Reflectance imaging spectroscopy is examined as a tool to map and identify natural textile fibres... more Reflectance imaging spectroscopy is examined as a tool to map and identify natural textile fibresin situon historic tapestries using a high-sensitivity hyperspectral camera.
ABSTRACT Paints for retouching, prepared specifically for this study using a low molecular weight... more ABSTRACT Paints for retouching, prepared specifically for this study using a low molecular weight urea-aldehyde resin as a binding medium, were applied as films and tested for photochemical stability by accelerated aging in a xenon arc Weather-ometer. Five commonly used retouching paints, including paints containing poly(vinyl acetate), acrylic and natural resin binding media, were tested as well. Changes in the paint films were monitored using solvent-removability tests, colour spectroscopy and gloss measurements. The urea-aldehyde resin paints show good photochemical stability and remain removable using low-aromatic hydrocarbon solvents after 3000 hours of aging. Because of their low viscosity, due to the low molecular weight of the binding medium, these paints are expected to have handling and optical properties comparable to those of natural resin paints and are particularly suitable for use in glazes and where relatively high colour saturation is required.
Journal of the American Institute for Conservation, 2013
ABSTRACT This study combines site-specific in situ analytical techniques with non-site-specific r... more ABSTRACT This study combines site-specific in situ analytical techniques with non-site-specific reflectance imaging spectroscopy and multispectral infrared reflectography to characterize pigments and underdrawing materials in fragile, light-sensitive illuminated manuscripts. In situ methods implemented in this study included fiber optic reflectance spectroscopy and x-ray fluorescence, as well as multispectral visible and near-infrared reflectance imaging spectroscopy and multispectral infrared reflectography. Imaging spectroscopy was used to map areas having similar diffuse reflectance spectra, and the site-specific methods were used to further identify the primary pigments present. This combined approach was used to examine an illumination by Lorenzo Monaco (ca. 1370–1422 or after) and his workshop on the Praying Prophet, in the collection of the National Gallery of Art in Washington, DC (NGA), from an early-15th-century gradual on parchment (codex H74) currently at the Museo Nazionale del Bargello in Florence. The combination of the results along with microscopic examination led to a more complete understanding of the working methods used to create the Praying Prophet, including the primary pigments present and the two forms of underdrawing, ink and metalpoint. These results also allowed for a comparative examination of the primary pigments used in 13 other folios in codex H74. Multispectral infrared reflectography imaging and fiber optics reflectance spectroscopy confirmed that the primary pigments and preparatory drawing used in the NGA folio were consistent with those used in the other folios.
Page 1. Archaeometry 35, I (1993), 49-67. Printed in Great Britain A MULTIVARIATE ANALYSIS OF REN... more Page 1. Archaeometry 35, I (1993), 49-67. Printed in Great Britain A MULTIVARIATE ANALYSIS OF RENAISSANCE PORTRAIT MEDALS: AN EXPANDED NOMENCLATURE FOR DEFINING ALLOY COMPOSITION* LA GLINSMAN ...
Reflectance imaging spectroscopy is examined as a tool to map and identify natural textile fibres... more Reflectance imaging spectroscopy is examined as a tool to map and identify natural textile fibresin situon historic tapestries using a high-sensitivity hyperspectral camera.
ABSTRACT Paints for retouching, prepared specifically for this study using a low molecular weight... more ABSTRACT Paints for retouching, prepared specifically for this study using a low molecular weight urea-aldehyde resin as a binding medium, were applied as films and tested for photochemical stability by accelerated aging in a xenon arc Weather-ometer. Five commonly used retouching paints, including paints containing poly(vinyl acetate), acrylic and natural resin binding media, were tested as well. Changes in the paint films were monitored using solvent-removability tests, colour spectroscopy and gloss measurements. The urea-aldehyde resin paints show good photochemical stability and remain removable using low-aromatic hydrocarbon solvents after 3000 hours of aging. Because of their low viscosity, due to the low molecular weight of the binding medium, these paints are expected to have handling and optical properties comparable to those of natural resin paints and are particularly suitable for use in glazes and where relatively high colour saturation is required.
Journal of the American Institute for Conservation, 2013
ABSTRACT This study combines site-specific in situ analytical techniques with non-site-specific r... more ABSTRACT This study combines site-specific in situ analytical techniques with non-site-specific reflectance imaging spectroscopy and multispectral infrared reflectography to characterize pigments and underdrawing materials in fragile, light-sensitive illuminated manuscripts. In situ methods implemented in this study included fiber optic reflectance spectroscopy and x-ray fluorescence, as well as multispectral visible and near-infrared reflectance imaging spectroscopy and multispectral infrared reflectography. Imaging spectroscopy was used to map areas having similar diffuse reflectance spectra, and the site-specific methods were used to further identify the primary pigments present. This combined approach was used to examine an illumination by Lorenzo Monaco (ca. 1370–1422 or after) and his workshop on the Praying Prophet, in the collection of the National Gallery of Art in Washington, DC (NGA), from an early-15th-century gradual on parchment (codex H74) currently at the Museo Nazionale del Bargello in Florence. The combination of the results along with microscopic examination led to a more complete understanding of the working methods used to create the Praying Prophet, including the primary pigments present and the two forms of underdrawing, ink and metalpoint. These results also allowed for a comparative examination of the primary pigments used in 13 other folios in codex H74. Multispectral infrared reflectography imaging and fiber optics reflectance spectroscopy confirmed that the primary pigments and preparatory drawing used in the NGA folio were consistent with those used in the other folios.
Page 1. Archaeometry 35, I (1993), 49-67. Printed in Great Britain A MULTIVARIATE ANALYSIS OF REN... more Page 1. Archaeometry 35, I (1993), 49-67. Printed in Great Britain A MULTIVARIATE ANALYSIS OF RENAISSANCE PORTRAIT MEDALS: AN EXPANDED NOMENCLATURE FOR DEFINING ALLOY COMPOSITION* LA GLINSMAN ...
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