Search Results (19)

The conservation and restoration of water-gilded wooden cultural heritage, such as polychrome sculptures, frames, panels, altarpieces, etc., requires the use of fillers that guarantee structural stability, physicochemical and mechanical compatibility with the original support, and the ability to adapt to dimensional movements induced by thermo-hygrometric variations. This study, conducted as part of the DorART Project, analyzed the behavior of nine formulations, both commercial and non-commercial, selected through a review of the state-of-the-art specialized literature, along with the use of participatory science, which focused on the practices and materials most commonly used by professionals in the field. The experimental design was based on three types of specimens: two with wooden supports, selected for evaluating their interaction with the original material and with the traditional water gilding technique, and a third type for analyzing the individual behavior of the tested materials. Analyses of adhesion, tensile strength, Shore C hardness, gloss, abrasion test results, wettability, pH changes, and chemical composition were performed using ATR-FTIR spectroscopy. The results showed significant differences depending on the type of curing used and the composition and aging behavior of the specimen. Some of the fillers demonstrated improved compatibility with water-based gilding, facilitating workability and providing structural strength. M3 and M9 demonstrated an optimal balance of workability and aging stability. The results of this study can help restorers select materials based on their specific needs, considering the requirements of mechanical adaptation to the substrate, compatibility, and durability. Full article

Louise Nevelson’s Erol Beker Chapel of the Good Shepherd (1977) is a sculptural environment consisting of wooden sculptures painted a monochromatic white color. The paints show signs of degradation including cracking, chipping, peeling, and the formation of blisters and powdery efflorescence. A significant amount of pentaerythritol (PER) detected during a former analysis was concluded to originate from an alkyd paint. We show that the PER originates from the PVAc paint on the sculptures, which we have determined to be an intumescent, fire-retardant (IFR) coating. IFR paints and coatings are functional materials designed specifically to delay the combustion of their substrate. At least one other sculpture by Louise Nevelson is known to have been painted with an IFR coating. Our analyses by Fourier transform infrared spectroscopy (FTIR), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), pyrolysis–gas chromatography/mass spectrometry (Py-GCMS), and cross-section microscopy show the presence and distribution of common IFR additives including PER, dicyandiamide, melamine, inositol, ethylenediamine, and phosphates. These are present throughout the PVAc paint and are enriched in the powdery efflorescence. In addition, the degradation behavior of the paint is typical for IFR coating systems that have been exposed to uncontrolled environmental conditions and especially high humidity events. Full article

In the spring and summer of 1906, while visiting the rural village of Gósol in the Spanish Pyrenees, Picasso executed his first woodcut, made two sculptures out of boxwood, and began to focus on the topoi of wood and the forest as avatars of primal matter and of that which lies beyond civilization. In a subsequent series of paintings, he used wooden supports for images that depict male and female heads that look as if they had been chiseled out of wood. Others represent nude figures in forest settings, with explicitly sexual gestures and poses connoting a range of attitudes. These little studied works provide an optic into Picasso’s early exploration of the emergence of sexual identity as an inner psychic state, but one whose signs can be read through the body. Later, responding to the proliferation of cheap, industrially produced materials, including trompe l’oeil woodgrain wallpaper, Picasso began to treat woodgrain as a mere surrogate, one that marks its distance from actual wood through a variety of painterly and mechanical effects. No longer associated with “primitive” authenticity and the primordial forces of the forest, woodgrain now appears as a false sign open to conceptual play and metamorphosis. Full article

Artifacts pertaining to Buddhist culture are often studied in relation to their circulation from India throughout the rest of Asia; however, many traveled to Europe during the last few centuries as trade commodities and pieces for the art market, losing any devotional purpose in favor of a specific aesthetic sensitivity that was typically adapted to Western taste to appeal to collectors. This article presents a technical study of seven polychrome wooden sculptures from the Museo d’Arte Orientale (MAO) in Turin, Italy. Originally from China, these objects are generally attributed to the late Ming–early Qing dynasties (16th–18th centuries) based merely on stylistic and iconographic considerations. Scientific analysis sought to expand the available knowledge on their constituting materials and fabrication techniques, to address questions on their authenticity, to assess their state of preservation, and to trace the history of transformations they have undergone while transitioning from devotional objects to private collection and museum artwork. By delving into the sculptures’ intricate paint stratigraphy, the results were also key to guiding treatment choices. The outcomes of this study were featured in the MAO exhibition “Buddha10. A Fragmented Display on Buddhist Visual Evolution” (October 2022–September 2023). Full article

With the development of information technology, the introduction of information technology into architectural modelling and façade design and the systematic definition of historic districts is a problem that the architectural industry continues to explore and pursue. As a shape-based and self-defining generation rule, shape grammar provides significant help in the process of the automatic generation of architectural shapes to obtain design results that meet the requirements of the original historic district. Based on the simple combination of the application of shape grammar in architectural design, combined with the field investigation method, the representative buildings in the “Three Lanes and Seven Alleys” historic district are investigated and understood in detail, and the corresponding shape grammar rules are established. The courtyard types of the historic district are divided into: “” shape, “T” shape, “=” shape, “” shape, “” shape, “” shape, “” shape, “U” shape, “” shape, and garden. In detail, the façade components include the entrance, patio, main seat, wings, cloister, pavilion, etc. The elements of its façade include saddle walls, grey sculptures, carved stones, grey tiles, wooden grilles, wooden railings, wood grain flowers, etc. On this basis, parametric design is introduced to convert the design syntax into parametric programs. Grasshopper in Rhino is mainly used to visualize and simulate the regulation, and finally, achieve the purpose of automatically generating the architectural shape and façade of the “Three Alleys and Seven Alleys” historic district by adjusting its parameters. Full article

Digitalization techniques, such as photogrammetry (PG), are attracting the interest of experts in the cultural heritage field, as they enable the creation of three-dimensional virtual replicas of historical artifacts with 2D digital images. Indeed, PG allows for acquiring data regarding the overall appearance of an artifact, its geometry, and its texture. Furthermore, among several image-based techniques exploited for the conservation of works of art, multispectral imaging (MSI) finds great application in the study of the materials of historical items, taking advantage of the different responses of materials when exposed to specific wavelengths. Despite their great usefulness, PG and MSI are often used as separate tools. Integrating radiometric and geometrical data can notably expand the information carried by a 3D model. Therefore, this paper presents a novel research methodology that enables the acquisition of multispectral 3D models, combining the outcomes of PG and MSI (Visible (VIS), Ultraviolet-induced Visible Luminescence (UVL), Ultraviolet-Reflected (UVR), and Ultraviolet-Reflected False Color (UVR-FC) imaging) in a single coordinate system, using an affordable tunable set-up and open-source software. The approach has been employed for the study of two wooden artifacts from the Museo Egizio di Torino to investigate the materials present on the surface and provide information that could support the design of suitable conservation treatments. Full article

Lacquered wooden sculptures of fantastic hybrid beasts adorned with real deer antlers are among the most extraordinary examples of sculpture found in Chu tombs dated from the sixth through the third centuries BCE. Conventionally known as zhenmushou 镇墓兽 or “protecting tomb beasts”, the antlered sculptures have grotesque features, including bulging eyes, fangs, and protruding tongues. In the fourth century BCE, production and use of these sculptures increased and peaked in the Hanxi region of Hubei province. Although most of these figures have been found in tombs in Hanxi (west of the Han River), distinctive variations of antlered tomb sculptures are also documented in regional areas of the Chu polity, including the Nanyang Basin, the Upper Huai, Eastern Hubei, and Jiangnan. Through a systematic regional analysis of Chu antlered sculptures, this paper presents a spatial framework for analyzing this unique genre of Chu funerary sculpture. This approach provides fresh insight into the interregional networks of interaction across the Chu state and beyond, via waterways and the Suizao corridor from the sixth through the third centuries BCE. Full article

The paper presents an interdisciplinary approach to the treatment of the FormaViva collection of wooden sculptures exhibited outdoors in a natural environment near the Božidar Jakac Art Museum in Kostanjevica na Krki in Slovenia. The study focuses on 3D graphic representations of sculptures created with photogrammetry and 3D modelling. The results are photorealistic renderings, interactive presentations, 3D printed reproductions, jewellery, and interpretive animations. The research results show that graphic documentation techniques on 3D models allow for a more detailed investigation of the original structural identity of the sculpture. By incorporating 3D and interactive technologies, we are expanding the usability of cultural heritage objects. By using interpretive techniques that have led to jewellery and interpretive animations in our research, we not only breathe new life into the sculptures, but also enrich the stories of the sculptures with our own experiences of the sculptural work. Full article

This study was carried out on a crucifix located inside the church of St. Mary Major in Acri. The story of this crucifix is not very clear, and its dating is still uncertain, as well; however, it ranges between the 15th and the 14th century. The wooden sculpture of the crucified body of Jesus was painted and the conservation state of the color appeared good. A detailed analysis of the pigments was considered very useful in verifying the restoration history of this crucifix, and to discriminate between the original painting and later restoration activities. A micro-Raman analysis reveals the presence of the classical pigments expected for the estimated age of the crucifix, such as gypsum, terra di Siena, vermilion, carbon black, and others. In addition, other pigments of more recent use were found, such as Prussian blue, titanium white, lithopone, and chromium yellow, mostly in the thong around body of Jesus, which appears green. This is a clear indication of a relevant modification of the artifact in modern times, when the thong was totally painted again; smaller modifications were surely revealed by the presence of “modern” pigments on other points of the body. Full article

Wood has a wide range of applications in the artistic field, most of the time used as a support for works of art, for example, in panel paintings. Compared with stones and metals, wood is by far the material most utilised for sculptures. Through the identification of wood species, a study of timbers used in statuary in Europe, with a deeper exploration of the works of art preserved in Italy, can provide further insights for historical–artistic studies. Indeed, in reality, generic wood does not exist, but there are different timbers. This is a notion that the wood fine carving artists/craftsmen knew well. The initial idea of this study was to verify whether timber features could influence the formal results in figurative carving; therefore, a specific database that had been developed to catalogue the carving works was used for which the identification of wood species was carried out through reliable methodologies. The aim of this research was to analyse the relationship between the timber species used in statuary, the formal results of carving, and the thickness of the preparatory layer, through the data stored in a specific database, called ArISStArt. It contains a sort of registry of artistic carving and inlay works: For each artefact, a record was compiled consisting of different fields, which contains the historical–artistic information available, including the images of the artefact and also types of timber/s used for its creation, with a link to the relative field. The number of the recorded artefacts is, at present, 480. On most of the artefacts, more than one sample was taken; therefore, the total number of identifications carried out corresponds to 691. Based on the results, the vast majority of wooden statuary is carved from hardwoods, more specifically hardwoods, with diffuse porosity and small variations in density within the growth ring. The timber most present is poplar, followed by lime and walnut. With the listed three timbers, almost 80% of the artefacts recorded in ArISStArt were created. Full article

This contribution focuses on the conservation of an Egyptian wooden sculpture (Inventory Number Cat. 745) belonging to the Museo Egizio of Torino in northwest Italy. A preliminary and interdisciplinary study of constituent painting materials and their layering is here provided. It was conducted by means of a multi-technique approach starting from non-invasive multispectral analysis on the whole object, and subsequently, on selected micro-samples. In particular, visible fluorescence induced by ultraviolet radiation (UVF), infrared reflectography (IRR) and visible--induced infrared luminescence were used on the whole object. The micro-samples were analysed by means of an optical microscope with visible and UV light sources, a scanning electron microscope (SEM) with an energy-dispersive X-ray spectrometer (EDX), Fourier transform infrared (FT-IR) spectrometer, pyrolysis-gas chromatography/mass spectrometer (Py-GC/MS) and micro-particle induced X-ray emission (PIXE). The characterization of the painting materials allowed the detection of Egyptian blue and Egyptian green, and also confirmed the pertinence of the top brown layer to the original materials, which is a key point to design a suitable surface treatment. In fact, due to the water sensitiveness of the original materials, only few options were available to perform cleaning operations on this artwork. To setup the cleaning procedure, we performed several preliminary tests on mockups using dry cleaning materials, commonly used to treat reactive surfaces, and innovative highly water retentive hydrogels, which can potentially limit the mechanical action on the original surface while proving excellent cleaning results. Overall, this study has proved fundamental to increase our knowledge on ancient Egyptian artistic techniques and contribute to hypothesize the possible provenance of the artefact. It also demonstrated that polyvinyl alcohol-based retentive gels allow for the safe and efficient cleaning of extremely water sensitive painted surfaces, as those typical of ancient Egyptian artefacts. Full article

Diagnostic physical methods are increasingly applied to Cultural Heritage both for scientific investigations and conservation purposes. In particular, the X-ray imaging techniques of computed tomography (CT) and digital radiography (DR) are non-destructive investigation methods to study an object, being able to give information on its inner structure. In this paper, we present the results of the X-ray imaging study on an ancient Egyptian statuette (Late Period 722–30 BCE) belonging to the collection of Museo Egizio in Torino and representing an Egyptian goddess called Taweret, carved on wood and gilded with some colored details. Since few specific studies have been focused on materials and techniques used in Ancient Egypt for gilding, a detailed investigation was started in order to verify the technical features of the decoration in this sculpture. Specifically, DR and CT analyses have been performed at the Centro Conservazione e Restauro “La Venaria Reale” (CCR), with a new high resolution flat-panel detector, that allowed us to perform tomographic analysis reaching a final resolution better than the one achievable with the previous apparatus operating in the CCR. Full article

Heritage buildings and the precious artworks contained therein, represent inestimable cultural and artistic evidence from the past that must be properly preserved for future generations. In the last decades, climate change has gained relevance and is becoming crucial to assess the building performance under such effect to provide timely mitigation actions to preserve our cultural heritage. In this regard, this paper outlines a method that combines different experimental activities and tools to forecast possible future risks due to climate change for the conservation of the artworks and provide its application in a relevant case study in Italy, the Duomo di Milano. In detail, the suggested method consists of the monitoring of the building indoor climate to validate a simulation model, defining possible future scenarios based on the Intergovernmental Panel on Climate Change (IPCC) projections, and evaluation of the future conservation risks of the main artworks. The results of the analysis carried out, show that for some artworks (e.g., stone sculptures, some organic materials, etc.), the conservation conditions will not worsen compared to the current situation, while for others (e.g., paintings, wooden objects, etc.) the risk of deterioration is expected to increase substantially. This study helps to understand how the future climate can affect the indoor environment of a huge masonry building and allow to plan targeted mitigation strategies aimed to reduce the future risks. Full article

The recent, massive diffusion of LED-based illumination devices makes Visible Light Communications (VLC) a widely recognised wireless communication technology with large potential impact in many indoor and outdoor applications. In the indoor scenario, one of the most promising VLC implementations is foreseen in museums, exhibitions and cultural heritage sites. In this context, digital data can be transmitted by the specific lighting system of each artwork and received by the nearby standing visitors, allowing a complete set of dedicated services such as augmented reality (AR) and real-time indoor positioning, exploiting the directionality of the optical channel. In this work, we achieve, for the first time, VLC transmission through diffusive LED illumination of three-dimensional artworks (wooden and marble sculptures) in a real museum, exploiting the available LED illumination system, demonstrating the feasibility of VLC technology also when complex three-dimensional artworks, such as sculptures or bas-reliefs, are involved. In our experimental campaign, performed inside the Basilica of Santa Maria Novella in Florence, we perform extensive Packet Error Rate (PER) and Signal-to-Noise Ratio (SNR) tests on two important wooden and marble sculptures (Crucifix by Brunelleschi and the Holy Water Font by Bordoni, respectively), for different distances, view angles and configurations, in order to mimic a wide set of situations that visitors may encounter in a realistic scenario. We achieve successful VLC transmission for distances up to 8 m from artworks, at baud rate of 28 kBaud. We also provide detailed results on the characterization of the transmission Field of View (FoV) for our prototype, as well as the effect of side shifts of the observer’s position on the quality of VLC transmission, providing essential information for future implementations of positioning protocols and dedicated services in realistic, indoor scenarios. Our work represents an important step forward towards the deployment of VLC technology in museums and, more in general, it opens for far-reaching developments in a wide set of real indoor environments, including the cultural heritage sector, where diffusive VLC links exploiting illumination of three-dimensional objects could represent a ground-breaking innovation. Full article

Wooden artefacts embrace wide-ranging types of objects, like paintings on panel, sculptures, musical instruments, and furniture. Generally, in the manufacturing process of an artwork, wood is firstly treated with organic and inorganic materials to make it nonporous and morphologically homogeneous, and, at last, the surface treatment consists of varnishes or coatings applied with the aims of conferring aesthetic properties and protecting wood from biological growth and external degradation agents, as well as mechanical damage. In this work, different wooden mock-ups were prepared by varying some parameters: concentration of filler and pigment, respectively, in the ground and paint layers, thickness of the protective varnish coat, and sequence of the layers. The mock-ups were subsequently exposed to time-varying artificial aging processes. The multi-analytical non-invasive approach involved spectroscopic (reflection FT-IR, Raman, and X-ray fluorescence), tomographic (optical coherence tomography) and colorimetric techniques. Data were interpreted using both univariate and multivariate methods. The aim was to evaluate potential and limits of each non-invasive technique into the study of different stratigraphies of wooden artworks. This approach was supported by microscopic observations of cross-sections obtained from selected mock-ups. The methodological approach proposed here would add valuable technical know-how and information about the non-invasive techniques applied to the study of wooden artworks. Full article