The Hidden Face of Cultural Heritage: a science window for the dissemination of elementary knowledge of risk and vulnerability in cultural heritage

Ortiz et al. Herit Sci (2018) 6:60 https://doi.org/10.1186/s40494-018-0224-z RESEARCH ARTICLE The Hidden Face of Cultural Heritage: a science window for the dissemination of elementary knowledge of risk and vulnerability in cultural heritage Pilar Ortiz1*, Rocío Ortiz1, José María Martín1, Rosario Rodríguez‑Griñolo2, María Auxiliadora Vázquez3, María Auxiliadora Gómez‑Morón4, Marta Sameño4, Luisa Loza4, Carmen Guerra5, Juan Manuel Macías‑Bernal6 and Javier Becerra1 Abstract The dissemination of research in cultural heritage preservation to the public is a task that needs new models and expressions, to capture the attention of the public and the assessment of results. With this purpose, a new educa‑ tional experience in Parque de las Ciencias (Science Park of Granada, Spain) was developed. The science window titled Hidden Face of Cultural Heritage (ScW‑CH) was an exhibition to show the risks (hazards + vulnerability) associ‑ ated to different artworks and materials of our cultural heritage (CH). ScW‑CH was led by the researchers themselves, in collaboration with museum specialists, in order to develop a new model that makes their research accessible to all demographics. An innovative methodology based into simulating a showcase, was designed to study hazards and vulnerability in CH. Therefore, the montage contained materials, equipment, information sheets, and guides to accompany visitors as storytellers. The aim of the exhibition, was for the visitors to understand the risks posed to our monuments and artworks from a scientific point of view, and to raise awareness about the care that we should give to our CH. The ScW‑CH was held for 6 months and visited by 8226 visitors. During the exhibition, a survey about the opinion of visitors was carried out to study the impact of the designed new model and assess the results of the expe‑ rience. The collected data was analysed by the Statistical Package for the Social Sciences (version 22.0). Visitors usually presented a medium–high initial interest about visiting this exhibition, and a medium–low level of knowledge of this subject. Thanks to ScW‑CH, 92% of visitors showed a very high learning level after the experience. The ratio of interest and learning in the ScW‑CH in relationship with the level of study showed that secondary school pupils had the high‑ est degree of interest and learning. Keywords: Dissemination, Assessment, Science museum, Risk and cultural heritage, Heritage education © The Author(s) 2018. This article is distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creat iveco mmons .org/licen ses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license, and indicate if changes were made. The Creative Commons Public Domain Dedication waiver (http://creat iveco mmons .org/ publi cdoma in/zero/1.0/) applies to the data made available in this article, unless otherwise stated. Introduction Since ancient times the scientific method has been applied to the creation of works of art. For example, Pliny the Elder narrated the discovery of glass in his writings. This rapport between science and art has been intensified since the nineteenth century with the objective of developing new methods of diagnosis and conservation that allow us to know and conserve cultural heritage (CH). The need to communicate about science and technology to a growing interested public has resulted in the creation of scientific journals in different fields in which researchers explain their results [1]. However, dissemination is often more complicated and beyond researchers’ reach even though it is a social imperative. In order to prepare the science window titled Hidden Face of Open Access *Correspondence: [email protected] 1 Dept. de Sistemas Físicos, Químicos y Naturales, Universidad Pablo de Olavide, Carretera de Utrera km 1, 41013 Seville, Spain Full list of author information is available at the end of the article Page 2 of 15 Ortiz et al. Herit Sci (2018) 6:60 Cultural Heritage (ScW-CH), it was taken into account that the dissemination of science and CH is a hard task and it is becoming more necessary given the lack of science vocations in recent years [2]. The need to explain investment in R&D + i and CH conservation to the society during a global recession is very important, increasing science literacy in a variety of forms, from blogs to newspapers, from museums to public events, from films to radio shows. Besides, communication of science makes developing a scientific culture in society, improving scientific literacy and motivating talent surrounding scientific research, possible. Various authors present tools and programmes to improve the diffusion of scientific careers [3, 4] and arouse interest in children, teenagers and young people, or to disseminate the principles of cultural fields [5, 6]. The actions of dissemination can generate a rise of about 6% in the number of young people wanting to study science or technology [7]. Roigé [8] evaluated that these methodologies could be applied from the point of view of the design of other exhibitions, highlighting the power of a good museography to get the immersion, leisure and fun of the visitants. In Spain and Portugal, countries with a cultural tradition centred in literature and arts, the promotion of scientific education in every field and its relationship with the arts is especially relevant. The social relevance of diffusion in all education levels is quoted by numerous authors focused on science dissemination [9]. Moreover, safeguarding and fully developing CH produces a great set of heterogeneous historical data, which are enriching a new virtual framework often based on open-source software [10, 11]. The results of these methods for dissemination are rarely explained and assessed, because of this, our paper presents the methodology employed for the design of the exhibition and evaluation of the satisfaction results of end-users. ScW-CH was designed as an exhibition of artworks, their constructive materials and their vulnerability in the Science Park of Granada (Spain). This exhibition, part of a R&D + i project, was funded by Junta de Andalucía (Economy, Innovation, Science and Employment), the Science Park of Granada and different Andalusian universities. The main objective was to reveal to demographics the Andalusian research project HUM-6775 (http:// www.upo.es/tym/en_rivup h.html) for the study of risk, as a function of hazards and vulnerability in CH. Other objectives were: to focus on our researchers and their activity in society, to raise awareness of the importance of R&D + i in a modern, sustainable and democratic society in order to preserve their CH, to promote scientific vocations in relationship with CH protection, to highlight the role of women on CH research, as well as to showcase collaborations between universities and companies to generate and share knowledge on CH conservation. The exhibition had a large window, through which visitors could see a minilab to understand the artworks and their life. Once they decided to enter, they could carry out activities, meet our researchers, work with laboratory equipment and feel artwork materials, listen to the guide’s explanations or play a game about weathering forms of CH. In this manner, in the same space, our work gathers models of diffusion that could be helpful to children, teenagers and university students because the expressions were adapted according to the recommendations of Forbes [12]. Furthermore, there were modules to pique the scientific curiosity of professionals and researchers towards the science applied to CH and new information and communications technologies (ICT). This design tried to connect to the new museography, where museums have evolved from spaces exhibiting artwork collections to dynamic spaces where people go through eye-opening experiences. This leisure experiences were based on researching and learning with help from new technologies [13, 14], especially in the case of children and teenagers. This model seeks to connect science with CH, which involves the development of more creative exhibition methodologies that can encourage society to visit our ScW-CH to understand the risk of CH. With that aim, common discourses of current museums such as the hand-on exhibition approach, interactive technology exhibition and storytellers, were selected according to Ahmad etal. [15], Hashim etal. [16], Palombini [17] and Alanazi [18]. As the research conducted was in CH, the typical sensitivities of art museums also had to be taken into account for the exhibition. Furthermore, the exhibition focused on the multidisciplinary nature of diagnosis, with a space called “the researchers’ corner” where visitors could meet the researcher, and find out more about their careers: physicists, chemists, geologists, architects, biologists, archaeologists, historians, restorers, etc. working together as a team in order to preserve artworks. The role of women in this context was noted by the fact that most of these researchers were female, as well as the team leader. This hands-on lab was awarded as the second prize of the Reach.Out! competition 2015 held by the European Materials Research Society as a public outreach activity whose main aim was to reveal, to the non-specialists, applications related to advanced materials, their impact on the creation of sustainable societies, their impact on the economy, the people behind the scenes and the complexity of the work performed (http://www. emrsstras bourg .com/index .php?optio n=com_conte nt&task=view&id=748&Itemi d=1641). Page 3 of 15 Ortiz et al. Herit Sci (2018) 6:60 Methodology and materials “The Hidden Face of Cultural Heritage” was built up as a science window that explains the research and collaborations in a real project RIVUHP (HUM-6775), aiming to develop a new model that makes its research accessible to all demographics. This exhibition at the Science Park of Granada (Spain) was held from July 2014 until January 2015. During this time period, the museum space explained the way to study the risks of our CH from the point of view of science and analytical techniques. Design of exhibition In the design of the exhibition space, it was taken into account that the study of risks as a function of hazards and vulnerability for CH requires an exhaustive understanding of four levels of knowledge: 1. Materials: stones, wood, metals, pigments, ceramics, varnishes, etc. and weathering forms. 2. Artworks as a complex mixture of materials with historical and artistic value. 3. The analytical techniques and methods available for diagnosis [optical microscopy, scanning electron microscope/energy-dispersive x-ray (SEM–EDX), infrared reflectography, ultrasound, laser-induced breakdown spectroscopy (LIBS), laser-induced fluorescence (LIF),…] and/or restoration (decontamination, laser cleaning, consolidating treatments including nanoparticles…). 4. Hazard assessment and vulnerability models to know the risks of our CH. The exhibition was based on an instructive design of learning and the evaluation of the dissemination results. This model consisted of five stages (Fig.1) to get the audience to understand the four levels of diagnosis in cultural heritage: meetings to evaluate the space and the examples to be shown, writing of the guide files using expressions accessible to different levels, assembly of the exhibition with the training of guides, inauguration and exposition, and finally, evaluation of results. The first phase of the model was the design of the exhibition space and its contents. The exposition was designed like a big showcase that captured the interest of the visitors of the Science Park and allowed them to see a minilab. Once the visitor decided to enter, they found an exhibition space that was understood as a unique space where the visitor could walk around the Researchers’ Corner, where they could become a researcher and carried out their activities, watched videos or mini documentaries, surfed web links, used laboratory equipments and materials, listened to the guide’s experimental explanation, or played a game of weathering forms, to understand the researchers’ work. The second phase of the model consisted of writing explanatory brochures. The guide files had a maximum length of one page and were made to cover the four levels of difficulty. For 1 week the researchers and museum specialists assembled the exhibition, which had to be evaluated at a visual and scientific level before inauguration. During this third phase, the exhibition guides were trained by the researchers so that they could understand the research done on science for CH and act as storytellers during the guided visits. Public and statistical studies The participants were 8226 visitors of the museum, from children to the elderly, with different knowledge levels. Fig. 1 Process of design, development and evaluation of the showcase Page 4 of 15 Ortiz et al. Herit Sci (2018) 6:60 Visitors learnt to evaluate the vulnerability of CH studying the original materials, their weathering forms, as well as hazards and risks associated to CH. The inauguration was held on 4th July 2014, and the model was exhibited for 6months, in that time period the guides showed the model and carried out a survey about the opinion of visitors. 260 visitors or teams of visitors (families, friends, etc.) answered the survey, which means 3.1% of the visitors. The collected data was analysed by Statistical Package for the Social Sciences (SPSS) (version 22.0). Given the discrete nature of some variables studied on the survey, a non-parametric test, the medium equality test, was employed to compare the behaviour of different age and interest groups. The signification level set was 5%. Data analysis and impact of the dissemination were study to assess the results of the experience. Results ScW‑CH: application of a new exhibition methodology. Implantation and exhibition The science Windows “The Hidden Face of Cultural Heritage” ScW-CH was developed as a place where visitors could enter a unique laboratory to explore different aspect to conform the research about CH from the constructive materials (pigments of a painting, cathedral stones, alloy cannons,…), the principal altering agents and their consequences on monuments (biological attacks on wood, wind action over stone,….) up to the processes to eliminate them, for example, how biological attacks on wood can be eliminated using inert gas by anoxia treatment. To reach the most advanced level of knowledge in the models of hazards and vulnerability, the visitors must understand the ecosystem made up by the environment and CH. Indeed, these influences define the risks of CH. The scale of these risks ranges from cities and their problems (e.g. earthquakes that affect monuments) to humidity–temperature conditions and biological factors that can damage artworks. As can be seen in the 3D blueprints (Figs.2, 3), the minilab was designed among artworks, while a diffusion screen showed an image loop of the four levels of knowledge and photographs of the researchers working in the lab or in the monuments. In addition, this wall contains two big posters: the first was a collage to attract potential Fig. 2 Distribution of the exhibition space from July to October. Public organizations were responsible for this period Page 5 of 15 Ortiz et al. Herit Sci (2018) 6:60 visitors and the other contains the results of the research project (a cultural heritage risk map of Andalusia). The space was complemented with activities, exhibition elements, books, articles, congress posters, etc. The design of the exhibition space was modified according to the evolution of the files that had been written, as well as the opinion of everyone involved in the assembly. Finally, 27 guide brochures were made: 6 files about risks, 13 files about methods and 8 files about real cases. A pairing game for children was also made. In general, these files have been classified according to their exhibition method, as active, which implies that interaction is needed by the visitor: (a) manually, mainly related with equipment and laboratory management, or (b) using computers and their selection of programmes or multimedia content. Other files are passive, and the visitor must listen to the guide’s explanation while observing CH materials, methods and results. From the target audience’s point of view there were zones for all types of public, from specific games for children to a book of posters of scientific sessions for researchers. Table1 shows a summary of the content and the activities carried out during the exhibition. In that regard, this model of work allows us to design a visual and attractive exhibition zone to catch the attention and interest of visitors. One of the most complicated aims of this exhibition was to make it accessible and interesting for all kind of visitors. It was achieved by the participation on its design of a multidisciplinary team that ranged from exhibitions designers to researchers. The exhibition was adapted to different groups of visitors (children, youth and adults) depending on their predicted interest and previous knowledge on the subject. In order to show the personality and proximity of researchers, introduction videos of all participants were recorded. As it has already been mentioned, images of working researchers were shown on the screens and the researcher’s profile could be looked up in the Researchers’ Corner. The research team is mainly composed of women, so the image for the poster announcing the showcase was centred in a mosaic in which women are protagonists. This subtle detail also seeks to empower the role of women in this sector. Besides, one of the key points was to show the multidisciplinary nature and the need for collaborations between organizations. In this sense, the researchers’ corner Fig. 3 Distribution of the exhibition space from October to January. Results and the opportunities of collaboration between private and public companies were shown in this period Page 6 of 15 Ortiz et al. Herit Sci (2018) 6:60 revealed the diversity of professions required: physicists, chemists, geologists, architects, biologists, restorers, archaeologists, historians, etc. In order to explain the work carried out in public research centres and private companies, the exhibition was divided into two different time periods, where the space was modified according to Figs.2 and 3. Both figures explain the equipment, zones and guide files of the two exhibition periods. The same file could be used by monitors for different exhibition zones, and in this way continue through the area that captivated the visitor’s attention the most. In summary, thanks to the application of this methodology to design the exhibition and the proposed resources, visitors could learn to evaluate the vulnerability of CH. In this way, the aim was that the public studied with a guide how our ancestors painted, made their tools or built their buildings, and moreover visitors were encouraged to analyse the risks posed to our monuments and the artworks they contain, to understand the care we should give to our CH. Data analysis and impact of the dissemination 8226 visitors entered our showcase from July 2014 to January 2015, an average of 1175 visitors per month; that is 2.7% of visitors to the Science Park in Granada. A survey was carried out in order to evaluate the opinion of those people whom the project had reached, their aims and how they were met, the social and economic aspects, the stakeholders’ gain and feedback. The survey data shows a very close proportion of men/ women (53/47), with the number of men visiting the exhibition being slightly higher than that of women. Around 45% of the visitors were younger than 19years of age, one of the target audiences for the dissemination of science and scientific careers. The rest of the visitors, 25–30%, were aged between 20 and 29years, possibly university students or postgraduates. A similar percentage of visitors was aged between 30 and 60years of age. People over the age of 60 represented only a small percentage of around 2% (Table2) of those who answered the survey. For this reason, they have been removed from the statistical correlation analysis. Table3 shows the study level of the people surveyed. Around 45% of the visitors had university studies, followed by those with secondary studies which make up around 32% of the total. Visitors with university studies were homogeneously spread between all those groups who are old enough, resulting in around one out of every two visitors for those aged between 20 and 60years old. Taking into account that the percentage of university students in Spain is 41.1%, this means that the surveys reflect the type of Spanish population, even if there is a greater trend to visit the exhibition among people with higher studies. Approximately 6 out of 10 visitors were from Granada or its province (Tables2 and 4) while 25% were from the rest of Andalusia and the remaining 15% came from other Spanish regions. The foreigners visiting the showcase were scarce (1%) according to the survey, and if they did visit it they did not fill out the survey. This piece of information may be related to the fact that the survey is only in Spanish. This regional distribution corresponds with the 42% of visitors who completed the survey and said that they visit the park on a regular basis (Table2), due to its geographical proximity (Table4). The visit is supposedly ludic for 80% of the people surveyed, who visited with friends (Table2). However, contrary to expectations the weekend only makes up about 34% of visits (Table2). The visitors surveyed showed a medium–high initial interest (values 3–5) in coming to this exhibition space, with the interest being very high in 32% of the people surveyed (Table2). The interest in this exhibit varies significantly between different age groups (p-value < 0.5 in the medium equality test), with those younger than 19 presenting a greater interest (Table 5, Fig. 4). In contrast, the visitors surveyed present medium–low knowledge of the exhibition, with up to 18% of visitors stating that they did not know anything about the field of risk, hazard and vulnerability in CH. After the experience, 92% valued their level of learning between 8 and 10 on a scale of 10. The average level of learning by ages is shown in Table5, where, although differences are only a half point away from the others, under-19s acknowledge learning the most. The relationship between interest and learning in the showcase and the level of studies shows that primary students present the highest degree of interest and learning (4.02, average interest-9.5 average learning. Table5). Regarding the analysis of the exhibition space and the resources employed, 9 out of 10 visitors surveyed considered the exhibition to be well signalled (Table2) and 62% evaluated the assembly as excellent. The communication skill was evaluated as excellent by around 73% of the people surveyed (Table2) and the quality of the texts and audio-visual resources were assessed as good–excellent by around 80% of those surveyed (Table2). The workshop was valued as excellent by 66% of those surveyed (Table2). In addition to the direct impact generated by visitors, the local and national press talked about this science showcase, as can be seen on Table6. However, people who visited the showcase admitted that they became Page 7 of 15 Ortiz et al. Herit Sci (2018) 6:60 Table 1 Advanced materials and technologies studied Map code Explanation file title Elements in the exhibition Aims Science involved (materials and methods) Concept 1: materials 2: heritage pieces 3: analytical techniques 4: systems risk/ vulnerability Target audience A: all publics C: children R: researchers Type of activity H: handwork C: computer use R: reading L: listening Risk‑1 Risks in cultural heritage Guide file Andalusian risk map Software (vulnerability matrix and fuzzy) Webpage and videos Scientific session posters Explaining the differences between hazard and risk Geographic information systems and vulnerability assessment applied to the analysis of haz‑ ards and degree of conserva‑ tion in cultural heritage. Risk Maps 4 A, R C, R, L Risk‑2 From cheers to graffiti Guide file Samples of stone with dif‑ ferent types of graffiti and cleaning tests Optical microscope images with cuts of marble with graffiti before and after cleaning Web page Scientific session posters Explaining the chromatic alterations caused by graffiti Concern about the hazards of vandalism Characterization of stone materi‑ als and weathering forms due to graffiti Cleaning methods (laser ablation, chemical cleaning, water jet…) 1, 3 A, C, R H, C, R, L Risk‑3 Damage due to soluble salts on porous materials. Guide file Stones after salt weathering tests Web page Scientific session posters Explaining efflorescence damage Concern about hazards associated with saline mediums Characterization of stone materi‑ als and efflorescence Accelerated weathering tests 1, 3 A, C, R C, R, L Risk‑4 Did you know that…? Salts can crystallize form‑ ing different minerals depending on the tem‑ perature and humidity conditions Guide file Stones after salt weathering tests Web page Scientific session posters Explaining efflorescence damage Concern about hazards associated with saline mediums in different thermo‑hygrometric conditions Characterisation of stone materi‑ als and efflorescence Accelerated weathering tests depending on humidity and temperature conditions. Vulner‑ ability associated with salts and thermo‑hygrometric conditions 1, 2, 3, 4 A, R C, R, L Risk‑5 Deposits and black crusts Guide file Stratigraphies of stone and mortars with crust and deposits due to atmospheric pollution Web page Optical microscope Web page Scientific session posters Explaining the alteration by black crusts and deposits Concern about the hazards associated with pollution in cities Characterization of mortar and stone with black crust and deposits Vulnerability associated with atmospheric contamination 1, 2, 3, 4 A, R H, C, R, L Page 8 of 15 Ortiz et al. Herit Sci (2018) 6:60 Table 1 (continued) Map code Explanation file title Elements in the exhibition Aims Science involved (materials and methods) Concept 1: materials 2: heritage pieces 3: analytical techniques 4: systems risk/ vulnerability Target audience A: all publics C: children R: researchers Type of activity H: handwork C: computer use R: reading L: listening Risk‑6 Did you know that…? Some pigments cannot be used on frescoes because they change colour Guide file Pigments and laboratory materials to produce colour changes Stratigraphies Optic microscope Study of the vulnerability of wall paintings, especially frescoes Need to know the stratigra‑ phies in restoration pro‑ cesses to avoid damage Study of the vulnerability of fresco paintings and the neces‑ sity of knowing the stratigra‑ phies in restoration processes to avoid damage 1, 3, 4 A, C. R H, R, L Method‑1 Non‑destructive tech‑ niques applied to the study of risk in cultural heritage Guide file Web page IT equipment Scientific session posters Study of vulnerability by non‑destructive tech‑ niques Explanation of the use of accel‑ erometers, ultrasounds or FBG sensors (fiber Bragg grating) 3 A, R C, R, L Method‑2 Technology applied to restoration Guide file Inert gas treatment for wooden sculpture in a plastic bag DNA identification for biologi‑ cal materials Web page IT equipment Explaining the study of vulnerability by non‑ destructive or minimally invasive techniques that allow materials and their pathologies to be charac‑ terized Explaining the use of inert gas to stop bio‑deterio‑ ration Explanation of γ‑graphics, radiographies, digital image analysis, infrared and ultraviolet reflectography and ultrasound waves during the restoration process Biology identification using molecular biology (PCR) Explanation of a real case in situ, biology attack on wood, and how it can be eliminated using inert gas by anoxia 3 A, R H, C, R, L Method‑3 Porosity Guide file Tests of different materials Weights and water Point‑load equipment Web page Scientific session posters Explaining porosity and its role in cultural heritage vulnerability Explaining the method of meas‑ uring porosity by capillarity in atmospheric conditions Assess the relationship between porosity and comprehensive resistance 1, 3 A, C, R H, C, R, L Method‑4 Ultrasound (US) analysis Guide file Tests of different materials US equipment Web page Scientific session posters Explaining the speed of propagation of ultra‑ sounds Assess the vulnerability of materials by US propaga‑ tion Explaining the method of measuring vulnerability by auscultation the speed of US propagation Evaluating porosity by US propa‑ gation speed 1, 3 A, R H, C, R, L Method‑5 Accelerated weathering tests Guide file Trials of samples in different environments Web page Scientific session poster Explaining simulated atmosphere tests and their role in the study of vulnerability Explaining accelerated weather‑ ing tests and the way of evalu‑ ating the restoration products 1, 3 A, R C, R, L Page 9 of 15 Ortiz et al. Herit Sci (2018) 6:60 Table 1 (continued) Map code Explanation file title Elements in the exhibition Aims Science involved (materials and methods) Concept 1: materials 2: heritage pieces 3: analytical techniques 4: systems risk/ vulnerability Target audience A: all publics C: children R: researchers Type of activity H: handwork C: computer use R: reading L: listening Method‑6 Thermographic analysis Guide file Thermographic equipment Web page Scientific session posters Explaining thermography and its role in cultural heritage vulnerability Explaining the thermographic method and its relationship with freezing cycles 3, 4 A, R H, C, R, L Method‑7 Did you know that…? Digital processing tech‑ niques were first applied in journalism Guide file Software Web page Scientific session posters Digital analysis image in diagnosis Explaining vulnerability and its evaluation using digital image analysis The study of the lions of the Alhambra (Granada) 3 A, R C, R, L Method‑8 Building crack monitoring Guide file IT equipment and camera Explaining the study of vulnerability using non‑ destructive techniques Explaining the laser equipment used in 3D scan 3 A, R C, R, L Method‑9 3D Technology Guide file IT equipment 3D printer 3D prints Explaining the study of vulnerability using non‑ destructive techniques Possibilities of 3D printing for the dissemination of CH for blinders Explaining the application of digitalizing, printing and 3D construction techniques in the cultural heritage field 3 A, R H, C, R, L Method‑10 Augmented reality Guide file IT equipment Explaining the application of non‑destructive tech‑ niques in the diagnosis process Explaining the merging of real and virtual worlds through a technological process and its use in archaeological sites 3 A, R C, R, L Method‑11 Did you know that…? There are standards to certify the freezing resist‑ ance of ceramic materials Guide file IT equipment Understanding the objec‑ tives of quality standards in diagnosis Need for quality standards to be able to guarantee and compare the results of characterisation 3 A, R C, R, L Method‑12 Did you know that…? In Rafael’s original drawing there was a dog instead of a unicorn? Guide file Web page To discover hidden draw‑ ings, signatures, … Infrared light can pass through painting film. When it hits black carbon particles (underdraw‑ ings) it is absorbed and a cam‑ era with an IR detector can see underdrawings as a dark area. It can be used in paintings/manu‑ scripts/documents 1, 2, 3 A, R C, R, L Method‑13 Did you know that?… UV radiation does not only enable us to detect counterfeit notes. Guide file Dark room and UV light to see the altarpiece of Saint Therese Identification of original and added layers of varnishes Aged varnishes can be detected under UV light because they light up. Retouches appear as dark areas and original var‑ nishes appear as bright areas 3 A, R H, C, R, L