BackgroundFor millennia, iron-tannate dyes have been used to colour ceremonial and domestic objects shades of black, grey, or brown. Surviving iron-tannate dyed objects are part of our cultural heritage but their existence is threatened by the dye itself which can accelerate oxidation and acid hydrolysis of the substrate. This causes many iron-tannate dyed textiles to discolour and decrease in tensile strength and flexibility at a faster rate than equivalent undyed textiles. The current lack of suitable stabilisation treatments means that many historic iron-tannate dyed objects are rapidly crumbling to dust with the knowledge and value they hold being lost forever.This paper describes the production, characterisation, and validation of model iron-tannate dyed textiles as substitutes for historic iron-tannate dyed textiles in the development of stabilisation treatments. Spectrophotometry, surface pH, tensile testing, SEM-EDX, and XRF have been used to characterise the model textiles.ResultsOn application to textiles, the model dyes imparted mid to dark blue-grey colouration, an immediate tensile strength loss of the textiles and an increase in surface acidity. The dyes introduced significant quantities of iron into the textiles which was distributed in the exterior and interior of the cotton, abaca, and silk fibres but only in the exterior of the wool fibres. As seen with historic iron-tannate dyed objects, the dyed cotton, abaca, and silk textiles lost tensile strength faster and more significantly than undyed equivalents during accelerated thermal ageing and all of the dyed model textiles, most notably the cotton, discoloured more than the undyed equivalents on ageing.ConclusionsThe abaca, cotton, and silk model textiles are judged to be suitable for use as substitutes for cultural heritage materials in the testing of stabilisation treatments.
The conservation of textiles is a challenge due to the often fast degradation that results from the acidity combined with a complex structure that requires remediation actions to be conducted at several length scales. Nanomaterials have lately been used for various purposes in the conservation of cultural heritage. The advantage with these materials is their high efficiency combined with a great control. Here, we provide an overview of the latest developments in terms of nanomaterials-based alternatives, namely inorganic nanoparticles and nanocellulose, to conventional methods for the strengthening and deacidification of cellulose-based materials. Then, using the case of iron-tannate dyed cotton, we show that conservation can only be addressed if the mechanical strengthening is preceded by a deacidification step. We used CaCO3 nanoparticles to neutralize the acidity, while the stabilisation was addressed by a combination of nanocellulose, and silica nanoparticles, to truly tackle the complexity of the hierarchical nature of cotton textiles. Silica nanoparticles enabled strengthening at the fibre scale by covering the fibre surface, while the nanocellulose acted at bigger length scales. The evaluation of the applied treatments, before and after an accelerated ageing, was assessed by tensile testing, the fibre structure by SEM and the apparent colour changes by colourimetric measurements.
The object of this study is a wide selection of dyed cotton and camelid samples from an important collection of 2000-year-old Paracas textiles, now at the Museo Nacional de Arqueología, Antropología e Historia del Perú (MNAAHP; Lima; Peru) and at the National Museum of World Culture (NMWC; Gothenburg; Sweden). The threads, chosen as representative of the whole palette, were selected from eighteen different textiles. A combined spectroscopic and spectrometric analytical approach was selected to characterize the organic and inorganic composition of this wide set of samples. In particular, technical photography was used to gain a general overview of the samples, X-ray fluorescence (XRF) was employed for identifying the mordants and mapping the elemental distribution in the threads, while liquid chromatography coupled with diode array detector and with high-resolution mass spectrometry (HPLC-DAD, HPLC-HRMS) were used for characterizing organic dye composition. This study provides fundamental information on the mordants or other inorganic auxiliaries used in the dyeing processes, rarely investigated up to now, and to the varieties of vegetal sources employed in Paracas textiles. The widening of the Andean dyestuff database is highly important not only to acquire knowledge on Paracas culture, but also to ease the dye characterization of archaeological textiles from Peruvian region and South American area in general.
The object of this study is a wide selection of cotton and camelid samples from an important collection of 2000-year-old Paracas textiles, now at the Museo Nacional de Arqueología, Antropología e Historia del Perú (MNAAHP; Lima; Peru) and at the National Museum of World Culture (NMWC; Gothenburg; Sweden). The threads, chosen as representative of the whole palette, were selected from eighteen different textiles. A combined spectroscopic and spectrometric analytical approach was selected to characterize the composition of this wide set of samples. In particular, technical photography was used to gain a general overview of the samples, X-Ray Fluorescence (XRF) was employed for identifying the mordants and mapping the elemental distribution in the threads, while Liquid Chromatography coupled with Diode Array Detector and with High-Resolution Mass Spectrometry (HPLC-DAD, HPLC-HRMS) were used for characterizing organic dye composition. This study provides fundamental pieces of information on the mordants used in the dyeing processes, rarely investigated up to now, and to the varieties of vegetal sources employed in Paracas textiles. The widening of Andean dyestuff database is highly important not only to acquire knowledge on Paracas culture, but also to ease the dye characterization of archaeological textiles from Peruvian region and South American area region in general.
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