Advanced Techniques in Art Conservation by Andrew J. Clark

By Andrew J. Clark

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On the right, an image of the painting during the restoration process is shown (points refer to the measurement locations). On the left, mid-FTIR spectra recorded on the upper left part of the painting are shown (spectrum a corresponds to point 34, and spectrum b to point 35). 34 restored for the first time by the painter Ridolfo del Ghirlandaio. Interestingly, noninvasive measurements proved that, for the reconstruction of damaged areas, Ridolfo used the same blue pigments originally employed by Raphael: lapis lazuli painted over a layer of azurite.

A) Crystal structure of pyrochlore represented as two interpenetrating networks. The A2O′ network corresponds to fourcoordinate O′ ions and two-coordinate Pb cations. 37 (b) Image of plate 7688-61 from the V&A collection (1537). (c) Detail of the plate showing the orange stole and the yellow decorations on the back. (d) XRF spectra collected on the yellow (black line) and orange (gray line) decorations. (e) Raman spectra collected on the yellow (black line) and orange (gray line) decorations. ical properties are the components that mostly affect the modus operandi of an artist.

This aspect is particularly important in the case of natural organic materials. In fact, only a few compounds present both in fresh and in aged natural materials are commercially available as standards, and the analysis of ref- Strategies for Characterizing Organic Paint Media Colombini et al. FIGURE 10. (a) Average amino acidic composition of reference samples of garlic, dry and artificially aged. (b) PCA score plot of gilding and reference samples. erence materials of a known origin is an essential step in the set up of analytical procedures and to support data interpretation.

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