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The cleaning of aged silk fibers poses a common challenge in the conservation of textiles, since traditional cleaning techniques often yield unsatisfactory results or even harm objects. In this regard, cleaning objects with laser radiation is a promising addition to the range of available methods. Due to it being contactless, even brittle and touch-sensitive objects with disfiguring or harmful soiling could potentially be cleaned and therefore made accessible for research and presentation. Examples of treatment have sometimes shown spectacular results. Still there is some skepticism concerning the safety of this treatment for textile materials, which has been strengthened through previous 532 nm wavelength nanosecond laser cleaning studies on silk fibers. Taking these published results into account, the range of examined laser parameters has been extended in this study, from 532 nm nanosecond laser to 1064 nm nanosecond and even 800 nm femtosecond laser, reevaluating the effect of this treatment on the fibers. The physicochemical processes taking place on the silk fibers when cleaning with lasers are complex and still not fully understood. The aim of this project was therefore to bring more clarification about potential effects of those processes on the condition of silk samples treated with a set of different parameters for wavelength, pulse duration, energy density and number of pulses per spot. It also looks at the influence of the presence of soiling on the results. The analysis of potential effects was then carried out using statistical methods and advanced analytics. Scanning electron microscopy, Fourier-transform infrared spectroscopy and colorimetry technology provided the required insights to better assess the effects. Results show that laser cleaning of silk fibers, like most other conventional cleaning techniques, is not completely without risk, but knowing what the possible effects are helps making decisions on whether the benefits of the technique used justify these risks.
Larvae and adults of Korynetes caeruleus (de Geer 1775) (Coleoptera: Cleridae) were collected from old churches and reared in the laboratory on Anobium punctatum (de Geer 1774) (Coleoptera, Ptinidea, formerly Anobiidae). Breeding success of K. caeruleus was low, but basic parameters of this species’ developmental cycle were identified. At 21 °C and 75 % relative humidity and a four-month cold period at 4 °C, the development of K. caeruleus from egg to adult appearance lasted 2 years. The pupal stage may be reached and completed after one and a half years. Feeding on larvae of A. punctatum by larvae of K. caeruleus was observed and consisted of a combination of sucking haemolymph and consuming body parts. The sickle-like mandibles of larvae of K. caeruleus penetrate the cuticle of prey larvae followed by pumping and sucking body movements. Adult beetles of A. punctatum were not attacked by K. caeruleus larvae. Feeding behavior of adult K. caeruleus was not investigated.
Vielleicht nannten es die Berliner „Puppen putzen“, wenn in den 1880er Jahren die Marmorstatuen auf der Schlossbrücke vor dem Berliner Stadtschloss mit Bürste, Wasser und Seife von Staub, Ruß und Taubendreck befreit wurden. Soviel Pflege wurde diesen Göttinnen aus der griechischen Mythologie nicht immer zuteil. So haben Klima, Luftverschmutzung und der 2. Weltkrieg, wie bei anderen Kunstwerken auch, tiefe Spuren hinterlassen. Der Erhalt dieser zwischen 1847 und 1857 aufgestellten Skulpturen und vieler vergleichbarer Objekte im Stadtbild ist durch die auch heute weiter fortschreitende Schädigung des Marmors gefährdet. In den Jahren 2006 bis 2010 förderte die Deutsche Bundesstiftung Umwelt (DBU) ein Projekt zur „Entwicklung und Überprüfung von Einhausungssystemen zur Reduzierung umweltbedingter Schädigungen von außenexponierten Marmorobjekten mit dem Ziel des langfristigen Erhalts in situ an einem national bedeutenden Objektkomplex, den Schlossbrückenfiguren unter den Linden, Berlin“. Geleitet und restauratorisch betreut wurde das Projekt durch das Landesdenkmalamt (LDA) Berlin. Durch die Abteilung Strukturgeologie und Geodynamik (GZG) der Georg-August Universität Göttinnen wurden die Verwitterungsmechanismen des Marmors untersucht und auf dieser Basis Anforderungen an das Schutzsystem formuliert. Anhand von numerischen Simulationen des Instituts für Bauklimatik der Technischen Universität Dresden (TUD) wurde das bauphysikalische Konzept des Einhausungssystems optimiert. Die konstruktive Gestaltung eines Prototyps und des finalen Entwurfs erfolgte durch das Fachgebiet Konstruktives Entwerfen und Tragwerkslehre der Universität der Künste Berlin. Durch den Fachbereich Baustoffe der BAM erfolgten die Realisierung des Prototyps der Einhausung sowie ein umfangreiches Klimamonitoring an den Skulpturen. Anhand dieses interdisziplinären Projektes und ergänzt durch weitere Messungen wird gezeigt, mit welchen Methoden die für die Degradation von Marmor relevanten Mechanismen untersucht werden können. Die Erkenntnisse aus dem Projekt sind die Grundlage für die Entwicklung nachhaltiger Pflege- und Schutzkonzepte für die kulturhistorisch wertvollen Skulpturen. Nur mit solchen modernen konservatorischen Programmen können die Originalskulpturen im Berliner Stadtraum erlebbar bleiben.
Larvae and adults of Korynetes caeruleus (de Geer 1775) (Coleoptera: Cleridae) were collected from old churches and reared in the laboratory on Anobium punctatum (de Geer 1774) (Coleoptera: Ptinidae). Breeding success of K. caeruleus was low, but basic parameters of this species’ developmental cycle were identifi ed. At 21°C and 75% relative humidity and a fourmonth cold period at 4°C, the development of K. caeruleus from egg to adult appearance lasted 2 years. The pupal stage may be reached and completed after one and a half years. Feeding on larvae of A. punctatum by larvae of K. caeruleus was observed and consisted of a combination of sucking haemolymph and consuming body parts. The sickle-like mandibles of larvae of K. caeruleus penetrate the cuticle of prey larvae; this is followed by pumping and sucking body movements. Adult beetles of A. punctatum were not attacked by K. caeruleus larvae. Feeding behaviour of adult K. caeruleus was not investigated.
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.
Inks and pigments
(2019)
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.
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.
This paper reports the outcome of an interdisciplinary team’s application of multispectral imaging techniques and material analysis to a music fragment from the first decades of the fifteenth century: Atri, Archivio Capitolare, Museo della Basilica Cattedrale, Biblioteca del Capitolo della Cattedrale, Frammento 17. This important parchment leaf has rarely been investigated since its discovery 45 years ago. Thanks to the applied techniques and methods (such as the evaluation of the data using the fingerprint model), it is now possible to discuss new evidence supporting conclusions regarding the fragment’s origin and afterlife.
The International Qumran project conducted at the BAM Federal Institute for Materials Research and Testing in 2007–10 aimed at establishing an optimal methodology for an accurate characterization of the Dead Sea Scrolls to address such questions as archaeological provenance, origin, and attribution of fragments to a specific sheet (Rabin 2013). Using equipment of various degrees of complexity we have shown that part of the historic information stored in the material can be revealed by proper characterization of the material. The on-site investigation of the Dead Sea Scrolls fragments from The Schøyen Collection in October 2012 offered the first chance to test this methodology in a field study. For the first time, we used mobile and non-invasive technology exclusively, since we could not transport all of our laboratory equipment to Norway for this project. Moreover, besides the technical limitations dictated by the available equipment, we had to cope with limited time: it was impossible to perform the number of scans required for optimal characterization of over 30 fragments within the fourteen days available. Nevertheless this study presents an important step in the material analysis of the Dead Sea Scrolls, since the devices we used are easily transportable, well known, and easily accessible throughout the world.
We have obtained a minute amount of dry ink scratched from the bronze inkwell MS 1655/2. The powder was stored between two glass slides to minimize contamination. For micro analysis by FTIR a sample of the ink powder was transferred into a diamond cell while for confocal Raman spectroscopy a micro sample was placed onto sticky tape. The same portion of the sample was also investigated by scanning electron microscopy, where the elements distribution was determined by EDX.
The aim of our work was to check whether the assumption that the jar was discovered in Qumran can be substantiated. In order to establish the archaeological provenance of the jar we conducted a series of analytical tests on samples of material collected from the jar in April and June 2009. The samples were either found loose within the jar, these being probably constituted by remnants of its original contents, or were clay detached from the inner and outer surface of the jar. In addition, a portion of sand deposit coating the inside of the jar handles was analysed.
The lecture will discuss the sensitive issue of authentication of the objects of cultural heritage of immense cultural and monetary value if certified to be genuine. It will be made clear that material analysis alone, especially its non-destructive variety conducted by specialists in a single technique, can not prove that the object is genuine. The best material analysis can do, after all appropriate tests have been conducted, is to announce that nothing has been found that contradicts the assumption of genuineness. Moreover, the results of the natural analysis can never be used as the only justification of the authentication in the cases of composite objects such as manuscripts or epigraphs. A certification always requires the expertise of the specialist in the field (be it a historian, paleographer, epigrapher, etc.), whose judgment can be at the most supported by appropriate material analysis.
The most effective approach for testing suspicious artifacts has been established by the forensic science. Here, not the authentication, but the determination of the forgery stands in the focus of the work. Investigation protocols developed within 150 years and constantly improved include a clear statement of the analysis purpose and the definition of plausibility criteria for the possible outcome. The younger sister of the forensics, archaeometry has to overcome additional obstacles such as the heterogeneity of historic material coupled with the scarcity of suitable reference material. Over the last two decades the popularity of archaeometric studies has increased enormously, with the industry-driven development of so-called non-destructive technologies (NDT) that do not require sampling. Further technological developments led to the appearance of NDT methods with extremely small interaction windows (µm range). Each of these methods has limitations that have to be carefully considered when planning the tests of a heterogeneous and often partially degraded historical material. This approach is inherently multi-instrumental, therefore archaeometric and forensic departments unite a number of specialists who work together defining the tasks and the methods involved for their successful completion.
The experimental knowledge about the inks of antiquity and late antiquity rarely goes beyond their visual description. In rare cases, inks typology has been determined by means of microscopy and reflectography, i.e. using their physical and optical properties, respectively. Soot, plant, and iron gall inks form different typological classes of historical black writing materials. Soot ink is a fine dispersion of carbon pigments in a water-soluble binding agent; plant-based ink consists of tannin solution; iron gall-ink presents a boundary case between soot and plant ink— a water soluble preliminary stage (similar to inks from the second group) oxidizes and evolves into a black, insoluble material (similar to the carbon pigments of the first group) when the writing is exposed to air. Each ink class has distinct properties that would readily permit their easy differentiation, if only these historical inks always belonged to just one of the classes above. In reality, inks may contain additives that obscure a clear picture.
All the black inks of the DSS have been hitherto identified as soot inks. Yet some manuscripts, with 1QapGen ar among them, display ink corrosion that is incompatible with the pure soot ink. This type of corrosion commonly observed in medieval manuscripts written with iron gall inks, results from the catalytic action of metallic component in the ink. Early analysis of this ink conducted by Nir El and Broshi in 1996 found copper in the corrosive inks and attributed its presence to the use of bronze inkwells. Re-investigation of the 1QapGen ar ink suggests, however, that the ink composition, soot + copper, agrees well with the ink recipe recorded in the 1st century CE by Dioscorides. Similar inks have been already attested on contemporary Egyptian papyri. The first part of the paper is dedicated to the new results on the inks and corrosion pattern of the 1QapGen ar.
In the second part of the presentation I will focus on the luxury scrolls, a distinct codicological type introduced by E. Tov. Our studies show that the preparation of the writing materials cannot supplement the list of codicological criteria offered by Tov. Therefore, one can divorce the writing material production from its inscription in contrast with the medieval scriptoria practices that included parchment production and copying of the manuscripts.
Material study of inks
(2016)
Our experimental knowledge about the inks of antiquity and late antiquity rarely goes beyond their visual description. In rare cases, inks typology has been determined by means of microscopy and reflectography, i.e. using their physical and optical properties, respectively. Soot, plant, and iron gall inks form different typological classes of historical black writing materials. Soot ink is a fine dispersion of carbon pigments in a water-soluble binding agent; plant-based ink consists of tannin solution; iron gall-ink presents a boundary case between soot and plant ink— a water soluble preliminary stage (similar to inks from the second group) oxidizes and evolves into a black, insoluble material (similar to the carbon pigments of the first group) when the writing is exposed to air. Each ink class has distinct properties that would readily permit their easy differentiation, if only these historical inks always belonged to just one of the classes above. In reality, inks may contain additives that obscure a clear picture.
Even crude observations suggest that the inks of antiquity differed greatly in their composition. We believe, that reconstructing the ink recipes with the help of advanced non-destructive analytical techniques could serve as a powerful accessory in the studies of ancient papyri.
The proposed paper will present a short survey of the methods of material analysis and the challenges offered by ancient inks. (Two) examples of ink studies from the collections of the Israel Museum in Jerusalem and Egyptian Museum in Berlin will conclude the paper.
The international Qumran project coordinated at the BAM, Berlin, resulted in an integrated methodology for determining the original and acquired properties of the skin-based writing surfaces of the Dead Sea Scrolls. This methodology offers a powerful tool for addressing such questions as the provenance, sorting and comparison of manuscripts. In addition, we have developed specific protocols for on-site studies, which were successfully applied to the fragments from the Schøyen collection in Norway. Our studies show that the Dead Sea Scrolls writing surfaces 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 first pilot study of the Geniza fragments, in which Babylonian and Palestinian traditions seem to follow the “eastern” and “western” technologies, respectively.
The evolution and socio-geographic distribution of writing inks in late Antiquity and the early Middle Ages build the second focus of the BAM group. We use X-ray fluorescence analysis (XRF) to determine the chemical composition of the inks and NIR-reflectography for their typology. Here the early appearance of the metal containing inks clearly belongs to the western tradition as opposed to the continuous use of soot inks in the East.
Light damage to selected organic materials in display cases: A study of different light sources
(2016)
The protection of works of art and cultural assets against light-induced aging is vital when planning exhibitions. Newly developed lighting systems render the selection of suitable light sources more difficult, not least in the context of energy–economical systems. This study accordingly examines different lighting systems (fluorescent tubes, halogen lamps, low-voltage metal halide lamps, and LED lamps) in terms of the damage potential they hold for the materials concerned. The changes in color were evaluated using the CIEDE2000 color-difference formula. This study focuses on selected organic materials and shows that changes in color already occur after only a brief exposure time. The color changes induced by the fluorescent tubes were consistently more intense than those induced by the other light sources. The results obtained with the remaining lamps show that the color changes depend more on the material under investigation than on the source used. The changes determined after a relatively short exposure period (five months) vividly demonstrate that exposing sensitive materials to light for longer terms (as is the case during a permanent exhibition) is most definitely a non-viable option.
CHEF provides knowledge about flood protection of cultural heritage objects and directly supports the European Floods Directive by giving recommendations on how to assess the vulnerability of monuments. A comprehensive analysis of protective measures BEFORE, DURING and AFTER a flood has been carried out within the project, including technical and administrational measures. An overview of these measures is given, followed by recommendations on how to establish the most effective protective strategies.
Since the advent of industrial computed tomography (CT), this new analysis method has been used also for the investigation of objects of cultural heritage and art. CT provides the possibility to determine the inner and outer surfaces and to investigate the material structure without causing damage to the valuable objects.
In this talk I will present examples of measurements performed at BAM, which demonstrate what CT can do for objects of diverse materials and for different objectives.
Wooden artworks residing in churches for centuries inevitably suffered from decaying processes such as Wood worm infestation. About 100 years ago, this process was ceased with a polluting coal tar extract 'Carbolineum', a treatment usually applied to railway sleepers. Nowadays, this lead to undesired effects not only of causing dark stains on the surface of the treated sculptures but also in unimpaired release of traces of harmful substances into the atmosphere perceptible as the typical smell of coal tar oil. To resolve this problem, the knowledge of the internal structure could provide a support for this effort. As an example, sculptures from an epitaph in a church in northern Germany were subjected to X-ray and neutron computed tomography (CT). The purpose of using neutrons was to get information about the distribution of the impregnant Carbolineum. It consists of a mixture of polycyclic aromatic hydrocarbons which should increase the absorption of neutrons. In contrast, X-rays are rather poorly absorbed by such substances as compared to the wood matrix. All radiographic approaches
revealed traces of previous conservation measures that were not always documented in detail. Comparing the neutron images with those from the X-ray interrogation some differences became obvious indicating varied material compositions. Nails e.g. were clearly visible in the X-ray images rather than in the neutron ones. Some less visibly stained parts of the sculptures correspond with obviously replaced materials in the inside. These results will be used to identify ways how to treat the infested artworks.
For assessing building façades using active thermography, in case of direct solar exposure the sun itself can be used as heat source. It is shown that active thermography can be applied to large areas successfully, if a shadow cast occurs. After performing a sequence reconstruction in order to correct the temporal behaviour of shadow movement, the data could be analysed by pulse phase thermography (PPT). Compared to raw thermograms, the obtained phase images display an improved image quality with a lot of details. The frequency of the phase images is related to the probing depth. The presented case study describes the thermographic investigation of an historical building façade, where an area of 17 m x 13 m has been investigated.
Investigations of physical properties and chemical composition generate important data for answering cultural–historical questions that cannot be solved by historical and philological methods alone. In its individual materiality, each cultural asset is the result of a wide variety of influences (e.g. production, storage, restoration, preservation). Due to recent technological developments (e.g. miniaturization of structural units, enlargement of memory capacity), technical diagnostics in art and culture are becoming more and more coveted in such fields of trans-disciplinary research.
For the protection of the world’s cultural heritage the restoration of listed buildings and monuments is an important task. In many cases the need to repair and reprofile natural stone elements occurs. Repair mortars for such applications have to match historico-cultural interests as well as durability related and constructive interests. Currently a research project dealing with the development and optimisation of such mortars is set up at the German Federal Institute of Materials Research and Testing (BAM). To provide the conservatorwith the best possible options to match the colour, texture and technical requirements of the stone, the repair mortar System will be setup on a modular basis. Different binder Systems are planned to be combined with different aggregate compositions and different pigments. By the modular setup the possibility of independent adjustment of mechanical properties and appearance is aimed. In order to guaranty the reversibility and to ensure that the repair mortar does not induce any damage to the original substance, strength and stiffness of the repair mortar have to be well controlled. The use of polymer dispersions is helpful here, as they allow the production of low stiffness mortars with at the same time relatively high flexural strength values. Also investigations on “alternative” modifications known from historical applications such as the use of casein are carried out.
Despite the urgency of seemingly more important building tasks, there is also a great demand for natural stone repair in cultural heritage on the African continent. There is a wide ränge of different objects reaching from prehistoric monuments up to colonial architecture, all in different säte of preservations and subjected to a variety of individual environmental ant climatic conditions, which demand individual and adjustable restoration techniques and materials.
Structural performances of earthen building materials. A comparison between different typologies
(2011)
Traditional construction techniques utilizing earthen materials are often seen as inferior compared to modern ways of building. Structural earthen elements are perceived as vulnerable towards environmental influences (moisture, frost) and in particular towards the load scenarios during earthquakes. In comparison to the recent advances in research on stone and brick masonry, knowledge on the structural performance of earthen building construction is limited and scattered. Consequently the confidence in the performance of these earthen buildings constructed in the traditional techniques during earthquakes is fairly low. The research presented here aims to make a comparison of mechanical behavior between different earth masonry material typologies, consisting of earth block masonry, rammed earth and cob. The paper has been developed in the framework of a larger research program called NIKER. BAM and other seventeen research partners from the Mediterrean area are jointly involved to develop and validate innovative materials and technologies for the systemic improvement of the seismic behavior of Cultural Heritage assets
The paper has been developed in the framework of a larger EC‐research program called NIKER, in which BAM and other seventeen research partners from the Mediterrean area are jointly involved. It aims to develop and validate innovative materials and technologies for the systemic improvement of the seismic behavior of Cultural Heritage assets. The death tolls brought about by recent catastrophes in
developing countries where many inhabitants lived in earthen dwellings (Gujarat, India 2001, Bam, Iran 2003 and Concepción, Chile 2010 Earthquakes, Tamil Nadu 2004 Tsunami) have brought about research studies aimed at improving earth construction in terms of strength, seismic resistance and speed of construction.
In comparison to the recent advances in research on stone and brick masonry, knowledge on the material properties and failure mechanisms of earthen Building construction is limited and scattered.
The research presented here by aims making a comparison of mechanical behaviour between different earth masonry material typologies, consisting of earth block masonry, rammed earth and cob.
The qualitative and quantitative investigation of historical writing materials using micro-X-ray fluorescence analysis (micro-XRF) is a suitable method for obtaining information about the chemical composition of these materials. One the one hand these chemical composition fingerprints may answer some questions concerning the provenance of different materials, the chronology of their use, and give furthermore, the possibility to date unknown fragments in the lifework of an artist. On the other hand this method might be useful for the development and validation of conservation treatments.
In this work, the applicability of a new 3D micro X-ray fluorescence (3D Micro-XRF) laboratory spectrometer for the investigation of historical glass objects is demonstrated. The non-destructiveness of the technique and the possibility to measure three-dimensionally resolved fluorescence renders this technique into a suitable tool for the analysis of cultural heritage objects. Although absorption and resolution effects complicate qualitative analysis of the data, layered structures can be distinguished from homogeneous samples without the need for full quantification. Different manufacturing techniques were studied in this work with the help of hand-made reference samples. With the gained knowledge it could be shown for the investigated historical glass object, that black enamel as a stained glass contour colour was used in a cold painting. The object was not fired after the application of the black enamel, but instead the adhesion of the paint was solely provided through organic binding agents and the backing with metal foils. Thus, for the manufacturing of the object, a mixture of cold painting technique with a stained glass color was used. Quantitative measurements with a 3D Micro-XRF setup at the Berlin synchrotron BESSY II confirm the assumptions drawn on the basis of the qualitative investigation with the 3D Micro-XRF spectrometer with X-ray tube excitation.
Nondestructive analyses of medieval reverse paintings on glass revealed the same dyes and pigments customarily used in panel paintings. However, there is one exception: the black colorant is not a carbon-based pigment, but black enamel. In this respect, the stylistic as well as the technical influence of stained glass artwork can clearly be seen on reverse paintings on glass. However, there is a crucial difference: in reverse paintings, the black enamel is not fired onto the glass but painted (cold painting). Additional analyses confirmed these findings. Based on these results, the art form "reverse painting on glass" has technically to be characterized as a mixture of "stained glass" and "panel painting" that nonetheless develops into a genre of its own.
Fe K-edge XANES measurements were performed to determine the oxidation state of iron in iron gall inks. These data are used to investigate the relationship between the Fe oxidation state and ink corrosion in historical manuscripts. The oxidation state is determined using the pre-edge based on a general variation trend that was derived from model compounds and validated here independently on a suite of samples with known oxidation state and Fe in octahedral coordination (i.e. similar to Fe in gall ink). As long as suitable references for the pure ferric and ferrous state of iron gall inks cannot be pointed out, the analysis of the pre-edge of the Fe K-edge represents the only way to acquire absolute values for the Fe oxidation state (Fe3+/Fetot) with spatial resolution for this usually non-crystalline compound. Fe3+/Fetot values for the ink samples vary between ca. 0.7 and 1.0. Spatially resolved analyses performed across ink strokes of various historical manuscripts as well as newly made samples did not reveal any systematic spatial dependence. On average, historical samples that were exposed to conservation treatments show a more oxidized state. However, the measurements demonstrate explicitly that the exposure to X-rays during the XANES acquisition affects the oxidation state of Fe in most iron gall inks.
The determination of water and salt distribution in brickwork and stonework is a frequent problem in cultural heritage protection. Conventional but reliable methods are usually based on the investigation of core samples and provide only punctual information. To avoid the destruction of valuable building fabric, a non-destructive approach using a combination of investigation methods is needed. A case study, demonstrating the possibilities of almost non-destructive testing methods and their combination is presented in this article.
The investigation of an ancient Chinese ceramic served to further develop and validate fundamental parameter-based quantitation procedures in reference-free x-ray fluorescence (XRF) analysis. The XRF measurements of this sample were performed at the four-crystal monochromator beamline of the Physikalisch-Technische Bundesanstalt (PTB) at the BESSY II synchrotron radiation facility employing different excitation energies. The parallel processing of the XRF spectra recorded at different excitation energies provides a means to simultaneously evaluate relevant fundamental parameters and secondary enhancement processes such as those induced by photoelectrons. Employing well-characterized and absolutely calibrated instrumentation, all experimental parameters involved in XRF are known for small relative uncertainties allowing for a completely reference-free quantitation. Apart from traces of rare earth elements, the analytical results of the Chinese ceramic achieved by reference-free XRF are in line with target values given within a proficiency test of the International Atomic Energy Agency (IAEA) involving atomic and nuclear methods.
The Erfurt Hebrew Giant Bible and the Experimental XRF Analysis of Ink and Plummet Composition
(2007)
Application of synchrotron infrared radiation in the study of organic coatings in cross-sections
(2008)
The Dead Sea Scrolls belong to the most important cultural assets of mankind. Their long term preservation and study is a challenge that demands an interdisciplinary approach. As early as the 1950s natural scientists assisted the scholars in studying the scrolls. It was at this time that the first extensive study of the scroll material took place. It was found that most fragments were written not on leather but on parchment. In addition, a method for determining the age of the parchment was developed which is still of value today. In the 1990s the AMS-C14 method confirmed the palaeographic determination of the age of the manuscripts. The use of carbon ink throughout the scrolls is also consistent with the known scribal practices of that time. There are, however, manuscripts, and among them the famous Genesis Apocryphon Scroll, which exhibit ink corrosion, normally associated with iron-gall inks.
Today, 60 years after their discovery, a community of scientists from the Jewish National and University Library (JNUL), the Technical University of Berlin (TU Berlin), the Federal Institute for Materials Research and Testing (BAM) and Fritz-Haber-Institute of the MPG (FHI) set out to scientifically investigate the finds of Qumran using the most modern methods. The results of the study will be used to determine the provenance of the texts as well as to contribute to their long-term preservation. A considerable part of the non-destructive investigation is taking place in the Berlin State Library and at the Berliner Elektronenspeicherring-Gesellschaft für Synchrotronstrahlung , BESSY II.
Preliminary investigations, performed at the BAM on some fragments, were used to evaluate the extent to which X-ray analytical methods can provide information regarding the geographical origin of the fragments and match the individual pieces. The interpretation of the measurement results is made more difficult by age and storage of the objects. It is believed that ageing processes as well as conservation methods have altered the samples in addition to the changes caused by environmental influences.
In collaboration with the TU Berlin, the samples from the parchments found in the caves near Qumran were tested by means of three-dimensional synchrotron based X-ray fluorescence analysis (3D-SyXRF). The aim of this non-destructive investigation was the identification of the inorganic material used in the manufacture of the parchments.
The XRF experiments are supported by the non-destructive analysis by means of synchrotron based infrared spectroscopy (SyFTIR) in collaboration with BESSY II as well as optical and electron microscopy in collaboration with Fritz-Haber-Institute (FHI).
3D Micro X-ray fluorescence analysis was used for the investigation of reverse-glass paintings. The material-specific combination used in reverse-glass paintings leads to damage phenomena reinforced by glass corrosion. To elucidate the mechanism of corrosion processes taking place in the glass object depth profiles of mobile elements are of interest. In order to obtain elemental depth profiles of such kind of fragile objects the method of choice should be non-destructive. Our first results demonstrate the usefulness of the 3D Micro-XRF measurements for this kind of investigations. The assumption that certain binding media may initiate corrosion processes beginning at the interface glass/binding material could be confirmed.
The present study comprises the characterisation of museum show cases concerning their hazardous potential for
art objects. In order to estimate potential risks of damage the emission of volatile organic compounds coming from
several construction materials is monitored and different air exchange rates from exhibit cases are determined. For
the determination of the VOCs different methods were applied. The first step is a direct thermal extraction of the
materials followed by emission test chamber measurements. The tracer gas method with N2O that is used in this study is a convenient procedure to investigate air exchange rates under working conditions greater than 0.05 d-1. The results of this study confirm the importance of the careful choice concerning building materials for show cases. Furthermore the analyses clarify that certain organic compounds might be a problem for the exhibits in show cases with low air exchange rates.