Actinomycetes and Biodeterioration in the Field of Fine Art

Abstract

The paper examines the problems concerning the

Microbial Degradation of Paintings

“…With a few exceptions, characterization of the microbial flora present on frescoes or easel paintings has been limited to selected groups of microorganisms rather than to all types of microorganisms that might be present on a given substrate. Thus, in general, surveys have often been limited to fungi (1, 8, 10, 14, 17, 22-26, 37, 47, 50, 57), bacteria (7,18,32,33,44,45), or cyanobacteria and eukaryotic algae (9,16,21,40,58). In a few cases, more comprehensive analyses aiming to determine all, or the majority of, the biota present on a painting have been reported (27,41).…”

“…With frescoes located underground, such as those in crypts, tombs, and grottoes, it has been reported that the predominant species and, possibly, the first colonizers are members of the order Actinomycetales, most of which are in the genus Streptomyces and a few of which are in the genus Nocardia (18). Over 200 strains of actinomycetes were isolated from 13 frescoes in different Italian hypogean sites.…”

Actinomycetes in Hypogean Environments

“…Monte and Ferrari (1993) reviewed the mechanisms of biodeterioration in tombs and underground churches. The role of actinomycetes in the deterioration of frescoes in hypogean environments was stressed by Agarossi et al (1985), Giacobini et al (1987), and Monte and Ferrari (1993). Giacobini et al (1987) described the serious damage suffered by a whole series of famous frescoes in underground environments.…”

Microorganisms and Microbially Induced Fabrics in Cave Walls

“…However, this is not the situation in many show caves recently studied, where considerable input of organic matter supports the growth of heterotrophic bacteria . It has been reported that pigment formation, crystal growth, and other types of biodeterioration processes related to microbial activity, affect rock paintings and frescoes in hypogean environments (Giacobini, De Cicco, Tiglie, and Accardo 1987;Groth, Vettermann, Schuetze, Schumann, and Saiz-Jimenez 1999;Monte and Ferrari 1993).…”