A preliminary evaluation of chemical interaction between sanitizing products and silk

The ongoing Coronavirus crisis involved almost all sectors as well as museums, collections, and historical sites all over the world. Even though artworks do not have the ability to spread the virus, the pandemic officially introduced in cultural sites alcohol-based products (even by visitors for personal use) as these products were indicated to be able to inactivate the virus and were imposed by many local authorities. In this context, the need to conciliate the safety of the visitors and the protection of artworks represents a challenging task. The possibility that accumulation of vapour coming from the sanitizing solutions or from accidental spills, potentially caused also by visitors, should be considered. The study focuses specifically on the possible interactions between sanitizing alcohol-based products and silk, since this material is present in many cultural sites all over the world on upholsteries and tapestries. The recommended sanitising solution (75% ethanol, 20% water, 5% benzalkonium chloride) selected by the Italian Ministry for Cultural Heritage (MIBACT) was considered. Pure distilled water, absolute ethanol and water/ethanol blends in different concentrations were also tested. Chemical and morphological variations on the silk have been evaluated with Scanning Electron Microscopy - SEM, Atomic Force Microscopy - AFM and portable instruments (contact microscope, colorimeter, Infrared and Raman spectroscopy). IR and Raman analyses did not detect significant chemical changes in silk. However, Raman spectra showed, after immersion treatments, minor variations in the intensity of peaks attributed to dyes. Residues of benzalkonium chloride after immersion tests in sanitising solution are present, confirmed also by SEM and AFM analyses. Even if chemical spectroscopic changes were not relevant, the colour of few samples seemed to consistently fade after immersion treatments, thus affecting the visual appearance of textiles.The ongoing Coronavirus crisis involved almost all sectors as well as museums, collections, and historical sites all over the world. Even though artworks do not have the ability to spread the virus, the pandemic officially introduced in cultural sites alcohol-based products (even by visitors for personal use) as these products were indicated to be able to inactivate the virus and were imposed by many local authorities. In this context, the need to conciliate the safety of the visitors and the protection of artworks represents a challenging task. The possibility that accumulation of vapour coming from the sanitizing solutions or from accidental spills, potentially caused also by visitors, should be considered. The study focuses specifically on the possible interactions between sanitizing alcohol-based products and silk, since this material is present in many cultural sites all over the world on upholsteries and tapestries. The recommended sanitising solution (75% ethanol, 20% water, 5% benzalkonium chloride) selected by the Italian Ministry for Cultural Heritage (MIBACT) was considered. Pure distilled water, absolute ethanol and water/ethanol blends in different concentrations were also tested. Chemical and morphological variations on the silk have been evaluated with Scanning Electron Microscopy - SEM, Atomic Force Microscopy - AFM and portable instruments (contact microscope, colorimeter, Infrared and Raman spectroscopy). IR and Raman analyses did not detect significant chemical changes in silk. However, Raman spectra showed, after immersion treatments, minor variations in the intensity of peaks attributed to dyes. Residues of benzalkonium chloride after immersion tests in sanitising solution are present, confirmed also by SEM and AFM analyses. Even if chemical spectroscopic changes were not relevant, the colour of few samples seemed to consistently fade after immersion treatments, thus affecting the visual appearance of textiles

Accelerated Ageing Procedures to Assess the Stability of an Unconventional Acrylic-Wax Polymeric Emulsion for Contemporary Art

This research evaluates the stability of an aqueous emulsion of acrylic copolymers and waxes. Edelwachs, generally applied on wood, has been recently used as an unconventional medium in contemporary painting. Through Pyrolysis–Gas Chromatography–Mass Spectrometry (Py-GC-MS) and Fourier Transformed Infrared Attenuated Total Reflectance (FT-IR-ATR) analyses, the composition of Edelwachs was defined as a mixture of acrylic polymers (MA, MMA, nBA, nBMA), Carnauba and microcrystalline waxes and additives. Mock-ups-obtained mixing Edelwachs with titanium white, zinc white and ultramarine blue were subjected to UV, high temperatures, and high relative humidity accelerated ageing. The effect of the ageing procedures was evaluated through optical microscopy, colourimetric measurements, FT-IR-ATR, Thermogravimetry and Differential Scanning Calorimetry (TG-DSC) and wettability measures. FT-IR-ATR spectra do not show significant variations in terms of chemical stability, indicating a fair stability of Edelwachs as a painting binder. UV and high temperature treatments show the most relevant effects in terms of colorimetric changes (increasing of b*) and thermal stability. The TG-DSC highlights the influence of the pigments (specifically zinc white) mainly on the thermal behaviour of the acrylates. The unexpected decrease of wettability of the paint films, registered after ageing, may indicate a possible phase separation among acrylates and waxes.This research evaluates the stability of an aqueous emulsion of acrylic copolymers and waxes. Edelwachs, generally applied on wood, has been recently used as an unconventional medium in contemporary painting. Through Pyrolysis-Gas Chromatography-Mass Spectrometry (Py-GC-MS) and Fourier Transformed Infrared Attenuated Total Reflectance (FT-IR-ATR) analyses, the composition of Edelwachs was defined as a mixture of acrylic polymers (MA, MMA, nBA, nBMA), Carnauba and microcrystalline waxes and additives. Mock-ups-obtained mixing Edelwachs with titanium white, zinc white and ultramarine blue were subjected to UV, high temperatures, and high relative humidity accelerated ageing. The effect of the ageing procedures was evaluated through optical microscopy, colourimetric measurements, FT-IR-ATR, Thermogravimetry and Differential Scanning Calorimetry (TG-DSC) and wettability measures. FT-IR-ATR spectra do not show significant variations in terms of chemical stability, indicating a fair stability of Edelwachs as a painting binder. UV and high temperature treatments show the most relevant effects in terms of colorimetric changes (increasing of b*) and thermal stability. The TG-DSC highlights the influence of the pigments (specifically zinc white) mainly on the thermal behaviour of the acrylates. The unexpected decrease of wettability of the paint films, registered after ageing, may indicate a possible phase separation among acrylates and waxes

Evaluating the Impacts of Alcohol-Based Solutions on Silk: Chemical, Mechanical and Wettability Changes before and after Artificial Ageing

Due to the COVID-19 pandemic, since 2020, alcohol-based sanitisers have been frequently used in museums and historic sites. Although they provide a safer environment for visitors, the impact of the (components in) sanitisers on the cultural heritage on open display is still uncertain. The current study investigated the effects of ethanol and isopropanol solutions on silk artefacts specifically in relation to possible mechanical changes and to their long-term impact based on artificial ageing. Thus, samples from three modern silk fabrics were treated through spraying and immersion with six solutions, two of which contained benzalkonium chloride (BZK), a surfactant suggested by Italian national guidelines in the formulation of sanitisers for museums. The impact of the treatment was studied from a chemical perspective, i.e., through spectroscopic techniques, and considering changes in the mechanical strength through uniaxial tensile testing. In addition, water wettability was measured. To study whether the contact with the solutions can affect the degradation path of silk, after the treatment, samples were exposed to light ageing and were stored at medium and high RH, i.e., 55% and 80%. Furthermore, treated and untreated silk textiles were placed in the Museum of Palazzo Mocenigo (Venice) to define the behaviour in an actual museum environment. The results show that, even when silk is immersed in the solutions for 180 min, no relevant chemical and physical changes can be observed on silk fibres. Variations noted at the end of the light ageing occurred regardless of the treatments with the solutions, so they are not affected by the contact with sanitisers. Nevertheless, when treating the samples (also through spraying) with solutions containing BZK, the surfactant is adsorbed by the textile. Once adsorbed, BZK significantly increases the water wettability of silk, causing a persistent modification of the property as also observed at the end of the ageing and in situ tests

ASSESSING THE VALUE OF GREEN CONSERVATION FOR CULTURAL HERITAGE: POSITIVE AND CRITICAL ASPECTS OF ALREADY AVAILABLE METHODOLOGIES

In recent years, the use and the necessity of green materials and methodologies have been promoted in the field of cultural heritage, aiming to a low impact on the operator health and the environment. For a long time, in restoration and conservation science, the main goal was searching for the most compatible solutions with the materials of the artefacts not thinking sometimes about the possible issues for the operator and/or for the environment. Recently, thanks also to an increasing attention to a respectful consumption of environmental resources and waste management, new scientific methodologies have been proposed for more sustainable and green interventions, promoting furthermore the concept of preventive conservation. The aim of this work is to present an overview about some of the most interesting technologies and methodologies already available as alternative to traditional and more invasive/dangerous restoration treatments towards artefact, operators and environment. In particular, the methods described in this paper have been critically analysed focusing on which might be the positive and negative points considering the convenience of use by the restorers and the reasons why these methods are still not well known and diffused

A PRELIMINARY STUDY OF THE COMPOSITION OF COMMERCIAL OIL, ACRYLIC AND VINYL PAINTS AND THEIR BEHAVIOUR AFTER ACCELERATED AGEING CONDITIONS

This study is part of a research project dealing with the establishment of monitoring and damage prevention plans for contemporary artworks. For this purpose, some commercial paints, among the most currently used by young artists, were selected: Winton oil paint (Winsor & Newton, UK), Heavy Body acrylic paint (Liquitex, USA) and Flashe vinyl paint (Lefranc & Bourgeois, France). The paints were subjected to different treatments of accelerated ageing, the results indicating different behaviour in relation both to the type of binders and pigments present in the different formulations. In particular, it was observed that ageing produced by ozone plays an important role in the stability of the oil paints, above all in those containing organic azo pigments. Thermal ageing, as expected, influences the stability of all the commercial paints examined, with the formation of alteration products and visible changes in the paint films. Ageing produced by moisture clearly affects the synthetic polymer-based paints, particularly evident in the changes in mass. In all cases, the accelerated ageing treatments produced chromatic variations, more evidently for the oil paints containing organic pigment

Stucco Forte in Venice between the 16th and 17th centuries: the case study of Addolorata Chapel stuccoes in San Pantalon´s Church

Stucco samples of the 17th century were collected from the Addolorata Chapel in San Pantalon's church, which represents an important example of the stucco forte technique in Venice. Stucco forte is usually made adding powdered lime and marble to the gypsum base mixture. However, the exact recipe remain in most cases still unknown as often related to the knowledge and experience of the artisans [1]. The aim of the present work is to characterize and study the chemical-physical composition, the working techniques and the conservation state of the stucco forte in Venice. The samples were subjected to optical and electrical microscopic observation (OM, SEM-EDX), Fourier transform infrared spectroscopy (FTIR), thermogravimetric analysis (TG-DSC), and mercury intrusion porosimetry (MIP). Gypsum, and calcium carbonate were found as major components with presence of magnesium carbonate and traces of hydromagnesite. Magnesite and hydromagnesite do not develop within the normal carbonation processes suggesting that magnesium carbonate was intentionally employed for improving the material characteristics

Regalzier: Study of a Typical Historical Plaster Finish in Venice

Regalzier is one of the most common types of plasterwork on medieval buildings in Venice until the 15th century but remained popular also during the next centuries in the north of Italy. Despite the widespread occurrence of this kind of finishing treatment, the information about the materials and the techniques used to create it is still scarce. For this reason and thanks to growing interest in traditional building construction techniques, a set of 21 samples were collected from a number of decorative elements and brick walls belonging to historical buildings of the 15th century in Venice. The samples were investigated by means of Scanning Electron Microscopy–Energy Dispersive X-ray microanalysis (SEM-EDX), Fourier Transform Infrared spectroscopy (FTIR), Thermal Analysis (TG-DSC) and Raman spectroscopy. The results allowed the characterization of the materials, contributing to the knowledge of traditional building construction techniques. This information is also important when considering the choice of proper restoration treatments, according to the recent concepts of sustainability, compatibility and use of local material