By Andrew J. Clark
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Additional resources for Advanced Techniques in Art Conservation
Interestingly, noninvasive measurements proved that, for the reconstruction of damaged areas, Ridolfo used the same blue pigments originally employed by Raphael: lapis lazuli painted over a layer of azurite. In Figure 4, two mid-FTIR spectra are shown collected from areas of the sky, one painted by Raphael (spectrum a, point 34) and the other, at the extreme left-hand corner of the panel, painted by Ridolfo (spectrum b, point 35). 34 Diversely, the later retouches resulted to be made of smalt, Prussian blue, and synthetic ultramarine.
The univariate analysis of the spectra from the Wise King’s gown highlighted the following: a proteinaceous binder showing strong signals of νCH, amide I and amide II, Figure 6d, most probably for a gold application on the fluorescent damask decorations, and weak signals of an organic compound in the spectra recorded on nonfluorescing areas. Projecting all these data on the t1 vs t4 space generated by the PCA model, all the spectra collected on fluorescent damask decorations are located in the upper part of the diagram (full red stars, Figure 6a) corresponding to the a secco application by glue or egg.
She also specializes in using lasers and other state-of-theart techniques for cleaning of easel paintings, mural paintings, and other artifacts. 726 ACCOUNTS OF CHEMICAL RESEARCH 715-727 June 2010 Vol. 43, No. D. in Chemical Science from the University of Pisa, Italy, in 2006. Her research focuses on the characterization of natural and synthetic organic materials used in works of art and the study of how they degrade during aging. Another major research interest is the development of analytical procedures for the identification of organic materials in paint samples, using mass spectrometric techniques, such as GC/MS, Py-GC/ MS, and DE-MS.
Advanced Techniques in Art Conservation by Andrew J. Clark