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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.
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.
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.
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.
The Erfurt Hebrew Giant Bible and the Experimental XRF Analysis of Ink and Plummet Composition
(2007)
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).