The Book of Hours Cofre no. 31, of French origin and belonging to the collection of the Library of the Palácio Nacional de Mafra, has undergone an extensive multidisciplinary study and also an intervention process due to its poor... more
The Book of Hours Cofre no. 31, of French origin and belonging to the collection of the Library of the Palácio Nacional de Mafra, has undergone an extensive multidisciplinary study and also an intervention process due to its poor condition. The main cause of deterioration of this manuscript was related to its binding, executed between the late 18th and the early 19th century, which is inappropriate to a codex on parchment. For the diagnosis of the damages, a thorough assessment of the text block was carried out – including the parchment, pigments and binding elements – using the Improved Damage Assessment of Parchment (IDAP). Since it is part of its history and there is no trace of an original binding, the decision was to restore the current one in order to make it compatible with the preservation of the manuscript, while the treatment of the text block aimed at the stability and balance. Various methods of instrumental analyses were performed in situ using thr followings: μ-EDXRF, μ-Raman, FORS, and μ-FTIR. The molecular palette used in the production of illuminations and the colour construction techniques have been identified thus revealing singularities and confirming the presence of different hands and techniques of production. Furthermore, a survey of pigments‟ degradation processes was compiled, especially regarding the oxidation of silver and red lead, noting the need for future research on these phenomena and possible reversal of processes and/or stabilization. Keywords: Book of Hours; illumination; degradation; pigments; binding; conservation and restoration
Recent analyses including scientific analysis such as hyperspectral, multispectral and flourescence analysis combined with paleology, codicology and cartography has revealed additional information about the Gough Map, the earliest... more
Recent analyses including scientific analysis such as hyperspectral, multispectral and flourescence analysis combined with paleology, codicology and cartography has revealed additional information about the Gough Map, the earliest surviving complete map of Great Britian. A portion of the map surrounding London was reproduced using authentic materials, methods and tools using the results of the analyses.
Using the MOLAB® non-invasive analytical mobile laboratory, we studied a finely illuminated sixteenth-century Persian manuscript at the Fitzwilliam Museum, Cambridge, UK, in collaboration with its Department of Manuscripts and Printed... more
Using the MOLAB® non-invasive analytical mobile laboratory, we studied a finely illuminated sixteenth-century Persian manuscript at the Fitzwilliam Museum, Cambridge, UK, in collaboration with its Department of Manuscripts and Printed Books. Three miniatures belonging to the manuscript, but ascribable to different periods, were analyzed in order to identify similarities and differences in the painting materials and techniques used by Safavid artists over a period of 150 years. The use of multiple analytical techniques indicated a common palette characterizing the three decorative schemes, along with some differences mainly regarding the pigment mixture used to obtain brown hues in the first scheme, as well as the presence of different mixtures in green and dark purple areas in the third scheme.
Using the MOLAB® non-invasive analytical mobile laboratory, we studied a finely illuminated sixteenth-century Persian manuscript at the Fitzwilliam Museum, Cambridge, UK, in collaboration with its Department of Manuscripts and Printed... more
Using the MOLAB® non-invasive analytical mobile laboratory, we studied a finely illuminated sixteenth-century Persian manuscript at the Fitzwilliam Museum, Cambridge, UK, in collaboration with its Department of Manuscripts and Printed Books. Three miniatures belonging to the manuscript, but ascribable to different periods, were analyzed in order to identify similarities and differences in the painting materials and techniques used by Safavid artists over a period of 150 years. The use of multiple analytical techniques indicated a common palette characterizing the three decorative schemes, along with some differences mainly regarding the pigment mixture used to obtain brown hues in the first scheme, as well as the presence of different mixtures in green and dark purple areas in the third scheme.
