Conservation Science Research Papers - Academia.edu (original) (raw)

The cultural heritage field is rapidly evolving as a result of new concepts coming from other sectors. Sustainability constitutes one of these concepts.
Along with its essential social and artistic values, cultural heritage is indispensable for tourism and the same is true for conservation. On its turn, conservation requires long-term decisions and, because of this, it has been recently associated with sustainability. But is this interest in sustainability real? Are museums, and other institutions, actually going towards sustainability? So far, much has been done, but it is not yet enough. This poster describes a new approach to conservation which will allow the shifting of the word sustainability from a brand phrase to a real trend.

The excessive reliance on chemical fertilizers and the negligence shown to the conservation and use of organic manures (OM) have led to the exhaustion of organic carbon level, soil moisture level, and retention of microorganism population in the soil. The present study reveals that the farmers merely have any perception or they are not technically aware of the importance of the application of OM into their farming for the restoration of ecological resilience. Elucidating the factors, impacts, and perceptions of farmers, fifty respondents have been selected from Dalilpur and Kastodanga village of Nadia district by systematic random sampling for the study. The responses are collected through a structured interview schedule. The study envisaged that the livestock count, size of homestead land, size of landholding, production of organic manure, education variables have been found to exert strong and determining contribution to the application of organic manure. The socialization of proper cognitive adoption of organic manure among the farmers for the restoration of ecological resilience and popularization of resource-saving agricultural crop production is the need of the hour.

- by Prof. Dr Sankar Acharya
- •
- Conservation Science

Conservation actions most often occur in peopled seascapes and landscapes. As a result, conservation decisions cannot rely solely on evidence from the natural sciences, but must also be guided by the social sciences, the arts and the humanities. However, we are concerned that too much of the current attention is on research that serves an instrumental purpose, by which we mean that the social sciences are used to justify and promote status quo conservation practices. The reasons for engaging the social sciences, as well as the arts and the humanities, go well beyond making conservation more effective. In this editorial, we briefly reflect on how expanding the types of social science research and the contributions of the arts and the humanities can help to achieve the transformative potential of conservation.

- by Nathan J Bennett and +1
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- Conservation Biology, Conservation, Conservation Social Science, Environmental Sustainability

Terahertz time domain imaging (THz-TDI) has been applied for imaging a hidden portrait and other subsurface
composition layers of an 18th century (18C) easel painting by Nicolai Abildgaard, the most important 18C Danish
neoclassical painter of historical and mythological subjects. For the first time, a real hidden portrait on easel
painting has been imaged by THz-TDI, with an unexpected richness of details. THz C- and B-scans have been
compared with images obtained by X-radiography and invasive cross-sectional imaging, leading to a deeper
understanding of the strengths and limitations of this technique for art diagnostic purposes and defining its role
among complementary tools for the investigation of art objects. We present a fast and effective method to separate
single THz pulse reflections of interest from the entire signal across the image, adapted for uneven surfaces
typically encountered in practical applications of the technique. Interfaces between layers of the painting have
been successfully imaged, contributing substantially to the understanding of the structure of the painting

- by Corinna Koch Dandolo and +1
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- Imaging, Terahertz time-domain spectroscopy, Conservation Science, Conservation of Easel Paintings

A scientific examination of a double-sided panel painting attributed to Canadian artist Tom Thomson (1877-1917) was undertaken to investigate its authenticity and attribution. The materials and support of the two painted sides--Spring Landscape with Snow and Northern Mist--were compared with those of three Thomson reference panels from the National Gallery of Canada. The paintings were oil sketches on small birch panels and were impressed with an estate stamp. Dimensions of the subject panel were compared with those of 73 similar sketches by the artist. Paint samples from the subject and reference paintings were compared using x-ray diffraction and Fourier transform infrared spectroscopy. Nondestructive methods, including x-ray spectrometry and x-radiography, were also used to compare the panels. The main constituent of all the paintings except one was a mixture of lead sulfate and zinc white. The vehicle was identified as an ester-containing material, probably linseed oil, which had reacted with zinc white pigment or extender to form carboxylic acid salts (soaps). No inconsistencies were found between the materials used for the subject paintings and the Thomson reference panels. National Research Council of Canada researchers compared a Tom Thomson metal estate stamp, also owned by the National Gallery of Canada, with the estate stamp impressions on the panels using a high precision optical coordinate measuring machine (laser scanner). Simulated images of the metal estate stamp and the impressions in the panels were superimposed on a computer monitor to determine whether there were any discrepancies. The images gave a near perfect match. (AATA Nos: 2005-54549 and 39-3243; Abstractor: Ian N.M. Wainwright)

This project investigates the materials and techniques used by Tibetan artists. Six Tibetan thangkas were analyzed by infrared reflectography, energy dispersive x-ray fluorescence, Fourier transform infrared microspectroscopy, Raman spectroscopy, scanning electron microscopy-energy dispersive spectroscopy, and high-performance liquid chromatography. The analysis has suggested that three thangkas of the eighteenth-nineteenth century have a traditional palette, which includes azurite, vermilion, orpiment, bronchantite, red lead, dolomite, magnesite, organic red with calcite or magnesite substrate, and alumino-silicate clay minerals. Another late nineteenth or early twentieth century thangka shows the use of Western pigments such as emerald green, ultramarine, calcite, gypsum, chrome yellow, gold color from brass powder, and red and yellow dyes with barium sulfate substrates. Two twentieth century thangkas made for the tourist trade revealed a twentieth century palette such as titanium dioxide, phthalocyanine blue, phthalocyanine green, and other pigments such as red lead, chrome yellow, barium sulfate, and gypsum.

- by Ann Shaftel
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- Conservation, Tibetan Studies, Buddhist Studies, Buddhist Art
- by Cecilia Frosinini and +1
- •
- Psychoanalysis, Art History, Painting, Art and Science

The American Art Museum (SAAM) and the Pennsylvania Academy of Fine Arts (PAFA) worked collaboratively to research the materials and techniques of American painter Henry Ossawa Tanner (1859-1937) in preparation for the 2012 National Endowment for the Humanities funded exhibition, Henry Ossawa Tanner: Modern Spirit. This ongoing project involves the technical analysis of several paintings from SAAM’s extensive collection of Tanner’s work and it is the first scientific appraisal of Tanner’s painting technique and materials. The research project has contributed to exhibition materials that will provide an important new dimension to the story of Tanner as a black artist struggling to make his way in a harsh world – revealing him as a talented modern man whose training, intelligence and faith equipped him to surmount the difficult realities of his time and propelled him into a lifetime journey of personal and artistic discovery.

- by Amber L Kerr and +1
- •
- Cultural Heritage Conservation, Conservation Science, Henry Ossawa Tanner

Trophy hunting has potential to support conservation financing and contribute towards rural development. We conducted a systematic review of the Zimbabwean trophy hunting perspective spanning from pre-1890 to 2015, by examining the following: (1) evolution of legal instruments, administration, and governance of trophy hunting, (2) significance of trophy hunting in conservation financing and rural development, and (3) key challenges, emerging issues in trophy hunting industry, and future interventions. Our review shows that (i) there has been a constant evolution in the policies related to trophy hunting and conservation in Zimbabwe as driven by local and international needs; (ii) trophy hunting providing incentives for wildlife conservation (e.g., law enforcement and habitat protection) and rural communities' development. Emerging issues that may affect trophy hunting include illegal hunting, inadequate monitoring systems, and hunting bans. We conclude that trophy hunting is still relevant in wildlife conservation and rural communities' development especially in developing economies where conservation financing is inadequate due to fiscal constraints. We recommend the promotion of net conservation benefits for positive conservation efforts and use of wildlife conservation credits for the opportunity costs associated with reducing trophy hunting off-take levels and promoting nonconsumptive wildlife use options.

- by peter kareiva
- •
- Ecosystem Services, Conservation Biology, Environmental Studies, Ecology

Communication between scientist, curator, and conservator can be hampered by the specialized language used to describe analytical instruments and procedures. As a contribution to overcoming this barrier, synopses are presented of chemical and physical methods employed in the examination of paintings and other works of art. The aim is to clarify the terminology, briefly describe each method, and indicate areas of application. Methods described include infrared, ultraviolet, and fluorescence photography, infrared reflectography, x-radiography and electron emission radiography, light and scanning electron microscopy, x-ray spectrometry including x-ray secondary-emission (fluorescence) spectrometry and x-ray microanalysis, x-ray diffraction (XRD), and Fourier transform infrared spectroscopy (FTIR). Sampling and cross sections are discussed. (AATA Nos: 1991-86627 and 28-638; Abstractors: Author Abstract; Barbara Ramsay and Ian N.M. Wainwright)

The attached list is a compilation of reference materials useful in the field of art technological source research compiled from 2007–2013. The list does not claim to be complete or exhaustive, and is not updated anymore, but may still be informative. Mind that websites lead a fugitive life. Although these were found and checked at some point, no liability for the correctness of the URLs can be given. However, they may inspire readers to find similar sites.

- by Gianluca Poldi
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- Art History, Painting, Thermography, Conservation Science
- by costanza barbieri
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- Art History, Thermography, Conservation Science, Michelangelo Buonarroti

The initial results of a research project on the investigation of problems presented by a collection of oil paintings on paper supports are presented. The project focuses on the effect of the oil medium on the deterioration of cellulose, on the materials and techniques used by the artists and on comprehension of the resulting problems.
Non destructive methodology was used to record the behaviour of the materials when examined in several regions of the electromagnetic spectrum which gives an indication of areas of damage. Various analytical techniques were applied to investigate the painting materials and supports in original works of art. The increase in rate of the oxidation of cellulose in paper, when the paper is coated in oil, is investigated byanalyzing volatile organic compounds emitted during ageing tests.
The assessment of the results obtained will act as a pilot for a more extensive program of research, the ultimate aim of which is the formulation of a recommended methodology as a tool for the evaluation of the condition of these types of works, as well as the determination of conservation and care parameters.

- by Agathi Anthoula Kaminari and +2
- •
- Cultural Heritage, Cultural Heritage Conservation, Heritage Conservation, Conservation Science

An adhesive that can withstand elevated temperatures is necessary for the conservation of artifacts in hot climates. The use of Butvar B-98 as a modifier to raise the glass transition temperature of Paraloid B-72 was investigated. The characteristics of B-48N and B-72 blends, currently in use in the field of conservation, were used as a comparison for analysis of the B-98 and B-72 blends. Differential Scanning Calorimetry (DSC) was used to determine the glass transition temperatures (T g) of the blends and shear testing was used to investigate the shear strength of the blends. While the B-98 and B-72 blends attained elevated glass transition temperatures and performed well during shear testing, issues regarding miscibility and phase separation of the blends were investigated using transmission FTIR, DSC, and optical microscopy.

- by Gianluca Poldi
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- Art History, Restoration, Conservation Science, XRF

The selective nature of trophy hunting may cause changes in desirable phenotypic traits in harvested species. A decline in trophy size of preferred species may reduce hunting destination competitiveness thus compromising the sustainability of trophy hunting as a conservation tool. We explored the trophy quality and trends in harvesting patterns (i.e., 2004– 2015) of Cape buffalo (Syncerus caffer), African elephant (Loxodonta africana), greater kudu (Tragelaphus strepsiceros) and sable (Hippotragus niger) in Matetsi Safari Area, northwest Zimbabwe. We used long-term data on horn and tusk size, age, quota size allocation and offtake levels of selected species. To analyse the effect of year, area and age on the trophy size, quota size and offtake levels, we used linear mixed models. One sample t-test was used to compare observed trophy size with Safari Club International (SCI) minimum score. Trophy sizes for Cape buffalo and African elephant were below the SCI minimum score. Greater kudu trophy sizes were within the minimum score threshold whereas sable trophy sizes were above the SCI minimum score between 2004 and 2015. Age at harvest for Cape buffalo, kudu and sable increased whilst that of elephant remained constant between 2004 and 2015. Quota size allocated for buffalo and the corresponding offtake levels declined over time. Offtake levels of African elephant and Greater kudu declined whilst the quota size did not change between 2004 and 2015. The quota size for sable increased whilst the offtake levels fluctuated without changing for the period 2004–2015. The trophy size and harvesting patterns in these species pose a conservation and management dilemma on the sustainability of trophy hunting in this area. We recommend: (1) temporal and spatial rotational resting of hunting areas to create refuge to improve trophy quality and maintenance of genetic diversity, and (2) introduction of variable trophy fee pricing system based on trophy size.

- by Victor K Muposhi and +1
- •
- Conservation Biology, Environmental Sustainability, Wildlife Conservation, Conservation Science

Salts in historical masonry are a known destructive force and despite extensive research the results of desalination procedures remain unclear. A common used method for salt extraction is the use of poultice materials, while a more experimental technique is electrophoresis. In-situ the processes of both methods remain empiric and the results are more or less random. For the success of a salt extraction it has become clear that it is crucial to evaluate certain parameters before taking action. This paper deals with the state of the art of desalination of historic masonry by means of poulticing and electrophoresis, based on results of a case study. Both methods have been applied on a historical masonry of a barn in the old mill house in Hoksem Hoegaarden, Belgium. The results of poulticing indicate that the efficiency is rather limited, especially for the brick and in the depth of the masonry, and that salts are often redistributed in the masonry. While electrophoresis tests show more positive results in terms of desalination in the depth of the brick and mortar, several important questions related to the method for evaluating the salt extraction effect as well as to the formation of potential dangerous compounds remain unanswered.

A number of cartonnage fragments from the collections of the Petrie Museum, UCL, were examined to identify pigments, media and grounds. The different types of cartonnage made in ancient Egypt are reviewed. Special attention was paid to green pigments, which were shown to be of green earth, or a mixture of Egyptian blue and a yellow, usually goethite or orpiment. Green earth was found in one artefact, dated to the 9th century BC: all other examples were from the Graeco-Roman period. No copperorganometallic greens were present in the examples studied, or Egyptian green, or malachite. Binding media was identified both by ELISA and by GC/MS. A pink colourant was identified as madder, while lead white was used as a white in one example, showing the influence of Roman and Greek pigments on Egyptian art in these later periods. Plant gum, egg, and animal glue were found in different fragments, with mixed media in a few cases. Moganite was found associated with quartz in some preparatory layers by X-ray diffraction, which has not been reported previously as a constituent of ground layers in Egyptian artefacts.

This paper discusses a low-cost multispectral imaging system for the identification of pigments in artworks. It is composed of a full spectrum modified digital camera, a DSLR with the IR cut-off filter removed and sensitivity extended to about 360-1100 nm. A set of 12 interferential filters covering the range 400-805 nm completes the equipment. The system uses on-scene reflectance standards and the raw images are split in the 3 CFA (color filter array) components (RGB). An appropriate set of 12 RGB components was chosen to form the set of 12 spectral images to build up the reflectance imaging cube. This system was tested on a collection of 54 historical and modern pigments and their reflectance spectra were compared with a database of FORS spectra (360-1000 nm) of the reference pigments. The performance of this system was evaluated against a commercial spectral imaging system equipped with the same set of 12 filters, but mounting a conventional monochromatic high-sensitivity CCD. The performance of the digital camera system is comparable to that of the monochromatic CCD camera, but the latter provides more accurate spectra thanks to its higher linearity, especially at the edge of the spectrum and in the condition of low signal. The proposed system is of interest for the art conservation sector because of its low cost and because the same digital camera can be used for other technical photographic methods, reducing the weight and cost of the overall imaging equipment necessary. The proposed method implements a small number of filters and consequently it has limited analytical capacity. It must only be used for an initial mapping of the pigments and this preliminary identification must then be confirmed by elemental or vibrational spectroscopic methods.

This volume is made in honor of Professor Ioannis Liritzis Contribution to Archaeometry and the Greek contribution to Egyptology for his retirement from the University of the Aegean, Rhodes, Greece.
The contemporary trend of research projects and works are presented on selective issues of archaeometry, archaeology and Egyptology. The current status in research in the area of SE Mediterranean on cultural heritage and archaeological/historical reflections alone and/or coupled
with archaeological sciences of eleven papers are placed within an updated frame. The results concern
a variety of selected topics critically presented. The topics touch on the cultural astronomy, the ancient textiles and masonries and the physico-chemical and biological investigations, the socio-political issues of Egyptian Ramesside era, revisiting the inscription of an Egyptian statuette, and the valuable information extracted from rock graffiti in north Kharga, Egypt.

- by IOANNIS LIRITZIS
- •
- Archaeology, Egyptology, Cultural Heritage, Computational Linguistics

This report presents an overview of recent research in preservation of three information carriers: paper, film and photographic materials, and magnetic tape. It covers significant developments internationally over the last five years and... more

- by Rene Teijgeler
- •
- Book and Paper Conservation, Papermaking, Conservation Science

Abstract:
The problem of the restoration of the paintings in particular, all objects of art in general, is more serious than to intervene or not on of chromatic level, if "refresh" or not image or the entire object. It is the problem of counterfeit or not the message sent by him. Therefore, the curator is in the face of some tightrope, between legal and illegal, scientific or artistic production, kitsch or art. Scientific restoration, the entire set of physico - chemical tests is able to approach the restorer closest of ethical and aesthetic in their actions. And the fact that Brandi said, "...any intervention should be the most optimal, is considered in each case lawful and obligatory, it should be based on the biggest chain of scientific reasoning, being the first, if not only, on which a work of art takes as the need for continuous and relaxing existence image" (Cezare Brandi's Theory of restoration) to be normative.
Keywords: restorer, personality, science.

- by Andrei Hrib
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- Ethics, Conservation, Heritage Conservation, Art Conservation

Metodologia di ricerca e nuovi studi diagnostici applicati alle pitture murali di Giotto nelle Cappelle Bardi e Peruzzi a Santa Croce.

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

- by Elisabetta Zendri and +1
- •
- Materials Science, Heritage Conservation, Conservation Science

In this paper, two species identification methods are compared and discussed based on a case study of medieval archaeological leather shoe parts from the Danish cities of Ribe, Viborg and Odense. The species identifications are performed by both morphological grain pattern analysis using stereomicroscopy and zooarchaeology by mass spectrometry (ZooMS), which identifies species based on small structural differences in collagen type I, creating unique fingerprints of genera and in some cases species. Of the 105 shoe parts analysed and sampled, only 37 shoe parts were found to have preserved grain patterns. Grain pattern analysis was in some cases complicated by the lack of hair holes, degraded grain and the presence of soil particles. The varying morphological appearance and condition of the grain patterns are demonstrated through a series of stereomicroscope colour photos at 10x enlargement. The microscope photos reveal considerable complexity and variety in the morphological appearance of the decayed archaeological leather in comparison with well-preserved modern leather. The colour photo examples of the grain pattern and ZooMS-identified leather may help to improve the grain pattern analysis of archaeological leather in future. Where grain patterns were preserved, a good correlation between the two methods was observed. ZooMS had a high overall success rate and has a large potential for species identification of archaeological leather. In the cases where grain pattern analysis was problematic, ZooMS was found superior for species identification. Even though grain pattern analysis had a lower success rate, in a few cases it did produce results at a higher taxonomic level than ZooMS identification. Moreover, grain pattern analysis provided additional contextual information. In conclusion, an interdisciplinary approach is recommended for conservators, archaeologists and other researchers of cultural heritage wishing to find the most potential way to identify different species. The identification method used should be tailored to suit each given archaeological leather assemblage depending on the degree of preservation, object type and context of the material in question, as well as the available expertise, time and budget.

- by Kirstine Haase and +1
- •
- Conservation Science, ZooMS, Archaeological Leather

The Historical Museum in Stockholm holds two interesting Medieval braids, one from Riddarholmen Church and one from Alvastra Abbey. Both are made of red silk and metal thread, probably with a loop-manipulation braiding technique that can produce openwork braids resembling lace. The braid from Riddarholmen can be linked to funerary textiles, as it was found during the opening in 1915–16 of the purported tomb of King Magnus Birgersson Ladulås (Barnlock). The other braid was excavated in 1949 at Alvastra Abbey and is probably a fastening loop. In this study, we present the results of a technical and material comparison of the two braids.

The focus of this study is to use a multi-analytical approach to map and identify the pigments used on a polychrome wooden coffin (Late Period), as well as to provide a deeper understanding of the painting techniques and the condition of the object. Moreover, the authors are significantly interested in the identification of the wood species. These were identified by observing the thin sections of samples under an optical transmission light microscope; the painted materials layered on the wood surface were analyzed by several scientific and analytical methods. Furthermore, the previous consolidation material and salts were also identified. The application of technical photography provided useful information about the spatial distribution of the surviving original pigments and the materials used in previous restoration interventions, in particular visible-induced luminescence, which played an important role to recognize spatial distribution of areas containing Egyptian blue, even if it is in traces or mixed with other pigments. However complete characterization of the pigments was only possible with the use of other techniques. Resumo Este estudo pretende usar uma abordagem multi-analítica para mapear e identificar os pigmentos usados num sarcófago de madeira policromada (Época Baixa), assim como proporcionar um mais detalhado conhecimento das técnicas de pintura e do seu estado de conservação. Além disso, os autores estão especialmente interessados na identificação das espécies de madeira. Estas foram identificadas através da observação, ao microscópio óptico de transmissão, de lâminas delgadas e a camada cromática sobre a madeira foi analisada com o recurso a diferentes métodos de exame e análise. Além disso foram igualmente identificados o material de consolidação utilizado numa intervenção anterior e os sais. A fotografia técnica proporcionou informação útil sobre a distri-buição espacial dos pigmentos originais e dos materiais usados em anteriores intervenções. A lu-minescência visível induzida foi sobremaneira útil para se perceber a distribuição do azul egípcio, mesmo quando em concentrações vestigiais ou misturado com outros pigmentos. No entanto, a caracterização detalhada dos pigmentos só foi possível através dos outros métodos usados.

- by THOMAS MAFREDAS
- •
- Archaeometry, Conservation Science, Wall Paintings

Red, yellow, and white paint pigments and mineral accretions at the Paja Colorada cave rock painting site were identified. The site is in the Province of Vallegrande, Department of Santa Cruz, Bolivia. Eight microscopic samples were analyzed using scanning electron microscopy-energy dispersive x-ray spectrometry (SEM-EDS) and x-ray diffraction (XRD). The pigments were identified as the minerals hematite (red), goethite (yellow), and illite/muscovite (white). Quartz, calcite, kaolinite, gypsum, boehmite, and gibbsite were also identified in the samples. Environmental conditions in the past may have resulted in the formation of the gypsum accretion observed. Five of the eight samples analyzed contained the calcium oxalate minerals weddelite or whewellite or both. Calcium oxalates could be the result of deposition resulting from microbiological processes involving bacteria, algae, fungi, or lichens. One sample that is composed of a black carbonaceous material could be a result of soot from a fire. The results suggest that a more detailed examination of the Paja Colorada rock painting sequence might allow researchers to investigate relative and absolute dating of the pictographs using pigment analysis, cross-section microanalysis, and accelerator mass spectrometry (AMS) 14C dating of carbonaceous deposits and oxalate minerals. These dates could then be correlated with other archaeological data from the site and environs as well as from other rock art sites.

A scrapbook compiled between 1660 and 1687 by Gesina ter Borch (1631-1690), a female artist from the small town of Zwolle in the Netherlands, contains an intriguing painting on paper of a full-length portrait of a young Iranian. Although the figure wears the attributes in vogue at the Safavid court of Isfahan, certain elements seem rather incongruous and peculiar. The general composition appears static and rigid, an impression reinforced by an unusual black painted background. Stylistic differences within the painting were also observed, hinting at alterations to the original painting. To investigate the history of the painting and to reconstruct the original composition and identify the later additions, perhaps made by Gesina herself, the painting was examined with different imaging and analytic techniques available at the Conservation and Science Department of the Rijksmuseum. This allowed the research team to discriminate between pigments used for the original composition and pigments used to conceal damaged areas of the painting and added pictorial elements. After interpreting scientific results, as well as historical findings, it was possible to shed light on the use of specific pigments, namely lead white and smalt, and on the possible misinterpretation of some details, such as the cup held by the young man. The results of macro X-ray fluorescence scanning (MA-XRF) and lead isotope analysis, viewed in the light of information about the economic and cultural exchanges between Iran and the Netherlands in the seventeenth century, fed new theories about the origin and history of this painting. The painting, originally made in Iran in the style of Riza Abbasi, the head of the Emperor Shah Abbas' library, ended up in Gesina ter Borch's workshop and may have been 'restored' by the artist to improve its condition and to match her tastes.

Determining the performance of polymeric consolidants for fragile, multilayered decorative coatings is a great challenge. A new method is presented to detail the mechanical strengthening effect consolidants have on coating structures. Research was undertaken using East Asian lacquer coatings as an example of multilayered coatings showing brittle fracture and delamination.
A survey identified gesso-type foundation layers to be the least stable layers in the coatings. Mechanical strength tests performed with the standardised double cantilever beam (DCB) method measured the fracture energy (GIc) to characterise the fracture behaviour of the brittle layer. DCB specimens were fractured, then consolidated with polymer formulations and re-fractured to provide data for direct comparison. Consolidants included hide glue, cold-liquid fish glue, isinglass, starch/isinglass, Lascaux Medium for Consolidation (MfK), Paraloid B72 and B48N, Mowiol 3-83, Mowilith 50 and DMC2, and East Asian lacquer (urushi). For undamaged foundation layers, GIc=47(±22) J/m2 was measured. Results for consolidated specimens varied widely. Paraloid and fish glue showed great decreases in mean GIc (down to - 98 %), Lascaux MfC and Mowilith DMC2 gave the greatest increases (up to +180%). Further information on the penetration and void-filling ability of consolidants was provided by cross-sections of the DCB specimens, which matched the results of the measured GIc.
The results showed that differences in the fracture energy, the penetration behaviour of the consolidants, and the location of crack path propagation are measurable using the DCB method. These data provide a much improved understanding of the strengthening capability of different consolidants.

In 1988, the Analytical Research Laboratory of the Canadian Conservation Institute undertook the analysis of 13 wall painting fragments from the Magao and Bingling Temple Grottoes representing the range of pigment colors observed. Using various types of microscopy, x-ray diffraction, and Fourier transform infrared spectroscopy, the authors studied cross sectioned samples. (In a parallel study undertaken at the Dunhuang Cultural Relic Research Institution, 293 samples were studied.) They were unable to detect the presence of any binding media, but detected calcium oxalates in most paint layers, leading them to suspect that the paintings had been subject to microbiological deterioration. They identified hematite, azurite, red lead, copper compounds, a gold/silver alloy, and plattnerite pigments and found that the typical structure of the paintings was a supporting layer of clay over the grotto wall, a preparatory layer of clay and straw with calcium carbonate, and thin paint layers. (AATA Nos: 1999-92922 and 35-621; Abstractor: Rebecca Anne Rushfield)

Describes a collaborative project initiated by the Instituto Nacional de Antropología y Pensamiento Latinoamericano to develop conservation, recording, and site management strategies for Argentina's rock sites. Two rock painting sites in Santa Cruz province (Patagonia) are among the sites under investigation: Cueva de las Manos and Cerro de los Indios. The sites are expressions of a hunter-gatherer culture that occupied the region from 9,000 years BP to the end of the pre-Hispanic period. One objective of the project is to evaluate alternatives to chain link fencing that will protect the pictographs, control the flow of visitors, and allow for enhanced interpretation of the site. Raising public awareness and concern for the fragility of the rock art and for its preservation is a high priority of the project. The interest of concerned citizens in the protection and conservation of the sites is encouraging. Existing graffiti was recorded and microscopical samples were removed for analysis of pigments and mineral accretion. (AATA Nos: 2006-54550 and 40-2065; Abstractor: Ian N.M. Wainwright)

Hawaiian barkcloth (‘kapa’) is a traditional fabric made from beaten plant fibers. Because of its function in both utilitarian and chiefly ornaments, kapa is intimately tied to the history and traditions of Hawai’i. In the 19th century kapa was gradually replaced with imported textiles and the practice was lost. The traditional methods used to manufacture kapa are now only known from historic descriptions by early missionaries and explorers. Since the 1970s, cultural practitioners began an effort to revive this artform and are experimenting with materials and techniques to reproduce kapa with the quality of historic artifacts.
Research has been undertaken at the Bishop Museum using a multi-analytical approach to determine the colorants. The Bishop Museum holds the world’s best collection of kapa, including some of the earliest pieces collected from Cook’s voyage in the 18th century. The research has focused on a comprehensive survey of over 150 pieces of kapa with x-ray fluorescence spectroscopy (XRF). In some cases, samples were removed and analyzed with UV-Vis-NIR fiber optics reflectance spectroscopy, Fourier transform infrared spectroscopy (FTIR) and chromatographic techniques, including high performance liquid chromatography (HPLC). Scientific results document the use of traditional pigments and dyes as well as the incorporation of imported materials in the 19th century. Results are interpreted by period, design and use, as well as within the context of historic descriptions. An important aspect of this work is close collaboration with cultural practitioners experienced fabrication methods that have been successful in the recreation of kapa. With continued research, the goal is to ultimately gain a greater knowledge of historic materials and techniques for the continuation of this important tradition.

- by Tina Bisulca
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- Polynesian Studies, Heritage Conservation, Art Conservation, Conservation Science

An analytical study of First Nations painted objects from the Northwest Coast showed that green earth (celadonite) was used as a green pigment by Tlingit, Haida and Tsimshian artists. Green earth appears to have been used less frequently by Heiltsuk and Kwakwaka’wakw artists and was not found on Coast Salish or Nuu-chah-nulth objects. Microscopical samples of green paint from 82 Northwest Coast objects, as well as several pigment sources and mineral specimens, were analysed using Fourier transform infrared spectroscopy or X-ray diffraction. Green earth was the most frequently identified green pigment, found in approximately 40% of the samples.

Il existe au moins un domaine où les images scientifiques et artistiques sont similaires. C’est celui de la conservation-restauration des biens culturels. À partir d’une étude de cas, on montre que les analogies faites dans ce domaine par les historiens d’art ne sont pas les conclusions, mais des prémisses : ce sont les indices des raisonnements abductifs qu’ils soumettent aux scientifiques du patrimoine dans le cadre des raisonnements expérimentaux à finalité pratique qu’ils font ensemble. Les conservateurs-restaurateurs qui interviennent sur l’œuvre sont en position d’articuler ces deux perspectives, entre l’art et la science. On identifie dans cet article les points de bascule d’un régime iconographique à l’autre et l’on modélise cette bascule de point, en empruntant au cinéma quelques concepts. Les résultats de cette étude de cas devront être confrontés à d’autres, pour livrer aux experts de la conservation-restauration une sémiotique qui leur soit utile.

Despite broad recognition of the value of social sciences and increasingly vocal calls for better engagement with the human element of conservation, the conservation social sciences remain misunderstood and underutilized in practice. The conservation social sciences can provide unique and important contributions to society's understanding of the relationships between humans and nature and to improving conservation practice and outcomes. There are 4 barriers – ideological, institutional, knowledge, and capacity – to meaningful integration of the social sciences into conservation. We provide practical guidance on overcoming these barriers to mainstream the social sciences in conservation science, practice, and policy. Broadly, we recommend fostering knowledge on the scope and contributions of the social sciences to conservation, including social scientists from the inception of interdisciplinary research projects, incorporating social science research and insights during all stages of conservation planning and implementation, building social science capacity at all scales in conservation organizations and agencies, and promoting engagement with the social sciences in and through global conservation policy-influencing organizations. Conservation social scientists, too, need to be willing to engage with natural science knowledge and to communicate insights and recommendations clearly. We urge the conservation community to move beyond superficial engagement with the conservation social sciences. A more inclusive and integrative conservation science - one that includes the natural and social sciences - will enable more ecologically effective and socially just conservation. Better collaboration among social scientists, natural scientists, practitioners, and policy makers will facilitate a renewed and more robust conservation. Mainstreaming the conservation social sciences will facilitate the uptake of the full range of insights and contributions from these fields into conservation policy and practice.

- by Nathan J Bennett and +4
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- Environmental Sociology, Human Ecology, Human Geography, Environmental Geography

Local people living near protected areas can either be a threat to conservation or allies. Whether they take actions which are consistent with conservation or detrimental to conservation depends in part on the costs and benefits... more

- by Eric Nana
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- Conservation Science

SUMMARY A number of Roman period Egyptian funerary portraits are curated by the Department of Ancient Egypt and Sudan at the British Museum (BM). A collaborative research project to investigate this collection was undertaken jointly by the BM and the National Gallery, London, the owner of two of the portraits. In the course of this examination four portraits (Lady in Antonine Dress, EA65346; Military Man, EA65345; Woman with an Emerald Necklace, EA74831/ NG3931; and Man with a Gilded Wreath, EA74832/NG3932) that were found to be in need of stabilization were the subjects of intensive conservation treatment and study. This contribution discusses the archaeological/historical background and construction of these portraits, and presents their conservation history, initial condition and final structural conservation. An initial mounting solution is described and proposals made for longer-term care to enable study, display and loan. Condition assessments revealed that all four portraits had previously been treated in a similar way: each had been flattened and adhered to a rigid auxiliary support that did not allow for movement of the original panel in response to environmental change. This treatment was producing damage, with all four portraits separating from their supports, leading to cupping and splitting of the panels and paint loss. The paint was consolidated, the panels removed from the supports and the splits realigned and secured. The panels were then supported on profiled soft mounts.

Atendiendo el estatus e importancia de esta especie se construyó el Plan de conservación del chorlo llanero (Charadrius montanus) en el Desierto Chihuahuense. Dicho plan cumplió con el objetivo de establecer las líneas de acción necesarias para la instauración de una estrategia integral de conservación mediante un proceso de planeación participativa, el cual incluyó la formación de un grupo de trabajo conformado por especialistas y actores involucrados. El propósito del Plan de Conservación del chorlo llanero (Charadrius montanus) en el Desierto Chihuahuense, es servir como una guía para conservar esta especie en su intervalo de distribución en esta ecorregión, proponiendo poblaciones focales, áreas de forrajeo, procesos biológicos, ecológicos y antropológicos prioritarios para un esfuerzo colectivo de manejo.

- by Pronatura Noreste
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- Ornithology, Conservation Biology, Conservation Science, Chihuahuan Desert