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Application of synchrotron infrared radiation in the study of organic coatings in cross-sections
(2008)
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.
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.
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.
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.
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.
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.
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.