Journal of Cultural Heritage最新文献

{"title":"OCT-based quantitative analysis of craquelure morphology in an oil painting","authors":"Soojung Kim ,&nbsp;Ji-o Kim ,&nbsp;Gilles Nogues ,&nbsp;Kyujung Kim","doi":"10.1016/j.culher.2025.06.017","DOIUrl":"10.1016/j.culher.2025.06.017","url":null,"abstract":"<div><div>A thorough three-dimensional quantitative analysis of an artwork crack can yield valuable and in-depth information regarding the preservation, restoration, and authenticity of the artwork. In this study, high-resolution three-dimensional optical coherence tomography(OCT) images were obtained for each type of crack, and cross-sectional images of the cracks were extracted. The width and depth distributions were measured over the entire length of the cracks, and the z-axis slice cross-sectional areas were measured over the entire height of the cracks. The analysis revealed that straight cracks exhibited the most significant variations in width and depth. In contrast, vertical cracks exhibited minimal variability in terms of width and depth. Furthermore, radial cracks exhibited greater variability in depth than in width. The z-axis cross-sectional area increased from the center of the crack to both ends or from one side of the central horizontal axis reference of the crack. The utilization of these precise artwork measurement data can facilitate the optimization of preservation and restoration efforts, thereby providing a scientific foundation for the identification of counterfeits. This approach can prevent damage to the aesthetic, economic, and historical value of the artwork and contribute to its appropriate preservation.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"74 ","pages":"Pages 332-340"},"PeriodicalIF":3.5,"publicationDate":"2025-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144604699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tracing the evolution of artists' materials and manufacturers' choices in painted magic lantern slides","authors":"Ângela Santos ,&nbsp;Vanessa Otero ,&nbsp;Márcia Vilarigues","doi":"10.1016/j.culher.2025.06.008","DOIUrl":"10.1016/j.culher.2025.06.008","url":null,"abstract":"<div><div>Painted glass slides are fragile miniatures painted by hand on flat glass support to be projected with magic lanterns. Following the development of the magic lantern as the first optical instrument of projection in the mid-17th century, painted glass slides achieved the apogee of their production and use during the 18th and 19th centuries. Despite their widespread presence in collections and museums worldwide, the study of their materiality remains underexplored, posing challenges to their preservation.</div><div>This work investigates the colourants and binders used in 42 slides from Portuguese collections (Portuguese Cinematheque – Museum of Cinema and National Museum of Natural History and Science of the University of Lisbon) representative of the European production of the 18th and 19th centuries. A multi-analytical approach was employed, with minimal sampling restricted to paint areas detaching from the glass. Energy-dispersive X-ray fluorescence (EDXRF) spectrometry, Ultraviolet-Visible (UV–VIS) and Raman spectroscopies were favoured for <em>in situ</em> analysis, complemented by Fourier-transform infrared spectroscopy (FTIR) and Surface-Enhanced Raman spectroscopy (SERS) carried out on micro-samples. It was possible to detect the presence of mastic and shellac resins as binding components and to identify several colourants, including red ochre, cochineal-based lakes, geranium lakes, vermilion, yellow ochre, gamboge, Prussian blue, ultramarine blue, copper-green, and carbon-black, and fillers such as gypsum.</div><div>These results establish correlations between identified materials and historical sources, reflecting artists’ choices and evolving manufacturing practices. Distinct palettes and techniques were associated with manufacturers such as Philip Carpenter, Carpenter &amp; Westley, W.E. &amp; F. Newton, and Lapierre. The findings contribute to a deeper understanding of slide production techniques and support improved conservation strategies for these delicate and often overlooked heritage objects.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"74 ","pages":"Pages 236-245"},"PeriodicalIF":3.5,"publicationDate":"2025-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144549373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From eye-tracking to games: exploring low-tech solutions for sustainable cultural landscape management","authors":"Marta Rusnak ,&nbsp;Barbara Kilijańska ,&nbsp;Izabela Garaszczuk ,&nbsp;Andrew Duchowski ,&nbsp;Małgorzata Biegańska ,&nbsp;Daria Dobrasiak ,&nbsp;Zofia Koszewicz","doi":"10.1016/j.culher.2025.06.011","DOIUrl":"10.1016/j.culher.2025.06.011","url":null,"abstract":"<div><div>The development of cities to address social, cultural, and environmental challenges increasingly relies on new technologies. Eye tracking (ET) is one such method used to assess how urban developments impact the perception of architectural and cultural heritage. However, ET has limitations, including high costs and difficulties with certain populations. This paper proposes the use of games, specifically puzzles, as an accessible alternative for wider community engagement in urban planning. Although games are often viewed as less serious research tools, our study shows that they can produce results comparable to ET. A comparative analysis revealed significant correlations between how participants arranged architectural puzzles and their spatial perception of cultural landscapes. These findings suggest that games could offer a sustainable, low-cost method for evaluating urban development impacts on heritage sites. Future research should explore the broader applicability of puzzles and other game types in city management and heritage protection.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"74 ","pages":"Pages 225-235"},"PeriodicalIF":3.5,"publicationDate":"2025-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144523490","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Setting up a methodology for restoring degraded daguerreotypes using UV lasers and atmospheric non-thermal plasma cleaning techniques","authors":"Diego Quintero Balbas ,&nbsp;Evdoxia Dimitroulaki ,&nbsp;Kristalia Melessanaki ,&nbsp;Barbara Cattaneo ,&nbsp;Andrea Cagnini ,&nbsp;Laura Bartoli ,&nbsp;Emanuele Verga Falzacappa ,&nbsp;Paolo Scopece ,&nbsp;Paraskevi Pouli ,&nbsp;Jana Striova","doi":"10.1016/j.culher.2025.06.021","DOIUrl":"10.1016/j.culher.2025.06.021","url":null,"abstract":"<div><div>Since the early years of the development of daguerreotypes – the first commercial form of photography made public in 1839 – cleaning procedures have been necessary due to their tendency to tarnish. Cleaning daguerreotypes is challenging, and conventional methods often result in undesirable effects or prove impractical, especially for hand-colored plates. In recent decades, advanced techniques, such as laser and plasma cleaning, have been optimized for tarnish removal. However, their effectiveness in removing other substances, such as by-products of previous cleaning treatments, has not been evaluated. To address this issue, we investigated the efficacy of laser and atmospheric non-thermal plasma cleaning on two 19th-century daguerreotypes exhibiting two different degradation conditions: one with typical tarnish, and the other with a complex layer composed of cyanides, calcium carbonate, and an organic compound, likely produced during a previous cleaning attempt. This work reports systematic tests using visible (VIS) and ultraviolet (UV) lasers emitting at four different wavelengths: Nd:YAG (532 nm, 355 nm), KrF excimer (248 nm), and ArF excimer (193 nm). All the lasers operated in the nanosecond regime, except for the KrF excimer laser, which was also tested with femtosecond (500 fs) pulse duration. This is the first report of results using the 248 nm wavelength in both ns and fs regimes for daguerreotype restoration. For comparison, we also applied atmospheric non-thermal plasma cleaning to both types of degradation. The experiments allowed us to assess the advantages and limitations of both techniques, showing that both are suitable depending on the specific surface condition. Additionally, we evaluated a combined cleaning strategy that involved laser and wet cleaning with two different substances – distilled water and an EDTA solution – to optimize the cleaning outcomes. To make an informed selection of the parameters and evaluate treatment efficacy, we characterized the chemical composition and morphology of the daguerreotypes and their degradation products before and after cleaning using optical microscopy, μ-Raman spectroscopy, and SEM-EDS. Besides the identification of the degradation products, the analytical results provided a critical review of previous literature on laser cleaning of daguerreotypes and supported the determination of the best experimental conditions for the safe removal of degradation layers from the surface of daguerreotypes.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"74 ","pages":"Pages 289-299"},"PeriodicalIF":3.5,"publicationDate":"2025-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144596118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"In situ long-term monitoring of microbial patinas on the external marble of Florence Cathedral after treatments with essential oils","authors":"Alba Patrizia Santo ,&nbsp;Oana Adriana Cuzman ,&nbsp;Teresa Salvatici ,&nbsp;Beatrice Agostini ,&nbsp;Brunella Perito","doi":"10.1016/j.culher.2025.06.012","DOIUrl":"10.1016/j.culher.2025.06.012","url":null,"abstract":"<div><div>The control of biological patinas on cultural heritage stones is a challenging task as treatments are often not long-lasting, and the microorganisms naturally tend to colonize any surface that meets their living requirements. Historically, the most widely used strategy to combat the biodeterioration of stone cultural heritage has involved the application of synthetic and aggressive biocides. However, recent developments have shifted towards more sustainable conservation methods, including the use of natural biocides. Among these, essential oils (EOs) have gained attention due to their well-documented antimicrobial properties. In previous work, we treated selected areas of the external marble of Florence Cathedral, which were affected by extended darkening, with thyme and oregano EOs. The efficacy of these treatments was assessed in the short- and mid-term using a multidisciplinary approach. In this work, we report the long-term evaluation (after four years) of these treatments, employing on-site microscopy, non-invasive colorimetric, and ATP (adenosine triphosphate) assays. This study shows that treatments performed with different solutions have varying efficacy over time, and that the solutions containing both thyme and oregano essential oils (OT) are those showing the best long-term effectiveness on microbial activity. This extended monitoring period is crucial for understanding the durability of the treatments and their effectiveness in controlling biodeterioration over time.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"74 ","pages":"Pages 246-256"},"PeriodicalIF":3.5,"publicationDate":"2025-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144549374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reviving the colors of paintings by removing the protective coating: a physical and virtual intervention","authors":"José A.R. Monteiro ,&nbsp;Liliana Cardeira ,&nbsp;Ana Bailão ,&nbsp;Sérgio Miguel Cardoso Nascimento ,&nbsp;João M.M. Linhares","doi":"10.1016/j.culher.2025.06.015","DOIUrl":"10.1016/j.culher.2025.06.015","url":null,"abstract":"<div><div>When an existing coating over a painting is detrimental to its reading and full appreciation, it needs to be removed. Coating removal to reveal the underlying painting, with minimal physical intervention, may provide additional information regarding the painting and guidance for its restoration or intervention.</div><div>A Neural Network (NN) was devised to simulate the removal of a painting’s coating, using as training data a small area of the painting where the coating had been physically removed. Simulations of coating removal using the NN and two additional methodologies were compared to actual physical removal.</div><div>Hyperspectral images of the paintings with and without coating were acquired, and chromatic variations were computed by estimating differences in just-noticeable different colors (JND) values and in the color gamut, using CIECAM16-UCS. Comparisons were made between paintings with and without coating, and between paintings without coating and their simulations.</div><div>Results showed that removing the coating led to an increase in JND values (1.8 times on average) and in the color gamut, but the magnitude was dependent on the initial condition of the coating. When simulating coating removal, the NN produced the best chromatic simulation, with an average JND of approximately 2.6 ± 0.5 (1.1 ± 0.2 excluding lightness), while other methodologies produced differences of approximately 8.6 ± 5.7 (3.7 ± 3.0 excluding lightness).</div><div>Results achieved with the NN highlight its capability for simulating coating removal with minimal physical intervention to the painting, a valuable tool when complete coating removal without outcome prediction would be undesirable.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"74 ","pages":"Pages 322-331"},"PeriodicalIF":3.5,"publicationDate":"2025-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144604698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Non-destructive classification of ancient mural pigments by hyperspectral imaging","authors":"Tingting Li ,&nbsp;Lihong Li ,&nbsp;Ziru Yu ,&nbsp;Bo Ning ,&nbsp;Yong He ,&nbsp;Wenxiu Wan ,&nbsp;Zhiyuan Liu ,&nbsp;Xiangyang Yu","doi":"10.1016/j.culher.2025.06.014","DOIUrl":"10.1016/j.culher.2025.06.014","url":null,"abstract":"<div><div>Given the vulnerability and value of ancient murals, there is an urgent need to identify, restore and preserve their pigments. This study develops an image spectral fusion (ISF) method integrating hyperspectral imaging with optimized superpixel segmentation and spectral processing to achieve rapid, non-destructive pigment classification. Applied to the Yungang Grottoes murals, the Support Vector Machine model based on ISF realizes the superpixel-level classification of ancient mural pigments with an accuracy of 87 %. External validation demonstrates its excellent classification performance across diverse mural preservation states. Spectral characterization analyses reveal the potential of the method in pigment identification through spectral matching, and pigment mixtures classification. This non-destructive, contactless detection method can serve as a methodological foundation for pigment identification in murals.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"74 ","pages":"Pages 353-362"},"PeriodicalIF":3.5,"publicationDate":"2025-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144704041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ours Elsevier","authors":"","doi":"10.1016/S1296-2074(25)00177-3","DOIUrl":"10.1016/S1296-2074(25)00177-3","url":null,"abstract":"","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"74 ","pages":"Page iii"},"PeriodicalIF":3.3,"publicationDate":"2025-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144829352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Accelerated ageing test (Oddy test) of additive manufacturing materials for cultural heritage use","authors":"Erato Kartaki ,&nbsp;Graeme Earl ,&nbsp;Dean Sully ,&nbsp;Nicola Harrison ,&nbsp;Timea Grego","doi":"10.1016/j.culher.2025.06.018","DOIUrl":"10.1016/j.culher.2025.06.018","url":null,"abstract":"<div><div>Restoring missing parts of cultural heritage (CH) objects, such as sculptures, archaeological artefacts, or decorative arts, typically marks the final phase in the conservation process. During this treatment, conservators rely on materials known for their ageing properties and lack of adverse effects on the historical item. As technology progresses, new methods and techniques emerge, including additive manufacturing (AM), which has been employed in CH restoration since the early 2010s. However, questions within the CH conservation community have arisen about the suitability of AM materials for this purpose.</div><div>This paper outlines the process and presents the outcomes of an accelerated ageing test on collected ceramic, ceramic-like, glass-like, paper-based and polymer AM materials. The Oddy test results suggest that some commercially available AM materials are suitable for conservation use. However, inconsistent results across different labs highlight concerns about the reliability and consistency of Oddy testing. This procedure is an integral part of a doctoral research project focused on the use of additive manufacturing method to restore ceramic and glass archaeological artefacts. This research could benefit conservators of antiquities and works of art, museum curators and material scientists who would like to use the additive manufacturing method as a complementary restoration method for their conservation process or museum curation.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"74 ","pages":"Pages 311-321"},"PeriodicalIF":3.5,"publicationDate":"2025-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144596121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Multi-analytical approach for identification of early artificial ultramarine, made by Raimondo di Sangro, in the blue frame on the altar of the Sansevero Chapel Museum in Naples","authors":"Gioacchino Tempesta ,&nbsp;Alessandro Monno ,&nbsp;Francesco Paolo de Ceglia ,&nbsp;Andrea Maraschi ,&nbsp;Elena C.L. Rigante ,&nbsp;Cosima Damiana Calvano ,&nbsp;Giancarlo Capitani","doi":"10.1016/j.culher.2025.06.013","DOIUrl":"10.1016/j.culher.2025.06.013","url":null,"abstract":"<div><div>The history of ultramarine, a vivid blue pigment derived from lapis lazuli, spans thousands of years. During the 16th to 18th centuries the demand for ultramarine remained high, but its production was limited to specific regions and was extremely expensive. It was used sparingly by artists due to its cost, with some opting for cheaper alternatives such as azurite. In the first half of the 19th century, advancements in chemical knowledge allowed the production of artificial ultramarine, which then spread throughout Europe. The identification of natural versus artificial ultramarine has become a challenge. Here we present analytical results signifying that Raimondo di Sangro (Prince of Sansevero) produced artificial ultramarine before the well-known registered invention by Jean Baptiste Guimet. A detailed study of the chemical composition by SEM-EDS and TEM EDS, along with the absence of accessory minerals commonly found in natural pigment and the presence of uncommon phases, revealed the synthetic origin of the pigment found in the blue frame on the high altar in Sansevero Chapel Museum (Naples, Italy). Moreover, the reflectance spectra disclose an uncommon shift in the main band of the pigment, distinguishing it from both natural ultramarine and more recent synthetic versions. Further, a deep comparison with previous literature data also strengthens our experimental evidence. These results open a new perspective about the first production of this artificial blue pigment.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"74 ","pages":"Pages 265-275"},"PeriodicalIF":3.5,"publicationDate":"2025-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144572673","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}