11/8/2011

New Tools for Conservation of Cultural Heritage Piero Baglioni p & CSGI Chemistryy Department University of Florence Italy [email protected]

[email protected]

Why we need to Conserve Cultural Heritage? •The conservation of our Cultural Heritage is fundamental f conveying for i to t future f t generations ti our culture, lt t diti traditions, and ways of thinking and behaving. •Conservation has an impressive impact on our society from a political, sociological and anthropological points of view. •It is not restricted to ART (paintings) but comprises: paper documents wood conservation stone conservation magnetic and optical data storage supports, etc.

•Tourism is the largest industrial activity [email protected]

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Modern Conservation Science It is well accepted that modern Conservation Science originated from the tragic floods that devastated Florence and Venice in 1966, imposing the search for new methodologies to restore and conserve the immense Cultural Heritage heavily damaged by the flood.

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Florence’’s flood - 1966 Florence

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Ultima Cena - Taddeo Gaddi (14th century), Santa Croce Refectory, Florence

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What was conservation before Florence flood? serendipity and “trial and error” have been the most frequent design principles of formulations for either g or consolidation of works of art cleaning

What were the consequences? the past has witnessed a number of actively detrimental treatments, such as the application of inappropriate materials to wall paintings, which can irreversibly jeopardize the appearance (or even the continued existence) of irreplaceable works of art [email protected]

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The new Science for Conservation has developed following two main streams: ((i)) the analytical y characterization of the materials constituting the works of art, the characterization of the pictorial technique used by the artists, and the chemical reactions involved in their degradation (ii) the search for new scientific methods for the restoration/conservation, that would allow the transfer of our Cultural Heritage to future generations

[email protected]

CONSERVATION SCIENCE

Diagnostics and analyses for conservation and restauration

Material Sciences

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DIAGNOSTICS Chemical, physical, mineralogical, biological techniques

Microscopy FT-IR SEM-EDX IBA techniques (PIXE, PIGE) XRF XRD Chromatography g p y Colorimetry Imaging techniques PCR DNA genome… [email protected]

DIAGNOSTICS The diagnostic protocol

- Preliminary evaluation of the artwork conservative issue - Choice of the appropriate analytical techniques - Sampling (if needed) - Analysis and results interpretation - Scientific report with guidelines for possible conservation intervention on the artwork - Evaluation of the intervention results

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ANALYSES FOR CONSERVATION AND RESTAURATION Monitoring of the environmental and microclimatic parameters.

Archeometric dating, determination of the provenience and evaluation of the authenticity of artworks.

[email protected]

Classical scientific methods for the restoration/conservation

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The search for new scientific methods for the restoration/conservation A combination of different technologies allows today’s conservators to provide, in each restoration step, interventions respectful of the physicochemical characteristics of the materials used by artists. Examples are related to systems belonging to soft matter/nanoscience 1) : 2) 3) 4) 5) 6)

Nanoparticles Micelles Microemulsions Physical and chemical gels Responsive gels Nano Nano--sponges [email protected]

CSGI CONSORZIO INTERUNIVERSITARIO PER LO SVILUPPO DEI SISTEMI A GRANDE INTERFASE est. 1993

Piero Baglioni [email protected] [email protected]

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www.csgi.unifi.it Universities and Associated Laboratories Bergamo – U.O. CSGI Bologna - Associated Laboratory Cagliari – U.O. U O CSGI Campobasso - U.O. CSGI Catania - U.O. CSGI Florence – Sede, U.O. CSGI Milan-Politecnico - Associated Laboratory Milan-University - Associated Laboratory Nanomaterials Laboratory - CSGI Laboratory Naples - U.O. CSGI Pavia - U.O. CSG U O CSGI Pisa (SNS) - U.O. Perugia - Associated Laboratory Rome - Associated Laboratory Siena - U.O. CSGI Udine - U.O. CSGI Venice - Associated Laboratory [email protected]

Research Activity of CSGI

The main goal of CSGI is the preparation and study of new SUPRAMOLECULAR and COLLOIDAL SYSTEMS, and the development of their industrial applications in pharmaceutics, biomedical, inks and paintings, oil and energy, metallurgic, detergents, cosmetics, textile, paper, food industry, de-polluting procedures, conservation of works of art, and so forth. CSGI is also intended to provide Industrial Companies with the BASIC SCIENTIFIC AND TECHNOLOGICAL KNOWLEDGE to improve and optimize specific industrial processes .

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Academic Partners

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The CSGI Research is particularly devoted to the development of the following research areas: • Nanotechnologies – – -

Grafting on textiles Nanomaterials (peculiar mechanical, electronic and catalytic properties) Magnetic Fluids (seals, lubricants, etc.) Nanobiomedicine (nanoparticles, ibrid systems..)

• Soft Matter ( Micelles, Emulsions, Vesicles, etc.) – – – – – – –

Colloidal Dispersions (Fuels, Drugs, Inks, Metals, Coal, etc.) Micro and Nano-compartmentalized Reaction Sites (Micelles, Vesicles, etc.) Polymerization in Emulsions, Mini-Emulsions and Micro-emulsions Interfacial and Structural Properties of Bio-surfactants Controlled Release of Pharmacological and Non-pharmacological Products G Gels, l F Formation ti off G Gels l and dS Sol-Gel l G lT Transition iti Inclusion Compounds and Host-Guest Systems

• Conservation of Cultural Heritage – Restoration of paintings – Protection against aging of paper

[email protected]

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Soft Matter in Florence • Self-assembly of biomimetic, responsive surfactants and of biomacromolecules • Magnetic M ti nanocomposites it (Core-shell nanostructures with tunable magnetic properties )

• Nanomaterials and polymers for the conservation of cultural heritage (25% of our activity) • Nanostructured surfaces for biosensing and LED Applications • Additives for cements (with MIT) • Hydration properties in confined regimes [email protected]

CSGI-actual network We have ALL the competences for a complete conservation process: from diagnosis of degrade to the conservation intervention intervention. CSGI is mainly concentrated in the formulation of new methodologies for conservation. However, diagnostic and virtual reality are active from partners that cooperates with CSGI. We cooperate for the diagnostic with CNR (also laser cleaning and subsequent reconsolidation with nanoparticles) and INFN (PIXE, 14C, etc..). [email protected]

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• • • • • • • •

Virtualization for cultural heritage IDEA Expertise Web Interfaces for Cultural Heritage Databases for Cultural Heritage Hardware Virtual Reality Computational spectroscopy Analysis of compounds

Virtualization for cultural heritage Computational modeling recently received significant attention also in the cultural heritage field, with relation to restoration and conservation of artworks thanks to its capability to offer insights into the nature and composition of the artistic materials as well as to describe the physical and chemical changes that brings to degradation processes responsible for the artworks modifications. Chemical characterization of the constituting materials allows researchers to unravel the rich information enclosed in a work of art, providing an insight into the manufacturing techniques and revealing aspects of artistic, chronological, historical, and sociocultural significance. New emerging technologies as virtual reality, storage techniques for heterogeneous data, and the sharing of information about different domains of expertise allow new approaches in studying and handling the cultural heritage.

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Virtual Reality • Immersive virtual gallery providing CAVE 3D technology: – – – –

Different wall positioning; Operated through the GPU cluster; Stereoscopic projection; Software per VR Immersive systems.

• 3D as an interface for visualization of cultural heritage data: – Enabling interactivity on data: virtual reading, comparisons between items; – Augmented reality environments.

Conservation of Cultural Heritage Our contribution to the Conservation of Cultural Heritage (new methods): Mural paintings: Ferroni-Dini method C l i Calcium Hydroxide H d id (nanoparticles) ( ti l ) Paper Deacidification and Cavas Conservation (nanoparticles) Polymers Removal from artefacts usually damaged from previous restorations Wood: Vasa warship in Stockholm (nanoparticles) Organ pipes conservation (nanoparticles) Oil and easel paintings (chemical gels and microemulsions) Basically we have developed the methodologies to restore and conserve

most of the cultural heritage [email protected]

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NANOPARTICLES FOR CONSOLIDATION AND DEACIDIFICATION

Nanotechnology restores flaking frescos.

01/26/2003 7:46 PM

updated at midnight GMT search nature science update

go

Nanoparticles save paper

updated at midnight GMT

today is sunday, january 26

11 July 2001

• Nanotechnology

Leonardo's painting is one of the worst affected by the ravages of time. The damage was largely the result of ill-informed experimentation with materials - Leonardo was no chemist. Similar fresco deterioration is a common problem for conservators.

22 June 2001

• Physicists tell

PHILIP BALL

• New fight over old

• Cross Med

map

1 August 2002

winds dirty

25 October 2002

Piero Baglioni of the University of Florence and his coworkers have treated manuscripts dating back to the fourteenth century with a sprinkling of calcium hydroxide grains just 200 millionths of a millimetre across.

• Infrared reveals Old Masters' hidden intentions 25 October 2002

• Wine tied

buffs tongue-

25 October 2002

• Palm-tops tourists

Acids slowly break down the cellulose fibres in paper. The nanoparticles of what © GettyImages is commonly called slaked lime penetrate li t t between b t paper's ' fibres. fib Th They combat b t the th ravages of acids introduced when paper is made, without altering documents' apperance1. The technique is cheap and green and could also be used on canvas.

to guide

24 October 2002

• Physicists qubit

flip a

24 October 2002

The researchers subjected one nineteenth-century sample to accelerated ageing by keeping it in a hot, moist environment for three weeks. Untreated, the paper turned a deep brown because of acid damage. A treated sample showed very little discolouration.

• Nanotechnology restores flaking frescos. 11 July 2001

• Cross Med

winds dirty

25 October 2002

• Infrared reveals Old Masters' hidden intentions 25 October 2002

• Wine tied

buffs tongue-

25 October 2002

• Palm-tops tourists

to guide

24 October 2002

• Physicists qubit

flip a

24 October 2002

Neutral territory Before the nineteenth century, paper was made primarily from shredded rags; thereafter wood pulp has been used. Acids slowly break down the cellulose fibres in paper, making it yellow, brittle and weak.

Before Italian painters began to use canvas in the fifteenth century, many made frescoes. They applied pigment directly to damp plaster on a wall, so that it bound fast as the plaster dried. Giotto and Michelangelo were masters of this technique. Done skilfully, the results were robust. Unfortunately half a

ripping yarns

15 October 2002

Tiny particles of a strong alkali are helping preserve historical documents.

Piero Baglioni and A beautiful bottom colleagues from the thanks to the restorative effects of nanotechnolgoy. University of Florence have salvaged a lesser-known work: Gli Angeli Musicanti painted in the sixteenth century by Santi di Tito in the Santa Maria del Fiore Cathedral in Florence. This image is disfigured where flakes of paintimpregnated plaster, having lifted off the wall below, are threatening to fall off, damaging the painting irreparably.

http://www.nature.com/nsu/010712/010712-8.html

A sprinkling of slaked lime conserves old documents. 22 October 2002

solders on

28 February 2001

Had Leonardo da Vinci known about nanotechnology, his Last Supper might not be in its present sorry state. Italian chemists have shown that particles of slaked lime - a staple of the Renaissance palette - just a few millionths of a millimetre across can rescue old frescoes from decay.

advanced search

Nanoparticles save paper

• Circuit training

PHILIP BALL

today is sunday, january 26

go

search nature science update

advanced search

Nanotechnology restores flaking frescos. An off-the-wall application of tiny particles re-unites paint and plaster.

01/26/2003 7:46 PM

[email protected] Page 1 of 2

Currently museum conservators and librarians use chemical treatments to prevent or retard this degradation. A common method, the Book-keeper process, involves scattering grains of magnesium oxide over the paper. These stick to the fibres and react with water to form an alkali that neutralizes acids.

http://www.nature.com/nsu/021021/021021-1.html

Page 1 of 2

RESTORING THE CONSERVED

[email protected]

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11/8/2011

RESTORING THE CONSERVED

[email protected]

RESTORING THE CONSERVED

[email protected]

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11/8/2011

Nanoscience for Conservation 1) Nanoparticles for consolidation and deacidification (frescoes, (frescoes paper and wood) 2) How soft materials can be modified to obtain responsive materials, to confine molecules, to upload or release soft/hard materials: i) Microemulsions and micellar solutions ii) Physical, Chemical and Responsive Gels [email protected]

Nanoparticles contribution to the conservation of Cultural Heritage: •

Mural paintings: Calcium Hydroxide Nanoparticles (strontium and barium)

•

Paper

de-acidification

and

Canvas

conservation

(calcium,

magnesium, strontium hydroxide and carbonate nanoparticles) •

Wood - VASA warship, Stockholm (calcium and magnesium hydroxide and carbonate nanoparticles)

•

O Organ pipes i conservation ti ((calcium l i and d magnesium i h hydroxide d id and carbonate nanoparticles)

[email protected]

15

11/8/2011

NANOPARTICLES FOR CONSOLIDATION AND DEACIDIFICATION Nanotechnology restores flaking frescos.

01/26/2003 7:46 PM

updated at midnight GMT search nature science update

go

Nanoparticles save paper

updated at midnight GMT

today is sunday, january 26

11 July 2001

• Nanotechnology

Leonardo's painting is one of the worst affected by the ravages of time. The damage was largely the result of ill-informed experimentation with materials - Leonardo was no chemist. Similar fresco deterioration is a common problem for conservators.

22 June 2001

• Physicists tell

PHILIP BALL

• New fight over old

• Cross Med

map

1 August 2002

winds dirty

25 October 2002

Piero Baglioni of the University of Florence and his coworkers have treated manuscripts dating back to the fourteenth century with a sprinkling of calcium hydroxide grains just 200 millionths of a millimetre across.

• Infrared reveals Old Masters' hidden intentions 25 October 2002

• Wine tied

buffs tongue-

25 October 2002

• Palm-tops tourists

Acids slowly break down the cellulose fibres in paper. The nanoparticles of what © GettyImages is commonly called slaked lime penetrate li t t between b t paper's ' fibres. fib Th They combat b t the th ravages of acids introduced when paper is made, without altering documents' apperance1. The technique is cheap and green and could also be used on canvas.

to guide

24 October 2002

• Physicists qubit

flip a

24 October 2002

The researchers subjected one nineteenth-century sample to accelerated ageing by keeping it in a hot, moist environment for three weeks. Untreated, the paper turned a deep brown because of acid damage. A treated sample showed very little discolouration.

• Nanotechnology restores flaking frescos. 11 July 2001

• Cross Med

winds dirty

25 October 2002

• Infrared reveals Old Masters' hidden intentions 25 October 2002

• Wine tied

buffs tongue-

25 October 2002

• Palm-tops tourists

to guide

24 October 2002

• Physicists qubit

flip a

24 October 2002

Neutral territory Before the nineteenth century, paper was made primarily from shredded rags; thereafter wood pulp has been used. Acids slowly break down the cellulose fibres in paper, making it yellow, brittle and weak.

Before Italian painters began to use canvas in the fifteenth century, many made frescoes. They applied pigment directly to damp plaster on a wall, so that it bound fast as the plaster dried. Giotto and Michelangelo were masters of this technique. Done skilfully, the results were robust. Unfortunately half a

ripping yarns

15 October 2002

Tiny particles of a strong alkali are helping preserve historical documents.

Piero Baglioni and A beautiful bottom colleagues from the thanks to the restorative effects of nanotechnolgoy. University of Florence have salvaged a lesser-known work: Gli Angeli Musicanti painted in the sixteenth century by Santi di Tito in the Santa Maria del Fiore Cathedral in Florence. This image is disfigured where flakes of paintimpregnated plaster, having lifted off the wall below, are threatening to fall off, damaging the painting irreparably.

http://www.nature.com/nsu/010712/010712-8.html

A sprinkling of slaked lime conserves old documents. 22 October 2002

solders on

28 February 2001

Had Leonardo da Vinci known about nanotechnology, his Last Supper might not be in its present sorry state. Italian chemists have shown that particles of slaked lime - a staple of the Renaissance palette - just a few millionths of a millimetre across can rescue old frescoes from decay.

advanced search

Nanoparticles save paper

• Circuit training

PHILIP BALL

today is sunday, january 26

go

search nature science update

advanced search

Nanotechnology restores flaking frescos. An off-the-wall application of tiny particles re-unites paint and plaster.

01/26/2003 7:46 PM

[email protected] Page 1 of 2

Currently museum conservators and librarians use chemical treatments to prevent or retard this degradation. A common method, the Book-keeper process, involves scattering grains of magnesium oxide over the paper. These stick to the fibres and react with water to form an alkali that neutralizes acids.

http://www.nature.com/nsu/021021/021021-1.html

Page 1 of 2

CONSOLIDATION OF WALL PAINTINGS AND CARBONATIC STONES

Ca(OH)2 + CO2  CaCO3 + H2O Ch Chemical i l Degradation D d ti CaCO3 + H2SO4 + H2O CaSO4.2H2O + CO2

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Beato Angelico Pre-restoration

Without restoration

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Beato Angelico Post--restoration Post

Pre--restoration Pre

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11/8/2011

Beato Angelico Pre-restoration Post-restoration

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De-sulphation of frescoes San Marco in Florence

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11/8/2011

nanoparticles application

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nanoparticles application

[email protected]

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11/8/2011

NANOPARTICLE APPLICATION

Ca(OH)2 + CO2  CaCO3 + H2O

A new setting process

[email protected]

Pre-consolidation of fresco Preby lime lime--propanpropan-1-ol dispersion Portion of a wall painting in the “Cappellone degli Spagnoli” (Chiostro Verde in Santa ) Before (left) ( ) and after (right) ( g ) the restoration Maria Novella,, Florence).

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11/8/2011

Pre-consolidation of fresco Preby lime lime--propanpropan-1-ol dispersion Portion of a wall painting in the “Cappellone degli Spagnoli” (Chiostro Verde in Santa Maria Novella Florence) Before (left) and after (right) the restoration Novella, Florence).

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Calcium hydroxide nanoparticles applied on frescoes

Wall paintings by Santi di Tito (XVI century) ‘Gli Angeli Musicanti’ on the Counterfaçade of the Santa Maria del Fiore Cathedral in Florence.. The region in the Florence box has been treated with nano particles; particles; (top) before the restoration, (bottom) after the restoration restoration..

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SANTA PRISCA - RAVENNA [email protected]

THE MAYA SITE OF CALAKMUL

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CALAKMUL The city was inhabited for more than twelve centuries starting around 400 b.C. (Pre Classic period) and was slowly abandoned until the year 900 A.D. (Post Classic period), period) reaching its maximum development between 600-800 A.D. (Late Classic period).

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MESOAMERICAN PAINTINGS MAYA AT CALAKMUL May 2005

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Nanoparticles application in Calakmul Consolidation of powdered paints, showing decorative glyphs, ubicated in the basement of columns in the structure XX of the Gran Acropolis.

Fase 1

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Step 3

“Estructura 1-4” Recently excavated wall paintings

May 2005

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September 2005

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Red box shows area where nanoparticles were used to fix the colors [email protected]

Wiew of the “Murales” after complete excavation

[email protected] Ramon Carrasco Vargas

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CHOLULA

Proceso de consolidación con hidróxido ce calcio antes y después [email protected]

POLYMERS REMOVAL + NANOPARTICLES CHOLULA -MEXICO

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Acropolis Chik Naab Building 1

Arqueologo Ramon Carrasco Vargas

The paintings discovered in 2005 in Calakmul, and treated with NANORESTORE®

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Conservation of Paper

[email protected]

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Degradation of paper

Verba volant, volant, scripta manent . . . [email protected]

THE VASA

[email protected]

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Alkaline nanoparticles for PAPER DEACIDIFICATION

pH=7

pH=3.5

acidification

Mg(OH)2

Hydrolysis of glycosidic bonds (cellulose depolymerization)

[email protected]

PAPER(cellulose) DEGRADATION HYDROLYSIS acids

OXIDATION

Light, pollution, metals impurities Changes in the mechanical properties C Corrosion i

Color change

[email protected]

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TM ions - formation of peroxides in ACIDIC MEDIUM: Fe2+ + O2 + H+ → Fe3+ + HOO. Fe2+ + HOO. + H+ → Fe3+ + H2O2 Homolytic decomposition of peroxides by TM ions: Fe2+ + H2O2 → Fe3+ + HO- + OH. Fenton reaction Cu+ + H2O2 → Cu2++ HO- + OH. Fenton-related reaction - OH. (H+(aq): E0=+2.8 V) - Peroxides formation in ALKALINE MEDIUM, in presence of O2 , favoured by TM ions according to a not well defined mechanism - Regeneration of TM by reducing substances: Superoxide O2.- , gallic acid, reducing end groups of cellulose [email protected]

Oxidation reaction pathways 2) Peroxides decomposition (Fenton reaction) 3)) Hydroxy y y radical formation (OH) OH + RH  H2O + R R + O2  ROO ROO + R H  ROOH + R’

1) Peroxides formation (ROOH) following reaction of cellulose (RH) with O2

Metal ions catalytic activity depending on pH [email protected]

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ANTIOXYDANTS Act as a‘sacrificial anode’ for cellulose, scavenging hydroxyl radicals and forming stable products

2. RADICAL SCAVENGERS

1 METAL 1. DEACTIVATORS

3. PEROXIDE DECOMPOSERS

Stop the catalytic activity of the transition metal ion by blocking all the active sites

Reduce the amount of peroxides

Phytates

Quaternary amonium halides

TBABr

BBABr

[email protected]

Strlic et al, Ageing and stabilisation of paper. National and Library, Ljubiana (2005), 126

Why solid nanoparticles dispersed in propanol? SIZE

Low polar solvent

High carbonatation rate High penetration and adhesion

Compatible with most of hydro-soluble material

B

A

[email protected]

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11/8/2011

C

SEM images of a 19th century sample treated with calcium hydroxide obtained by phase reaction. Some calcium homogeneous g p hydroxide particles bound to the cellulose fibres are shown. A) bar = 5 m; B) bar = 5 m; C) bar = 50 m

[email protected]

Not treated

Preventive deacidification

Very good elasticity

weakness

No color change

Ink browning

[email protected] Aging time 48 hours

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Can we use the same approach to conserve wood?

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RESTORING THE CONSERVED AN EXAMPLE FROM DETERGENCY: HOW THE SOFT MATERIALS CAN BE MODIFIED TO OBTAIN RESPONSIVE MATERIALS TO CONFINE MOLECULES TO UPLOAD OR RELEASE SOFT/HARD MATERIALS Examples from Cultural Heritage Conservation

[email protected]

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11/8/2011

Conservation of Cultural Heritage

[email protected]

Conservation of Cultural Heritage

[email protected]

34

11/8/2011

Polymers In Wall Paintings Conservation Since the half of last century conservators have been applying polymeric materials on wall paintings as consolidant and protective coatings.

Acrylics (Paraloid, Primal, Elvacite) Vynil (PVA) Acrylic/Vynil (Mowilith) Siliconic resins

Mural paintings in “Templo de los Nichos Pintados” in Mayapan (Yucatan).

[email protected] 30

70

POLYMERS IN WALL PAINTINGS CONSERVATION Since the half of the last century conservators have been applying polymeric materials on wall paintings as consolidant and protective coatings.

Acrylics (Paraloid, Primal, Elvacite) Vynil (PVA) Acrylic/Vynil (Mowilith) STRENGHTS

Siliconic resins

•Easy y to use

WEAKNESSES •Alteration of the physical-chemical properties of the material

•Cheap •Give immediate aesthetic results

•Instability to ageing

[email protected]

•Irreversibilty of the treatment (loss of solubility)

35

11/8/2011

POLYMERS IN WALL PAINTINGS CONSERVATION Since the half of the last century conservators have been applying polymeric materials on wall paintings as consolidant and protective coatings.

Acrylics (Paraloid, Primal, Elvacite) Vynil (PVA) Acrylic/Vynil (Mowilith) STRENGHTS

Siliconic resins

•Easy y to use •Cheap •Give immediate aesthetic results

LOSS OF the WORK OF ART in a time scale depending from the climatic conditions (from 10 to 50/60 yrs) [email protected]

WEAKNESSES •Alteration of the physical-chemical properties of the material •Instability to ageing •Irreversibilty of the treatment (loss of solubility)

CHOLULA - polymers

[email protected]

36

11/8/2011

Removal of acrylic resins applied in previous restoration workshops (Venice)

[email protected]

Fresco by Lorenzo di Pietro called “Vecchietta”; Spedale di S. Maria della Scala (Siena). Detail of the paint after the application of an o/w microemulsion applied to remove a surface layer of an acrylic polymer

[email protected]

37

11/8/2011

Fresco by Francesco Vecellio (Tiziano’s cousin, XVI century); S. Salvador Church Sacristy (Venezia). Detail of the paint before (left) and after (right) the restoration. The removal of the surface layer of an acrylic polymer has been carried out by means of application of a o/w microemulsion

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Archaeological site of Mayapan

Mowilith DM5

[email protected] CEANING WITH AEPC

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Archaeological site of Mayapan

[email protected] Taormina, 27 Settembre 2010

Archaeological site of Mayapan

[email protected]

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AEPC/Annunciation grotto- Nazareth Basilica

[email protected]

Innovative gels with confined solvents

[email protected]

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Gel visco-elastici di PVA/borace

Emiliano Carretti, Scilla Grassi, Manuela Cossalter, Irene Natali, Gabriella Caminati, Richard G. Weiss, Piero Baglioni and Luigi Dei, “Poly(vinyl alcohol)−Borate Hydro/Cosolvent Gels: Viscoelastic Properties, Solubilizing Power, and Application to Art Conservation”, Langmuir, 2009, 25), 8656-8662.

[email protected]

New Nanomagenetic gels for polymer or organics removal

[email protected]

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Playing with gel structure: diffusion of the confined phase

soft gel

hard gel

No micellar solution - microemulsion spreading from the hard gel [email protected]

Cleaning tests: Mowilith DM5

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Cleaning tests: Plexisol P550

Partly cleaned

not cleaned

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hard gel (sol. mic.) on vacuum table (left) and before cleaning (right)

Conclusions We developed several methods using the Nanoscience framework for the conservation of g the Cultural Heritage Micelles, microemulsions, gels, responsive gels, nanoparticles are the most important (and the most powerful systems) so far exploited. Alth Although h th these methods th d are complex, l th their i use and application are simple and can be safely applied even in areas without scientific infrastructures [email protected]

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