4 Material und Umwelt
Filtern
Dokumenttyp
- Vortrag (50)
- Zeitschriftenartikel (35)
- Posterpräsentation (14)
- Beitrag zu einem Tagungsband (12)
- Buchkapitel (10)
- Beitrag zu einem Sammelband (2)
- Forschungsbericht (2)
- Monografie (1)
- Dissertation (1)
- Sonstiges (1)
Sprache
- Englisch (128) (entfernen)
Schlagworte
- Ink (24)
- Archaeometry (17)
- XRF (14)
- Inks (12)
- Manuscripts (11)
- Raman spectroscopy (11)
- Reverse glass painting (10)
- DRIFTS (9)
- Manuscript (9)
- Non-destructive testing (8)
- Non-invasive analysis (8)
- VOC (8)
- Coptic (7)
- Dead Sea Scrolls (6)
- Indoor air quality (6)
- Papyrus (6)
- Ink analyses (5)
- Iron-gall ink (5)
- Parchment (5)
- Reflectography (5)
- ATR (4)
- Cultural heritage (4)
- Humboldt Codices (4)
- Middle Ages (4)
- Cairo Genizah (3)
- Drawings (3)
- Emission reference materials (3)
- Herculaneum (3)
- Ink analysis (3)
- Manuscript studies (3)
- Material science (3)
- Materials emissions test (3)
- Non destructive analytical techniques (3)
- Non-destructiv testing (3)
- Pigment (3)
- Raman Spectroscopy (3)
- Spectroscopy (3)
- Ultrafine particles (3)
- XRF analysis (3)
- 3D inspection (2)
- Antiquity (2)
- Arabic Recipes (2)
- BEMMA (2)
- CSMC (2)
- Carbon ink (2)
- Chinese paper (2)
- Colourants (2)
- Dyes (2)
- ESEM (2)
- Emission (2)
- Emission testing (2)
- Glass scanning (2)
- Ink composition (2)
- Inkwells (2)
- Interdisciplinary approach (2)
- Lapis lazuli (2)
- Leather (2)
- Micro-XRF (2)
- Mixed ink (2)
- Museum (2)
- Non invasive analysis (2)
- Odour (2)
- PGAA (2)
- PIXE (2)
- Perceived intensity (2)
- Persian manuscripts (2)
- Pigment analyses (2)
- Pigment identification (2)
- Pigments (2)
- Provenance studies (2)
- Raman (2)
- Rembrandt (2)
- Restoration and conservation (2)
- Stained glass (2)
- Structured light scanning (2)
- Synthetic organic pigments (2)
- Thermal desorption (2)
- VOC-emission (2)
- Writing inks (2)
- X-Ray fluorescence analyses (2)
- 13th century (1)
- 3D printing (1)
- A Greek palimpsest (1)
- ASAP-MS (1)
- ATR-FTIR (1)
- Air pollution (1)
- Air sampling (1)
- Alexander von Humboldt (1)
- Ancient INKS (1)
- Ancient document production (1)
- Antimony black (stibnite) (1)
- Arabic recipes (1)
- Archaeological provenance (1)
- Archaeometric studies (1)
- Basin (1)
- Biofilm (1)
- Biofouling (1)
- Black Ink (1)
- Black writing ink (1)
- Book production (1)
- Building material (1)
- Byzantine manuscript (1)
- Carolingian (1)
- Cascade impector (1)
- Chamber test (1)
- Chamber-test (1)
- Chinese Paper (1)
- Codex (1)
- Codex Miscellaneus (1)
- Codicology (1)
- Colorants (1)
- Colouring (1)
- Conservation (1)
- Coptic papyri (1)
- Coptic studies (1)
- Corrosion (1)
- DNA (1)
- Diffusive sampling (1)
- Dispay case (1)
- Dispersion of carbon pigments (1)
- Display case (1)
- Drawing (1)
- Dyes and pigments (1)
- Dynamic calibration gas mixtures (1)
- EDX Analysis (1)
- Early european inks (1)
- Egypt (1)
- Emission reference material (1)
- Emission test chamber (1)
- Erfurt (1)
- FFF-3D printer (1)
- FFF-3D printing (1)
- FT-Raman (1)
- FTIR (1)
- FTIR spectroscopy (1)
- Fakes (1)
- Family archives (1)
- Fibre analysis (1)
- Forgery (1)
- Fragmented manuscripts (1)
- Gas chromatography (1)
- Giulio Romano (1)
- Gold (1)
- Gothic incursions (1)
- Heat maps (1)
- Hebrew studies (1)
- Hellenistic (1)
- Herculaneum papyri (1)
- Hermopolis (1)
- Historic ink (1)
- History of Art (1)
- Holy Family (1)
- IAQ (1)
- Illuminated manuscripts (1)
- In-situ analysis (1)
- Indoor air (1)
- Infrared thermography (1)
- Ink corrosion (1)
- Ink fingerprint (1)
- Ink terminology (1)
- Interdisciplinary (1)
- Iron gall ink (1)
- Jewish cultures (1)
- Lead books (1)
- Leonardo da Vinci (1)
- Limitations (1)
- Manuscript making (1)
- Map production and publishing (1)
- Maps and colours (1)
- Mass spectroscopy (1)
- Material Analysis (1)
- Material analysis (1)
- Materials emissions testing (1)
- Medieval glasses (1)
- Medieval-stained glass (1)
- Methods of scientific analysis (1)
- Microbiologically influenced corrosion (MIC) (1)
- Mixed Inks (1)
- Modern painting (1)
- Moriscos (1)
- NIR imaging (1)
- NIR reflectography (1)
- Nanobiocide (1)
- Nanocoating (1)
- Non-destructive test (1)
- Non-invasive (1)
- Non-invasive scientific methods (1)
- Non-vitriolic iron-gall inks (1)
- Painting (1)
- Palaeography (1)
- Palimpsest (1)
- Paper (1)
- Paper tinting (1)
- Pentimenti (1)
- Performance comparison (1)
- Persian manuscript (1)
- Poficiency test (1)
- Portrayal of St Joseph (1)
- Preservation (1)
- Proficiency Test (1)
- Protective glazing (1)
- Quality assurance (1)
- Quality assurance/quality control (1)
- Radiocarbon (1)
- Raphael school (1)
- Recipes (1)
- Red chalk (1)
- Reference material (1)
- Reference materials (1)
- Reverse painting on glass (1)
- Reverse paintings on glass (1)
- Reworking (1)
- SERS (1)
- SVOC (1)
- Scanning micro-X-ray fluorescence (1)
- Scribal corrections (1)
- Scythica Vindobonensia, (1)
- Sets of archaeometric data (1)
- Simulation (1)
- Sixteenth-century painting technique (1)
- Stained glasses (1)
- Sub-4nm particles (1)
- Synchrotron (1)
- Tanning (1)
- Tannins (1)
- Temple Scroll (1)
- Text analysis (1)
- Thermal imaging (1)
- Thermocouple (1)
- Tinting (1)
- Tomography (1)
- Torah (1)
- Torah Scrolls (1)
- Torah scrolls (1)
- Typology of Inks (1)
- UV-VIS Reflectance spectroscopy (1)
- UV-VIS reflectance spectroscopy (1)
- Uptake rate (1)
- VIS (1)
- VOC-Emission (1)
- VVOC (1)
- Vasari (1)
- Vienna manuscript (1)
- Vitriolic iron-gall inks (1)
- Vues des Cordillères (1)
- Writing Ink (1)
- Writing materials (1)
- X-Ray fluorescence (1)
- X-ray based techniques (1)
- X-rays (1)
- XRF Analysis (1)
- XRF imaging (1)
- XRF ink analysis (1)
- XRF-, VIS- FTIR-spectroscopy (1)
- Zeolite (1)
- Zinc (1)
- historic inks (1)
- ink (1)
- papyrus (1)
Organisationseinheit der BAM
- 4.5 Kunst- und Kulturgutanalyse (128) (entfernen)
Paper des Monats
- ja (1)
Eingeladener Vortrag
- nein (50)
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 investigated the inks of a selection of partially unrolled fragments stored at the Biblioteca Nazionale di Napoli with X-ray fluorescence in order to select the best candidates for tomography. Despite the many difficulties (analysis of several layers sticking together, letters barely visible, difficulty to separate contribution from the ink and from the papyrus, inhomogeneity of the support, fragility of the fragments…), encouraging results were found, with a number of inks from Greek fragments found to contain additions to the soot (Fe, Pb, Cu P).
The first manuscripts from the Qumran caves were found in 1947. Within the following 10 years, clandestine and legal excavations revealed some 900 highly fragmented manuscripts from the late Second Temple period. This collection is generally known as Scrolls of the Judea Desert or Dead Sea Scrolls (DSS). For many years after their discovery, text analysis and fragmeents attribution were the main concern of the scholars dealing with the scrolls. The uncertain archaeological provenance of the larger part of the collection added an additional difficulty to the formidable task of sorting some 19000 fragments. After 60 years of scholar research the question of origin, archaeological provenance and correct attribution of the fragmenst are still hotly debated. To dtermine a possible contribution to the debate from the point of view of writing materials, we used otpical and electron microscopy, various X-ray based techniques as well as vibratiional sprectroscopy. We validated our approach with SY - based studies using the advantages of the synchroton radiation source with respect to the benchtop devices. Our laboratory studies showed that often production and storage locality could be distinguished thenks to the specific residues ("fingerprint") they left on the material. Moreover, we have diescovered that diferrent parchment production processses coexisted in the antiquity, and the resulting writing materials can readily be distinguished.
This work presents a spectroscopic study of metallic pigments and metal foils used in reverse glass paintings that were created between 1912 and 1954. Metallic pigments induce a notable sparkling effect by means of the lateral incidence of light, whereas metal foils enhance the gloss and create a glittering effect when the painting is viewed in reflected light. Both effects were desired features especially in modern reverse paintings on glass and applied by artists in manifold creative manner. The paper gives an overview on the composition of the metalfoils and metal pigments in 14 works as determined in situ by X-ray spectrometry. Metal foils made of tin, brass, aluminium and silver were found in nine paintings. Gold imitating Cu-Zn pigments in different hues and with various Cu/Zn net intensity ratios were recorded for six paintings. Silvery pigments were identified mainly as Al pigments, but also as Cu-Zn-Ni alloy in one case. Other uncommon metallic pigments were detected in Arlequin vindicatif (c. 1925) by Floris Jespers, who used not only Cu-Zn and Al pigments, but also brownish Cu and Cu-Zn-Sn pigments. Non-invasive diffuse reflectance infrared Fourier-transform spectroscopy (DRIFTS) was used to classify the binding media of the metallic pigments. Drying oil and natural resin probably mixed with oil were the most common binding media. A polysaccharide-based binder was found in the silvery Cu-Zn-Ni pigment of Ohne Titel (1954) by Marianne Uhlenhuth.
In this paper, we discuss the importance of scientifically investigating cultural artefacts in a non-invasive way. Taking as test case Leonardo da Vinci’s Manuscript with anatomic drawings and notes, which is stored in Weimar, we clarify fundamental steps in the chronology of this folio. By means of microscopy, infrared reflectography, UV photography, and X-ray fluorescence analysis, we were able to identify various types of sketching material and several varieties of iron gall ink. For his sketches, Leonardo used two different sketching tools, a lead pencil and a graphite pencil, as well as several types of ink for developing these sketches into drawings. With regard to ink, it is important to observe that there is no difference between the ink Leonardo used for drawing and the ink he used for writing text. Based on the materials analysed, we suggest a chronology for the creation of this unique folio.
Our standard protocol for the characterisation of writing materials within advanced manuscript studies has been successfully used to investigate manuscripts written with a pure ink on a homogeneous writing surface. However, this protocol is inadequate for analysing documents penned in mixed inks. We present here the advantages and limitations of the improved version of the protocol, which now includes imaging further into the infrared region (1100−1700 nm).
The aim of this paper is to present the productive interplay of connoisseurship and material analysis when dealing with drawings by Rembrandt – or previously attributed to him – in the collection of the Klassik Stiftung Weimar. This concerns the more precise determination of the drawing materials used and the reconstruction of the genesis of the drawings discussed. The material analysis allows us to decide whether and how Rembrandt’s inks can be used to determine authorship at all. The “material turn” in drawing studies thus intervenes in the discussion about authorship and opens up a broader production aesthetic perspective. No longer the “style” but rather the handeling becomes the decisive criterion for answering the question “Rembrandt, or not?”
Scientific material analysis of the elemental composition of inks from different strata of a manuscript has the potential to complement scholarly observations using palaeography and philology in reconstructing the history of the manuscript’s production, correction and repair.
There are three typologically different classes of black writing inks: soot inks consist of carbon particles.
Typology of Inks
Archives and museums around the world contain a vast number of manuscripts that were written in different inks: carbon inks, plant inks, iron-gall inks and mixed inks. Yet most archaeometric studies of manuscripts focus on the palette of pigments found in illuminated manuscripts whereas identification of the inks is still largely based on cultural-historical studies and visual inspections. One of the reasons of this disproportion in the studies can be explained by the properties of Raman spectroscopy, the technique of choice for identification of pigments. In contrast, this technique is only partially viable when dealing with organic colourants. Brown and Clark discuss these difficulties and the uncertainties of identification of iron-gall inks by Raman spectroscopy in their pioneering work on early medieval Anglo-Saxon manuscripts (K. Brown and R. Clark 2004). To facilitate instrumental analysis of inks, we have developed a protocol that starts with the identification of the inks type (Rabin et al. 2012) which doesn’t require complicated instrumentation and can be carried out by paleographers and codicologists.
Three typological ink classes
The black writing materials used in manuscript production in Antiquity und Middle Ages can be sorted in three typologically different ink classes: soot, plant and iron-gall. Soot ink is a fine dispersion of carbon pigments in a water soluble binding agent; plant-based ink consists of a solution of the tannins extracted from gallnuts or tree bark; iron-gall ink, is produced by mixing a soluble compound of iron (II) with gallic or tannic acid extracted from gallnuts or tree bark. Therefore, iron-gall ink presents a boundary case between solution and dispersion ink, in which a water-soluble preliminary stage oxidizes and evolves into a black, insoluble precipitate similar to the carbon pigments when the writing is exposed to air (Krekel 1999). The additional category of mixed inks, i.e. inks produced by addition of various metals to the soot inks or intentional mixing of iron-gall and soot - based inks started attracting scholarly attention only recently because their significance was established only a short while ago (Brun et al. 2016, Colini 2018, Nehring et al. 2021). We suggest that plant and mixed inks build a bridge from the carbon ink of Antiquity to the properly formulated iron-gall ink that became a standard black ink from the late Middle Ages to the 19th century when it gave way to modern inks.
The Scythica Vindobonensia, the new fragments on Gothic incursions into Roman provinces in the Balkans in the middle of the third century AD that were revealed some years ago in a Greek palimpsest at the Austrian National Library in Vienna (ÖNB), are commonly considered as one of the most important additions of the last decades to the corpus of texts from classical Antiquity. Tere is a high degree of confdence among scholars in supposing that the fragments come from the lost work Scythica written in Greek by the third-century historian P. Herennius Dexippus (Δέξιππος) of Athens. The new fragments have hence also been called Dexippus Vindobonensis. In his Scythica, Dexippus recorded wars of the Romans with the Goths (and other tribes) whom he called Scythians.
The work had been hitherto known only from excerpts and quotes by later authors. Eight pages of a Byzantine manuscript copy of the ancient text have survived hidden underneath the visible surface of the last four parchment folios of the Vienna manuscript Historicus graecus 73, f. 192r -195v4. The copy is written in a Greek calligraphic minuscule which has been estimated by palaeographers to be of the middle or the second half of the eleventh century. In the thirteenth century, the text (on each of the eight pages arranged in one column, with 30 lines per page) was washed of the parchment and the valuable material made from animal skin was re-used for Christian texts. The new writing largely covered the faded remnants of the original text. It thus became hidden from the human eye for more than seven hundred years. Its discovery by Jana Grusková, a classical philologist specialized in the transmission of Greek texts, resulted from a systematic review of all Greek palimpsests kept at the Austrian National Library in Vienna at the beginning of the twenty-first century and a detailed examination of the four folios in 2007-20097.