ABSTRACT:Checking the irreversible process of clean-up is a delicate task that requires a work of synthesis between theoretical knowledge and practical experience, to define an effective operating protocol on a limited patch area to be extended later to the entire artefact's surface. In this paper, we present a new, quick, semi-automated 3D photogrammetry-based solution to support restorers in the open-air bronze artwork cleaning from corrosion and weathering decay. The solution allows the conservators to assess in real time and with a high level of fidelity in colour and shape, the 'surfaces' to be cleaned before, during and after the clear-out treatment. The solution besides allows an effective and valuable support tool for restorers to identify the original layer of the bronze surface, developed and validated during the ongoing restoration of the Neptune Fountain in Bologna.
In this study, the investigation of the oil painting on canvas I Tesori del Mare made by Plinio Nomellini in 1901 is presented. The aim of the research was threefold: the examination of the state of conservation in view of the restoration treatment, together with the identification of the causes of degradation and the study of the artistic technique. During the years, the artwork underwent several cleaning and fixing interventions, resulting in a patchy appearance of the surface. Nevertheless, the presence of consistent liftings persists, while the protective coating shows uneven chromatic alteration, both requiring further analysis. Multispectral imaging allowed for better visualization of the figuration’s structure and the restored areas. The combined use of Raman spectroscopy, Fourier Transform Infrared spectroscopy in the Attenuated Total Reflection mode (FT-IR ATR), and Scanning Electron Microscopy coupled with an Energy Dispersive Spectroscopy (SEM/EDS) enabled better understanding of the stratigraphy through the identification of some pigments, the binder, and the aged varnish layer on the top. SEM/EDS highlighted the presence of zinc in both the ground layer and the paint layers. Furthermore, FT-IR ATR spectroscopy showed peaks related to metal soaps such as zinc stearate, which are known to cause severe delamination of the paint layers, explaining the recurring lifting issues. Eventually, the varnish layer was found to be acrylic resin, presumably mixed with varnishes applied in past restoration treatments.
Copper alloys objects can deteriorate their conservation state through irreversible corrosion. Hence, there is need to block the corrosion action with a suitable cleaning and conservation process to avoid further degradation processes without changing its morphological aspect. In this study, six natural based chelators were tested for cleaning copper artefacts exposed to atmospheric environment in polluted areas. The study considered four amino acids, a glucoheptonate (CSA) and an industrial green chelator (GLDA). The effectiveness was tested on corrosion copper compounds and on laboratory corroded copper sheets. Finally, the cleaning efficacy was tested on four Roman coins and a modern copper painting. To define the cleaning efficacy, surface analytical investigations have been carried out by means ICP-OES, UV-VIS, µ-Raman, spectro-colorimetry, XRD and FTIR. Among the amino acids, alanine was the most effective, showing unalteration of the noble patina and a good effective copper recovery from corrosion patinas.
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