4 Material und Umwelt
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Organisationseinheit der BAM
- 4.5 Kunst- und Kulturgutanalyse (19) (entfernen)
Recent research has suggested that some of the inks used in Herculaneum papyri do not consist of pure carbon. Starting from this finding, in June 2018 a preliminary campaign of analysis by means of X-Ray fluorescence (XRF) of external portions removed mechanically from their original rolls in the eighteenth century (the so-called scorze) took place at the Biblioteca Nazionale at Naples. Also in this case, the aim of the survey was to investigate the ink composition in order to detect possible traces of metal. This article sums up the results of this survey.
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.
While studying the socio-geographic history of inks, division 4.5 of the BAM (Bundesanstalt für Materialforschung und Prüfung) together with the Centre for the Study of Manuscript Cultures in Hamburg has developed a protocol for ink analysis.
It consists of a primary screening to determine the type of the ink, and a subsequent in-depth analysis using several spectroscopic techniques. The XRF elemental analysis aims primarily at identifying and characterizing metallic components of inks. Besides the instrumental methods, the paper presents an overview of historic inks in the period of transition from carbon inks of the Antiquity to iron-gall inks commonly used in the Middle Ages.
The quest for the mixed inks
(2018)
In this article, we would like to share our observations concerning the inks produced by intentionally mixing soot or charcoal with tannin extracts or iron-gall ink. Aside from Zerdoun’s mention in her outstanding review of written sources, “Les encres noires au Moyen-Âge”, this ink category has received little if any attention from scholars and scientists. And yet, if analytically attested, the use of such inks could serve as an additional category to classify and distinguish the writing inks on the historical socio-geographic map of the writing inks we are trying to build.
In an interdisciplinary collaboration, restorers, art historians, and scientists examined Guilio Romano’s The Madonna with the Wash-Basin of 1525 (Dresden State Art Collections). Insights into the painting technique along with art historical comparisons provided the opportunity for a better understanding of the painting’s genesis, in particular concerning an early reworking of the background by the artist. A recovery and reconstruction of the earlier version of the background is now possible. The discovery of zinc in distinct passages of the painting, as well as the grey-black pigment stibnite and glass particles used as a supplement in paint layers are of special interest. The technological investigation initiated a discussion about the circumstances of the revision, as well as the painting’s relation to Vasari’s Lives of Artists.
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 investigation of physical properties and chemical composition generates data important for answering cultural-historical questions that cannot be solved by historical and philological methods alone. Due to technological developments, technical diagnostics in art and culture are in ever-greater demand in such fields of transdisciplinary research. Natural sciences play auxiliary role in the studies of manuscripts. The success of their contribution depends strongly on the formulation of the question, the choice of the methods to obtain the requested answer, and appropriate reference databases. First, report was given on the measurements performed on local raw materials, such as, plants, minerals and animals, which constitute the reference session. Then, the first results of the scientific analysis of several fragments from the Malian manuscript collections were present.
The manuscript Codex germanicus 1 (Cod. germ. 1) of the Staats- und Universitätsbibliothek Hamburg is a fifteenth-century German-language manuscript. It comprises two codicological units and has an especially complex developmental history. To trace this developmental history, neglected until now in the research literature, the manuscript was investigated, for the first time not solely with classical codicological and palaeographical methods, but also with the aid of X-ray fluorescence spectroscopy, in order to determine the composition of the writing materials. These methods made it possible, first, to support and check palaeographic findings and, second, to gain information about the stratigraphy of the manuscript where palaeographic methods find their limits – in regard to short entries, rubrications, and non-alphabetical signs.
This work presents the non-destructive spectroscopic characterisation of original Dead Sea Scrolls (DSS)parchment fragments from Ronald Reed collection. The fragments are of paramount importance becausethey have never been subjected to any treatment of preservation and restoration, this allows to investi-gate the manufacturing method of real original Jewish parchments. The manufacture of “sacred” Jewishparchments, in fact, is traditionally supposed to use a superficial tannin treatment. To study the DSS frag-ments, it was necessary both to analyse mock-up samples, especially manufactured in order to reproduceancient Oriental Jewish ritual parchments, and to compare the results with those obtained in the analysisof modern and ancient Western Jewish ritual parchments, in order to test the effectiveness of the selectedspectroscopic techniques. Traditionally, the main difference between Oriental and Western traditionalparchment preparation consisted in the dehairing method: enzymatic for Oriental and lime-based forWestern. Moreover, a finishing treatment with tannin was supposed to be applied on ritual Jewish parch-ments. The need of reference samples derives from the knowledge that each parchment preparation,treatment and degradation can induce structural modifications that affect the spectral features. FourierTransform Infrared Spectroscopy by Attenuated Total Reflection (ATR-FTIR), FT-Raman and m-Ramanwere used in this study. The experimental results allowed us to recognise, with different sensitivity, thepresence of tannin by using m-Raman and IR spectroscopies and to prove that not all the archaeologicalsamples were manufactured in the same way with vegetal extracts. Many salts (tschermigite, dolomite,calcite, gypsum and iron carbonate) were found on the surface of DSS fragments. They can derive fromthe degradation processes and storage environment before the discovery or from the manufacture. More-over, the different sensitivities and instrumental characteristics of the used techniques permitted us toestablish an analytical protocol, useful for further studies of similar materials.
Museumsvitrinen sollen Kunst- und Kulturgut „ins rechte Licht“ setzen und vor Diebstahl oder Vandalismus schützen. Vergleicht man historische Schauvitrinen, die zumeist aus einfachen Glasscheiben in Holzrahmungen bestehen, mit heutigen Konstruktionen, lässt sich eine Entwicklung zu hochtechnisierten Gebilden ablesen, die deutlich mehr Ansprüchen genügen müssen als in der Vergangenheit.
Zahlreiche Beispiele verdeutlichen, dass Kunstwerke nicht nur außerhalb, sondern auch innerhalb von Museen oder Archiven ungünstigen Umwelteinflüssen ausgesetzt sind. So können Einbauten bzw. Dekorationen in Ausstellungsräumen, Aufbewahrungsbehältnisse in Depoträumen oder Ausstellungsvitrinen flüchtige Substanzen, sogenannte VOCs (Volatile Organic Compounds) freisetzen, die zu irreversiblen Veränderungen an den Objekten führen und diese schädigen. Hierzu zählen organische Säuren, wie Ameisen- oder Essigsäure, aber auch Verbindungen, die Sulfide enthalten. Hier wird die an der BAM entwickelte BEMMA-Bewertungsmethode vorgestellt, die von Museen verwendet werden kann Materialien mit einem geringeren Emissionspotential auszusuchen.