http://http://dspace.unitus.it:80 The DSpace digital repository system captures, stores, indexes, preserves, and distributes digital research material. Wed, 22 May 2013 11:20:08 GMT 2013-05-22T11:20:08Z http://hdl.handle.net/2067/1323 Title: I gialli di piombo, stagno, antimonio: le opere di Poussin a Saraceni Authors: Pelosi, Claudia; Santamaria, Ulderico; Morresi, Fabio; Agresti, Giorgia; De Santis, Alberto; Mattei, Elisabetta Abstract: In order to characterize the yellow pigments utilized by Carlo Saraceni in The Martyrdom St Erasmus (1612-14), Cathedral of Gaeta (Lt),and by Nicolas Poussin in The Gedeone’s Victory over Madianiti (1623-26) and The Martyrdom St Erasmus both finding at Vatican’s Museum had been applied: micro-Raman spectroscopy, fluorescence X, SEM with micro-analysis EDS, observations at optic-mineralogical microscope and spectro colorimetric analysis; some of these methods were applied on artworks directly, others by micro-pattern taken over paintings. The same investigations had been applied also over others patterns of yellow pigments having the same typology of materials employed by painters and that had been retrieved by commerce from the firms of Kremer and Zecchi. Fri, 31 Aug 2007 22:00:00 GMT http://hdl.handle.net/2067/1323 2007-08-31T22:00:00Z http://hdl.handle.net/2067/1234 Title: Il Mausoleo dei Plautii a Tivoli: la diagnostica per la conservazione del travertino Authors: Giagnacovo, Cristina; Pelosi, Claudia; Falcucci, Claudio Abstract: Il Mausoleo dei Plautii, del I secolo d.C., rappresenta un elemento monumentale del più ampio complesso di Ponte Lucano, il simbolo della salita verso Tivoli, che da sempre ha attratto l’interesse degli artisti e dei conoscitori d’arte che in pochi passi raggiungevano l’affascinante sito di Villa Adriana, patrimonio Mondiale dell’Umanità. Oggi il Mausoleo, oltre a trovarsi in una situazione di totale incuria, risulta inserito in un contesto ambientale piuttosto critico, a ridosso cioè del fiume Aniene, e quindi continuamente soggetto ad esondazioni che si estendono fino ad invadere il monumento funerario dove le acque ristagnano anche per la presenza di un muro in cemento di recente costruzione. Al fine di valutare lo stato di conservazione del travertino, materiale costitutivo del sepolcro, e fornire un elemento utile per programmare eventuali interventi di tutela e difesa di questo importante monumento, sono state effettuate alcune indagini diagnostiche tramite prelievi in situ sul Mausoleo e su materiali di cava. Le indagini diagnostiche hanno previsto: esami chimico-mineralogici tramite microscopio polarizzatore, mediante FTIR, μ-FTIR e XRD; analisi morfologica, tramite SEM, di alcune forme di alterazione biologica; test microanalitici per localizzare particolari elementi presenti nel travertino; analisi spettrometrica nel visibile dei sali solubili; prove di imbibizione e di evaporazione. Mon, 30 Nov 2009 23:00:00 GMT http://hdl.handle.net/2067/1234 2009-11-30T23:00:00Z http://hdl.handle.net/2067/1233 Title: Artificial yellow pigments: production and characterization through spectroscopic methods of analysis Authors: Pelosi, Claudia; Agresti, Giorgia; Santamaria, Ulderico; Mattei, Elisabetta Abstract: Artificial yellow pigments (lead-tin yellow type I and type II, lead antimonate yellow and lead-tin-antimony yellow) have been produced, starting from various recipes and from pure chemicals, in different experimental conditions. The products were analysed using micro-Raman spectroscopy. Differences in stoichiometric ratios, in melting temperatures and in crucible typologies were examined. Other analytical techniques were required to characterize the stoichiometric ratios of the obtained products (X-ray diffraction, scanning electron microscopy with energy dispersive spectroscopy and differential thermal analysis).The results are analysed and discussed in terms of correlations among chemical composition, melting conditions and colour hue. Thu, 31 Dec 2009 23:00:00 GMT http://hdl.handle.net/2067/1233 2009-12-31T23:00:00Z http://hdl.handle.net/2067/1236 Title: Valutazione della stabilità degli acquerelli nel restauro attraverso misure di colore Authors: Pelosi, Claudia; Marabelli, Maurizio; Patrizi, Francesca; Ortenzi, Floriana; Giurlanda, Flavio; Falcucci, Claudio Abstract: Gli acquerelli costituiscono una classe di materiali oggi ampiamente utilizzati nel restauro, in particolare nella fase di reintegrazione pittorica grazie alla loro reversibilità che si mantiene nel tempo e solubilità in acqua o in medium acquosi, essendo il legante dell’acquerello costituito da gomma arabica [1-3]. Gli acquerelli reperibili in commercio sono dei preparati costituiti da diversi componenti che le ditte produttrici forniscono solo in termini generali, soprattutto per la tutela dei brevetti. L’applicazione degli acquerelli riguarda varie tipologie pittoriche: dipinti su tela e tavola, su carta e pergamena, su muro. Tuttavia il problema maggiore si pone quando vengono applicati in situazioni particolarmente avverse, ad esempio quando si interviene sui dipinti murali, con condizioni ambientali al contorno difficilmente controllabili [4]. In sostanza sono due i fattori di rischio: l’umidità di condensa capillare, che può determinare la “macchiatura” delle campiture con colori ad acquerello; le condizioni di illuminazione, che possono concentrare fasci di luce di intensità e qualità impropria sui colori stessi [5]. I colori ad acquerello, pur essendo da anni utilizzati ampiamente nella reintegrazione pittorica, non sono stati molto studiati da un punto di vista della loro stabilità nel tempo e soprattutto nei confronti dell’UR parametro che, data la solubilità del legante dell’acquerello in acqua, potrebbe risultare determinante per il loro impiego [6-8]. Partendo da queste basi si è scelto di analizzare gli acquerelli che costituiscono la tavolozza del restauratore e che comprende generalmente una dozzina di colori tra i quali sono stati selezionati otto tra i più utilizzati: terra d’ombra naturale (Ton), terra d’ombra bruciata (Tob), terra di Siena naturale (TSn), rosso veneziano (RV), giallo di cadmio (GC), nero d’avorio (Na), verde ossido di cromo (VOC), blu oltremare (BO). Tra i materiali disponibili in commercio sono stati scelti quelli delle Ditte che garantiscono prodotti di alta qualità, impiegati normalmente dai restauratori. In particolare sono stati scelti gli acquerelli delle ditte Maimeri (la serie Blu), Winsor & Newton (serie Artists’ Water Color) e Talens (serie Rembrandt). In questa ricerca sono stati utilizzati sia colori in tubetto che in godet, a seconda delle disponibilità commerciali (la Talens e la Winsor & Newton hanno fornito solo godet, la Maimeri anche colori in tubetto). Insieme con i colori le ditte hanno fornito, su richiesta, le schede tecniche dei materiali che però sono risultate incomplete e in certi casi inesatte. Per esempio, la stabilità e la permanenza sono indicate in maniera chiara solo per gli acquerelli della Winsor & Newton in base alla seguente scala: AA, estremamente permanente; A, permanente; B, moderatamente permanente; C, poco durabile. Per la Winsor & Newton e la Maimeri è indicata anche la resistenza alla luce secondo lo standard ASTM D–4236. La Talens indica, solo sul sito internet, alcuni test che vengono eseguiti sugli acquerelli, tra cui specifica quello di stabilità alla luce secondo l’ASTM. Mon, 31 Aug 2009 22:00:00 GMT http://hdl.handle.net/2067/1236 2009-08-31T22:00:00Z http://hdl.handle.net/2067/1325 Title: Raman spectroscopic analysis of azurite blackening Authors: Mattei, Elisabetta; De Vivo, Giulia; De Santis, Alberto; Gaetani, Carolina; Pelosi, Claudia; Santamaria, Ulderico Abstract: Azurite is a basic copper carbonate pigment largely employed in painting realization. The areas painted with azurite are easily alterable and are often less resistant than the other parts of artworks. The azurite alteration in a black pigment, the copper oxide (tenorite), has been studied by micro-Raman spectroscopy. The blackening can be due to thermal or chemical alterations: in the second case the alterations being due to the presence of alkaline conditions. Laser-induced degradation of azurite has been studied as a function of the grain size. The results show that the temperature of the grains decreases as the size increases, and azurite degrades into tenorite only below the critical value of 25 μm. To study the chemical alteration of azurite, the pigment has been applied on the plaster of terracotta samples and analyzed at different pH values by micro-Raman spectroscopy. As opposed to most part of the analytical techniques, it can detect the presence of both azurite and tenorite molecules in the same micro areas, and provides a valuable tool to determine azurite degradation. Thu, 31 Jan 2008 23:00:00 GMT http://hdl.handle.net/2067/1325 2008-01-31T23:00:00Z http://hdl.handle.net/2067/1269 Title: Principi di analisi spettroscopica con applicazioni ai beni culturali Authors: Napoli, Aldo; Pelosi, Claudia; Vinciguerra, Vittorio Abstract: Il testo vuole fornire i principi dei diversi metodi di analisi spettrale ed è rivolto agli studenti delle discipline scientifiche, in particolare ai chimici, ai fisici, ai biologi e, in generale, a tutti coloro che lavorano nel campo dell’analisi chimica strumentale. Le applicazioni alle opere d’arte lo rendono idoneo all’insegnamento nel settore specifico dei beni culturali. Thu, 31 Dec 2009 23:00:00 GMT http://hdl.handle.net/2067/1269 2009-12-31T23:00:00Z http://hdl.handle.net/2067/1324 Title: Micro-Raman and stratigraphic studies of the paintings on the ‘Cembalo’ model musical instrument (A.D. 1650) and laser-induced degradation of the detected pigments. Authors: De Santis, Alberto; Mattei, Elisabetta; Pelosi, Claudia Abstract: Micro-fragments of the painted part of the ‘Cembalo’ model by Michele Todini (1625–1689) are investigated.The technique used for painting the terracotta base was studied via the stratigraphic analyses. No background layer of inorganic materials, e.g. gypsum, was found. To prevent absorption effects due to the terracotta porosity, a very thin layer of proteinaceous material was probably used. The micro-Raman analyses have revealed the use of pigments currently used in the post-Renaissance period (lead white,indigo, yellow of iron hydroxide, gypsum, hematite and carbon black) mixed with a pigment, the Prussian blue, discovered in A.D. 1704. This raises the authenticity problem of the work of art, a problem analysed and discussed in presenting the history of the work of art, and after the pigment study. The presence of degraded lead white is recognized via the laser-induced degradation of the irradiated material. The possibility of a restoring action of the painted parts, as opposite to the non-originality of the work, is considered and discussed. Since most part of the investigated pigments shows laser-induced effects, a careful study of this phenomenon is performed by using the modern counterparts of the ancient pigments. For different laser powers, the temperatures of the investigated zones have been obtained via the detailed balance principle and connected to the laser-induced degradation effects. Sun, 30 Sep 2007 22:00:00 GMT http://hdl.handle.net/2067/1324 2007-09-30T22:00:00Z http://hdl.handle.net/2067/1270 Title: La valutazione sperimentale dei consolidanti per il legno Authors: Genco, Giorgia; Lo Monaco, Angela; Pelosi, Claudia; Picchio, Rodolfo; Santamaria, Ulderico Abstract: The aim of this work has been to test some commercial products as consolidants of the structure of two wooden species: poplar (Populus sp.) and walnut (Juglans regia L.). The chosen products are acrylic, epoxy and aliphatic compounds available in commerce and often employed for other applications. The wooden samples have been prepared according to the UNI ISO instructions. The wood characteristic parameters have been measured: density, basic density, shrinkage, porosity, colour. The wooden samples have been artificial aged by means of frost/thaw cycles. The consolidants have been applied to the wood samples aged and not by means of under vacuum immersion. At the end the wood characteristic parameters and the FTIR spectra have been measured to evaluate the product effectiveness for the wood treatment. Wed, 31 Dec 2008 23:00:00 GMT http://hdl.handle.net/2067/1270 2008-12-31T23:00:00Z http://hdl.handle.net/2067/1326 Title: Lo stendardo processionale della Confraternita del Santissimo Sacramento di Sutri Authors: Latini, Elena; Pelosi, Claudia; De Santis, Alberto; Mattei, Elisabetta; Capriotti, Giorgio Abstract: Lo stendardo processionale della Confraternita del Santissimo Sacramento di Sutri (VT), attualmente conservato presso il Museo Civico del Patrimonium , restaurato presso il Laboratorio Provinciale di Restauro di Viterbo (dal 2004 al 2006), è stato l’oggetto di un progetto di restauro coadiuvato da un team di specialisti di diverse discipline rivolti alla comprensione dei vari aspetti conservativi dell’opera in esame . L’opera è attribuita ad Eugenio Agneni (Sutri 1816-Frascati 1879), artista di notevole rilevanza storica, le cui gesta, malgrado si tratti di epoca assai recente, rimangono sepolte tra le pieghe delle memorie storiche del Risorgimento. Lo stendardo, non datato, è attribuito al pittore come opera giovanile. E’ una tela dipinta ad olio e raffigura sul verso L’Adorazione del Santissimo Sacramento e sul recto San Bonaventura presenta la Confraternita alla Vergine e al Bambino con due confratelli con l’abito tipico, ancora in uso, e sullo sfondo la cattedrale di Sutri con accanto delle montagne che si suppone siano i vicini monti Cimini. Nel 2004, all’inizio del restauro, lo stendardo appariva ad un buon livello qualitativo, ma carico di depositi superficiali e con numerose sovrapposizioni di interventi di restauri precedenti volti a salvaguardarne sia l’opera che la funzione processionale. Si vogliono qui delineare i risultati dello studio dell’autore, dello stendardo e della storia conservativa, attraverso lo studio dei documenti di archivio, con le analisi chimiche e diagnostiche di supporto all’intervento di restauro. Sun, 30 Sep 2007 22:00:00 GMT http://hdl.handle.net/2067/1326 2007-09-30T22:00:00Z http://hdl.handle.net/2067/1334 Title: Indagini diagnostiche non invasive per la caratterizzazione dei pigmenti e delle tecniche di esecuzione nella “Bibbia cosiddetta di S. Tommaso” Authors: Ardagna, Vincenzo; Pelosi, Claudia Abstract: In questo lavoro vengono presentati i risultati preliminari relativi alla caratterizzazione dei pigmenti e delle tecniche di esecuzione della “Bibbia cosiddetta di S. Tommaso” custodita nella biblioteca degli Ardenti di Viterbo. La “Bibbia cosiddetta di S. Tommaso” è un manoscritto medioevale, ritrovato nel 1875 in occasione dei lavori di adattamento a carcere del convento di S. Maria in Gradi. In vista di un’iscrizione posta sulla rilegatura è stata da sempre collegata alla vita di S. Tommaso, ma approfonditi studi codicologici hanno permesso di smentire l’attribuzione al Santo e di spostarne la data di esecuzione dalla prima metà al terzo quarto del XIII sec. Oggetto d’analisi sono stati i due capilettera miniati (la F del Prologo e la I della Genesi) che oltre a raffigurazioni di santi presentano entrambe degli elementi decorativi geometrici e floreali. Trattandosi di manufatti di notevole pregio e delicatezza, si è scelto di impiegare metodi di indagine di carattere rigorosamente non invasivo. Fri, 30 Nov 2007 23:00:00 GMT http://hdl.handle.net/2067/1334 2007-11-30T23:00:00Z http://hdl.handle.net/2067/1335 Title: Colore e materia: i gialli di piombo, stagno, antimonio Authors: Pelosi, Claudia; Santamaria, Ulderico; Agresti, Giorgia; Morresi, Fabio; Cibin, Francesca; De Filippo, Barbara Abstract: The aim of this work is to investigate the methods used for producing artificial yellow pigments (‘type I’ and ‘type II’ lead-tin yellow, lead antimonate yellow or Naples yellow, and lead-tin-antimony yellow), starting from various recipes and the more recent literature, and to characterize the materials produced by utilising different analytical techniques. The artificial yellow pigments were obtained from pure chemicals (PbO, Pb3O4, SnO2, Sb3O4). The effects produced were tested by varying the stoichiometric ratios, melting temperatures and times, and crucible typologies. The powders obtained were characterized by means of SEM-EDS, XRD, XRF and DTA analyses. In order to evaluate the colour changes due to different melting temperatures and stoichiometric ratios, the colour measurements were taken using CIExy 1931 and CIE 1976Lab coordinates. Sat, 31 May 2008 22:00:00 GMT http://hdl.handle.net/2067/1335 2008-05-31T22:00:00Z http://hdl.handle.net/2067/1329 Title: Production and characterisation of lead, tin and antimony based yellow pigments Authors: Pelosi, Claudia; Santamaria, Ulderico; Agresti, Giorgia; Mattei, Elisabetta; De Santis, Alberto Abstract: This study deals with the preparation of yellow pigments (lead-tin yellow type I and II, lead antimoniate yellow and lead-tin-antimony yellow), which are affected by terminological confusion in the historical references. Through the centuries, yellows of different compositions, based on lead, tin and antimony, have been used either as agents that turn glasses, glazes and majolica opaque or as paint-pigments. Some types of yellow pigments were described in written sources. These sources are very hard to discover because production methods and formulas of artistic compounds were handed down to new generations in oral way. Sometimes, they were collected in secret books of pigments. In addition, artists and writers, during the utilization and production of lead-tin-antimony yellows, introduced some changes both in recipes and terminologies. All this produced great confusion in the nomenclature that changes the country tradition and, sometimes, for the writer’s inaccuracies. By analyzing the various recipes concerning lead-tin-antimony yellows, it was possible to reconstruct the original production methods of these pigments. We produced lead-tin yellow type I (Pb2SnO4) and lead-tin yellow type II (PbSnO3 or PbSn1-x SixO3) following the indication of the recipes 272 and 273 of the fifteenth century Bolognese Manuscript, lead antimonate yellow, called Napoli yellow, according to the treatises written by Piccolpasso, Passeri and Mariano from Pesaro, and lead-tin-antimony yellow from the Darduin, Mariani da Pesaro and other recipes authors. The production of lead-tin-antimony based yellow pigments was obtained by pure chemicals oxides (PbO, Pb3O4, SnO2 and Sb2O3). In synthesizing the yellow pigments, the effects produced by changes in stoichiometric ratios, in melting temperatures and in the crucible typologies were tested. The obtained products were characterized by SEM-EDS, XRD and micro-Raman analyses. To evaluate colour changes due to different melting temperatures and stoichiometric ratios, the colour measurements were taken in CIE 1931 and CIE 1976 coordinates. The results are analysed and discussed in terms of correlations among chemical compositions, melting conditions and colour hue. The study of these pigments, produced in laboratory with the ancient procedure, is also useful for investigations on similar materials used in the works of art. Indeed, it is very probable that the artists chose their painting materials by selecting not only the colour hue of the pigments but also the production method. Therefore, it is important to state a correlation between chemical compositions, ancient production methods, and the final colour hue of the produced yellow pigments. Mon, 31 Dec 2007 23:00:00 GMT http://hdl.handle.net/2067/1329 2007-12-31T23:00:00Z http://hdl.handle.net/2067/1330 Title: La porta lignea del duomo di Todi. Indagini microclimatiche e conoscitive finalizzate a una proposta conservativa Authors: Genco, Giorgia; Lo Monaco, Angela; Marabelli, Maurizio; Maura, Claudia; Pelosi, Claudia Abstract: Lo studio condotto sulla porta lignea centrale del duomo di Todi ha avuto come obiettivo la conoscenza dello stato conservativo del manufatto tramite il monitoraggio microclimatico dell’ambiente, l’osservazione diretta e l’analisi in laboratorio delle specie legnose e dei materiali di restauro utilizzati; ciò al fine di ottenere dati oggettivi atti a orientare le scelte conservative. Si vuole sottolineare che il presente lavoro è stato effettuato sulla base dell’interesse dimostrato dall’Opera del Duomo di Todi che ha coinvolto docenti, ricercatori e laureandi dell’Università della Tuscia al fine di ottenere dati scientificamente validi per poter avanzare le migliori proposte conservative per il manufatto. A tal fine, sono state effettuate due campagne di rilevamento, una invernale ed una estiva, che hanno previsto la misurazione puntuale dell’umidità relativa dell’aria, della temperatura e dell’umidità superficiale del legno ed infine dell’irraggiamento solare . Inoltre, sono stati posizionati tre datalogger (nell’ambiente interno del portone, sul coro ligneo del duomo e sul campanile) per la misurazione dell’umidità relativa e della temperatura dell’aria per un periodo di circa un mese, sia nella stagione invernale che in quella estiva . Sono stati prelevati alcuni campioni per il riconoscimento delle specie legnose, sia nella porzione esterna della porta che in quella interna ed è stato condotto un esame presso il laboratorio di microscopia del DAF dell’Università della Tuscia. L’analisi spettrofotometrica dei materiali utilizzati nell’ultimo restauro, è stata invece realizzata presso il Laboratorio di diagnostica per la conservazione e il restauro ‘Michele Cordaro’ della facoltà di Conservazione dei Beni Culturali dell’Università della Tuscia. Una ricerca eseguita presso l’archivio del capitolo della cattedrale di Todi, ha permesso di ricostruire le diverse fasi storiche della porta e di conoscere alcuni interventi di restauro eseguiti sul manufatto nel secolo scorso. Infine, è stata eseguita una campagna fotografica che ha consentito l’elaborazione di un rilievo grafico della porta. Mon, 31 Dec 2007 23:00:00 GMT http://hdl.handle.net/2067/1330 2007-12-31T23:00:00Z http://hdl.handle.net/2067/1525 Title: The diagnostic analyses aimed at the restoration of the mosaic fragment with an angel coming from Giotto's Navicella Authors: Moioli, Pietro; Pelosi, Claudia; Seccaroni, Claudio Abstract: The wall mosaic fragment with an angel, subject of this paper, is exposed in the Vatican Grottoes and it comes from the Navicella, a large mosaic by Giotto formerly in the hall of the medieval S. Peter Basilica. For the celebrations of the VII centenary of the death of Boniface VIII the mosaic fragment has been restored; in this occasion a diagnostic campaign of analysis was executed with the aim to study the materials and the executive techniques. The mosaic fragment was investigated through a wide analytical approach. Tesserae and mortars have been investigated through visible, false colour infrared (IRC) and ultraviolet (UV) fluorescence photography and video microscope acquisitions; moreover, XRF has been performed on the glass pastes. Pigments and mortars used in the integrations of the previous restorations have been also investigated through the polarizing microscope (PM) and FTIR analysis of the binders. Thu, 31 Dec 2009 23:00:00 GMT http://hdl.handle.net/2067/1525 2009-12-31T23:00:00Z http://hdl.handle.net/2067/1623 Title: Study of Wall Paintings and Mosaics by means of Ultraviolet Fluorescence and False Colour Infrared Photography Authors: Castro, Fabio; Pelosi, Claudia Abstract: This paper reports the results of the application of ultraviolet (UV) fluorescence and false colour infrared (IRC) photography to the study of wall paintings and mosaics. The case studies proposed in this work are the wall paintings in the crypt of the medieval church of Sant’Andrea in Viterbo (Italy) and the fragment of wall mosaic with an Angel, coming from the Giotto Navicella, at present placed in the Grotte Vaticane. This mosaic fragment was examined on the occasion of the restoration carried out from November 2004 to February 2006. This restoration intervention was promoted and funded by Bonifacio VIII Committee on the occasion of the celebrations for the VII centenary of the death of Bonifacio VIII. Ultraviolet (UV) fluorescence and false colour infrared (IRC) photography are non invasive methods of analysis useful for a preliminary and sometimes resolutive investigations of works of art. The main advantage of these techniques is their simplicity and inexpensiveness but, at the same time, they made possible an overall examination of the work of art before starting with more sophisticated and in-depth investigations. There are few references about the application of this kind of analyses to the study of wall paintings and mosaics, so the aim of this research was to apply these photographic methods to some wall decorations and at the same time to several specimens carried out in laboratory to have a valid comparison. The aim was also to prove the potentiality and usefulness of these methods especially in the examination of mosaics because taking samples for laboratory analyses is often impossible. Sun, 31 May 2009 22:00:00 GMT http://hdl.handle.net/2067/1623 2009-05-31T22:00:00Z http://hdl.handle.net/2067/1624 Title: A Methodological Approach to the Safeguard of the Wooden Door of Todi Cathedral Authors: Genco, Giorgia; Maura, Claudia; Lo Monaco, Angela; Marabelli, Maurizio; Pelosi, Claudia Abstract: The study for the central wooden door of the Todi Cathedral has been the subject of two theses of the Faculty of Conservation of Cultural Heritage of Tuscia University. The aim of the research was to characterize the state of conservation of the artefact in comparison with the environmental microclimate. In parallel with the microclimatic survey, naked eye observations, laboratory analyses of the wooden species (carried out in the Department of Forests and Environments Laboratory of Tuscia University) and of the restoration materials (carried out in the Laboratory of Diagnostics for Conservation and Restoration “Michele Cordaro” of the Faculty of Conservation of Cultural Heritage of Tuscia University) have been also performed, in order to obtain experimental data valuable for conservation. A bibliographic study of documents available at the archive of Todi Cathedral has allowed to reconstruct the historical phases of realization and past restorations of the artefact. The wooden door of Todi Cathedral was realized in 1521 by the master Antonio Bencivegna da Mercatello da Massa. In 1623 it was seriously damaged by a lightning, so some years later, in 1639, the door was partly reconstructed by the artist Carlo Lorenti. Instead the plinth was reconstructed in 1792. Afterwards the door underwent several restoration interventions; the last one was carried out between 1998 and 1999. Nowadays the state of conservation of the door is seriously compromised because of both the last incorrect restoration interventions and the position that the wooden door takes up in the Cathedral façade. The deterioration of the surface above all was caused by the variations of temperature and relative humidity (RH%) and it is different in the various parts of the door. In fact, the inner surface shows a less deterioration due to both the more stable environmental conditions and the plain manufacturing typology. Wed, 31 Dec 2008 23:00:00 GMT http://hdl.handle.net/2067/1624 2008-12-31T23:00:00Z http://hdl.handle.net/2067/1625 Title: Study of decorated pottery fragments by means of micro-Raman and other techniques Authors: Pelosi, Claudia; Montini, Ilaria; Mattei, Elisabetta; Gaudenzi Asinelli, Mainardo; De Santis, Alberto Abstract: The aim of this work was to apply several spectroscopic methods of analysis to study the decorated pottery fragments found in the excavations of the Medici Villa of Cafaggiolo, near Florence, and of the roman-medieval site of Ferento, near Viterbo. The results of the analysis performed on the samples coming from these sites have been compared with thin sections mineralogical examination of the same samples. The main objective of the analysis, performed in the pottery fragments of two site of central Italy, has been to obtain information about the productive processes, the firing temperatures and the materials used in medieval and Renaissance period. Further purposes were to enrich the knowledge and the databases of pottery materials and techniques, to study the evolutions of the productive processes through the history and eventually to try to identify the elements that characterize the two examined Italian productions. Micro-Raman technique doesn’t need a pre-treatment of the samples under test; moreover micro-Raman is a non-destructive molecular method of analysis recently widely applied in the field of cultural heritage. In this work the results of micro-Raman analyses of Cafaggiolo pottery are related. Moreover some mineralogical studies on the Cafaggiolo and Ferento potteries are proposed. The Cafaggiolo potteries were also examined by means of quantitative X-Ray Fluorescence analysis and X-Ray diffraction. Sun, 31 May 2009 22:00:00 GMT http://hdl.handle.net/2067/1625 2009-05-31T22:00:00Z http://hdl.handle.net/2067/1626 Title: L’indagine diagnostica per il restauro: il caso del modello ligneo della Chiesa di S. Maria della Consolazione in Todi Authors: De Santis, Alberto; Lo Monaco, Angela; Mattei, Elisabetta; Pelosi, Claudia; Santancini, Marco Abstract: The wooden polychrome Model of the Church of S. Maria della Consolazione in Todi is an handmade article whose author and historical events are not completely known except a wide reference to the construction period of the church (1508-1607). During the restoration, carried out in the first half of the year 2007, some diagnostic analyses were performed in order to study and characterize the materials, the techniques and the conservation state of the model and so to provide a valid help to the restoration itself. The pigments, binders, restoration materials and the different wooden parts were examined. The samples were taken off during the disassembly of the model and they were analyzed by means of a polarizing microscope. The chemical analyses were carried out by means of micro-Raman spectrometer and by means of FTIR and micro-FTIR spectrophotometry. The cross, radial and tangential thin sections of the wooden samples were examined under an optical microscope. Mon, 31 Dec 2007 23:00:00 GMT http://hdl.handle.net/2067/1626 2007-12-31T23:00:00Z http://hdl.handle.net/2067/1698 Title: Le indagini scientifiche per lo studio dei dipinti murali: il caso dell’Annunciazione nella chiesa di San Marco a Tuscania Authors: Pelosi, Claudia; Perta, Maria Wed, 31 Dec 2008 23:00:00 GMT http://hdl.handle.net/2067/1698 2008-12-31T23:00:00Z http://hdl.handle.net/2067/1697 Title: Cleaning of paper works with selective solvent methods Authors: Pelosi, Claudia; Roserba, Federica; Santamaria, Ulderico Abstract: This work deals with the study of the weathering processes due to the use of adhesive tape for the restoration of paper and for temporary exhibitions. Oxidation and depolymerization effects of industrial and handmade paper and parchment were investigated on samples in relation to the temperature, the relative humidity and the radiation exposure conditions. The experimental tests were tried out with 4x14,5 cm industrial and handmade paper and parchment samples. The following adhesive tapes were analyzed: Tesa Adhesive and Biadhesive, Eurocel Ecophan and Eurocel Biadhesive, 3M Magic 810 and 3M Biadhesive. The samples were examined by DRIFT FTIR and µ-FTIR analyses. The effects of chemical and chemical-physical processes of the adhesive-paper system were evaluated. In particular, the colour changes were evaluated by means of ΔE and ΔL values calculated according to UNI-NORMAL 43/93. The aged adhesive-paper samples had undergone some cleaning tests using different solvent mixtures with and without thickening agents. The preliminary results of the cleaning tests were compared ad discussed in order to evaluate the choice of the better methods. Wed, 31 Dec 2008 23:00:00 GMT http://hdl.handle.net/2067/1697 2008-12-31T23:00:00Z http://hdl.handle.net/2067/1670 Title: Laboratory Analysis of Residue in a Mortarium (cat. No. 153) Authors: Pelosi, Claudia Sun, 31 May 2009 22:00:00 GMT http://hdl.handle.net/2067/1670 2009-05-31T22:00:00Z http://hdl.handle.net/2067/1739 Title: Indagini diagnostiche per la caratterizzazione degli intonaci dipinti Authors: Bernabei, Giuseppina; Pelosi, Claudia Wed, 31 Dec 2008 23:00:00 GMT http://hdl.handle.net/2067/1739 2008-12-31T23:00:00Z http://hdl.handle.net/2067/1740 Title: Problematiche conservative degli acquerelli nel restauro Authors: Pelosi, Claudia; Marabelli, Maurizio; Falcucci, Claudio; Giurlanda, Flavio; Ortenzi, Floriana; Patrizi, Francesca Abstract: Water colours are today widely used in restoration, especially for the pictorial reintegration thanks to their reversibility and solubility during the time. But these materials show some problems when used in wall painting stored in high relative humidity environment giving rise to colour changes and dripping down the painting surface. The aim of this work has been to study the chemical-physical characteristics of the most used commercial water colours and to test their stability by means of artificial aging. Water colour from Maimeri, Windsor&Newton and Talens have been examined; then they have been aged and the colour has been measured to evaluate their changes. Sat, 31 Oct 2009 23:00:00 GMT http://hdl.handle.net/2067/1740 2009-10-31T23:00:00Z http://hdl.handle.net/2067/1741 Title: Studio storico e conservativo del Sepolcro dei Plautii a Tivoli Authors: Giagnacovo, Cristina; Pelosi, Claudia Abstract: The Ith century A.D. Plautii Mausoleum is located in the ancient site of Ponte Lucano. During the history it represented the entrance in Tivoli and many artists and art historians paid attention to this monument when they went across Ponte Lucano to reach the archaeological site of Villa Adriana, declared Humanity World Heritage. Nowadays the Mausoleum is neglected and often flooded by Aniene river whose waters stagnate in the monument also due to the presence of a recently builted cement wall. The aim of this work was to analyse the state of conservation of the travertine that is the material of the Mausoleum, to give a valid aid for the safeguard of this important monument. The analyses were carried out on few samples taken from both the surfaces of the Mausoleum and from cave travertine in order to make a comparison. The mineralogical analysis was carried out by means of a polarizing microscope; the chemical analyses were achieved by FTIR and µ-FTIR spectrometry and X-Ray Diffraction. Some biological attacks were examined through SEM observation. Microanalitycal spot tests were carried out to confirm the presence of iron compounds in the travertine. Soluble salts were determined by means of visible spectrometry. Some imbibition and evaporation tests were carried out on suitably prepared samples. Mon, 31 May 2010 22:00:00 GMT http://hdl.handle.net/2067/1741 2010-05-31T22:00:00Z http://hdl.handle.net/2067/1743 Title: Analisi di un frammento della tela Authors: Pelosi, Claudia Mon, 31 Dec 2007 23:00:00 GMT http://hdl.handle.net/2067/1743 2007-12-31T23:00:00Z http://hdl.handle.net/2067/1744 Title: Analisi del cartone e dei residui di pellicola protettiva superficiale Authors: Pelosi, Claudia; Genco, Giorgia Mon, 31 Dec 2007 23:00:00 GMT http://hdl.handle.net/2067/1744 2007-12-31T23:00:00Z http://hdl.handle.net/2067/1749 Title: Analisi stratigrafiche e micro Raman. Modello del Cembalo Todini Authors: De Santis, Alberto; Mattei, Elisabetta; Pelosi, Claudia Sun, 31 Dec 2006 23:00:00 GMT http://hdl.handle.net/2067/1749 2006-12-31T23:00:00Z http://hdl.handle.net/2067/1748 Title: La prevenzione nell’arte contemporanea. Ferro bifrontale arancione e Plastico in ferro di Pietro Consagra Authors: Cosenza, Roberta; Pelosi, Claudia Abstract: The aim of this work has been to study the microclimate conditions of the environment of two big sculptures by Pietro Consagra: Ferro bifrontale arancione and Plastico in ferro realized in 1977 for the exhibition Pietro Consagra Iron Sculptures that took place in Charleston, South Carolina, in order to prevent their deterioration. From 2005, in fact, these sculptures were exposed in two basement rooms of Tuscia University. But the environment didn’t appear suitable for these iron sculptures because the relative humidity and above all its variations were too high. So, as preventive conservation, the microclimate was monitored for one year and the data were supplied to the competent Superintendence that provided to transfer the sculptures in a more suitable environment avoiding a restoration intervention. Thu, 31 Dec 2009 23:00:00 GMT http://hdl.handle.net/2067/1748 2009-12-31T23:00:00Z http://hdl.handle.net/2067/1742 Title: Il legno di castagno nei beni culturali Authors: Agresti, Giorgia; Castorina, Roberta; Genco, Giorgia; Giagnacovo, Cristina; Lo Monaco, Angela; Pelosi, Claudia Abstract: Il legno di castagno è stato utilizzato prevalentemente come materiale strutturale per orditure lignee di importanti edifici e nei manufatti di interesse demoetnoantropologico. Meno consueto è riscontrare il legno di questa specie in manufatti artistici. Nel presente lavoro vengono presi in esame alcuni manufatti che per tipologia si possono considerare, oltre che di interesse storico-artistico, anche devozionale. I problemi conservativi che emergono dall’esame di queste opere vengono affrontati con esempi significativi, anche in relazione a moderni metodi di intervento. Description: Il Convegno si è svolto in concomitanza con il 1st European Congress on Chestnut e l'evento, nel suo complesso, è stato denominato Castanea 2009. Gli atti del 1st European Congress on Chestnut sono pubblicati su Acta Horticulturae dall'International Society for Horticultural Science (ISHS). Wed, 31 Dec 2008 23:00:00 GMT http://hdl.handle.net/2067/1742 2008-12-31T23:00:00Z http://hdl.handle.net/2067/1738 Title: Evaluation of a microclimate monitoring system applied to small size Museums Authors: Balletti, Federica; Lo Monaco, Angela; Pelosi, Claudia Abstract: The conservation of works of art exhibited inside museums is influenced considerably by the indoor microclimatic conditions. Temperature and air moisture content variations and lighting play an important role in the deterioration of works of art, both artefact of historical-artistic value and demoethnoanthropological goods. Small museums around the country are a source of pride for local people. They preserve and guarantee the transmission to future generations of important works of art or goods of cultural interest. In these contexts is not sustainable an environmental monitoring like that carried out in major museums, both for the high cost of equipment and management and for the lower influx of visitors. The aim of this work has been to verify the conservation conditions of a remarkable collection of votive wood paintings housed in the Museum of the Basilica of the Madonna della Quercia (Viterbo, Italy), using simple instruments and tools. Microclimatic environment characterization has been conducted from December 2008 to September 2009, surveying temperature and relative humidity. Lux and radiation measures have been performed. Moreover punctual microclimatic surveys of surface temperature of a wooden votive tablet, as well as measurements of environment temperature, relative humidity and dew point have been carried out. The results have been interpreted with reference to museum standards regarding the conservation of works of art, in order to verify compliance of the measured values with the optimal values of the parameters established by the legislation proposed by the Italian Ministry of Culture n. 238, 19-10-2001. Thu, 31 Dec 2009 23:00:00 GMT http://hdl.handle.net/2067/1738 2009-12-31T23:00:00Z http://hdl.handle.net/2067/1736 Title: Wood of chestnut in cultural heritage Authors: Agresti, Giorgia; Genco, Giorgia; Giagnacovo, Cristina; Pelosi, Claudia; Lo Monaco, Angela; Castorina, Roberta Abstract: Chestnut wood was used as a structural material for important wooden building frames and artefacts of demo ethno anthropological interest. The wood of this species is found less frequently in artistic artefacts. So the aim of this work is to examine some artefacts of both artistic and above all devotional typologies. Conservation problems are addressed with examples, in relation to modern methods of operation. Description: L'articolo è disponibile sul sito dell'ditore http://www.actahort.org/books/866/ Thu, 31 Dec 2009 23:00:00 GMT http://hdl.handle.net/2067/1736 2009-12-31T23:00:00Z http://hdl.handle.net/2067/1745 Title: The wall paintings of the crypt of the medieval Church of Saint Andrew in Viterbo (Italy): technical examination and state of preservation Authors: Castro, Fabio; Falcucci, Claudio; Pelosi, Claudia Abstract: The wall paintings of the crypt of the church of Saint Andrew in Viterbo (Italy) date back to the 13th century. The bad state of preservation and the lack of many areas of the scenes make difficult a clear interpretation of the paintings and therefore a precise historical placing inside the 13th century. Besides an extensive analysis of the execution techniques and of the constitutive materials has never been undertaken. So the aim of this research has been to characterize the constitutive materials and the execution techniques of the wall paintings in order to provide a valid aid to the historical and artistic interpretation of the iconography and to evaluate the state of preservation of the paintings related to the environment. The wall paintings have been studied by means of non invasive methodologies of analysis and through laboratory techniques. The in situ investigations have been carried out by ultraviolet (UV) fluorescence and false colour infrared (IRC) photography, reflectance spectrophotometry, video microscope acquisitions, XRF spectrometry. These preliminary investigations have been useful to chose the sampling points for the laboratory analysis. The micro samples were examined through FTIR spectrometry and polarizing microscope observation of the pigment powders and of the cross sections. The pigments employed for the wall paintings are: red and yellow ochre, calcium carbonate white, lead based pigments probable red lead, green earth, vegetable black. They have been applied by a lime technique. The photographic campaign and the technical examination of the wall paintings also put in evidence the presence of surface damages. In particular, the abundant superficial salt deposits are the result of the use of unsuitable restorations materials in previous interventions. The environmental conditions (temperature and relative humidity) were registered by means of a digital data logger. During the months of October, November, and December 2009 the RH% values exhibit high average values, from 71 to 83%. The lowest RH% value (43%) has been registered on the fifteen of October, the highest one (86%) has been measured on the thirty-one of December. We believe that this study to be necessary for the future preservation and conservation of these interesting medieval wall paintings. Thu, 31 Dec 2009 23:00:00 GMT http://hdl.handle.net/2067/1745 2009-12-31T23:00:00Z http://hdl.handle.net/2067/1750 Title: The charcoals of archaeological site of Ferento (Viterbo –Italy) Authors: De Minicis, Elisabetta; Amatucci, Martina; Lotti, Davide; Pelosi, Claudia; Spina, Stefano; Romagnoli, Manuela Mon, 31 May 2010 22:00:00 GMT http://hdl.handle.net/2067/1750 2010-05-31T22:00:00Z http://hdl.handle.net/2067/1751 Title: Preservation and usage: the Altar Machine in the Church Mother of Gangi (Palermo, Italy) and its microclimate. Authors: Lo Monaco, Angela; Marabelli, Maurizio; Pelosi, Claudia; Salvo, Michele Abstract: The aim of this work has been to study the correlation between delicate poli material artefacts, like painted wooden sculptures, and their microclimate. In particular the Altar Machine in the Church Mother of Gangi, a little town near Palermo (Italy), has been investigated. The Machine is constituted by carved and painted wood and a complex system of winch and pulleys allows to move various statues and parts of the Machine in accordance with the baroque scenographic machineries. The microclimate of the Machine has been investigated in order to verify if the thermoigrometric values fall within the tolerance intervals that, for wood and painted wooden sculptures, has been set between 19 and 24 °C (temperature) and between 45 and 60 % (relative humidity, RH%)[1]. Analyses for the identification of wood species and for the study of the painting materials have been also carried out. All images and data are at disposal on the web site www.dendrocronologia.org. Thu, 31 Dec 2009 23:00:00 GMT http://hdl.handle.net/2067/1751 2009-12-31T23:00:00Z http://hdl.handle.net/2067/1752 Title: Project on the rock paintings in Cappadocia. Analytical investigation of the church of Forty Martyrs in Şahinefendi and other sites (Report 2008) Authors: Pelosi, Claudia; Santamaria, Ulderico; Agresti, Giorgia; Castro, Fabio; Lotti, Davide; Pogliani, Paola Abstract: This report will relate about the main results of the analyses carried out on the rock paintings of several Cappadocia churches. The analyses have been carried out within the survey “Rock paintings in Cappadocia. For a project of knowledge, conservation and valorization of the church of the Forty Martyrs at Şahinefendi and its territory” directed by Prof. Maria Andaloro of Tuscia University (Italy) . Such analyses have been carried out according to a methodological path tested during the several years of surveys in Turkey, particularly on the island of Küçük Tavşan and on many other sites in the territory of Mandalya Gulf and also on the occasion of other research projects . This research mission is part of a bigger project called “For a data bank of wall paintings and mosaics of Asia Minor (4th-15th centuries: images, materials, techniques of execution (1996-2010)” directed by Prof. Maria Andaloro. The aim of this work concerns the understanding of the constitutive materials, the execution techniques and the conservation conditions of the rock paintings. For this reason several in situ and laboratory analyses have been undertaken. In the first part of this report the main results of the analyses carried out during the 2008 campaign on the Forty Martyrs Church at Şahinefendi and of a group of churches in the region of Nevşheir will be described. In the second one an overall view on the three years analyses of the materials collected during the surveys will be shortly presented. The attention will be focused on the pigments of the rock paintings with some reference to the stratigraphic analyses and to the binders of the pigments. Thu, 31 Dec 2009 23:00:00 GMT http://hdl.handle.net/2067/1752 2009-12-31T23:00:00Z http://hdl.handle.net/2067/1755 Title: The tomb nr.57 from Servici Cemetery in Novilara (Italy): diagnostic analysis and state of preservation Authors: Pelosi, Claudia; Santamaria, Ulderico; Scotton, Roberta Abstract: The 7th century BC Servici tomb nr. 57 was discovered and removed in 1892-1893 by archaeologist Edoardo Brizio in Novilara (Marche region in central Italy) and in the early 1900’s the tomb was transported to the Archaeological Museum of Florence. The tomb contains two skeletons, one male and one female, and their respective funerary belongings. In spring 2005 SACI (Studio Art Centers International) in collaboration with the Archaeological Superintendence of Tuscany and Tuscia University of Viterbo undertook the conservation of the tomb. After an accurate documentation the tomb underwent a micro excavation to bring to light and to restore the skeletons and the objects. On this occasion some diagnostic analysis was performed in order to support the restores work and to better know the materials used in past restoration and interventions on the tomb. Moreover some materials of the original burial have been analysed. The samples taken during the restoration intervention were analyzed by means of FTIR and micro-FTIR spectrometry, micro Raman spectroscopy, polarizing microscope observation under visible light and UV fluorescence, SEM observation. The analysis confirmed the hypothesis that sodium silicate have been used as consolidant before the tomb pulling out. Gypsum has also been found probably employed to paint the tomb walls. Some little textile fragments have been analysed revealing the presence of flax. Thu, 31 Dec 2009 23:00:00 GMT http://hdl.handle.net/2067/1755 2009-12-31T23:00:00Z http://hdl.handle.net/2067/1756 Title: Il controllo degli acquerelli nel restauro mediante controlli non distruttivi Authors: Falcucci, Claudio; Marabelli, Maurizio; Pelosi, Claudia Sun, 31 Dec 2006 23:00:00 GMT http://hdl.handle.net/2067/1756 2006-12-31T23:00:00Z http://hdl.handle.net/2067/1757 Title: I pigmenti neri: la diagnostica per una loro caratterizzazione Authors: Pelosi, Claudia; De Santis, Alberto; Pasquali, Michela Sun, 31 Dec 2006 23:00:00 GMT http://hdl.handle.net/2067/1757 2006-12-31T23:00:00Z http://hdl.handle.net/2067/1758 Title: Caratterizzazione dei pigmenti in alcune miniature medievali tramite tecniche diagnostiche non invasive Authors: Ardagna, Vincenzo; Pelosi, Claudia; De Santis, Alberto; Mattei, Elisabetta Sun, 31 Dec 2006 23:00:00 GMT http://hdl.handle.net/2067/1758 2006-12-31T23:00:00Z http://hdl.handle.net/2067/2233 Title: Sedici terrecotte dalla collezione del Museo Nazionale del Palazzo di Venezia a Roma dalla metà del XVI alla fine del XIX secolo Authors: Barberini, Maria Giulia; Giometti, Cristiano; Falcucci, Claudio; Fodaro, Davide; Pelosi, Claudia; Sforzini, Livia Abstract: La campagna diagnostica sulle sculture in terracotta, scelte all'interno del progetto conservativo, è stata avviata ricorrendo ad una indagine di tipo non distruttivo, finalizzata alla identificazione dei materiali utilizzati per la finitura pittorica delle sculture ed allo studio degli elementi costitutivi della matrice della terracotta. L’analisi impiegata è quella della fluorescenza dei raggi X, eseguita in situ mediante uno spettrometro portatile. In seguito sono stati prelevati alcuni campioni per approfondire le ricerche analitiche e ottenere informazioni non ottenibili mediante le indagini non distruttive. I campioni sono stati esaminati presso il Laboratorio di Diagnostica per la Conservazione e il Restauro “Michele Cordaro” dell’Università della Tuscia e presso il Centro Interdipartimentale Grandi Strumenti dell’Università di Modena e Reggio Emilia, mediante spettroscopia micro Raman, spettrometria infrarossa in trasformata di Fourier (FTIR) e analisi ottica in sezione lucida dei microframmenti più significativi e per i quali è stato possibile preparare una stratigrafia. Altri campioni sono stati prelevati per procedere a datazione mediante termoluminescenza, prima di completare una campagna radiografica già avviata negli anni passati. Le indagini condotte hanno permesso di caratterizzare tutti i materiali esaminati e di apportare elementi di precisazione relativi all’originalità di alcune opere. Fri, 31 Dec 2010 23:00:00 GMT http://hdl.handle.net/2067/2233 2010-12-31T23:00:00Z http://hdl.handle.net/2067/2235 Title: In margine all’intervento di Laura Palmieri. Problematiche conservative nell’arte contemporanea: tecniche “non tradizionali” e test di laboratorio Authors: Pelosi, Claudia; Santamaria, Ulderico Abstract: In questa breve relazione vengono evidenziati alcuni concetti importanti legati alla conservazione dei materiali dell’arte contemporanea e viene presentata una piccola, ma significativa, sperimentazione che ha fornito all’artista un supporto al suo lavoro. In primo luogo si è voluto sottolineare che lo studio del comportamento nel tempo dei prodotti commerciali impiegati nelle tecniche artistiche e nella conservazione è molto importante e dovrebbe costituire una prassi che però a tutt’oggi non è certamente consolidata. Inoltre, accanto al controllo della stabilità dei materiali sia pittorici che per la conservazione, dovrebbe porsi l’operazione di monitoraggio nel tempo degli stessi una volta applicati, soprattutto se si tratta di tecniche e modalità sperimentali; ma anche questa operazione, sicuramente non semplice, è tutt’altro che una prassi consolidata. Pertanto ci si augura che l’esperienza condotta possa essere servita sia ai tirocinanti come esempio di metodologia di lavoro ma anche al lavoro di Laura Palmieri e alla conservazione della sua opera. Fri, 31 Dec 2010 23:00:00 GMT http://hdl.handle.net/2067/2235 2010-12-31T23:00:00Z http://hdl.handle.net/2067/2238 Title: A microRaman and internal microstratigraphic study of ceramic sherds from the kilns of the Medici castle at Cafaggiolo Authors: De Santis, Alberto; Mattei, Elisabetta; Montini, Ilaria; Pelosi, Claudia Abstract: Nine representative sherds from the old (14th–16th century) kilns at the Castle of Cafaggiolo in Tuscany have been analysed by means of internal microstratigraphic analyses and micro-Raman spectroscopy and classified as follows: six engobed and glazed fragments, of which three are covered with an opaque white, decorated layer, one is marbleized, and two are engobed. The surface of the two engobed sherds, fragments of unfinished products, indicates that at least two firing processes were used. Two samples show characteristics of Byzantine pottery, and three of them can be classified as Islamic ware or maiolica, whilst the other one displays intermediate characteristics. The variety of ceramic wares indicates the presence of craftsmen with differing expertise, and suggests that part of their work was dedicated to experimentation on new ceramic production techniques. Sat, 31 Dec 2011 23:00:00 GMT http://hdl.handle.net/2067/2238 2011-12-31T23:00:00Z http://hdl.handle.net/2067/2234 Title: Il restauro di una grande scultura in terracotta: un modello di Gaspare Sibilla per il restauro del Nilo Vaticano. Trattamento di pulitura laser Authors: Baraldi, Pietro; Barberini, Maria Giulia; Fodaro, Davide; Pelosi, Claudia; Sforzini, Livia Abstract: Nel presente contributo si descrive l'intervento di restauro realizzato su un busto monumentale in terracotta, appartenente alle collezioni del Museo Nazionale del Palazzo di Venezia. Il busto raffigurante il fiume Nilo, opera settecentesca attribuita allo scultore Gaspare Sibilla, è probabilmente un modello realizzato per il restauro dell'omonimo gruppo marmoreo conservato nei Musei Vaticani. L’intervento di restauro, sviluppato in diverse fasi (dalla pulitura, al consolidamento, alla reintegrazione plastica e pittorica), è stato preceduto da una serie di indagini diagnostiche (sezioni lucide e sezioni sottili, identificazione dei leganti e dei pigmenti, identificazione dei materiali utilizzati nei precedenti restauri) e da un'accurata documentazione dello stato di conservazione (documentazione grafica e fotografica, riprese fotografiche della fluorescenza UV). L'intervento conservativo si è rivelato piuttosto complesso a causa sia del precario stato di conservazione in cui versava la scultura, sia per la tecnica d'esecuzione. La leggibilità dell'opera era fortemente compromessa dalla presenza di pesanti depositi di particellato atmosferico, polvere e sporco grasso. Inoltre, gran parte della superficie risultava ricoperta da una grossolana ridipintura. Quest'ultima nascondeva l'originale patinatura bianca presente, seppure in modo molto lacunoso, sull'intera superficie del busto. Particolarmente grave appariva lo stato di conservazione del corpo ceramico che mostrava fenomeni di fessurazione, esfoliazione e polverizzazione, più accentuati nella parte inferiore della scultura. Questi danni sono probabilmente da imputare a fenomeni ciclici di cristallizzazione e sub-cristallizzazione di sali solubili presenti nel corpo ceramico. L'impiego di una apparecchiatura laser ha permesso di effettuare la pulitura, in modo selettivo e modulato, su delle superfici talmente deteriorate da non consentire un intervento di tipo tradizionale. In particolare, l'esfoliazione e la polverizzazione del corpo ceramico impedivano di operare senza danno sulle superfici e l'impiego del laser ha permesso di effettuare la pulitura evitando il pre-consolidamento del corpo della terracotta. Infine, ottimi risultati sono stati raggiunti impiegando il laser per “indebolire” lo strato di ridipintura e agevolarne la successiva rimozione con solventi. La tecnica laser ha consentito, nel nostro caso, di intervenire in completa sicurezza, salvaguardando la stabilità strutturale e conservativa dell’opera. Si è riusciti a recuperare completamente la patina originale, esaltando la valenza estetica della scultura e diminuendo i tempi di esecuzione della pulitura. Fri, 31 Dec 2010 23:00:00 GMT http://hdl.handle.net/2067/2234 2010-12-31T23:00:00Z http://hdl.handle.net/2067/2232 Title: Indagini diagnostiche su alcune sculture in terracotta del Museo del Palazzo di Venezia a Roma Authors: Falcucci, Claudio; Pelosi, Claudia Abstract: Le sculture selezionate nell’ambito del progetto di ricerca sono state esaminate tramite indagini in situ e analisi di laboratorio su micro frammenti prelevati durante la fase preliminare di studio. Le analisi in situ sono state eseguite tramite indagine radiografica per lo studio della tecnica esecutiva e dello stato di conservazione e tramite spettroscopia XRF per lo studio dei materiali costitutivi. I micro campioni sono stati analizzati tramite: spettroscopia micro-Raman e analisi ottica in sezione lucida dei micro frammenti più significativi e per i quali è stato possibile preparare una stratigrafia. Di ulteriori indagini, in particolare di datazioni eseguite mediante termoluminescenza e analisi XRF condotte in occasione dei recenti restauri, si rende conto nelle relative schede. Fri, 31 Dec 2010 23:00:00 GMT http://hdl.handle.net/2067/2232 2010-12-31T23:00:00Z