11/8/2011 1 New Tools for Conservation of Cultural Heritage Piero Baglioni Chemistry Department & CSGI University of Florence Italy [email protected][email protected]Why we need to Conserve Why we need to Conserve Cultural Heritage? Cultural Heritage? Why we need to Conserve Why we need to Conserve Cultural Heritage? Cultural Heritage? •The conservation of our Cultural Heritage is fundamental f i t ft ti lt t diti for conveying to future generations our culture, traditions, and ways of thinking and behaving. •Conservation has an impressive impact on our society from a political, sociological and anthropological points of view. •It is not restricted to ART (paintings) but comprises: paper documents wood conservation wood conservation stone conservation magnetic and optical data storage supports, etc. •Tourism is the largest industrial activity [email protected]
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11/8/2011
1
New Tools for Conservation of Cultural Heritage
Piero Baglioni
Chemistry Department & CSGI y pUniversity of Florence Italy
Why we need to Conserve Why we need to Conserve Cultural Heritage?Cultural Heritage?
Why we need to Conserve Why we need to Conserve Cultural Heritage?Cultural Heritage?
•The conservation of our Cultural Heritage is fundamentalf i t f t ti lt t ditifor conveying to future generations our culture, traditions, and ways of thinking and behaving.•Conservation has an impressive impact on our society from a political, sociological and anthropological points of view.•It is not restricted to ART (paintings) but comprises:
paper documentswood conservationwood conservationstone conservationmagnetic and optical data storage supports, etc.
serendipity and “trial and error” have been the most frequent design principles of formulations for either
cleaning or consolidation of works of artg
What were the consequences?
the past has witnessed a number of actively detrimental treatments, such as the application of inappropriatetreatments, such as the application of inappropriate materials to wall paintings, which can irreversibly jeopardize the appearance (or even the continued
The new Science for Conservation hasdeveloped following two main streams:
(i) the analytical characterization of the materials( ) yconstituting the works of art, the characterization of thepictorial technique used by the artists, and the chemicalreactions involved in their degradation
(ii) the search for new scientific methods for therestoration/conservation, that would allow thetransfer of our Cultural Heritage to futuregenerations
The search for new scientific methods for the restoration/conservation
A combination of different technologies allows today’s
conservators to provide, in each restoration step, interventions
respectful of the physicochemical characteristics of the
materials used by artists.
Examples are related to systems belonging to soft
matter/nanoscience :1)1) NanoparticlesNanoparticles2)2) MicellesMicelles3)3) MicroemulsionsMicroemulsions4)4) Physical and chemical gelsPhysical and chemical gels5)5) Responsive gelsResponsive gels6)6) NanoNano--spongessponges
Research Activity of CSGIResearch Activity of CSGIResearch Activity of CSGIResearch Activity of CSGI
The main goal of CSGI is the preparation and study of new SUPRAMOLECULAR and COLLOIDAL SYSTEMS, and the
development of their industrial applications in pharmaceutics, bio-medical, inks and paintings, oil and energy, metallurgic, detergents,
cosmetics, textile, paper, food industry, de-polluting procedures, conservation of works of art, and so forth.
CSGI is also intended to provide Industrial Companies with the BASICCSGI is also intended to provide Industrial Companies with the BASIC SCIENTIFIC AND TECHNOLOGICAL KNOWLEDGE to improve and
The CSGI Research is particularly devoted to the The CSGI Research is particularly devoted to the development of the following research areas:development of the following research areas:
The CSGI Research is particularly devoted to the The CSGI Research is particularly devoted to the development of the following research areas:development of the following research areas:
• Nanotechnologies– Grafting on textiles– Nanomaterials (peculiar mechanical, electronic and catalytic properties)- Magnetic Fluids (seals, lubricants, etc.) - Nanobiomedicine (nanoparticles, ibrid systems..)
• Soft Matter ( Micelles, Emulsions, Vesicles, etc.)– Colloidal Dispersions (Fuels, Drugs, Inks, Metals, Coal, etc.)– Micro and Nano-compartmentalized Reaction Sites (Micelles, Vesicles, etc.)– Polymerization in Emulsions, Mini-Emulsions and Micro-emulsions– Interfacial and Structural Properties of Bio-surfactants– Controlled Release of Pharmacological and Non-pharmacological Products
G l F ti f G l d S l G l T iti– Gels, Formation of Gels and Sol-Gel Transition– Inclusion Compounds and Host-Guest Systems
• Conservation of Cultural Heritage– Restoration of paintings– Protection against aging of paper
We have ALL the competences for a complete conservation process: from diagnosis of degrade to the conservation intervention
CSGI-actual network
the conservation intervention. CSGI is mainly concentrated in the formulation of new methodologies for conservation. However, diagnostic and virtual reality are active from partners that cooperates with CSGI. We cooperate for the diagnostic with CNR (also laser cleaning and subsequent reconsolidation with nanoparticles) and INFN (PIXE, 14C, etc..).
Computational modeling recently received significantattention also in the cultural heritage field, withrelation to restoration and conservation of artworksthanks to its capability to offer insights into the naturethanks to its capability to offer insights into the natureand composition of the artistic materials as well as todescribe the physical and chemical changes thatbrings to degradation processes responsible for theartworks modifications.
Chemical characterization of the constitutingmaterials allows researchers to unravel the richinformation enclosed in a work of art, providingan insight into the manufacturing techniquesand revealing aspects of artistic, chronological,historical, and sociocultural significance.
New emerging technologies as virtual reality, storage techniques for heterogeneous data, and the sharing of information about different domains of expertise allow new approaches in studying and handling the cultural heritage.
3D technology:3D technology:– Different wall positioning;
– Operated through the GPU cluster;
– Stereoscopic projection;
– Software per VR Immersive systems.
•• 3D as an interface for visualization of3D as an interface for visualization of•• 3D as an interface for visualization of 3D as an interface for visualization of cultural heritage data:cultural heritage data:– Enabling interactivity on data: virtual reading,
comparisons between items;
– Augmented reality environments.
Our contribution to the Conservation of Cultural
Heritage (new methods):
Mural paintings: Ferroni-Dini method
C l i H d id ( ti l )
Our contribution to the Conservation of Cultural
Heritage (new methods):
Mural paintings: Ferroni-Dini method
C l i H d id ( ti l )
Conservation of Cultural Heritage
Calcium Hydroxide (nanoparticles)
Paper Deacidification and Cavas Conservation (nanoparticles)
Polymers Removal from artefacts usually damaged from
previous restorations
Wood: Vasa warship in Stockholm (nanoparticles)
Organ pipes conservation (nanoparticles)
Calcium Hydroxide (nanoparticles)
Paper Deacidification and Cavas Conservation (nanoparticles)
Polymers Removal from artefacts usually damaged from
previous restorations
Wood: Vasa warship in Stockholm (nanoparticles)
Organ pipes conservation (nanoparticles)
Oil and easel paintings (chemical gels and microemulsions)
Basically we have developed the methodologies to restore and
conserve most of the cultural heritage
Oil and easel paintings (chemical gels and microemulsions)
Basically we have developed the methodologies to restore and
01/26/2003 7:46 PMNanotechnology restores flaking frescos. 01/26/2003 7:46 PMNanoparticles save paper
NANOPARTICLES FOR CONSOLIDATION NANOPARTICLES FOR CONSOLIDATION AND DEACIDIFICATIONAND DEACIDIFICATION
updated at midnight GMT today is sunday, january 26
search nature science update go advanced search
Nanotechnology restores flaking frescos.An off-the-wall application of tiny particles re-unites paintand plaster.11 July 2001
PHILIP BALL
Had Leonardo da Vinci known about nanotechnology, his Last Supper might not be in its present sorry state. Italian chemists have shown that particles of slaked lime - a staple of the Renaissance palette - just a few millionths of a millimetre across can rescue old frescoes from decay.
Leonardo's painting is one of the worst affected by the ravages of time. The
•Nanotechnology solders on22 June 2001
•Circuit training28 February 2001
• Cross winds dirty Med25 October 2002
• Infrared reveals Old Masters' hidden intentions25 October 2002
• Wine buffs tongue-tied25 October 2002
• Palm-tops to guide tourists24 October 2002
updated at midnight GMT today is sunday, january 26
search nature science update go advanced search
Nanoparticles save paper
A sprinkling of slaked lime conserves old documents.22 October 2002
PHILIP BALL
Tiny particles of a strong alkali are helping preserve historical documents.
Piero Baglioni of the University of Florence and his coworkers have treated manuscripts dating back to the fourteenth century with a sprinkling of calcium hydroxide grains just 200 millionths of a millimetre across.
The nanoparticles of what is commonly called slaked
li t t b t ' fib Th b t th
•Physicists tell ripping yarns15 October 2002
•New fight over old map1 August 2002
•Nanotechnology restores flaking frescos.11 July 2001
• Cross winds dirty Med25 October 2002
• Infrared reveals Old Masters' hidden intentions25 October 2002
damage was largely the result of ill-informed experimentation withmaterials - Leonardo was no chemist. Similar fresco deterioration is a commonproblem for conservators.
Piero Baglioni and colleagues from the University of Florence havesalvaged a lesser-known
work: Gli Angeli Musicanti painted in the sixteenth century by Santi di Tito in the Santa Maria del Fiore Cathedral in Florence. This image is disfigured where flakes of paint-impregnated plaster, having lifted off the wall below, are threatening to fall off, damaging the painting irreparably.
Before Italian painters began to use canvas in the fifteenth century, many made frescoes. They applied pigment directly to damp plaster on a wall, so that it bound fast as the plaster dried. Giotto and Michelangelo were masters of this technique.
Done skilfully, the results were robust. Unfortunately half a
24 October 2002
• Physicists flip a qubit24 October 2002
A beautiful bottom - thanks to the restorative effects of nanotechnolgoy.
Page 1 of 2http://www.nature.com/nsu/010712/010712-8.html
lime penetrate between paper's fibres. They combat the ravages of acids introduced when paper is made, without altering documents' apperance . The technique is cheap and green and could also be used on canvas.
1
The researchers subjected one nineteenth-century sample to accelerated ageing by keeping it in a hot, moist environment for three weeks. Untreated, the paper turned a deep brown because of acid damage. A treated sample showed very little discolouration.
Neutral territory
Before the nineteenth century, paper was made primarily from shredded rags; thereafter wood pulp has been used. Acids slowly break down the cellulose fibres in paper, making it yellow, brittle and weak.
Currently museum conservators and librarians use chemical treatments to prevent or retard this degradation. A common method, the Book-keeper process, involves scattering grains of magnesium oxide over the paper. These stick to the fibres and react with water to form an alkali that neutralizes acids.
25 October 2002
• Palm-tops to guide tourists24 October 2002
• Physicists flip a qubit24 October 2002
Page 1 of 2http://www.nature.com/nsu/021021/021021-1.html
1)1) Nanoparticles for consolidation and Nanoparticles for consolidation and deacidificationdeacidification (frescoes paper and wood)(frescoes paper and wood)
Nanoscience for ConservationNanoscience for Conservation
deacidificationdeacidification (frescoes, paper and wood)(frescoes, paper and wood)
2) How soft materials can be modified to obtain 2) How soft materials can be modified to obtain responsive materials, to confine molecules, to responsive materials, to confine molecules, to upload or release soft/hard materials:upload or release soft/hard materials:
ii) ) MicroemulsionsMicroemulsions and and micellarmicellar solutionssolutions
ii) Physical, Chemical and Responsive Gelsii) Physical, Chemical and Responsive Gels
01/26/2003 7:46 PMNanotechnology restores flaking frescos. 01/26/2003 7:46 PMNanoparticles save paper
NANOPARTICLES FOR CONSOLIDATION NANOPARTICLES FOR CONSOLIDATION AND DEACIDIFICATIONAND DEACIDIFICATION
NANOPARTICLES FOR CONSOLIDATION NANOPARTICLES FOR CONSOLIDATION AND DEACIDIFICATIONAND DEACIDIFICATION
updated at midnight GMT today is sunday, january 26
search nature science update go advanced search
Nanotechnology restores flaking frescos.An off-the-wall application of tiny particles re-unites paintand plaster.11 July 2001
PHILIP BALL
Had Leonardo da Vinci known about nanotechnology, his Last Supper might not be in its present sorry state. Italian chemists have shown that particles of slaked lime - a staple of the Renaissance palette - just a few millionths of a millimetre across can rescue old frescoes from decay.
Leonardo's painting is one of the worst affected by the ravages of time. The
•Nanotechnology solders on22 June 2001
•Circuit training28 February 2001
• Cross winds dirty Med25 October 2002
• Infrared reveals Old Masters' hidden intentions25 October 2002
• Wine buffs tongue-tied25 October 2002
• Palm-tops to guide tourists24 October 2002
updated at midnight GMT today is sunday, january 26
search nature science update go advanced search
Nanoparticles save paper
A sprinkling of slaked lime conserves old documents.22 October 2002
PHILIP BALL
Tiny particles of a strong alkali are helping preserve historical documents.
Piero Baglioni of the University of Florence and his coworkers have treated manuscripts dating back to the fourteenth century with a sprinkling of calcium hydroxide grains just 200 millionths of a millimetre across.
The nanoparticles of what is commonly called slaked
li t t b t ' fib Th b t th
•Physicists tell ripping yarns15 October 2002
•New fight over old map1 August 2002
•Nanotechnology restores flaking frescos.11 July 2001
• Cross winds dirty Med25 October 2002
• Infrared reveals Old Masters' hidden intentions25 October 2002
damage was largely the result of ill-informed experimentation withmaterials - Leonardo was no chemist. Similar fresco deterioration is a commonproblem for conservators.
Piero Baglioni and colleagues from the University of Florence havesalvaged a lesser-known
work: Gli Angeli Musicanti painted in the sixteenth century by Santi di Tito in the Santa Maria del Fiore Cathedral in Florence. This image is disfigured where flakes of paint-impregnated plaster, having lifted off the wall below, are threatening to fall off, damaging the painting irreparably.
Before Italian painters began to use canvas in the fifteenth century, many made frescoes. They applied pigment directly to damp plaster on a wall, so that it bound fast as the plaster dried. Giotto and Michelangelo were masters of this technique.
Done skilfully, the results were robust. Unfortunately half a
24 October 2002
• Physicists flip a qubit24 October 2002
A beautiful bottom - thanks to the restorative effects of nanotechnolgoy.
Page 1 of 2http://www.nature.com/nsu/010712/010712-8.html
lime penetrate between paper's fibres. They combat the ravages of acids introduced when paper is made, without altering documents' apperance . The technique is cheap and green and could also be used on canvas.
1
The researchers subjected one nineteenth-century sample to accelerated ageing by keeping it in a hot, moist environment for three weeks. Untreated, the paper turned a deep brown because of acid damage. A treated sample showed very little discolouration.
Neutral territory
Before the nineteenth century, paper was made primarily from shredded rags; thereafter wood pulp has been used. Acids slowly break down the cellulose fibres in paper, making it yellow, brittle and weak.
Currently museum conservators and librarians use chemical treatments to prevent or retard this degradation. A common method, the Book-keeper process, involves scattering grains of magnesium oxide over the paper. These stick to the fibres and react with water to form an alkali that neutralizes acids.
25 October 2002
• Palm-tops to guide tourists24 October 2002
• Physicists flip a qubit24 October 2002
Page 1 of 2http://www.nature.com/nsu/021021/021021-1.html
Portion of a wall painting in the “Cappellone degli Spagnoli” (Chiostro Verde in Santa Maria Novella, Florence). Before (left) and after (right) the restoration
PrePre--consolidation of frescoconsolidation of frescoby limeby lime--propanpropan--11--ol dispersionol dispersion
PrePre--consolidation of frescoconsolidation of frescoby limeby lime--propanpropan--11--ol dispersionol dispersion
Portion of a wall painting in the “Cappellone degli Spagnoli” (Chiostro Verde in Santa Maria Novella Florence) Before (left) and after (right) the restoration
PrePre--consolidation of frescoconsolidation of frescoby limeby lime--propanpropan--11--ol dispersionol dispersion
Maria Novella, Florence). Before (left) and after (right) the restoration
The city was inhabited for more thantwelve centuries starting around 400 b.C.(Pre Classic period) and was slowlyabandoned until the year 900 A.D. (PostClassic period) reaching its maximum
CALAKMUL
Classic period), reaching its maximumdevelopment between 600-800 A.D. (LateClassic period).
Fresco by Lorenzo di Pietro called “Vecchietta”; Spedale di S. Maria della Scala (Siena). Detail of the paint after the application of an o/w microemulsion applied to remove a surface layer of an acrylic polymer
Fresco by Francesco Vecellio (Tiziano’s cousin, XVI century); S. Salvador Church Sacristy (Venezia). Detail of the paint before (left) and after (right) the restoration. The removal of the surface layer of an
acrylic polymer has been carried out by means of application of a o/w microemulsion
Emiliano Carretti, Scilla Grassi, Manuela Cossalter, Irene Natali, Gabriella Caminati, Richard G. Weiss, Piero Baglioni and Luigi Dei,Weiss, Piero Baglioni and Luigi Dei, “Poly(vinyl alcohol)−Borate Hydro/Cosolvent Gels: Viscoelastic Properties, Solubilizing Power, and Application to Art Conservation”, Langmuir, 2009, 25), 8656-8662.