MOLAB growth, aims and results

MOLAB is a unique collection of integrated mobile instrumentation established in Italy in 2001 and open from 2004 to transnational access within the European projects Eu-ARTECH (FP6) and CHARISMA (FP7). Its application demonstrated in the last decade that satisfactory analytical results can be obtained through in situ studies of a variety of heritage objects without sampling or moving them to a laboratory, achieving significant overviews on nature and behavior of the inorganic and organic materials of the examined object. The MOLAB in situ non-invasive approach produced a significant change in diagnostic practices, an increase of scientific inputs in heritage studies and conservation, and a positive modification in the relationships between curators, conservators, and scientists, permitting a common language to be established and partnership strengthened. The recent introduction of innovative mobile 2D and 3D imaging systems, setup within the CHARISMA joint research project, significantly extended the MOLAB tools available in the current project IPERION CH (Horizon 2020), widening number and interest of potential users from Europe and associated countries.MOLAB est un ensemble unique d’instruments mobiles intégrés créé en Italie en 2001 et disponible à un accès transnational depuis 2004 dans le cadre des programmes européens Eu-ARTECH (6e PC) et CHARISMA (7e PC). Son utilisation a démontré au cours des dix dernières années que l’on peut obtenir des résultats analytiques de qualité par des travaux in situ sur différents types d’objets du patrimoine sans avoir à prélever des échantillons ou à les transporter dans un laboratoire, et recueillir des informations importantes sur la nature et le comportement des matériaux organiques et inorganiques de l’objet examiné. Les méthodes in situ et non invasives du MOLAB ont favorisé une inflexion notable des pratiques diagnostiques, une augmentation de la production scientifique dans les sciences du patrimoine et la conservation-restauration, ainsi qu’une évolution positive des relations entre conservateurs de musées, restaurateurs et chercheurs, contribuant à l’adoption d’un langage commun et au renforcement des collaborations. L’introduction récente de systèmes mobiles d’imagerie en 2D et en 3D, mis au point grâce aux activités conjointes de recherche de CHARISMA, a considérablement élargi la gamme des outils du MOLAB disponibles dans le cadre du projet en cours IPERION CH (horizon 2020), accroissant ici le nombre et les motivations des utilisateurs potentiels en Europe et dans les pays associés

MOLAB : croissance, objectifs et résultats

MOLAB est un ensemble unique d’instruments mobiles intégrés créé en Italie en 2001 et disponible à un accès transnational depuis 2004 dans le cadre des programmes européens Eu-ARTECH (6e PC) et CHARISMA (7e PC). Son utilisation a démontré au cours des dix dernières années que l’on peut obtenir des résultats analytiques de qualité par des travaux in situ sur différents types d’objets du patrimoine sans avoir à prélever des échantillons ou à les transporter dans un laboratoire, et recueillir des informations importantes sur la nature et le comportement des matériaux organiques et inorganiques de l’objet examiné. Les méthodes in situ et non invasives du MOLAB ont favorisé une inflexion notable des pratiques diagnostiques, une augmentation de la production scientifique dans les sciences du patrimoine et la conservation-restauration, ainsi qu’une évolution positive des relations entre conservateurs de musées, restaurateurs et chercheurs, contribuant à l’adoption d’un langage commun et au renforcement des collaborations. L’introduction récente de systèmes mobiles d’imagerie en 2D et en 3D, mis au point grâce aux activités conjointes de recherche de CHARISMA, a considérablement élargi la gamme des outils du MOLAB disponibles dans le cadre du projet en cours IPERION CH (horizon 2020), accroissant ici le nombre et les motivations des utilisateurs potentiels en Europe et dans les pays associés.MOLAB is a unique collection of integrated mobile instrumentation established in Italy in 2001 and open from 2004 to transnational access within the European projects Eu-ARTECH (FP6) and CHARISMA (FP7). Its application demonstrated in the last decade that satisfactory analytical results can be obtained through in situ studies of a variety of heritage objects without sampling or moving them to a laboratory, achieving significant overviews on nature and behavior of the inorganic and organic materials of the examined object. The MOLAB in situ non-invasive approach produced a significant change in diagnostic practices, an increase of scientific inputs in heritage studies and conservation, and a positive modification in the relationships between curators, conservators, and scientists, permitting a common language to be established and partnership strengthened. The recent introduction of innovative mobile 2D and 3D imaging systems, setup within the CHARISMA joint research project, significantly extended the MOLAB tools available in the current project IPERION CH (Horizon 2020), widening number and interest of potential users from Europe and associated countries

The role of relative humidity on crystallization of calcium carbonate from calcium acetoacetate precursor

Abstract Calcium acetoacetate, Ca(OAcAc)2, was exposed 7, 30 and 365 days to different values of relative humidity (33%, 48%, 75% and 96%) at 40 °C in order to study its transformation to CaCO3. The resulting Ca(OAcAc)2 decomposition and the time dependence of the phase transformations were monitored and critically evaluated by Fourier transform infrared spectroscopy, field emission scanning electron microscopy and X-ray powder diffraction. The impact of relative humidity on CaCO3 polymorph formation was thoroughly assessed. In all of the conditions used and for all ageing periods, the formed crystal structure is found to be vaterite. At the lowest relative humidity (33%), the amorphous CaCO3 remains more or less almost untransformed even after one year of exposure. It is proposed that the reason for the stability of amorphous CaCO3 is due to the limited amount of physisorbed water on the surfaces of the particles, which is considered the driving force for its transformation. However, the carbonation process is faster in the case of the highest humidity (96%). The findings are not only important for better solutions in the field of cultural heritage, but also shed new light on the fundamental mechanism of CaCO3 crystallization

Cuando la ciencia se encuentra con el arte. La experiencia MOLAB® en el estudio no invasivo in situ

El MOLAB® es un laboratorio móvil dotado de instrumentos para efectuar investigaciones no invasivas in situ en obras de arte mediante técnicas espectroscópicas. El estudio de las pinturas antiguas, modernas y contemporáneas, así como las esculturas antiguas y modernas, y también los manuscritos miniados, son algunos ejemplos de la actividad desarrollada en los últimos diez años por esta infraestructura única en su género. El abordaje multitécnico que caracteriza al MOLAB® permite obtener informaciones sobre los materiales constitutivos, la técnica de ejecución y el estado de conservación del objeto examinado sin necesidad de extracción de muestras y de desplazamiento de la obra. En este trabajo presentamos ejemplos de investigaciones in situ y de integración con investigaciones en el laboratorio: en ellas se pone de manifiesto el grado de compenetración e inseparabilidad que existe entre ciencia y arte en el estudio y en la conservación de patrimonio artístico.MOLAB® is a mobile laboratory equipped with instruments designed to carry out not invasive in situ research in artworks by means of spectroscopic technique. The study of ancient, modern, and contemporary paintings, as well as ancient and modern sculptures, and illuminated manuscripts, are some examples of the activity in the last ten years of this unique infrastructure. The multi-technique approach that characterizes the MOLAB® allows to get information on the constituent materials, the execution technique and the state of conservation of the examined object without the need of sampling and displacement of the artwork. In this work we present examples of research in situ and its integration with investigations in the laboratory: in them it is highlighted the degree of insight and inseparability that exists between science and art in the study and conservation of artistic heritage.El MOLAB® es un laboratorio móvil dotado de instrumentos para efectuar investigaciones no invasivas in situ en obras de arte mediante técnicas espectroscópicas. El estudio de las pinturas antiguas, modernas y contemporáneas, así como las esculturas antiguas y modernas, y también los manuscritos miniados, son algunos ejemplos de la actividad desarrollada en los últimos diez años por esta infraestructura única en su género. El abordaje multitécnico que caracteriza al MOLAB® permite obtener informaciones sobre los materiales constitutivos, la técnica de ejecución y el estado de conservación del objeto examinado sin necesidad de extracción de muestras y de desplazamiento de la obra. En este trabajo presentamos ejemplos de investigaciones in situ y de integración con investigaciones en el laboratorio: en ellas se pone de manifiesto el grado de compenetración e inseparabilidad que existe entre ciencia y arte en el estudio y en la conservación de patrimonio artístico

Probing the chemistry of CdS paints in The Scream by in situ noninvasive spectroscopies and synchrotron radiation x-ray techniques

The degradation of cadmium sulfide (CdS)-based oil paints is a phenomenon potentially threatening the iconic painting The Scream (ca. 1910) by Edvard Munch (Munch Museum, Oslo) that is still poorly understood. Here, we provide evidence for the presence of cadmium sulfate and sulfites as alteration products of the original CdS-based paint and explore the external circumstances and internal factors causing this transformation. Macroscale in situ noninvasive spectroscopy studies of the painting in combination with synchrotron-radiation x-ray microspectroscopy investigations of a microsample and artificially aged mock-ups show that moisture and mobile chlorine compounds are key factors for promoting the oxidation of CdS, while light (photodegradation) plays a less important role. Furthermore, under exposure to humidity, parallel/secondary reactions involving dissolution, migration through the paint, and recrystallization of water-soluble phases of the paint are associated with the formation of cadmium sulfates

La restauración del Retrato Trivulzio de Antonello da Messina

El artículo presenta la intervención llevada a cabo en 2006 sobre el Retrato de hombre de Antonello da Messina, que pertenece a las colecciones del Museo Cívico de Arte Antiguo del Palacio Madame. The article presents the intervention carried out in 2006 about the Portrait of a man of Antonello da Messina, which belongs to the collections of the Civic Museum of Ancient Art of the Madame Palace.El artículo presenta la intervención llevada a cabo en 2006 sobre el Retrato de hombre de Antonello da Messina, que pertenece a las colecciones del Museo Cívico de Arte Antiguo del Palacio Madame.&nbsp

La conservazione preventiva del patrimonio librario come possibile alternativa al restauro tradizionale

The present paper focuses on the close relation between library collections and their preservation environment, aiming, in particular, at highlighting the importance of promoting and sustaining the monitoring. The paper proposes some simple and ready-to-use technologies – smart monitoring – to prevent future damages

Cultural and historical implications of non-destructive analyses on Mesoamerican codices in the Bodleian Libraries

In this paper the data proceeding from non-invasiove chemical analyses performed on five Mesoamerican manuscripts held at the Bodleian Libraries (Oxford) are put in the wider context of current knowledge concerning Mesoamerican codex painting technology, in order to provide a preliminary cultural- historical interpretation aimed at identifying technological similarities among different manuscripts

Cuando la ciencia se encuentra con el arte : la experiencia MOLAB® en el estudio no invasivo in situ.

Artículo de anuarioEl MOLAB® es un laboratorio móvil dotado de instrumentos para efectuar investigaciones no invasivas in situ en obras de arte mediante técnicas espectroscópicas. El estudio de las pinturas antiguas, modernas y contemporáneas, así como las esculturas antiguas y modernas, y también los manuscritos miniados, son algunos ejemplos de la actividad desarrollada en los últimos diez años por esta infraestructura única en su género. El abordaje multitécnico que caracteriza al MOLAB® permite obtener informaciones sobre los materiales constitutivos, la técnica de ejecución y el estado de conservación del objeto examinado sin necesidad de extracción de muestras y de desplazamiento de la obra. En este trabajo presentamos ejemplos de investigaciones in situ y de integración con investigaciones en el laboratorio: en ellas se pone de manifiesto el grado de compenetración e inseparabilidad que existe entre ciencia y arte en el estudio y en la conservación de patrimonio artístico.MOLAB® is a mobile laboratory equipped with instruments designed to carry out not invasive in situ research in artworks by means of spectroscopic technique. The study of ancient, modern, and contemporary paintings, as well as ancient and modern sculptures, and illuminated manuscripts, are some examples of the activity in the last ten years of this unique infrastructure. The multi-technique approach that characterizes the MOLAB® allows to get information on the constituent materials, the execution technique and the state of conservation of the examined object without the need of sampling and displacement of the artwork. In this work we present examples of research in situ and its integration with investigations in the laboratory: in them it is highlighted the degree of insight and inseparability that exists between science and art in the study and conservation of artistic heritage.Fil: Sgamellotti, Antonio. Università di Perugia. Centro SMAArt. CNR-ISTM; Perugia, Italy.Fil: Brunetti, Bruno Giovanni. Università di Perugia. Centro SMAArt. CNR-ISTM; Perugia, Italy.Fil: Miliani, Costanza. Università di Perugia. Centro SMAArt. CNR-ISTM; Perugia, Italy

Changing Colours in a Changing World. The Technology of Codex Painting in Post-Classic and Early Colonial Mesoamerica

The article, based on the results of non-invasive scientifical analyses, illustrates the changes occurred in the technology of codex painting in early colonial Mesocamerica