instruments and methodologies for cultural heritage conservation and valorization

Instruments and Methodologiesfor Cultural Heritage Conservation and Valorization

Edited by Laura BaratinMarta AciernoOliva Muratore

IMCHCV 2012 13giugno_master urb 05/11/12 11.09 Pagina 1

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Company sponsorsGrateful thanks for the support to

2012 · Editrice Gabbiano srl · Ancona

Edited by Laura [email protected]

Co‐editing:Oliva Muratore · Marta Acierno

Grafica e impaginazione Clizia Pavani

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SCIENTIFIC COORDINATORLaura Baratin

SCIENTIFIC SECRETARIATMarta AciernoDragana BrozOliva Muratore

SCIENTIFIC COMMITTEE

Laura BaratinMaria Letizia AmadoriRoberto FranchiMario Luni

Giovanni CarbonaraAlessandro Spiridione CuruniCalogero BellancaBeatrice Vivio

Lucio PicciMatteo Pompoli

Fuad Catovic

Lemjia Chabbouh Aksamija

Argon LufiForcim SoftaLoreta Capeli

Djura Kojic Darko RebaMarko Todorov

University of Urbino “Carlo Bo”

Faculty of Sciences and Technologies

University of Rome"Sapienza"

School of Specialization in Architectural Heritage

and Landscape

Uniadrion

University of Mostar“Dzemal Bijedic”

Faculty of Civil Engineering

University of SarajevoFaculty of Architecture

University of TiranaFaculty of Civil Engineering

University of Novi SadFaculty of Technical Sciences

ArchaeologyArcheologia

Mario LuniClaudia CardinaliOscar MeiMarco PopovicLorenc BejkoZilka Kujundzic

History of architectureStoria dell’architettura

Monica MorbidelliSilvia PrincipiLucia SimeoneNadja kuriovic‐FolicAleksander MeksiLemjia Chabbouh Aksamija

Restoration’s Theory and HistoryTeoria e storia del restauro

Alessandro Spiridione CuruniFrancesco BrogliaVjekoslava Sankovic Simcic,Lemjia Chabbouh Aksamija

Architectural building techniques’ historyStoria delle tecniche costruttive

Daniela EspositoLucia ValdarniniEmin Riza

History of sculpturalworks’processing techniquesStoria delle tecniche esecutive

Cinzia ContiGiacomo PardiniMatthias BrunoFabiano Ferrucci

CataloguingCatalogazione

Maria Luisa Polichetti

THE CULTURAL THEMATIC AREA

MaterialsMateriali

Nicola SantopuoliFederica MaiettiGian Carlo GrillinoRiccardo Cami

Survey and CartographyRilievo e cartografia

Laura BaratinMichele CuruniDaniela PelosoSelma Rizvic

Cultural heritage: the surfacesBeni architettonici: le superfici

Oliva Muratore

Cultural heritage: structural aspectsBeni architettonici: aspetti strutturali

Fabrizio De CesarisIlaria PecoraroForcim SoftaFuad Catovic

Materials and working techniques for Archaelogical heritage’s conservation and restorationMateriali e tecniche di intervento: beni archeologici

Cinzia ContiGiacomo PardiniMatthias BrunoFabiano Ferrucci

Materials and working techniques for Architectural Cultural heritage’s conservation and restorationMateriali e tecniche di intervento: beni architettonici

Donatella FioraniMarta AciernoAdalgisa DonatelliMartina MurziSimona Rosa

Informatics elements applied on GISElementi di informatica applicata ai GIS

Laura BaratinElvio Moretti

THE TECHNICAL THEMATIC AREA

Cultural Heritage’s Chemistry, Physics and BiologyChimica, fisica e biologia dei beni culturali

Maria Letizia AmadoriRocco Mazzeo

DiagnosticsDiagnostica

Roberto FranchiGiuliana Raffaelli

Decay of MaterialsDegrado dei materiali

Gisella CapponiBeatrice Vivio

Hygiene and safety on work placeIgiene e sicurezza sull’ambiente di lavoro

Francesca Condò

Works’ planningProgettazione degli interventi

Francesco ScoppolaFrancesco SiravoAgron Lufi

THE SCIENTIFIC AND PLANNING THEMATIC AREA

Valorization and CulturalHeritage ManagementMethodsValorizzazione e sistemi di gestione dei beni culturali

Dragana Broz

Adaptation and Criteria of MuseographyAdattamento e criteri di museografia

Calogero BellancaAlessandro PergoliCampanelli

Cultural Heritage LegislationsLegislazione dei Beni Culturali

Vincenzo Pandolfino

ECONOMICS AND CULTURAL ANTHROPOLOGYTHEMATIC AREA

Professors

Organization chart


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PRESENTATION Stefano Pivato - Rettore Università degli Studi di Urbino p. 7

PROLOGUE p. 8Conservation and valorisation of cultural heritage: trends and methodsConservazione e valorizzazione del patrimonio culturale: tendenze e metodi Giovanni Carbonara

INTRODUCTION p. 12 The experience of the International Master

L’esperienza del master internazionale Laura Baratin

CHAPTER 1 CULTURAL THEMATIC AREA p. 161.1 Archaeology Archeologia

Ancient architecture: analysis of structuresArchitettura antica: analisi delle struttureClaudia Cardinali, Mario Luni, Oscar Mei p. 17

1.2 History of Architecture Storia dell’architetturaMethodological lessons on the history of architectureLezioni metodologiche di storia dell’architettura Monica MorbidelliExample of a study method: the rural home of lower FalcognanaUn caso esemplificativo del metodo di studio: Il casale della F alcognana di sottoSilvia Principi p. 24

1.3 Restoration Theory and History Teoria e storia del restauroThe architectural restoration from theory the practiceIl restauro architettonico dalla teoria alla praticaAlessandro Spiridione CuruniThe dawn of the modern concept of restorationLa nascita del concetto di restauro modernamente intesoFrancesco Broglia p. 40

1.4 Architectural Building Techniques’ History Storia delle tecniche costruttiveTraditional building techniquesTecniche costruttive tradizionali Daniela Esposito, Maria Giovanna Putzu p. 58

1.5 Cataloguing CatalogazioneCataloguing of cultural heritageLa catalogazione dei beni culturaliMaria Luisa Polichetti p. 66

CHAPTER 2 TECHNICAL THEMATIC AREA p. 742.1 Materials Materiali

Architecture and historical works of art: materials and techniquesArchitettura e beni storico-ar tistici: materiali e tecnicheNicola SantopuoliThe worksite as a training process: from study to restoration of several painted facades at PompeiiIl cantiere come percorso formativo: dallo studio al restauro di alcune facciate dipinte pompeianeElisabetta ConcinaThe conservation of cement a century laterLa conservazione del cemento dopo un secolo di applicazioniAzzurra Sylos Labini p. 75


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2.2 Survey and Cartography Rilievo e cartografia Survey and representation of architectural and archaeological assets:

a summary of methodologies and applicationsIl rilievo e la rappresentazione dei beni architettonici ed archeologici:

breve sintesi di metodologie e di applicazioniLaura Baratin p. 85

2.3 Architectural Heritage: Surfaces Beni architettonici: le superficiThe treatment of the surfaces in the historic architecture as a problem of real restorationIl trattamento delle superfici dell’architettura storica come problema di vero e proprio r estauroOliva Muratore p. 91

2.4 Architectural Heritage: Structural Aspects Beni architettonici: aspetti strutturali A methodological insight on structural aspectsNote metodologiche sugli aspetti strutturaliFabrizio De Cesaris, Ilaria Pecoraro p. 102

2.5 Materials and Working Techniques for Archaelogical Heritage’s Conservation and RestorationMateriali e tecniche di intervento: beni archeologici

Reflections and indications on the treatment of buildings reduced to a state of ruinRiflessioni e indicazioni sul trattamento degli edifici ridotti allo stato di ruder eFabiano Ferrucci p. 116

2.6 Materials and Working Techniques for Architectural Heritage’s Conservation and RestorationMateriali e tecniche di intervento: beni architettonici

The project of restoration and conservation. Action planningIl progetto di restauro e conservazione. Azione di pianificazioneMarta Acierno, Adalgisa Donatelli, Donatella Fiorani, Barbara Malandra p. 126

2.7 Informatics Elements Applied on GIS Elementi di informatica applicata ai GISGeographic Information System, instrument for cultural heritage conservation and valorizationGIS, strumento per la conser vazione e la valorizzazione dei beni culturaliSara Bertozzi, Elvio Moretti p. 137

CHAPTER 3 SCIENTIFIC AND PLANNING THEMATIC AREA p. 1483.1 Cultural Heritage’s Chemistry, Physics and Biology Chimica, fisica e biologia dei beni culturali

Cultural heritage’s chemistry: construction materials and diagnostic techniquesChimica dei beni culturali: materiali costitutivi e tecniche diagnosticheMaria Letizia Amadori p. 149

3.2 Diagnostics DiagnosticaDiagnostics of degradation processes and definition of the state

of conservation of the stone materialsDiagnostica dei processi di degrado e definizione dello stato di conser vazione dei materiali lapideiRoberto Franchi, Giuliana Raffaelli p. 155

3.3 Decay of Materials Degrado dei materiali From the skin to the structure, reading degradation for restorationDalla pelle alla struttura, lettura del degrado per l’inter vento di restauroBeatrice A. Vivio p. 161

3.4 Hygiene and Safety on Workplace Igiene e sicurezza sull’ambiente di lavoroThe safety law for restoration sitesNormativa per la sicurezza nei cantieri di restauroFrancesca Condò p. 170

3.5 Works Planning Progettazione degli interventi Considerations on restoration worksRiflessioni sugli interventi di restauroFrancesco Scoppola p. 180


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CHAPTER 4 ECONOMICS AND CULTURAL ANTHROPOLOGY THEMATIC AREA p. 1844.1 Valorisation and Cultural Heritage Management Valorizzazioni e gestione dei beni culturali

Cultural heritage evaluation and management methodsMetodi di valorizzazione e gestione dei beni culturaliDragana Broz p. 185

4.2 Adaptation and Museography Criteria Adattamento e criteri di museografia Restoration, adaptation and museographyRestauro, adattamento e museografiaCalogero BellancaInterventions on pre-existing historical connotations. The different design approaches through

the examples of some recent case studies in ItalyInterventi su preesistenze storicamente connotate. I diversi approcci progettuali attraverso

l’esemplificazione di alcuni recenti casi di studio in ItaliaAlessandro Pergoli Campanelli p. 194

4.3 Cultural Heritage Legislation Legislazione dei Beni CulturaliCriteria and guidelines on the cultural heritage lawCriteri e linee guida per la normativa sui beni culturaliVincenzo Pandolfino p. 206

ANNEX 1 AN OVERVIEW OF CONSERVATION AND RESTORATION: ALBANIA AND SERBIA p. 216 Albania: a tessera in the great architectural mosaic

Albania: una tesserina nel grande mosaico ar chitettonicoAgron Lufi, Loreta Capeli p. 217

Bosnia Herzegovina: the cultural richness of its territoryBosnia Erzegovina: la ricchezza culturale del suo ter ritorioLemija Chabbouh Aksamija p. 219

Serbia: brief insight in history of preservationCenni sulla storia della conser vazioneNadjia Kurtovic-Folic, Darko Reba p. 221

ANNEX 2 STUDENTS PROJECTS p. 226 1 St. Mother Teresa Square, Tirana - Albania

Elton Qepali, Florian Luzi p. 227 2 First Parlament Building, Tirana - Albania

Gjergji Islami, Gjergji Ruci p. 232 3 Pocitelj Fortress - Bosnia & Herzegovina

Aida Sadzak, Zina Ruzdic, Anđelka Mikulić, Nikola Petrić, Sead Hadzibeganovic p. 237 4 Stobi the Ancient City, Episcopal Basilica - Macedonia

Nita Muca p. 242 5 Church of San Pietro in Valle Uffreducci Chapel Fano - Italy

Maria Letizia Andreazzo p. 247 6 The Castle Dunjerski, Celarevo - Serbia

Jadranka Bugarski, Nedeljka Djaković, Vesna Jovanović, Mirjana Sladić, Sonja Stamenković p. 252


Maria Letizia Amadori

3.1 Cultural Heritage’s Chemistry, Physics and Biology

Cultural heritage’s chemistry: construction materials anddiagnostic techniques

For years extensive interdisciplinary research has been carried out on thecomplex issue of Cultural Heritage. With respect to the different fields (Mineralogy, Petrography, Applied Geologyand Physics, Biology, Mathematics etc.) involved, Chemistry, as a sciencethat studies the properties of substances and chemical phenomena,undoubtedly plays a fundamental role which is essential in terms of providinginformation to those who deal with the study, maintenance, conservation andrestoration of monuments and works of art. Chemistry is fundamentally important for the practical application of theTheory of Restoration which was introduced between the XIXth and XXIth cen-turies. This was a chapter of scientific history in which the first RestorationCharter was dawn up in Italy in 1932 followed in 1938 by the creation of theCentral Institute of Restoration which implemented these principles by orga-nising research work, training and interventions which continue still today. An interesting issue raised by that debate was the reversible nature of resto-ration, namely the possibility of restoring works of art to their original condi-tion. The debate was also extended to modern art, including the many formsof expression of various authors and even individual works. A further consi-deration is that the materials and structures of cultural assets are moredurable than those of more modern works that require major maintenance.Reversibility is a difficult concept to apply and requires a complex projectbased on detailed analysis before any attempt is made to intervene on themonument as well as in-depth knowledge of the materials. The survival of amonument or work of art may in fact only be guaranteed by means of carefulanalysis of the cultural asset as a whole. All this means that chemistry is one of the most useful and necessary scien-ces for conservation. Various scientific fields may in fact provide informationto fully understand the composition and origin of materials, processing andworking techniques and extend the life of a work of art by identifying deterio-ration causes and processes, appropriate restoration products and methods. Protecting a work of art means guaranteeing its concrete survival and scien-tists like chemists, physicists and biologists do just this in close liaison withrestorers, archaeologists, architects and art historians in order to conservethe original expressive contents of the work of art, without which matterwould have no real meaning. Historical-archaeological works of art in fact do not only undergo mechanicalprocessing as in the case of stone used for architectural or decorative purpo-ses but also complex processing that produces chemical-physical modifica-tions. Examples of these are artificial lytic materials (plasters, mortars andbinders, metals, brick-ceramics, glass etc). Other examples are polychromeworks of art realised on supports of different kinds (wood, fabric, stone, cera-mics, paper etc.), paints (pigments and binders) and specific techniqueswhose conservation requires in-depth scientific knowledge. It should be remembered that, with very few exceptions, the cultural heritage

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of any Country is generally in an advanced state of deterioration caused notonly by natural events but by the intervention of man such as the advent ofthe industrial society and improper restoration works. The conservation ofbuildings and materials of any kind depends on the transformations (aboveall those of a chemical nature) that occur in time.Over above natural wear and tear, atmospheric pollution is one of the majorman-induced causes of deterioration (sulphation of stone, corrosion ofmetals, wood and cellulose hydrolysis etc) since most of these materials arein direct contact with air1. Just as critical are the problems of indoor pollutionin the case of museums and private collections caused by particles and pol-luting substances introduced by visitors and air conditioning. In the last century industrial activities and the population growth have produ-ced massive emissions of substances into the atmosphere that would other-wise not be present or at least in much lower concentrations. Thanks tomajor ecological awareness in more industrialised countries, in the last tenyears many of these substance have been significantly reduced (thanks tonew and more efficient anti-pollution and environmental control technolo-gies). Damages caused by pollution and neglect, added to the effects of time makeit increasingly necessary to carry out detailed preliminary studies to restorethese works of art to their original condition and protect them from futuredeterioration. Scientific developments in the XXth century have produced new investigationmethods that give a more accurate understanding of materials and problemsrelated to these thus making it possible to create an authentic “identity card”of the work of art or monument through specific scientific analyses includinga “diagnosis” of its state of health and the “prognosis” for maintenance andrestoration purposes. These investigation methods not only allow us to analyse the characteristicsand origin of materials but also to understand the state of conservation andthe transformations that have occurred on materials in contact with air as aresult of time, use or accidents. The materials used to construct monuments and works of art may be sum-marised under the following categories2:- minerals; - natural and artificial stone;- ceramics and glass;- metals and alloys;- organic materials (vegetable and animal)- plastics.These categories include the raw materials used to construct the works of artsuch as statues, buildings, paintings, ancient vases and bronzes etc. The durability, colours and hardness of stone have made it a natural buildingmaterial since ancient times for structures and ornaments3. Mineral-petrographic and chemical characterisation, origin and state of con-servation are all important factors that provide information on the dissemi-nation of stone materials, use and laying techniques as well as the altera-tions to which it is subject when exposed to air.Rock characterisation analysis techniques should therefore be carried out tounderstand the origin, structure and mineralogical composition of differenttypes of rock (sedimentary, magmatic and metaphoric)4. The most commonly used invasive diagnostic techniques used on naturalstone are as follows:• chemical: X-ray fluorescent spectrometry, plasma spectrophotometry, iso-

tope-ratio mass spectrometry, atomic absorption spectrophotometry,

1 - Matteini, Moles, 1989.2 - Campanella et al., 2007.3 - http://www.icvbc.cnr.it/didattica/petrografia/1.htm.4 - Matteini, Moles, 1989.

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INSTRUMENTS AND METHODOLOGIES FOR CULTURAL HERITAGE CONSERVATION AND VALORIZATION

3.1 Chemistry, physics and biology of cultural heritage


electronic microscopy and electron probe microana-lysis.

• mineralogical: X-ray diffraction, optical microscopy,TG and DTA thermogravimetric analysis;

• petrographic: optical microscopy;• physical: porosimetry.These techniques are used to characterise materials inorder to identify their composition, origin and proces-sing technologies and to study eventual alterations.Archeometric applications have also been used morewidely in recent years due to major focus on the study,protection and valorisation of historical-archaeologicaland architectural monuments and works of art. Geochemical studies on ancient materials are used forexample to determine their origin which in turn is use-ful for identifying production and commercial channelsover different periods as well as processing methodsand technological characteristics, all of which areextremely important in terms of restoration and conser-vation etc.5.Most importantly, these scientific investigationmethods must be based on specific historical issues.After taking samples and examining the issues in que-stion, scientific experts may then choose the best ope-rational strategies. The preliminary results must natu-rally be discussed with archaeologists and may be usedas a basis for more detailed research work. Only in thisway may archeometry be used successfully with otherinvestigation instruments.Specific isotopic, composition, mineral and petrographic tests are carriedout for example to identify the origin of marbles. The results are then com-pared with existing international databanks on the main Italian outcrops andthe most important historical quarries in Turkey and Greece. Thanks to theresearch work of numerous scholars, thousands of parameters of historical-archaeological materials whose origin is certain have been processed.Isotopic and micro-analyses techniques have also been used to study lime-stone items of different kinds (statues and sculptures, architectural ele-ments of temples etc.), geographic distribution and age (pre-protohistoric,archaic and classic Greek-Roman eras) for protection and restoration purpo-ses and in order to determine the authenticity of items (by identifying isoto-pic fractionation due to interaction with surface fluids during lengthy burialperiods). Defining the origin of stone materials makes it possible to obtain detailedinformation on the production and commercial channels of the past, both ata local and Mediterranean level, providing answers to increasingly deman-ding cultural and historical issues. Above all the case of more complex situa-tions, archeometric investigations are used to determine many different ele-ments (minor, trace, ultra-trace) by atomic absorption spectrophotometry,neutron activation and above all by customised X-ray fluorescence spectro-metric analysis, all of which provide very accurate results.Artificial stone materials have always been extremely important both in thebuilding trade and for the fabrication of different items. These include mate-rials produced with natural raw materials (lime, plaster, stucco, ceramicsetc.). Besides identifying the raw materials used, in restoration it is also veryimportant to understand the processing technologies and level of degrada-tion of materials.In the case of ceramics and bricks, the results of scientific investigationsmake it possible to identify the technological-production context of past eras

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Fig. 1 - Marble bust of Eleonora of Aragon,Palazzo Abatellis

Busto in marmo di Eleonora d’Aragona,Palazzo Abatellis

5 - Gorgoni et al., 2003; Gorgoni et al.2002.


(origin of raw materials, preparation ofmixtures, drying temperatures and con-ditions etc.).The following are the most commonlyused invasive analysis methods for arti-ficial stone materials:• chemical-physical tests: X-ray fluore-scence spectrometry, plasma spectro-photometry, atomic absorption spectro-photometry, electronic microscopy andelectron probe microanalysis, ion chro-matography.• mineralogical analyses: X-ray diffrac-tion, optical microscopy, TG and DTAthermal gravimetric analysis• petrographic analyses: optical micro-scopy. • physical examination: porosimetry.These methods may be used to charac-terise whole materials in order to identi-

fy their components, the origin of raw materials and production technologiesin addition to studying the presence of eventual alterations.

Polychrome works of art are the most difficult to study in that these aregenerally realised on very different organic or inorganic supports (wood,canvas, terracotta, stone etc.) which are firstly prepared, the drawing is thentraced and painted with different pigments and dyes mixed to paint bindersand at times even covered by varnish. This means that it is necessary tohave an in-depth knowledge of the classes of dyes, pigments and bindersused in different historical periods. The characteristics and properties ofpaints (organic, inorganic, natural, mineral) and stratigraphic analysis aretherefore indispensible to correctly identify the techniques used (tempera,oil, mixed techniques etc.) in order to plan restoration works correctly. The following are most commonly used analysis methods for polychromematerials:• chemical-physical tests: UV-Visible FC-NIR reflectance spectrometry;

Raman and FT_Raman spectroscopy; mass spectrometry; infrared spec-troscopy (IR, FTIR); X-ray fluorescence spectrometry, electronic microsco-

py and electron probe microanalysis, gaschromatography, liquid chromatographyand HPLC• mineralogical analyses: X-ray diffraction,

optical microscopy, TG and DTA thermalgravimetric analysis;

• petrographic studies: optical microscopy. In the case of metal items, a distinctionmust be made between items made withsingle metal, which is generally a preciousmetal like copper, gold or silver, and itemsmade of metal alloys which are mucheasier to process and are more resistantsuch as bronze, pewter etc. The primary aim of scientific analyses is toidentify the nature of the item and even-tually characterise the alloys (for exampleBronze with varying percentages of copper:this helps to define the resistance of thealloy as well as the period in which it wascast).

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Fig. 3 - Location of samples taken by the table ofthe Communion the Apostles Justo de Gand,Marche National Gallery, Urbino

Ubicazione dei campioni prelevati nella tavoladella Comunione degli Apostoli di Justo de Gand,Galleria Nazionale delle Marche, Urbino

Fig. 2 - Isotopic graph of the main medium-grain Mediterranean marbles showing that theisotopic values relevant to the sample taken froma bust of Eleonora is Carrara marble

Grafico isotopico di riferimento dei principalimarmi mediterranei a grana media dove si evin-ce che il valore isotopico relativo al campione dimarmo prelevato dal busto di Eleonora è marmodi Carrara


· Campanella L., Casoli A., Colombini M. P., Marini Bettollo R., MatteiniM., Mignesco L. M., Montenero A., Nodari L., Piccioli C., Plossi ZappalàM., Portalone G., Russo U., Sammartino M.P. 2007. “Chimica per l’ar-te”, Bologna.· Gorgoni C., Lazzarini L., Pallante P., Turi B., 2002. “An updated anddetailed reference database for the main Mediterranean marblesused in antiquity. Interdisciplinary Studies on Ancient Stone 5”, J.J.Herrmann, N. Herz & R. Newman eds, London: Archetype, pp. 115-131.· Matteini M., Moles A., 1989. “La Chimica nel Restauro. I materialidell’arte pittorica”, Firenze.

· Matteini M., Moles A., 1989. “Scienza e Restauro. Metodi di indagi-ne”, Firenze.

Text taken from conference proceedings:· Gorgoni C., Meloni S., Oddone M., Pallante P, 2003. “Sample repre-sentativeness, intercalibration of instrumental techniques and otheranalytical problems in Archaeometry: A comparative study of somereference standards”. 6th ASMOSIA International Conference.Texts from Web sites:· Bugini R., Folli L., 2005. “Lezioni di petrografia applicata”,http://www.icvbc.cnr.it/didattica/petrografia/1.htm.

Tests carried out on these materialsgenerally identify the state of conserva-tion, patina and products of corrosionon the surface.Some of the techniques used are non-destructive; one of these is portable X-ray fluorescence analysis which provi-des information regarding the surfacecomposition or conductivity readings toevaluate the homogeneity of alloys,induced current or ultrasound analysesto identify cracks, fissures and irregula-rities and to measure the thickness ofpatina. In order to resolve structural pro-blems, finite element analysis model-ling may also be used. Thermovisiontests and X-rays are additional non-destructive techniques used to examinemetal items. Samples of material must be taken however in the case of X-raydiffraction, electronic microscope examination with micro-analysis and FT-IRspectrophotometry, which may be used to analyse metal elements and pro-ducts of degradation. Diffraction and atomic absorption spectrophotometricanalyses are also used to study the cast earth of statutes made with lost waxtechniques.A wide range of chemical applications are used in the field of restoration, forexample to find products to clean, protect and consolidate works of art. In thiscase scientific investigations make it possible to evaluate their efficiencyduring or after restoration; previous restoration works may also be identifiedwhich in some cases alter the original appearance of the work of art and eveninteract with the original materials cau-sing further deterioration. By evaluatingthe test results, lab and/or in situ trials,suitable products for the conservationand restoration of works of art may bediscovered, which will not trigger addi-tional deterioration.To face the problems related to conser-vation and materials, it is therefore fun-damentally important to obtain a wealthof scientific information and to correlatethese to the data, notions, discussionsand concepts that may only be obtainedthrough a critical analysis of case stu-dies and previous experiences.

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Fig. 4 - Micrograph of the stratigraphic sectionof sample CA2 taken from the red robe of thefirst Apostle on the left

Micrografia della sezione stratigrafica del cam-pione CA2 prelevato dalla veste rossa del primoApostolo a sinistra

Fig. 5 - Micrograph of the stratigraphic sectionof sample CA7 take from the blue robe of Jesus

Micrografia della sezione stratigrafica del cam-pione CA7 prelevato dalla veste azzurra di Gesù


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Tra le varie discipline interessate (Chimica, Mineralogia, Petrografia, Geologia applicata, Fisicaapplicata, Biologia, Matematica, ecc.) il ruolo della Chimica, in quanto scienza che studia le pro-prietà e la natura delle sostanze che costituiscono la materia e i relativi fenomeni chimici, è cer-tamente fondamentale. Tale ruolo riveste una grande importanza nella trasmissione di adeguateconoscenze a coloro che si occupano e si occuperanno di studio, manutenzione, conservazione erestauro dei Beni Culturali. Salvaguardare un’opera d’arte significa garantirne l’esistenza materiale e di questo aspettoappunto si occupano il chimico, il fisico e il biologo, ecc. in stretto contatto con restauratori e con-servatori, le cui competenze devono comunque integrarsi con quelle dell’archeologo, dell’architet-to e dello storico d’arte, allo scopo di conservare il contenuto espressivo originale del manufatto,senza del quale la materia sarebbe priva di significato. Dalle discipline scientifiche possono scaturire tutte quelle indicazioni utili a conoscere in maggiordettaglio composizione, provenienza dei materiali impiegati, tecniche di lavorazione, tecniche ese-cutive, nonché a prolungare l’esistenza delle opere d’arte attraverso l’individuazione di cause eprocessi di degrado, di idonei prodotti per il restauro e di adeguati metodi di intervento. A questo proposito, si pensi che la produzione di un manufatto di interesse storico-archeologicopuò avvenire, oltre che per semplice lavorazione meccanica come nel caso delle pietre per usiarchitettonici o decorativi, attraverso complesse lavorazioni che implicano notevoli modificazionidi tipo chimico-fisico. Si fa riferimento, in particolare, ai cosiddetti materiali litici artificiali (into-naci, malte e leganti, metalli, ceramiche-laterizi, vetri, ecc.). Oppure si pensi alle opere d’arte poli-crome la cui realizzazione implica l’utilizzo di supporti di varia natura (legno, tessuto, pietra, cera-mica,carta, ecc), di materiali pittorici (pigmenti e leganti), di tecniche esecutive specifiche e lacui conservazione è imprescindibile da una profonda conoscenza scientifica. Occorre ricordare che la conservazione di manufatti e materiali, di qualunque tipo, è funzione ditrasformazioni (anche, e soprattutto, chimiche) che intervengono, per cause diverse, con il pas-sare del tempo. Il patrimonio culturale di ogni Paese, a parte alcune eccezioni, si trova in una fasedi accelerato degrado sia per processi alterativi naturali succedutisi nel tempo, sia per quelliantropici introdotti dall’uomo con l’avvento della società industriale, sia per errati restauri effet-tuati. I danni provocati alle opere d’arte dall’inquinamento e dall’incuria, sommandosi agli effetti deltempo, rendono sempre più necessari studi preliminari approfonditi che possano garantire inter-venti conservativi o di restauro adeguati in modo da restituire ai manufatti, per quanto possibile,il loro aspetto originario e preservarli da futuri fenomeni di degrado. Il notevole sviluppo della scienza nel XX secolo ha messo a disposizione nuovi metodi d’indagineche permettono una più precisa conoscenza dei materiali costitutivi e dei problemi che essi pre-sentano: diventa quindi possibile fare, attraverso una serie di analisi scientifiche mirate, una verae propria “carta d’identità” del manufatto, una “diagnosi” del suo stato di salute e una “prognosi”che contempli operazioni di manutenzione e restauro. Le varie metodologie di indagine permettono quindi di svolgere un’attenta analisi delle caratteri-stiche del materiale utilizzato, della sua provenienza, accertando al tempo stesso lo stato didegrado dell’opera al fine di conoscere le trasformazioni subite dai materiali a contatto con l’am-biente, in funzione del tempo, dell’uso o per cause accidentali. In definitiva per affrontare problematiche materiche e conservative in modo adeguato è di fonda-mentale importanza acquisire un ampio bagaglio di conoscenze scientifiche ed essere in grado dicollegarle a quell’insieme di informazioni, nozioni, discussioni e concetti che si possono otteneresolo attraverso una lettura critica di casi studio e di esperienze lavorative.


instruments and methodologies for cultural heritage conservation and valorization

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