Search Results (154)

Assessing the condition of artworks is a critical step in cultural heritage conservation that traditionally involves manual damage mapping, which is time-consuming and reliant on expert input. This study, conducted within the ChemiNova project, explores the automation of edge detection using both classical image processing techniques (Canny, Sobel, and Laplacian) and a deep learning model (DexiNed). The methodology integrates interdisciplinary collaboration between conservation professionals and computer scientists, applying these algorithms to artworks affected by environmental damage, including flooding. Preprocessing and post-processing techniques were used to enhance detection accuracy and reduce noise. The results show that while traditional methods often yield higher precision and recall scores, they are also sensitive to texture and contrast variations. These findings suggest that automated edge detection can support conservation efforts by streamlining condition assessments and improving documentation. Full article

Ultraviolet-induced fluorescence (UVF) imaging represents a simple but powerful technique in cultural heritage studies. It is a nondestructive and non-invasive imaging technique which can supply useful and relevant information to define the state of conservation of an artifact. UVF imaging also helps to establish the value of an artwork by indicating inpainting, repaired areas, grouting, etc. In general, ultraviolet fluorescence imaging output takes the form of 2D photographs in the case of both paintings and sculptures. For this reason, a few years ago the idea of applying the photogrammetric method to create 3D digital twins under ultraviolet fluorescence was developed to address the requirements of restorers who need daily documentation tools for their work that are simple to use and can display the entire 3D object in a single file. This review explores recent applications of this innovative method of ultraviolet fluorescence imaging with reference to the wider literature on the UVF technique to make evident the practical importance of its application in cultural heritage. Full article

Three-dimensional (3D) reproduction of artworks has advanced significantly, offering valuable insights for conservation by documenting the objects’ conservative state at both macroscopic and microscopic scales. This paper presents the 3D survey of an earthquake-damaged panel painting, whose wooden support suffered severe deformation during a seismic event, posing unique restoration challenges. Our work focuses on quantifying how shape variations in the support—induced during restoration—affect the surface morphology of the pictorial layers. To this end, we conducted measurements before and after support consolidation using two complementary 3D techniques: structured-light projection to generate 3D models of the painting, tracking global shape changes in the panel, and laser-scanning microprofilometry to produce high-resolution models of localized areas, capturing surface morphology, superficial cracks, and pictorial detachments. By processing and cross-comparing 3D point cloud data from both techniques, we quantified shape variations and evaluated their impact on the pictorial layers. This approach demonstrates the utility of multi-scale 3D documentation in guiding complex restoration interventions. Full article

The study at the Peggy Guggenheim Collection in Venice highlights critical interactions between indoor air quality, visitor dynamics, and microclimatic conditions, offering insights into preventive conservation of modern artworks. By analyzing pollutants such as ammonia, formaldehyde, and organic acids, alongside visitor density and environmental data, the research identified key patterns and risks. Through three seasonal monitoring campaigns, the concentrations of SO₂ (sulphur dioxide), NO (nitric oxide), NO₂ (nitrogen dioxide), NO_x (nitrogen oxides), HONO (nitrous acid), HNO₃ (nitric acid), O₃ (ozone), NH₃ (ammonia), CH₃COOH (acetic acid), HCOOH (formic acid), and HCHO (formaldehyde) were determined using passive samplers, as well as temperature and relative humidity data loggers. In addition, two specific short-term monitoring campaigns focused on NH₃ were performed to evaluate the influence of visitor presence on indoor concentrations of the above compounds and environmental parameters. NH₃ and HCHO concentrations spiked during high visitor occupancy, with NH₃ levels doubling in crowded periods. Short-term NH₃ campaigns confirmed a direct correlation between visitor numbers and the above indoor concentrations, likely due to human emissions (e.g., sweat, breath) and off-gassing from materials. The indoor/outdoor ratios indicated that several pollutants originated from indoor sources, with ammonia and acetic acid showing the highest indoor concentrations. By measuring the number of visitors and microclimate parameters (temperature and humidity) every 3 s, we were able to precisely estimate the causality and the temporal shift between these quantities, both at small time scale (a few minute delay between peaks) and at medium time scale (daily average conditions due to the continuous inflow and outflow of visitors). Full article

In this article, a multidisciplinary methodological approach for studying a wooden panel painting is applied. The theoretical framework, within which this research has arisen, is the application of state-of-the-art non-destructive techniques for addressing issues concerning the constituting parts and composing materials of the artwork. Hereby, a post-Byzantine icon was studied, which was dated back to 1836. It is a painting executed on a wooden panel, with a decorated wooden frame attached. The artifact was thoroughly investigated through the application of infrared thermography (IRT), multispectral imaging (MSI), and macroscopic X-ray fluorescence spectrometry (MA-XRF). These analyses provided crucial information about the verso of the painting (i.e., the wooden panel and the frame) and allowed for the revelation of important details of the recto of the painting, which were not visible due to the presence of an old, decayed varnish. Additionally, through the detailed mapping of the distribution of various chemical elements on the recto of the painting and the frame, it was possible to identify the materials used and techniques employed. It is therefore shown that, when combined, the non-destructive methodologies in consideration can provide adequate information referring to the materiality and state of preservation of panel paintings, permitting the conservator to proceed to a tailored conservation treatment. Full article

Inks from the 12th to the 17th century were aged, and a multi-analytical approach was used for their identification based on HPLC–DAD–MS, microFTIR, and microRaman. Colorimetry analysis was also performed. After 6 years of application on filter paper, three inks were selected to be cleaned using a novel green approach based on a chemically crosslinked gel to remove unwanted materials from the ink surface. A Braga ink produced in 2018 was also tested. Two degradation products were identified; iron sulfate was the main degradation product in the Braga ink. For Montpellier, Guadalupe, and QI.8 inks, the main degradation product was a complex of iron with ellagic acid. These compounds were accurately confirmed using microFTIR. Several tests were performed to clean these degradation products with the gels. The Braga ink was cleaned with 10% ethanol in water, which was included in the gel, and the iron sulfate was removed within 15 s of application. On the other hand, the complex of iron with ellagic acid demanded longer application times; we used 2 min and repeated the application until the compound was removed. The novelty of this research has practical implications for the conservation of historical documents and artworks. Full article

In recent decades, there has been an increase in the development of non-invasive and non-destructive analytical techniques in the field of cultural heritage. The present study aims to characterize the frescoes in the hypogeum environment of the San Pietro a Corte complex in Salerno (Campania, Italy) through a multi-analytical approach that couples Infrared Reflectography with X-Ray Fluorescence Spectrometry. Thermographic and hygrometric measurements were also performed to evaluate their state of conservation in relation to environmental parameters such as relative humidity and temperature at the frescoed walls. Spectroscopic investigations revealed a predominant use of natural pigments—chiefly iron-rich earths—and uncovered details invisible to the naked eye that aid art historians in refining stylistic attributions. Hygrometric data showed that the central zones of the frescoes retain the highest moisture levels, underscoring the need for a carefully tailored conservation plan. Overall, this multi-analytical methodology provides important information that enables conservators and restorers to understand both the materials and the preservation requirements of these artworks from a scientific and conservation perspective. Full article

By decreasing manufacturing costs for different civic purposes, glass recycling is an economically significant technology that also helps conserve natural resources and mitigates environmental problems. Throughout the recycling process, this study used recycled domestic glass in compliance with European guidelines for recycling of household garbage. The purpose of this research is to examine the chemical and mechanical properties of recycled and crushed glass with particle sizes varying from 0.1 mm to 2 mm as a function of various treatment temperatures. This might pave the way for novel building materials, artwork, and interior design components, among other potential uses. “Silica glass”, the most common and ancient kind of glass, which includes SiO_k, Na_kO, CaO, and small amounts of other elements, was utilized in the investigation. Several materials can be successfully modified or altered using step heat treatment. The mechanical and chemical properties of recycled and shattered glass were assessed using microhardness, compressive, and chemical testing. These samples were then compared to mosaics from Murano, Italy, and Dynasty Smalti, China. The recycled and heat-treated glass produced microhardness values of 550.6 HV and 555.0 HV, respectively, when tested with forces of 0.981 N and 2.942 N. These values were higher than those of Murano (Italy) and were comparable to those of Dynasty Smalti mosaic (China). Furthermore, compression testing demonstrated that tempered and heat-tempered glass, which might include up to 5 g of TiO₂, could endure compressive strains of up to 16 MPa. This is in sharp contrast to Dynasty Smalti, which could only withstand tensions of 6–8 MPa, and Murano, which could only withstand stresses of 3–4 MPa. Tests conducted chemically over a seven-day period using KOH at 30 g/L and 100 g/L, along with HCl at 3% and 18%, showed that the samples did not alter in any way; their surface, color, and weight were untouched. Crushing and heating recycled glass makes it a viable alternative to using new glass in civil engineering projects. This helps make material reuse more efficient, which in turn helps the environment. Sturdy and resilient in a variety of contexts, the material shares mechanical and chemical properties with standard mosaics. Full article

Modern and contemporary artworks, due to technological developments in the synthesis of new pigments, are characterized by a pictorial palette composed of a wide variety of pigments. This diversity makes it increasingly important to carry out thorough characterization studies in order to gain a complete and comprehensive understanding of the properties of the numerous pigments in use today. In this work, 18 modern acrylic paints were characterized using micro-Raman spectroscopy with two laser excitation lines (532 nm and 633 nm). The analysed pigments can be classified as organic, inorganic, or mixtures, depending on their chemical composition. Specifically, the following pigments were investigated: Cobalt Blue, Permanent Blue Light, Ultramarine, Primary—Cyan Blue, Cerulean Blue, Cobalt Blue (Hue), Indanthrene Blue, Phthalo Blue, Van Dyke Brown, Permanent Green Light, Phthalo Green, Primary Red—Magenta, Cadmium Red Medium, Lemon Yellow, Cadmium Yellow Medium, Zinc White, Titanium White and Iridescent Silver. The pigments were applied to wooden and glass substrates to simulate the creative processes of actual modern and contemporary artworks. The aim was to define their composition, as this knowledge is essential for the protection, conservation and enhancement of cultural heritage. Full article

Cultural Heritage is a vital socioeconomic driver that must contend with works of art continuously exposed to degradation processes, which are further exacerbated by climate change. Aged coatings, varnishes, and soil can compromise the appearance of artworks, preventing their preservation and valorization. In response, soft matter and colloidal systems, such as nanostructured cleaning fluids (NCFs), have proved to be valuable solutions for safely and effectively cleaning works of art. Here, a novel cleaning system is proposed, for the first time employing microgels of poly(N-isopropylacrylamide) (PNIPAM) with surface chains of oligoethylene glycol methyl ether methacrylate (OEGMA) to favor shear deformation by lubrication. These microgels are loaded with NCFs featuring “green” solvents and different kinds of bio-derived or petroleum-based surfactants (non-ionic, zwitterionic). Rheological characterization of the combined systems highlighted a sharp transition from solid to liquid-like state in the 21–24 °C range when the zwitterionic surfactant dodecyldimethylamine oxide was used; the system displays a solid-like behavior at rest but flows easily at intermediate strains. At slightly higher temperature (>24 °C), an inversion of the G′, G″ values was observed, leading to a system that behaves as a liquid. Such control of rheological behavior is significant for feasible and complete removal of soiled polymer coatings from textured ceramic surfaces, which are difficult to clean with conventional gels, without leaving residues. These results position the PNIPAM-OEGMA microgels as promising cleaning materials for the conservation of Cultural Heritage, with possible applications also in fields where gelled systems are of interest (pharmaceutics, cosmetics, detergency, etc.). Full article

Money Art is a growing contemporary practice where artists transform banknotes into unique visual works. While conceptually powerful, these artworks present significant conservation challenges due to their fragile substrates and complex material compositions. This study investigates the degradation behaviour of UniPosca acrylic markers applied on zero-euro banknotes, drawing on the techniques of artist RichardHTT, and explores bio-based protective strategies suitable for their preservation. Laboratory samples were prepared to replicate the original artwork and subjected to accelerated ageing. A multi-analytical approach was employed, including multispectral imaging, Fourier trasform infrared (FTIR) and Raman spectroscopy, and scanning electron microscopy (SEM-EDS) colorimetric analysis. Thickness and adhesion properties were assessed with contact micrometry and peel tests, while wettability was evaluated through static contact angle measurements. Four biopolymer coatings, chitosan and chitosan–nanocellulose films with varying CNC concentrations, were evaluated for their transparency, mechanical stability, and compatibility with the substrate. Results showed that painted areas, especially those with blue and black pigments, experienced marked degradation, while, after coating application, samples demonstrated improved chromatic stability, hydrophobicity, and adhesion. Importantly, all coatings were fully removable via enzymatic cleaning with α-amylase, confirming their reversibility. This research highlights the potential of chitosan-based biocomposites as conservation materials for non-traditional artworks and contributes to developing tailored, reversible strategies for contemporary art preservation. Full article

The development of advanced diagnostics tools for investigating artworks and monitoring their health state in a non-destructive way is a key point for their preservation and restoration. Non-invasive diagnostic approaches enable the identification of damage often hidden to restorers’ naked eyes, thereby facilitating the planning of appropriate restoration interventions. Here, the combined use of three full-field imaging techniques: shearography, thermography, and structured-light 3D scanning, has been employed as complementary tools for the diagnostics of a panel painting. As a case study, the artwork Consegna della regola Francescana, created by the Neapolitan painter Colantonio around 1445, was analyzed. The integrated application of the mentioned optical imaging techniques allows a comprehensive evaluation of the state of conservation of the work, revealing inserts, nails, and detachments. This synergistic approach also enhanced the interpretation of the results from each individual technique, offering a more complete understanding that would be unattainable with any single method alone. Full article

Wooden panel paintings (WPPs) are among the most significant historical artworks that must be preserved for future generations. Ensuring their long-term conservation requires a comprehensive characterization of their condition, making monitoring an essential process. Thus, the primary objective of this study is to provide a comprehensive overview of the current techniques employed to study support deformations in WPPs, categorizing them into localized and full-field methods. Specifically, we provide information about linear potentiometric transducers, the Deformometric Kit, and Fiber Bragg Grating sensors as techniques that provide information about specific and isolated points on the artwork’s surface. On the other hand, digital image correlation, stereo-correlation, mark-tracking, 3D modeling techniques, and the moiré method, are discussed as techniques that analyze the entire surface or a significant part of the artwork. Each method has advantages and limitations, depending on the type of monitoring needed and the desired information. Nevertheless, these techniques contribute to understanding the behavior of the artworks’ materials under environmental fluctuations or restoration interventions, aiding the development of targeted and effective conservation strategies. Furthermore, this study seeks to evaluate the effectiveness of these methods in various conservation contexts and offers practical guidelines to assist conservators and researchers in selecting the most appropriate approach to support the long-term conservation of these invaluable historical artworks. Full article

Copper alloys form various corrosion products such as sulfides and chlorides. Chlorides can cause severe structural damage in ‘bronze disease’, making the early identification of corrosion products and conservation treatment important tasks. In this study, standard spectra were established for nine minerals of corrosion products using a portable Raman spectrometer, and their identification was verified by comparing them with benchtop micro-Raman spectra. The main characteristic bands were detected for most corrosion products, and the in situ applicability of the portable Raman spectrometer was demonstrated. However, for some samples, the signal-to-noise ratio was low, while the main characteristic peaks were still identifiable. In particular, dicopper chloride trihydroxides (such as atacamite and clinoatacamite) were clearly distinguished as corrosion products whose early identification is crucial. After the on-site analysis of copper alloy artworks exposed to outdoor environments for over 30 years, corrosion products such as malachite, brochantite, and moolooite were detected, indicating that portable Raman spectrometers are an effective tool for diagnosing conservation conditions. This study demonstrates that portable Raman spectrometers can be effectively used to identify corrosion products and assess the conservation state of copper alloy artworks and are expected to make significant contributions to future conservation and restoration efforts. Full article

The aim of the present research is to validate the combined use, through data fusion, of a Laser Induced Fluorescence (LIF) scanning system and a radar scanner (RGB-ITR, Red Green Blue Imaging Topological Radar system), as a unique tool to address the need for non-invasive, rapid, and low-cost techniques for both diagnostic and operational needs. The integrated system has been applied to the House of Diana complex in Ostia Antica. The main diagnostic objective of this research was to trace the materials used in different phases of restoration, from antiquity to modernity, on both masonry and pictorial surfaces, to reconstruct the history of the building. Due to the significant interest in this insula, other studies have been recently carried out on the House of Diana, but they once again highlighted the necessity of multiple approaches and non-invasive methods capable of providing quasi-real-time answers, delivering point-by-point information on very large surfaces to overcome the limits related to representativeness of sampling. The data acquired by the RGB-ITR system are quantitative, allowing for morphological and 3-colour analysis of the investigated artwork. In this work, the sensor has been used to create coloured 3D models useful for structural assessments and for locating different classes of materials. In fact, the LIF maps, which integrate knowledge about the original constituent materials and previous conservation interventions, have been used as additional layers of the tridimensional models. Therefore, the method can direct possible new investigations and restoration actions, piecing together the history of the House of Diana to build for it a safer future. Full article