4 Material und Umwelt
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- 4.5 Kunst- und Kulturgutanalyse (64) (entfernen)
In industrialised countries more than 80% of the time is spent indoors. Products, such as building materials and furniture, emit volatile organic compounds (VOCs), which are therefore ubiquitous in indoor air. VOC in combination may, under certain environmental and occupational conditions, result in reported sensory irritation and health complaints. Emission concentrations can become further elevated in new or refurbished buildings where the rate of air exchange with fresh ambient air may be limited due to improved energy saving aspects. A healthy indoor environment can be achieved by controlling the sources and by eliminating or limiting the release of harmful substances into the air. One way is to use (building) materials proved to be low emitting. Meanwhile, a worldwide network of professional commercial and non-commercial laboratories performing emission tests for the evaluation of products for interior use has been established. Therefore, comparability of test results must be ensured. A laboratory’s proficiency can be proven by internal and external validation measures that both include the application of suitable emission reference materials (ERM). For the emission test chamber procedure according to EN 16516, no artificial ERM is commercially available. The EU-funded EMPIR project MetrIAQ aims to fill this gap by developing new and improved ERMs. The goal is to obtain a material with a reproducible and temporally constant compound release (less than 10 % variability over 14 days). Two approaches were tested: the impregnation of porous materials with VOC, and the encapsulation of VOC in polymer microcapsules. Impregnation is performed with help of an autoclave and supercritical CO2. The encapsulation is done by interfacial polymerisation on VOC droplets. For both approaches, synthesis and/or material parameters were varied to obtain an optimal ERM. Findings about the optimisation of ERM generation, as well as performance of the best emission reference materials, will be presented.
The ink analysis protocol developed through cooperation between the Bundesanstalt für Materialforschung und -prüfung in Berlin and the Centre for the Study of Manuscript Cultures at the University of Hamburg involves the use of imaging techniques for ink screening, followed by spectroscopic analysis. In our presentation, we will begin by briefly reviewing the history of writing inks and discussing the three main categories: carbon-based inks, plant, and iron-gall inks. We will address their chronology, precursors, and mixed forms, as well as the features that allow for their identification. Then, we will present the techniques we use in ink analysis, whereby we would like to highlight the limitations, advantages, and disadvantages of each approach. Finally, we will discuss the new mass-spectrometric method based on micro-sampling and using atmospheric solid analysis probe (ASAP).
In recent years the BAM has been focusing on the characterization of the writing materials of the medieval Torah scrolls. The challenge imposed by the study of this specific type of manuscript led to designing and building dedicated stages to ensure the safety of the scrolls during the analysis. Furthermore, the identification of multiple corrections executed in apparently identical inks required broadening the standard two-step protocol of near infrared reflectography and X-ray fluorescence to include multispectral imaging. This work has prepared the division to participate in the large collaborative project “To roll: Materialisierte Heiligkeit (Materialised Holiness)” based at the Free University, Berlin.
The presentation will demonstrate the aims of the studies, preliminary results and the strategies adopted by the division 4.5 of the BAM.
Die Bezeichnung „Tinte auf Papier“ bietet einen guten Einstieg in die Beschreibung der Materialität von Musikhandschriften; so haben sich zahlreiche Manuskripte erhalten, die mit Eisengallustinte auf Hadernpapier verfasst wurden.
Das Papier besteht aus Fasern meist pflanzlicher Herkunft und wird durch Entwässerung einer Fasersuspension auf einem Sieb gebildet. Der Abdruck des Schöpfsiebes (die Papierstruktur) und ein vorhandenes Wasserzeichen bieten Anhaltspunkte für Provenienz und Datierung; daneben erlaubt die Analyse der Fasern, der Füllstoffe und der Leimung eine weitere Charakterisierung des Schriftträgers.
Spätestens seit dem Mittelalter sind es Eisengallustinten, die das schwarze bis bräunliche Erscheinungsbild vieler Manuskripte auf Papier hervorrufen. Daneben lassen sich auch schwarze Rußtuschen oder farbige Auszeichnungstuschen nachweisen. Eisengallustinten werden durch Mischung einer eisenhaltigen Komponente mit Gerbstoffen hergestellt. Eisensulfat ist die am häufigsten genannte Eisen liefernde Zutat, daneben sind aber auch eisenhaltige Minerale, Nägel oder Rost denkbar. Die Gallussäure leitet sich ab aus den Galläpfeln, der krankhaften Veränderung einzelner Planzenteile verschiedener Eichenarten. Diese werden durch die Eiablage von Schlupfwespen hervorgerufen.
Wie schon beim Papier ermöglicht der materialanalytische Nachweis charakteristischer Beimischungen oder Verunreinigungen innerhalb der Tinten die Beantwortung kulturhistorischer Fragestellungen – gemeint sind hier die Unterscheidung von Original und Korrektur oder die Sichtbarmachung späterer Ergänzungen.
Fused filament fabrication (FFF) on desktop 3D printers is a material extrusion-based technique often used by educational institutions, small enterprises and private households. Polymeric filaments are melted and extruded through a heated nozzle to form a 3D object in layers. The extrusion temperature is therefore a key parameter for a successful print job, but also one of the main driving factors for the emission of harmful air pollutants, namely ultrafine particles and volatile organic gases, which are formed by thermal stress on the polymeric feedstock. The awareness of potential health risks has increased the number of emission studies in the past years. However, the multiplicity of study designs makes an objective comparison of emission data challenging because printer hardware factors such as the actual extruder temperature (TE) and also feedstockspecific emissions are not considered. We assume that across the market of commercial low- and mid-price FFF printers substantial deviations between actual and set extruder temperatures exist, which have a strong effect on the emissions and hence may bias the findings of exposure studies. In our last publication, we presented a standardized feedstock-specific emission test method and showed that for each investigated feedstock an increase in actual extruder temperature was accompanied by an increase in particle emissions (Tang and Seeger, 2022). Therefore, any systematic discrepancy between set and actual extruder temperature matters. In this study, we used a thermocouple and an infrared camera to measure the actual extruder temperatures at different heights. We found significant under- and overestimation of the actual extruder temperatures by the respective set temperatures in three commercial printers. This caused a broad variation of the measured total numbers of emitted particles (TP), even when the same feedstock was operated. For the determination of TP, we followed the DE-UZ 219 test guideline. In a second round we repeated the tests with all printers adjusted to exactly the same extruder temperatures, i.e., to TE=230°C for ABS and TE=210°C for PLA. All measurements were conducted in a 1 m³ emission test chamber. Particle emissions in the size range between 4 nm and 20 μm were detected. Printing on three different printer models without temperature adjustment resulted for each of the investigated feedstocks in a variation in TP of around two orders of magnitude. After temperature adjustment, this was substantially reduced to approx. one order of magnitude and hence minimizes the bias of printer hardware on the emissions. Our findings suggest that adjustment of the extruder temperature should be mandatory in emission testing standards. It also poses a more accurate benchmark and provides more reliable emission data for evaluation of indoor air quality or for health risk assessments. In addition, a proper temperature setting is in the interest of the user. Some commercial FFF printers may have a higher actual extruder temperature than displayed and unintended overheating may not only impair the print quality but may cause unnecessarily increased exposure to particle emissions.
In industrialised countries more than 80% of the time is spent indoors. Products, such as building materials and furniture, emit volatile organic compounds (VOCs), which are therefore ubiquitous in indoor air. Different VOC combinations may, under certain environmental and occupational conditions, result in reported sensory irritation and health complaints. A healthy indoor environment can be achieved by controlling the sources and by eliminating or limiting the release of harmful substances into the air. One way is to use materials proven to be low emitting. Meanwhile, a worldwide network of professional commercial and non-commercial laboratories performing emission tests for the evaluation of products for interior use has been established. Therefore, comparability and metrological traceability of test results must be ensured. A laboratory’s proficiency can be proven by internal and external validation measures that both include the application of suitable reference materials. The emission test chamber procedure according to EN 16516 comprises several steps from sample preparation to sampling of test chamber air and chromatographic analysis. Quality assurance and quality control (QA/QC) must therefore be ensured. Currently, there is a lack of suitable reference products containing components relevant for the health-related evaluation of building products.
The EU-funded EMPIR project 20NRM04 MetrIAQ (Metrology for the determination of emissions of dangerous substances from building materials into indoor air) aims to develop 1) gaseous primary reference materials (gPRM), which are used for the certification of gaseous (certified) reference materials (gCRM) and 2) emission reference materials (ERM).
Most commercial gas standards of indoor-relevant compounds are not certified due to the lack of primary reference materials to which the project aims to contribute. The gPRM under development is a gas-phase standard containing trace levels of VOCs in nitrogen or air from the check standard according to EN 16516 (n-hexane, methyl isobutyl ketone, toluene, butyl acetate, cyclohexanone, o-xylene, phenol, 1,3,5-trimethylbenzene) with a target uncertainty of 5 %. The gPRM can be sampled into sorbent tubes to obtain transfer standards in the form of gCRM.
The well characterised ERM represents a sample of a test specimen, e.g. building material, that is loaded into the emission test chamber for a period of several days and is used to evaluate the whole emission test chamber procedure. It shall have a reproducible and temporally constant compound release of less than 10 % variability over 14 days. Different approaches for retarded VOC release, such as the encapsulation of pure compounds and the impregnation of porous materials, are being tested to reach this aim. Furthermore, the design of the ERM is accompanied by the development of a numerical model for the prediction of the emissions for each of the target VOCs. The current progress of the work on both materials will be presented.
Der Vortrag widmet sich der materialwissenschaftlichen Analyse von Zeichnungen einiger Bauhausschülerinnen und Bauhausschüler und legt besonderen Fokus auf die verwendeten Farbmittel. Die Objekte werden mit nicht-invasiven bildgebenden Verfahren untersucht, in dem die Wechselwirkung zwischen Röntgen-, sichtbarem und infraroten Licht und den Zeichnungen studiert wird.
Dier Analysen liefern nicht nur generell Erkenntnisse über die Art und Zusammensetzung und damit das Alter der verwendeten Farbmittel. Durch die Auffindung von Vorzeichnungen, die Bestimmung von Überarbeitungen und Korrekturen werden Erkenntnisse über die Genese von Zeichnungen gewonnen. Auf der Basis dieser materialwissenschaftlichen Erkenntnisse werden die Begriffe Original, Kopie, Fälschung diskutiert.
Da die nicht-invasiven Untersuchungen einen umfassenden Einblick in die Materialität der – überwiegend aus Papier bestehenden – Objekte erlauben, bilden sie die Grundlage für die Erstellung nachhaltiger Konservierungs- und Restaurierungskampagnen und deren dauerhaften Erhalt.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Ink recipes from the islamic era: Texts, manuscripts, ink reproductions and scientific analyses
(2019)
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.
Fifty shades of black: Typologies and terminology of black inks in the light of new discoveries
(2019)
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.