been mainly neglected. Application of scientific methods of analysis, especially X-Ray fluorescence characterization, contributes to our understanding of the materials used for production of manuscripts during the Middle ages. Our corpus of the 11th century manuscripts comprises manuscripts written by scribes belonging to three Jewish communities that co-existed in Cairo during this period: the Karaites, the so-called Jerusalemites (or Palestinian) and the so-called Babylonians (or Iraqi), three different communities with different traditions and different leaders. The differences manifest themselves also in the paleographical properties of the manuscripts produced within each community. Can we extend the differences detected by the paleographical analysis to differences in composition of the writing materials and especially the composition of the inks? Or can we relate the differences in the composition to the manuscript type (legal, private...), or to another criterion. In this presentation, we offer answers to some of the questions using statistical analysis of the measurements results. T2 - Konferenz Natural Sciences and Technology in Manuscript Analysis CY - Hamburg, Germany DA - 13.06.2018 KW - Ink KW - Manuscript KW - XRF analysis PY - 2018 AN - OPUS4-46044 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Cohen, Zina A1 - Schlanger, J. A1 - Rabin, Ira T1 - Writing materials analysis of 11th century Cairo Genizah's fragments N2 - This study focuses on the analysis of a corpus of manuscripts found in Fustat (medieval Cairo, Egypt) in the biggest medieval “archive” found until now: the Cairo Geniza. The giant collection of mostly Jewish documents has been attracting scholars’ attention a lot but so far, the material aspects of these documents seem to have been mainly neglected. Application of scientific methods of analysis, especially X-Ray fluorescence characterization, contributes to our understanding of the materials used for production of manuscripts during the Middle ages. Our corpus of the 11th century manuscripts comprises manuscripts written by scribes belonging to three Jewish communities that co-existed in Cairo during this period: the Karaites, the so-called Jerusalemites (or Palestinian) and the so-called Babylonians (or Iraqi), three different communities with different traditions and different leaders. The differences manifest themselves also in the paleographical properties of the manuscripts produced within each community. Can we extend the differences detected by the paleographical analysis to differences in composition of the writing materials and especially the composition of the inks? Or can we relate the differences in the composition to the manuscript type (legal, private...), or to another criterion. In this presentation, we offer answers to some of the questions using statistical analysis of the measurements results. T2 - Konferenz 6th Meeting “X-ray and other techniques in investigations of the objects of cultural heritage” CY - Cracow, Poland DA - 17.05.2018 KW - Ink KW - Manuscript KW - XRF analysis PY - 2018 AN - OPUS4-46045 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Ghigo, Tea A1 - Cohen, Zina A1 - Nehring, G. A1 - Bonnerot, Olivier A1 - Hahn, Oliver A1 - Buzi, P. A1 - Rabin, Ira T1 - Comprehensive analysis of manuscripts. Systematic study of Coptik inks N2 - While studying the socio-geographic history of inks, division 4.5 of the BAM (Bundesanstalt für Materialforschung und Prüfung) together with the Centre for the Study of Manuscript Cultures in Hamburg has developed a protocol for ink analysis. It consists of a primary screening to determine the type of the ink, and a subsequent in-depth analysis using several spectroscopic techniques. The XRF elemental analysis aims primarily at understanding the fingerprints of inks containing metals, making it possible to distinguish among different inks. Our own research aims primarily at recreating a socio-geographic history of inks, parchment, and papyrus and includes the comparative analysis of the writing materials of the Dead Sea Scrolls, ink and papyrus in Ancient and Hellenistic Egypt, and inks in documents from various contemporary medieval communities in Fustat (first nucleus of Cairo). During many years of study, we concluded that the continuous production of Coptic manuscripts from late Antiquity to the Middle Ages offers a unique opportunity for historical study of the ink in a large geographic area. Thanks to the collaboration with the ERC project “PAThs” (www.paths.uniroma1.it), based at the University of Rome La Sapienza, and within the activities of a PhD research dedicated to this topic, we therefore created a new branch of our project focused entirely on the analysis of Coptic inks, pigments, and dyes. This pioneering systematic study of writing materials coming from a specific area and time frame (5th-10th century) aims not only at a better understanding of the complex Coptic multicultural and plurilingual society, but also and mainly at clarifying the links among the Coptic and other societies between the ancient and medieval eras. Finally, it will cast light on the history of the technological development of inks in the eastern world, from Antiquity to the middle ages. T2 - 7th Meeting 'X-ray and other techniques in investigations of the objects of cultural heritage' CY - Cracow, Poland DA - 17.05.2018 KW - Coptic KW - Ink KW - Manuscript PY - 2018 AN - OPUS4-46025 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Cohen, Zina A1 - Schlanger, J. A1 - Hahn, Oliver A1 - Rabin, Ira T1 - Cairo Genizah documents of the 11th century: analysis of writing materials N2 - The Cairo Genizah is a well-known “archive” discovered in the 19th century in Ben Ezra Synagogue in Fustat, a district in Old Cairo (Egypt), located south of the center of modern Cairo. The giant collection of mostly Jewish documents that vary in genres, languages and writing supports contains a large number of early medieval Hebrew manuscripts, mostly in fragmentary form. The larger part of the Cairo Genizah is stored today in the Cambridge University Library, containing about 200,000 fragments. The Genizah provides sources for the literary, linguistic, historical studies of the various aspects Jewish and non-Jewish life. As the documents attest, at least two Jewish communities co-existed in Fustat up to 11th century: a so-called Babylonian and Palestinian. These communities had different leaders, different traditions and lived independently. The differences manifest themselves also in the paleographical properties of the manuscripts produced by each community. Although Genizah manuscripts have attracted a great deal of scholarly attention, the material aspects of these documents seem to have been largely neglected. The current study aims to obtain information on the composition of the writing supports and the inks used, in order to obtain insights on trade, local production techniques and social structures. Can we extend the differences detected by the paleographical analysis to differences in composition of the writing materials ? Can we relate the differences in the composition to a community, to the manuscript type (legal, private...), or to another criterion? T2 - Konferenz EAJS CY - Crakow, Poland DA - 14.07.2018 KW - Ink KW - Manuscript KW - XRF analysis PY - 2018 AN - OPUS4-46038 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Ghigo, Tea A1 - Rabin, Ira A1 - Buzi, Paola T1 - Archaeometric analysis of Coptic inks N2 - We try to get as closer as possible to the ink composition, given that we have to work with non-invasive techniqes and on very degraded supports. T2 - Summer School in Coptic Literature CY - Hamburg, Centre for study Manuscript cultures, Germany DA - 17-09-2018 KW - Ink KW - Archaeometry PY - 2018 AN - OPUS4-46133 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Nöller, Renate T1 - Scientific analysis of the Humboldt fragments N2 - The presented Humboldt Codices are from the early colonial period of Mexico and originate from different localities 1. typical indigen colors and mixtures: cochineal (red), indigo (blue and green), carbon (black), mangle, zacatlaxcalli, organic (brown, yellow)- critical! 2. colonial influence: iron gall ink for writing 3. single fragments belong together: are cut (fragments IX-XII), from Mizquahuala distributed (VII, XIII, XIV, [XV]) (VII, XIII in Mexico, XIV in Paris) T2 - Workshop: Manuscripta Americana: Aufarbeitung einer Sammlung; Staatsbibliothek zu Berlin - PK CY - Berlin, Germany DA - 14. Februar 2019 KW - Humboldt Codices KW - XRF-, VIS- FTIR-spectroscopy KW - Dyes PY - 2019 AN - OPUS4-47589 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER -