Piero Baglioni, David Chelazzi, Rodorico Giorgi, Giovanna Poggi
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引用次数: 0
Abstract
ABSTRACTThe application of Ca(OH)2 nanoparticles dispersed in short chain alcohols to adjust the pH of acidic cellulosic substrates (paper, canvas, and wood) has been introduced and largely assessed in conservation practice, and commercial products are available on the market. Recently, some concerns about this methodology were expressed in a technical note (‘A Note of Caution on the Use of Calcium Nanoparticle Dispersions as Deacidifying Agents’ by Cremonesi (2023)). The main criticism is that carbonation of the hydroxide particles into calcium carbonate could be too slow, and the Ca(OH)2 remaining on the fibers might cause structural damage to cellulose by producing high alkalinity in situ, when water absorbed by the alcohol dispersion or by the cellulose-based support causes dissociation in the nanoparticles. However, in Cremonesi’s note, no accurate description of the application method was given, and some fundamental information already present in the literature was overlooked. Here, we give a rebuttal of Cremonesi’s conclusions, providing: (1) further evidence that the correct application of the particles’ dispersions results in carbonation and in neutral pH values in a few days; and (2) an up-to-date literature survey, in which the Ca(OH)2 nanoparticles’ carbonation kinetics is studied in detail, and potential structural damage to cellulosic materials in an alkaline environment is evaluated and ruled out.KEYWORDS: DeacidificationpH adjustmentpaper restorationcalcium hydroxide nanoparticles AcknowledgementsThe Consorzio Interuniversitario per lo Sviluppo dei Sistemi a Grande Interfase, CSGI (Center for Colloid and Surface Science) is gratefully acknowledged for financial support.Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThis work was supported by CSGI.
期刊介绍:
Studies in Conservation is the premier international peer-reviewed journal for the conservation of historic and artistic works. The intended readership includes the conservation professional in the broadest sense of the term: practising conservators of all types of object, conservation, heritage and museum scientists, collection or conservation managers, teachers and students of conservation, and academic researchers in the subject areas of arts, archaeology, the built heritage, materials history, art technological research and material culture.
Studies in Conservation publishes original work on a range of subjects including, but not limited to, examination methods for works of art, new research in the analysis of artistic materials, mechanisms of deterioration, advances in conservation practice, novel methods of treatment, conservation issues in display and storage, preventive conservation, issues of collection care, conservation history and ethics, and the history of materials and technological processes. Scientific content is not necessary, and the editors encourage the submission of practical articles, review papers, position papers on best practice and the philosophy and ethics of collecting and preservation, to help maintain the traditional balance of the journal. Whatever the subject matter, accounts of routine procedures are not accepted, except where these lead to results that are sufficiently novel and/or significant to be of general interest.