Success stories from E-RIHS-related European projects

Eu-ARTECH CHARISMA IPERION CH “Success stories” a preliminary compilation – 10.05.2019 Prepared by M. Kowalska and P. Targowski (NCU) with contribution from: Bernhard Blümich, Piotr Targowski, Vivi Tornari, Marta Castillejo, Silvia Pratti, Roco Mazzeo, Brunetto Giovanni Brunetti, Marika Spring, Melissa Daugherty, Rebeca Stacey, María Martín Gil, Ineke Joosten, Katalin Bajnok, Nikolay Kardjilov, László Szentmiklósi, Jose Delgado-Rodrigues, Joao Mimoso, Emilio Cano, Markus Küppers, Zoltan Kis, Zsolt Kasztovszky, Daniel O’Flynn, Marluci Menezes, Hélène Dubois, Hilde De Clercq, Sophia Sotiropoulou, Ana Laborde Marqueze, Wim Fremout, Heike Stege, Joseph Padfield prepared for IPERION CH Project, CALL: INTEGRATING AND OPENING RESEARCH INFRASTRUCTURES OF EUROPEAN INTEREST Call identifier: H2020-INFRAIA-2014-2015 GA n.654028 May 2019 2 3 Contents The TNA activity related to „iconic” object or providing new results of common interest ............... 7 Examinations of violins made by Antonio Stradivari, Giuseppe Guarneri ‘del Gesu’, Lorenzo Storioni in Museum of Violin in Cremona with NMR Mouse – MOLAB 2018 ........................ 7 Examinations of violins made by Antonio Stradivari, Giuseppe Guarneri ‘del Gesu’, Lorenzo Storioni in Museum of Violin in Cremona with OCT – MOLAB 2018 ................................... 10 Examination of 17th century paintings by Peter Paul Rubens at the Whitehall Banqueting House in London with DHSPI IIIMOLAB 2018 .................................................................... 14 Examination of 17th century paintings by Peter Paul Rubens at the Whitehall Banqueting House in London with OCT – MOLAB 2018 .......................................................................... 18 Examination of “The vase with Sunflowers” by Vincent Van Gogh in the Van Gogh Museum in Amsterdam with OCT – MOLAB 2016 .............................................................................. 22 Examination of “Congregation leaving the Reformed Church in Nuenen” and “View of the sea at Scheveningen” by Vincent van Gogh in the Van Gogh Museum in Amsterdam with OCT – MOLAB 2018 .............................................................................................................. 25 Non-invasive in situ study of the polychromy of the Pórtico de la Gloria in Santiago de Compostela Cathedral – MOLAB 2010 ................................................................................. 29 The possible intervention of Michel Sittow in the execution of the altarpiece of the Luna Chapel in Toledo Cathedral – ARCHLAB 2017 ...................................................................... 35 Conservation and Revelation of the Ghent Altarpiece – ARCHLAB 2012 ............................ 39 How to look inside a sealed Egyptian pottery using neutrons – FIXLAB 2013 ..................... 43 Archaeometallurgical Investigation of the Chiaravalle Cross – FIXLAB 2016 ...................... 46 Non-invasive PGAA, PIXE and ToF-ND analyses on Hungarian Bronze Age defensive armour – FIXLAB 2012 ....................................................................................................................... 49 Meteoritic origin of mankind’s earliest iron artefacts – FIXLAB 2011 ................................. 54 Nondestructive methods applied to oriental swords for analysing high-carbon steels – FIXLAB 2013 .......................................................................................................................... 58 New instrument developed or significantly improved or new methodology developed ................. 62 Non-sampling analysis of painting layers by non-linear optical microscopy ....................... 62 Development of TLC/MU-ATR/SERS method ....................................................................... 65 NMR-MOUSE instrument ..................................................................................................... 68 Optimisation of portable Digital Holographic Speckle Pattern Interferometry system DHSPI III ........................................................................................................................................... 71 4 OCT instrument dedicated for examination of CH objects .................................................. 74 Neutron imaging driven prompt gamma-ray activation analysis (PGAA) at the NIPS-NORMA facility of the BNC .......................................................................................... 78 Bimodal (neutron and X-ray) imaging at the RAD neutron facility of BNC .......................... 81 New research methodology for commercial instrumentation ....................................................... 84 NMR-MOUSE ........................................................................................................................ 84 G-PE electrochemical cell for in situ diagnostic of metallic cultural heritage ..................... 86 Identification of highly aged organic residues in ancient wall paintings ............................. 89 Software tool .............................................................................................................................. 93 Entropy repository software ................................................................................................ 93 TBA.. ..................................................................................................................................... 97 High IF publication or series of publications ................................................................................. 98 Optimisation of portable Digital Holographic Speckle Pattern Interferometry system DHSPI III ........................................................................................................................................... 98 NMR-MOUSE ...................................................................................................................... 101 Accounts of Chemical Research: Special issue on Advanced Techniques in Art Conservation ............................................................................................................................................ 103 Conservation and Revelation of the Ghent Altarpiece ...................................................... 105 Book (a chapter of the book) ..................................................................................................... 107 Chemistry for restoration. Painting and restoration materials ......................................... 107 Analytical Chemistry for Cultural Heritage ......................................................................... 109 Scientific Examination for the Investigation of Paintings, A Handbook for Conservators-restorers....................................................................................................... 111 A textbook about neutrons for Archaeology and Cultural Heritage .................................. 113 Advanced Characterization Techniques, Diagnostic Tools and Evaluation Methods in Heritage Science ................................................................................................................. 116 Conservation and Revelation of the Ghent Altarpiece – ................................................... 119 Conference branded under one of CH projects ........................................................................... 122 The workshop “The Painting Technique of Pietro Vannucci, called Il Perugino” with a dedicated publication ......................................................................................................... 122 The ‘Raphael’s Painting Technique: Working Practices before Rome’ with a publication 127 “3D Imaging in Cultural Heritage” Conference at the British Museum, 2017 ................... 132 IAEA technical meeting on developing strategies for safe analysis of paintings and paint materials ............................................................................................................................. 134 Conference ‘New Strategies for diagnostics of conservation treatments’ ........................ 139 2nd Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH) 2017 ................................................................................................. 144 “Theory and Practice in Conservation - a tribute to Cesari Brandi” – 2006 ...................... 155 “Stone Consolidation in Cultural Heritage research and practice” – 2008. ....................... 157 5 New techniques for the non-invasive investigation of the surface and subsurface structure of heritage objects ............................................................................................................. 159 The training course on application of Optical Coherence Tomography ............................ 164 GlazeArt2018 – International Conference Glazed Ceramics in Cultural Heritage ............. 169 Intangibility Matters – International Conference on the values of tangible heritage (IMaTTe 2017) .................................................................................................................... 172 Conservation and Revelation of the Ghent Altarpiece ...................................................... 175 International conference “Tempera painting between 1800 and 1950 – Experiments and innovations from the Nazarene movement to abstract art”, 15-17 March 2018, Munich (JRA WP 9) .......................................................................................................................... 178 Summary of a given TNA activity (e.g. statistics) ......................................................................... 181 TNA activities of the Budapest Neutron Centre ................................................................. 181 Other ........................................................................................................................................ 183 Itinerant course on stone conservation ............................................................................. 183 Notice: The following definitions are used herein at point 5: Academic impact: the demonstrable contribution that the achievement makes to academic advances, across and within disciplines, including significant advances in understanding, methods, theory and application (this could be scientific, but could also be in other disciplines related to heritage science eg advances in understanding the materials and structure of an object contributing to historical research questions) Economic impact: the demonstrable contribution that the achievement makes to the economy. (e.g. the commercialisation of the instrument developed) Societal impact: the demonstrable contribution that the achievement makes to society, especially to preservation of CH – e.g. by introducing a new method of conservation, adopted by the community or commonly adopted new facts (knowledge) about the object of art 6 The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Examinations of violins made by Antonio Stradivari, Giuseppe Guarneri ‘del Gesu’, Lorenzo Storioni in Museum of Violin in Cremona with NMR Mouse – MOLAB 2018 7 The TNA activity related to „iconic” object or providing new results of common interest Examinations of violins made by Antonio Stradivari, Giuseppe Guarneri ‘del Gesu’, Lorenzo Storioni in Museum of Violin in Cremona with NMR Mouse – MOLAB 2018 2. Target of the story – mark ALL applicable audience ☒ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry ☐ other – describe: 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – Portable MRI inspects frescoes, paintings, violins and mummies 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☒ Eu-ARTECH ☒ CHARISMA ☒ IPERION CH ☐ ARIADNE ☐ other: comments: ........................... (e.g. the history of the development: first idea during ..., prototype during ...., mature design .... ) 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☐ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? NO 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. The NMR-MOUSE is a commercial product of Magritek holding and is being produced by Magritek GmbH in Aachen. Magritek GmbH is directed by Federico Casanova and Juan Perlo, who developed the instrument in the EU-ARTECH project. The company has expanded since and leads the world market in producing tabletop NMR spectrometers for chemical analysis. The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 8 Examinations of violins made by Antonio Stradivari, Giuseppe Guarneri ‘del Gesu’, Lorenzo Storioni in Museum of Violin in Cremona with NMR Mouse – MOLAB 2018 8. Person to be contacted for details (sent by Markus Küppers) name: Blümich surname: Prof. Dr. Bernhard institution: RWTH Aachen University e-mail: [email protected], contact phone: +49 241 80 26421 TNA Proposal Details The title TNA proposal: 2016: Effects of ageing on the wood and varnish of violins and violas & 2018: Non-invasive Examination of Stratigraphic System in violins Project proposal acronym: 2016: AshNMR & 2018: Date of realization: 26. – 30 Sept. 2016 & 7.-12Oct. 2018 Information about the user: Project leader name: Dr. Colin Harrison & Dr. Marco Malagodi Project leader institution: Ashmolean Museum, Oxford, other institutions involved in using of the results (if applicable) NYU, Abu Dhabi; Museo del Violino Cremona. Field of specialization of the user group: Scientist, Conservator………………………………….. General description of the TNA activity The stiffness of the wood is one important parameter that defines the sound quality of a violin. The stratigraphy of the backplanes of master violins by the master lutiers from Cremona was mapped by portable Magnetic Resonance Imaging with the NMR-MOUSE to learn in how far and to what extent the elasticity of the wood has been modified through surface treatment and age. Major results of the access We found evidence of surface treatments that changed the elastic properties of the violin back planes in layers up to half a millimetre. This was more often found on the outer than on the inner surface suggesting the use of an invisible primer that stiffened the surface layer. At this time, it remains unclear if the inner surfaces were treated at the time of making or later at a time of restoration. Feedback from the user - was the user enquired about the satisfaction from the results? If YES, what was the response? The results from the first study at the Ashmolean Museum were so exciting that a second study was conducted at the Museo del Violino in Cremona. - did the user participated in the dissemination of the results? ☐ YES – how: ................................ ☒ NOW – why: The results are very recent. The dissemination in terms of publications are in progress. Preliminary accounts have been given in talks and posters at conferences. Importance (about 1/2 page, 11 pt) The NMR-MOUSE functioned as a tool to non-invasively analyze the wood density and the molecular dynamics according to material elasticity by acquiring depth profiles of the hydrogen density and the NMR relaxation time T2. An assumption of a correlation of the age with the wood density could be refuted. In agreement with the literature, we confirmed that highly homogeneous wood was used that exhibits uniform density not only across the plane of the back plate but also throughout all The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Examinations of violins made by Antonio Stradivari, Giuseppe Guarneri ‘del Gesu’, Lorenzo Storioni in Museum of Violin in Cremona with NMR Mouse – MOLAB 2018 9 depths of the wood. Highly informative NMR relaxation time distributions were measured as a function of depth across the back planes of the violins, revealing areas of enhanced and attenuated wood elasticity. These variations occurred sometimes at unexpected locations within the wood, indicating that they are not completely attributable to a treatment with varnish or primer. Instead, any progression towards attenuated mobility may indicate also damage that has occurred not only on the surfaces, but sometimes below the surface or in the center of the maple plates. The Stradivari violin Cremonese has shown a consistent structure on the outside and the inside at different spots, that matches that of the other violins only at the outer surface. It may report an uncommon fabrication technique, the marks of history, or some past restoration work. Bernhard Blümich and Christian Rehorn from RWTH Aachen University adjusting the compact magnetic resonance imaging sensor to measure a depth profile through the back of the Cremonese Violin by Stradivari. Copyright Claudia Invernizzi, Museo del Violino, Cremona. The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 16 Examination of 17th century paintings by Peter Paul Rubens at the Whitehall Banqueting House in London with DHSPI IIIMOLAB 2018 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: Vivi surname: Tornari institution: IESL-FORTH e-mail: vivit[email protected]orth.gr contact phone: + …..................………… The title TNA proposal: Banqueting House Whitehall Rubens Ceiling Paintings Technical Conservation Research Project proposal acronym: RUBENS-TCR-BHW Date of realization: MARCH 2018 Information about the user: Project leader name: Constantina Vlachou – Mogire Project leader institution: Historical Royal Palaces , other institutions involved in using of the results (if applicable) ……………… Field of specialization of the user group: Archaeologist - Project manager of HRP….. General description of the TNA activity The nine ceiling paintings painted by Peter Paul Rubens and his studio were installed at the Whitehall Banqueting House in 1636. This set of painting is one of the largest (243 m²) and most complex works by the master surviving in-situ for almost 400 years. Since their creation, the paintings have been removed at least five times and treated about nine times. These interventions included removing the canvases from their original stretchers and marouflaging them onto plywood boards at the beginning of the 20th c., cutting, removal, and evacuation of the panels during World War II a major restoration campaign after the war and two subsequent treatments. Historic Royal Palaces’ current Banqueting House Whitehall conservation and re-presentation project provided a rare opportunity to carry out a first-ever full and systematic technical conservation survey of the Rubens ceiling paintings. The purpose of this scientific long-term research project is twofold: a) to understand Rubens’ technique for creating these nine paintings and study their current state of preservation, b) to record evidence of previous interventions and their impact on the condition of the works today as composites of original materials with restoration structures and surface alterations. Major results of the access DHSPI supported the evaluation of possible delaminations between the painting canvas and the substrate layer as well as understanding the formation of cracks over the plywood panel joints. Feedback from the user - was the user enquired about the satisfaction from the results? If YES, what was the response? - did the user participated in the dissemination of the results? ☐ YES – how: ................................ ☐ NOW – why: .................................................................... Importance (about 1/2 page, 11 pt) The findings will help uncover details for the production of these magnificent paintings and provide scientific evidence on the current condition and stability of the paint layers and the coatings which is The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Examination of 17th century paintings by Peter Paul Rubens at the Whitehall Banqueting House in London with DHSPI IIIMOLAB 2018 17 paramount to the planning of any future conservation campaign. It is anticipated that the outcomes of this research will be widely communicated through conference presentations, academic peer-reviewed papers, online platforms, and the press. DHSPI-SIRT ceiling facing OVH setup and image with example of deformation The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 18 Examination of 17th century paintings by Peter Paul Rubens at the Whitehall Banqueting House in London with OCT – MOLAB 2018 Examination of 17th century paintings by Peter Paul Rubens at the Whitehall Banqueting House in London with OCT – MOLAB 2018 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☐ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? IF YES, provide the description and available links it was a note at NCU web site 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: Piotr surname: Targowski institution: N. Copernicus University, Torun, PL e-mail: [email protected] contact phone: + 48 56 611 3206 TNA Proposal Details The title TNA proposal: Rubens Technical Conservation Research, Banqueting House Whitehall Project proposal acronym: RUBENS TCR BHW Date of realization: 12-17.03.2018 – OCT; … Information about the user: Project leader name: Constantina Vlachou-Mogire Project leader institution: Historic Royal Palaces Conservation and Collections Care Department, Hampton Court Palace, Surrey KT8 9AU, UK The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Examination of 17th century paintings by Peter Paul Rubens at the Whitehall Banqueting House in London with OCT – MOLAB 2018 19 Field of specialization of the user group: scientists & conservators General description of the TNA activity The OCT intervention was aimed at: 1. to identify thickness and structure of varnishes, detect delaminations and retouchings/overpaintings of former restorations campaigns This action can be considered as a “success story” because of the importance of the object and results leading to 2 articles (one submitted to Studies in Conservation after presentation at LACONA 12 conference and one general (all groups) in preparation for Microchemical Journal). Major results of the access 1. oral presentation at LACONA 12 conference: “Non-invasive survey of pre-restoration condition of the ceiling paintings by Peter Paul Rubens at the Banqueting House Whitehall, London, by means of Optical Coherence Tomography” by Magdalena Iwanicka, Constantina Vlachou-Mogire, Lucia Pereira-Pardo, Marcin Sylwestrzak, Piotr Targowski 2. paper submitted to Studies in Conservation: “Non-invasive survey of pre-restoration condition of the two ceiling paintings by Peter Paul Rubens at the Banqueting House Whitehall, London, by means of Optical Coherence Tomography” by Magdalena Iwanicka, Constantina Vlachou-Mogire, Lucia Pereira-Pardo, Marcin Sylwestrzak, Magdalena Kowalska, Piotr Targowski 3. planned oral presentation at TECHNART 2019: “Banqueting House Whitehall Rubens ceiling paintings non-invasive analysis” by Constantina Vlachou-Mogire et al, further for publication in Microchemical Journal Feedback from the user - was the user enquired about the satisfaction from the results? If YES, what was the response? …not known to us.. - did the user participated in the dissemination of the results? ☒ YES – how: participation it the writing and editing of publications Importance (about 1/2 page, 11 pt) “Historic Royal Palaces’ current Banqueting House Whitehall conservation and re-presentation project provided a rare opportunity to carry out a first ever full and systematic technical conservation survey to determine how the paintings were created, how they have changed over the years and establish an accurate record of the present condition of the paintings to inform on approaches to future possible conservation interventions. Scaffold access between February and April 2018 enabled among other activities the present technical survey, conducted with MOLAB portable in-situ multitechnique trans-national access service under the H2020 IPERION CH project.” C V-M The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 20 Examination of 17th century paintings by Peter Paul Rubens at the Whitehall Banqueting House in London with OCT – MOLAB 2018 Examination of The Apotheosis of James I with OCT at Banqueting House Whitehall, London from the left: Lucia Pereira-Pardo, Historic Royal Palaces Conservation and Collections Care Department UK; Magdalena Iwanicka, N. Copernicus Univ. Torun, PL; © P. Targowski The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Examination of 17th century paintings by Peter Paul Rubens at the Whitehall Banqueting House in London with OCT – MOLAB 2018 21 Transportation of the OCT instrument to the working site on scaffolds, Banqueting House Whitehall, London, © P. Targowski The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 22 Examination of “The vase with Sunflowers” by Vincent Van Gogh in the Van Gogh Museum in Amsterdam with OCT – MOLAB 2016 Examination of “The vase with Sunflowers” by Vincent Van Gogh in the Van Gogh Museum in Amsterdam with OCT – MOLAB 2016 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☐ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? IF YES, provide the description and available links a film was shot by the team appointed by the Van Gogh Musem – the result is unknown for me – contact please the Museum 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: Piotr surname: Targowski institution: N. Copernicus University, Torun, PL e-mail: [email protected] contact phone: + 48 56 611 3206 TNA Proposal Details The title TNA proposal: Systematic investigation of ‘Sunflowers’ by Vincent van Gogh: focus on the alteration of chrome yellow paints mixed with other pigments Project proposal acronym: SUNMIX Date of realization: 7-13.03.2106 Information about the user: The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Examination of “The vase with Sunflowers” by Vincent Van Gogh in the Van Gogh Museum in Amsterdam with OCT – MOLAB 2016 23 Project leader name: Koen Janssens Project leader institution: University of Antwerp , other institutions involved in using of the results (if applicable) Van Gogh Museum, Amsterdam Field of specialization of the user group: scientists & conservators General description of the TNA activity The intervention was aimed at two targets: 2. to identify the type of chrome yellow and their association with other pigments in different parts of the painting 3. to identify varnishes used and to carry out cleaning tests for the varnish removal and to monitor these via a combination of midand near-FITR measurements and OCT. Since, both the presence of synthetic and natural resin-based varnishes are suspected to be present, this will be helpful to determine the appropriate protocol/sequence of removal steps. This action can be considered as a “success story” because of the importance of the object and results leading to a book (in preparation). Major results of the access A book will be published in 2019 comprising major results of this intervention. As for the vanishes it was possible to identify the structure and composition of coatings. Feedback from the user - was the user enquired about the satisfaction from the results? If YES, what was the response? …not known to us.. - did the user participated in the dissemination of the results? ☒ YES – how: participation it the writing and editing of the book Importance (about 1/2 page, 11 pt) The book, comprising the results of the action is a common effort of van Gogh Museum, University of Amsterdam, Cultural Heritage Agency of the Netherlands. National Gallery in London, University of Perugia, CNR Italy, University of Andwerp, N. Copernicus University in Torun. It will summarise the state of the knowledge of the structure of the painting and a state of preservation. Van Gogh’s Sunflowers illuminated: Art meets Science (provisional title) Tentative Table of contents: 1. Introduction 2. The Sunflowers in Art Historical Context 3. Technical investigation of the Sunflowers in the National Gallery, London (the first study) 4. Van Gogh’s Materials and Working Methods 5. Colour Changes and Chemical Alteration: a Focus on Chrome Yellows and Geranium Lake 6. Conservation: from Past to Future 7. Surface Layers 8. Techniques of Examination and Analyses The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 24 Examination of “The vase with Sunflowers” by Vincent Van Gogh in the Van Gogh Museum in Amsterdam with OCT – MOLAB 2016 Examination of Vase with Sunflowers with OCT at Van Gogh Musem, from the left: prof. Ella Hendrix, Univ. of Amsterdam, dr Magdalena Iwanicka, n. Copernicus Univ. Torun, PL, © P. Targowski The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Examination of “Congregation leaving the Reformed Church in Nuenen” and “View of the sea at Scheveningen” by Vincent van Gogh in the Van Gogh Museum in Amsterdam with OCT – MOLAB 2018 25 Examination of “Congregation leaving the Reformed Church in Nuenen” and “View of the sea at Scheveningen” by Vincent van Gogh in the Van Gogh Museum in Amsterdam with OCT – MOLAB 2018 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☐ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? IF YES, provide the description and available links a Polish national Tv network TVN produced an interview with NCU team on OCT including this intervention: https://dziendobry.tvn.pl/wideo,2064,n/arcydziela-sztuki-pod-lupa-polskich-konserwatorow,277526. html emitted nationwide Oct. 28, 2018 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: Piotr surname: Targowski institution: N. Copernicus University, Torun, PL e-mail: [email protected] contact phone: + 48 56 611 3206 TNA Proposal Details The title TNA proposal: Van Gogh Returns Project proposal acronym: VGR Date of realization: 13-18.05.2018 NCU; The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 32 Non-invasive in situ study of the polychromy of the Pórtico de la Gloria in Santiago de Compostela Cathedral – MOLAB 2010 Natural overseas are often found in correspondence of the decorations in gold. ALL Blue of Green color are based on blue and white, see for example the Residues of color in the robe of the Pantocrator. It would be interesting to understand the succession ff the interventions to azurite and lapis lazuli, which is the pigment used in Polychromatic original Romanic? It is suggested that the execution of a section Stratigraphic at the Evangelist statue Pillar S161. In the mantle of this Statue The Azurite is predominant in the clearest and innermost areas of the mantle folds, While the lapis lazuli in darker areas. This recurrence suggests the presence of two distinct interventions rather than the use of azurite as a preparatory layer of Lapis lazuli. Blacks--The blacks of the pupils were analyzed with systematicity, obtaining in the most Part of the cases indications of the use of black smoke with the prevalence of protein binder. Exceptions Are Some statues of the central Gable, in the lower part (S2-St. Mark, S3-Saint Luke, S6-Angel with crown of thorns, S7-Two Angels, S11-Angel with nails and Which have high levels of copper. In Addition, the statue S13-Angel with whips Where organic black is black with protein-binding bones. Changes in Polychrome Many areas of the polychrome of the Portico have evident alterations of green color That showed a different nature to the non-invasive analysis. The Capitals 53, 54, 55 (Gospel Pillar) are characterised by a severe alteration of Green color affecting both areas representing vegetation and robes Men. Surfaces are strongly altered in the morphology to suggest That the green material is largely the result of a crystallization process Secondary. The XRF analyses highlighted the presence of high levels of copper and Chlorine, suggesting that the green alteration is made up of copper chlorides type Atacamite/Paratacamite. The FTIR analyses highlighted the presence of high Quantities of nitrates, oxalates and sulphates, which may also have contributed to degradation. So the original pigment that underwent the alteration had to be copper-based. The FTIR analyses have highlighted in many places both the vegetation and the robes Presence of residues of azzurrite, which is evidently the original pigment that has undergone The alteration. The colour of the vegetation, which was to be green, was most likely obtained By mixing bludrite with a yellow lead and tin, since in the altered areas of Vegetation Elemental Analysis XRF evidence the presence, abnormal and not found in Other areas, of tin. The analysis of a micro-sample taken from the green alteration of the vegetation with Raman technique and/or XRD could confirm the nature of the secondary phases and the Composition of the original pigments. Many areas of the porch showing blue green coloration have traces of High levels of copper to indicate that the process of degradation is also in these cases the formation of copper chlorides resulting from the interaction of chloride ions conveyed From the water with the azzurrite. The Green alteration of the complexion of the statue S5 (St. Matthew), in the upper part of the Portico has a different composition and difficult to explain. In fact it is The green of the complexion is that of the gap in the forehead have high tenors of Chromium and kaolin. The analyses therefore show that green is traceable to a Non-original pigment made from chromium and kaolin, due to an intervention Datable to the NINETEENTH century. It is unclear why the intervention affects both the gap and the The complexion. Chromium-based Greens were also found in the gaps in the complexion The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Non-invasive in situ study of the polychromy of the Pórtico de la Gloria in Santiago de Compostela Cathedral – MOLAB 2010 33 Of the right hand of the Pantocrator. A stratigraphic analysis of the complexion in the areas of Green coloration of the S5 statue, the SEM and micro-Raman could clarify the Distribution and nature of the chromium-based pigment. General description of the TNA activity The MOLAB Laboratory of the Department of Chemistry of the University of Perugia (Centre of Excellence SMAArt) and the CNR-ISTM of Perugia (Institute of Science and Technology) carried out the non-invasive study of polychrome and the phases of alteration of the Pórtico de la Gloria. Were employed the following analytical techniques: Elementary X-ray fluorescence (XRF) analysis, Molecular analysis in mid-infrared reflectance (FTIR), molecular analysis in UV-vis fluorescence, colorimetric analysis, image analysis to the video microscope. The statues and the specific areas to be analyzed were chosen in the first instance on the basis and Indications of the restorers responsible for the yard, and then proceed on the basis of the analytical results acquired at the moment, always taking into account the accessibility of the chosen areas and acquiring in total more than 500 measuring points. Feedback from the user - was the user enquired about the satisfaction from the results? If YES, what was the response? Very satisfied - did the user participated in the dissemination of the results? ☒ YES – how: .......Conferences and Seminars, Publications......................... ☐ NOW – why: .................................................................... Importance (about 1/2 page, 11 pt) CIRUJANO, C., LABORDE, A., PRADO-VILAR, F. “La restauración del Pórtico de la Gloria en la Catedral de Santiago”, Patrimonio Cultural de España 6, Ministerio de Educación, Cultura y Deporte, 2012, PP. 183-196. CORTÁZAR GARCÍA DE SALAZAR, M. y SÁNCHEZ LEDESMA, A. “Estudio de la secuencia de policromías y de la composición de los materiales empleados en las decoraciones del conjunto escultórico del Pórtico de la Gloria de la Catedral de Santiago de Compostela”, Revista Informes y Trabajos, 15, pp. 114-170. Instituto del Patrimonio Cultural de España, 2017. The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 34 Non-invasive in situ study of the polychromy of the Pórtico de la Gloria in Santiago de Compostela Cathedral – MOLAB 2010 Universidad de Perugia y C.N.R. Consiglio Nazionale delle Ricerche MOLAB investigaciones no destructivas sobre la policromía Programa Catedral 2010 The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ The possible intervention of Michel Sittow in the execution of the altarpiece of the Luna Chapel in Toledo Cathedral – ARCHLAB 2017 35 The possible intervention of Michel Sittow in the execution of the altarpiece of the Luna Chapel in Toledo Cathedral – ARCHLAB 2017 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☐ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☐ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? IF YES, provide the description and available links 1. Retórica artística en el tardogótico castellano, Olga Pérez Monzón, Matilde Miquel Juan, María Martín Gil, eds., Sílex Ediciones, Madrid, España, 2018. ISBN: 9788477379614 2. Michel Sittow. Estonian Painter at the Courts of Renaissance Europe (Exh. Cat. National Gallery , Washington, DC, Jan.28-May 13, 2018) by John Oliver Hand and Greta Koppel, eds. Washington DC: National Gallery ; New Haven: Yale University Press.128 pp, 90 illus. ISBN 978-0-300-23286-8. 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: María surname: Martín Gil institution: Spanish Cultural Heritage Institute e-mail: [email protected] contact phone: + 34 91 550 45 38 TNA Proposal Details The title TNA proposal: The possible intervention of Michel Sittow in the execution of the altarpiece of the Luna Chapel in Toledo Cathedral. The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 36 The possible intervention of Michel Sittow in the execution of the altarpiece of the Luna Chapel in Toledo Cathedral – ARCHLAB 2017 Project proposal acronym: SITTOW-LUNA. Date of realization: 20-24 of February, 2017. Information about the user: Project leader name: Matthias Ulrich Weniger Project leader institution: Bayerisches Nationalmuseum / Ludwig Maximilian Universität, other institutions involved in using of the results (if applicable) ……………… Field of specialization of the user group: Curator / Lecturer General description of the TNA activity The activity was focused on accessing to the results of the funded research project: FORMACIÓN DEL PINTOR Y PRÁCTICA DE LA PINTURA EN ESPAÑA. (1350-1500). EL RETABLO DE ALVARO DE LUNA EN LA CAPILLA DE SANTIAGO DE LA CATEDRAL DE TOLEDO. (HAR201232720). IPCE, UCM, UCLM and the Museo del Prado, participated actively in the project under the leadership of Matilde Miquel (UCM).and examined over the last years the large altarpiece in the Saint James chapel of the cathedral of Toledo with highly advanced analytical methods. The altarpiece was commissioned on 21 December 1488 by María de Luna y Pimentel (ca. 1432-1502) for the chapel that contained the graves of her father don Álvaro de Luna (ca. 1390-1453) and of her mother Juana de Pimentel, who died in 1488. Before falling into disgrace, Álvaro de Luna had been the most powerful figure at the court of Isabel’s father, King John II of Castile. The painters charged in the contract for the execution of the work were Sancho de Zamora and Juan de Segovia. The above mentioned project came to the conclusion that beside these two “Hispano-Flemish” masters, at least one further and blatantly more « Northern » artist must have been involved. It has tentatively proposed that this third artist might have been Michel Sittow. This view was shared by the user when both parties came together with the occasion of a symposium in Toledo and Madrid, in April 2016, and motivated the access. His contribution to the Toledo altarpiece is of pivotal importance for a better understanding of the early stages of the career of Michel Sittow who was to become the best paid artist in the court of Isabel la Católica. The study of the X-ray and IRR analysis and not least of the excelent High Res photographs established by IPCE during the project was fundamental for understanding the complex relationship within the artists working together on the Luna altarpiece. Major results of the access The ARCHLAB visit meant a unique occasion to fully concentrate on the above mentioned questions during five very long and intensive days, without the heavy workload and the distractions of the usual routine at each of the participants working place. The week was devoted mainly on looking together on the images and analysis elaborated by the IPCE on the Toledo altarpiece, and by the user on the other works by Sittow, and by comparing these data. The main interlocutor of the user in this was Carmen Vega Martín, a technician with admirable expertise in studying paintings with X-ray and infrared technology. These discussions were complimented by an exchange with the other specialists involved in the project, in particular with Matilde Miquel Juan, Olga Pérez Monzón, Tomás Antelo, as well as with Marisa Gómez González and Rocío Bruquetas Galán, who have done an important work analyzing the pigments used to paint the Toledo altarpiece. The discussions with Carmen Vega and the user were extraordinarily detailed and marked by a remarkable openness on both sides to share all available documents and information, and to The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ The possible intervention of Michel Sittow in the execution of the altarpiece of the Luna Chapel in Toledo Cathedral – ARCHLAB 2017 37 advance as much as possibly in resolving the enigmas involved with the Toledo altarpiece. As a result of these long discussions and of an openness and cooperation rarely found in the academic world, the results of the project “FORMACIÓN DEL PINTOR Y PRÁCTICA DE LA PINTURA EN LOS REINOS HISPANOS” establishing that Sittow indeed took part in the execution of the Toledo altarpiece could be confirmed. The appearance of the four central panels of the altarpiece, displaying saints Catharine and Magdalene as well as both Saint John, cannot be explained without a knowledge of his style. However, based on the detailed results of the above project, there has also been consensus that one observes striking differences in the execution of these four panels, and that they were definitely not painted entirely by one single hand. This refers in particular to garments and brocades. The underdrawing does not seem to be homogeneous either. In addition, we also agreed that the painter of the outer four panels, the so-called Master of Miraflores, took up some of the innovations present in the inner panels. Another interesting point in the results of the accessed project is that this by its turn implies that three or possibly even more artists seem to have worked together on the altarpiece at the same moment, and not one after the other. In addition, the central panels can not have been added at a later stage since the Master of Miraflores reacts already to Sittow. This in turn evokes the question of the date of Sittow’s appearance in Spain. He is documented in Isabel’s service from 1492 onwards, while the contract of 1488 stipulated that the altarpiece should have been completed within a year. We know many cases in which the completion of an altarpiece took much longer than originally planned, but in this case there are no clear hints that the Toledo work was only executed after 1492. This leads to ask under which circumstances Sittow had come to Spain, and whether he was hired first by the Mendoza before entering the service of queen Isabel. María de Luna y Pimentel was married in 1460 to Íñigo López de Mendoza. Íñigo’s uncle was the “great cardenal” Pedro de Mendoza, head of Toledo cathedral and the most important counsellor of the queen, which means that both families were linked so closely that the distinction is only of limited relevance. Whatever the exact conditions of patronage, the altarpiece itself makes it clear that Sittow, once he appeared on the stage, was considered to be the most important artist involved in its execution. He was awarded the central panels, including those depicting both Saints John, the favourite saints of queen Isabel, and his innovations were adapted by the “Master of Miraflores”. Already the contract had asked for “foreign”, i.e. Netherlandish faces, and Sittow was much more able to fulfill these expectations than the two Hispano-Flemish masters. The observations made on the Toledo altarpiece do not only raise our knowledge of cultural exchange between Spain and the Netherlands around 1490 to a new and unexpected level. They also alter our vision of the painter Sittow as well. When he contributed his share to the altarpiece, Sittow must have had come into touch already with the queen, since he quotes in his Toledo paintings art works in her possession. What is more, some features and some aspects of the painting technique that we tended to link with his later works are apparent already at that early stage, in the Toledo altarpiece. Feedback from the user - was the user enquired about the satisfaction from the results? If YES, what was the response? YES. The exchange as well as the discussions between the user and the IPCE on the exact amount of the cooperation of Sittow with the local artists will certainly continue. - did the user participated in the dissemination of the results? The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 38 The possible intervention of Michel Sittow in the execution of the altarpiece of the Luna Chapel in Toledo Cathedral – ARCHLAB 2017 ☒ YES – how: In 2018, the Estonian Art Museum in Sittow’s home town Tallinn and the National Gallery in Washington mounted the first monographic exhibition on Michel Sittow. In accordance with the IPCE, the user has included first results of the discussions had in Madrid in his contributions to the catalogue of that exhibition, mentioning ARCHLAB access, so that the important research done at the IPCE and the affiliated institutions will be present in that volume. ☐ NOW – why: .................................................................... Importance (about 1/2 page, 11 pt) (See conclusions in Major results of the access) Retórica artística en el tardogótico castellano Olga Pérez Monzón, Matilde Miquel Juan, María Martín Gil, eds. Sílex Ediciones, Madrid, España, 2018. ISBN: 9788477379614 The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Conservation and Revelation of the Ghent Altarpiece – ARCHLAB 2012 39 Conservation and Revelation of the Ghent Altarpiece – ARCHLAB 2012 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – The rediscovery of Jan van Eyck, ’ King of Painters’ 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☒ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? IF YES, provide the description and available links Several press releases and conferences have been organised in the framework of the conservation of the Ghent Altarpiece: http://www.kikirpa.be/uploads/files/PersberichtGhentAltarpiece_EN_V2.pdf http://www.kikirpa.be/uploads/files/PressRelease_KIK-IRPA_GhentAltarpiece_27June2013.pdf http://www.kikirpa.be/uploads/files/2014.06.20_Press_kit_Ghent_Altarpiece.pdf http://www.kikirpa.be/uploads/files/12-10-2016_Press_Lam_Gods.pdf http://www.kikirpa.be/uploads/files/Persbericht%20Lam%20Gods%209%20nov%202017%20EN.pdf http://www.kikirpa.be/uploads/files/Dossier%20de%20presse%20Jan%20van%20Eyck%20en%20lign e%2011%20jan%202018.pdf http://www.kikirpa.be/uploads/files/2018.06.19%20Press%20kit%20Ghent%20Altarpiece%20EN.pdf The website closertovaneyck www.closertovaneyck.kikirpa.be, launched in 2011 and regularly updated, is a pioneering example of open-access resources for technical art history and conservation. This has also been echoed in the press. http://www.kikirpa.be/uploads/files/Ghent%20Altarpiece%20-%20Web%20site%20-%20Press%20rel ease%20-%20July%207%202011%20-%20EN.pdf http://www.kikirpa.be/uploads/files/GhentAltarpiecewebsite_PressRelease.pdf 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. The website “closer to van Eyck” (http://closertovaneyck.kikirpa.be) is financially supported by the The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 40 Conservation and Revelation of the Ghent Altarpiece – ARCHLAB 2012 Getty Foundation. It is a pioneering tool in the presentation of conservation-restoration process and a model for open access.The conservation is financed by the Flemish government (80%) and the Baillet-Latout Fund (20%). Research for conservation is carried out by KIK-IRPA in collaboration with the Universities of Ghent and Antwerp and has benefitted from sponsorship from the Gieskes-Strijbis Fund. Punctual analytical expertise have been provided by scientists from the Nicolaus Copernicus University (Toruń) and the National Gallery (Washington). 8. Person to be contacted for details name: Hélène surname: Dubois institution: KIK-IRPA e-mail: [email protected] contact phone: + …..................………… TNA Proposal Details The title TNA proposal: ARCHLAB “Van Eyck reconstructed” Project proposal acronym: …………………………………….. Date of realization: May-June 2012 Information about the user: Project leader name: Marie Postec Project leader institution: ENSAV-La Cambre, Brussels Other institutions involved in using of the results (if applicable): Royal Institute for Cultural Heritage, Brussels Field of specialization of the user group: conservators and art historians General description of the TNA activity This ARCHLAB project aimed to collate existing scientific imagery, laboratory analyses and conservation reports of paintings by Jan Van Eyck and followers in the participating institutions (National Gallery, C2RMF, Prado). The main questions were to gain more insight into the painting technique of Van Eyck and on the material condition of his paintings This information participated in the preparation of the conservation project of the brothers van Eyck’s Ghent Altarpiece by the KIK-IRPA and of teaching material for the reconstruction of Early Netherlandish painting Techniques (Conservation training, ENSAV-La Cambre). The conservation project of the Ghent Altarpiece (1432) is the most revealing campaigns carried out so far this century since it permitted the rediscovery of the original paint layers that had been hidden under overpaint since the middle of the sixteenth century. It has an enormous impact on the reevaluation of the Van Eyck’s artistic production which was an optical revolution at the time, and to increase knowledge of his materials and of degradation phenomena that affect the paintings. The study of the technique enabled the elaboration of insightful and didactic teaching materials to supervise the reconstruction of Old Masters techniques by conservation students at ENSAV-La Cambre Major results of the access Teaching on historical painting techniques and contribution to research on the conservation of the Ghent Altarpiece The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Conservation and Revelation of the Ghent Altarpiece – ARCHLAB 2012 41 Publications (selection): Ute Stehr, Hélène Dubois, ‘Über die Spaltung und die Restaurierungsgeschichte der sechs Flügel des Genter Altares in Berlin’, in Stephan Kemperdick, Johannes Röβler (ed.), Der Genter Altar der Brüder van Eyck. Geschichte une Würdigung, Michael Imhof Verlag, Berlin, 2014, pp. 120-135. Marie Postec, Hélène Dubois, Bart Devolder, Livia Depuydt, Nathalie Laquière, Françoise Rosier, Koen Jansens, Geert Van der Snickt, Jana Sanyova, Maximiliaan Martens and Peter Vandenabeele, ‘Spectaculaire ontdekkingen op het Lam Gods van de gebroeders Van Eyck: de essentiële rol van de restaurateur’, Marjan Buyle (ed.), Achtste BRK-APROA/Onroerend Erfgoed colloquium: Innovatie in de conservatie-restauratie, VIOE, Brussels, 12-13 November 2015, Brussels, 2016, pp.153-171. A.van Grevenstein-Kruse, H. Dubois, ‘The Ghent altarpiece revisited: 2012-2017’, in C. Currie, B. Fransen, V. Henderiks, C. Stroo, D. Vanwijnsberghe (ed.), Van Eyck Studies. Papers presented at the Eighteenth symposium for the Study of Underdrawing and Technology in Paintings, Brussels, 19-21 September 2012, Leuven, Peeters, 2016, pp. 3-34 H. Dubois, J. Sanyova, D. Vanwijnsberghe ‘Revenons à notre Mouton’. Paul Coremans, Erwin Panofsky, Martin Davies and the Mystic Lamb, in C. Currie, B. Fransen, V. Henderiks, C. Stroo, D. Vanwijnsberghe (ed.), Van Eyck Studies, Papers presented at the Eighteenth symposium for the Study of Underdrawing and Technology in Paintings, Brussels, 19-21 September 2012Leuven, Peeters, 2016, pp. 67-76. H. Dubois, ‘Michiel Coxcie's copy as a formal reference of the material condition of the Ghent altarpiece in 1557’ Internationales Colloquium anlässlich der Ausstellung Der Genter Altar der Brüder van Eyck in Berlin 1820-1920: Der Genter Altar – Reproduktionen, Deutungen, Forschungskontroversen. The Ghent Altarpiece – Reproductions, Interpretations, Scholarly Debates, Berlin, Gemäldegalerie, 13-14 February 2015. H. Dubois, ‘The Art of Conservation XV: The conservation history of the Ghent Altarpiece’, in: The Burlington Magazine, September 2018, pp. 754-765. Feedback from the user - was the user enquired about the satisfaction from the results? If YES, what was the response? … - did the user participated in the dissemination of the results? ☒ YES – how: author of publications, lectures in universities and conferences, conservation of the altarpiece Importance (about 1/2 page, 11 pt) ARCHLAB is a particularly interesting TNA because it offers the opportunity to researchers to access non-published research material in a very efficient manner by providing direct access and discussing the context of this documentation with the colleagues on-site. The scientific community benefits from the improvement of the communication between research groups from different European countries, thereby stimulating collaborations. It gives the possibility to reprocess information that may have become dormant in archive by applying new analytical methods to old samples and documents. The potential users are researchers in conservation, conservation scientists , art history, whether students, young or established professionals. They will influence the field by developing collaboration and research and disseminating through publications, presentations, research and conservation projects, teaching. ARCHLAB gives also the financial and logistic support to research on heritage often runs on limited The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 48 Archaeometallurgical Investigation of the Chiaravalle Cross – FIXLAB 2016 Figure 1. A picture of the artifact and of the investigated specimens: (a) Front of the Chiaravalle cross and (b) filigrees and nails specimens (photograph credit: Franco Blumer). Reference: D Di Martino, E P Cippo, A Scherillo, Zs Kasztovszky, I Harsányi, I Kovács, Z Szőkefalvi-Nagy, R Cattaneo, G Gorini, An Archaeometallurgical Investigation on Metal Samples from the Chiaravalle Cross, Heritage 2019, 2, 836-847; doi:10.3390/heritage2010055 The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Non-invasive PGAA, PIXE and ToF-ND analyses on Hungarian Bronze Age defensive armour – FIXLAB 2012 49 Non-invasive PGAA, PIXE and ToF-ND analyses on Hungarian Bronze Age defensive armour – FIXLAB 2012 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☐ CHARISMA ☐ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☐ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? NO 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details (sent by Katalin Bajnok) name: Zsolt surname: Kasztovszky institution: Centre for Energy Research, Hungarian Academy of Sciences / Budapest Neutron Centre e-mail: [email protected] contact phone: +36-1-3922222 / 3143… The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 50 Non-invasive PGAA, PIXE and ToF-ND analyses on Hungarian Bronze Age defensive armour – FIXLAB 2012 TNA Proposal Details The title TNA proposal: Analyses of Hungarian Armour of the Bronze Age: Alloy Composition and Texture Project proposal acronym: AHAB-ACT Date of realization: 2012 Information about the user: Project leader name: Marianne Mödlinger Project leader institution: Dipartimento di Chimica e Chimica Industriale - DCCI Universitá degli Studi di Genova, other institutions involved in using of the results (if applicable) ……………… Field of specialization of the user group: archaeologist General description of the TNA activity Non-invasive, archaeometric analyses on selected Hungarian Bronze Age defensive armour is presented here: three greaves, three helmets two shields as well as one vessel fragment were analysed with PIXE, PGAA and TOF-ND. The detected alloy elemental and phase composition as well as its intergranular or spatial concentration distribution reveals important insights into the alloys used and the manufacturing techniques applied c. 1200–950 BC, and allows to reconstruct the production techniques used during the Late Bronze Age. Major results of the access Marianne Mödlinger, Zsolt Kasztovszky, Zoltán Kis, Boglárka Maróti, Imre Kovács, Zoltán Szőkefalvi-Nagy, György Káli, Eszter Horváth, Zsombor Sánta, Ziad El Morr: Non-invasive PGAA, PIXE and ToF-ND analyses on Hungarian Bronze Age defensive armour, Journal of Radioloanalytical Nuclear Chemistry 300 (2014), 787-799. DOI 10.1007/s10967-014-3064-7 From the total number of eight Bronze Age pieces of armour and one vessel fragment dated to c. 1300–1000 BC from modern-day Hungary, testing on the alloys used and manufacture techniques applied were carried out. The focus was only on alloying elements such as Cu, Sn and Pb, which could have been chosen intentionally by the Bronze Age craftsmen. The finds were analysed with PIXE, PGAA and TOF-ND. All objects analysed were made of binary CuSn or ternary CuSnPb alloys with an amount of 6.4–16.7 wt% Sn and up to c. 3 wt% Pb. The wires of the two greaves, as well as a rivet from the vessel were made of almost pure Cu. Since these parts of the armour have to be rather flexible, the usage of almost pure Cu comes as no surprise. Even though the single analytical methods show a certain variation according to their different sensitivities and nature (bulk vs. surface analyses). They clearly show that Pb was used as an alloying element in the objects dated to between 1050 and 950 BC. This has also been noted for the older vessel — for its period, this is not such a common choice of alloy. For the knobs of the helmets studied, the TOF-ND agreed with previously published metallographic analyses of knobs of similar helmets. The knobs from the helmets from two sites were directly cast on the cap using the lost-wax technique, as macroscopic studies and metallographic analyses of contemporary helmets of the same type indicate. From a purely archaeological point of view, the TOF-ND results on the two shield fragments are the most interesting: until now, it was assumed that the fragments belonged to one shield only. Instead, the TOF-ND results showed that the fragments belonged to two different shields. Since a total number of less than 95 Bronze Age shields is currently known, this result is particularly valuable for Bronze Age research. The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Non-invasive PGAA, PIXE and ToF-ND analyses on Hungarian Bronze Age defensive armour – FIXLAB 2012 51 Feedback from the user - was the user enquired about the satisfaction from the results? If YES, what was the response? - did the user participated in the dissemination of the results? ☐ YES – how: Scientific publication (listed above) Importance (about 1/2 page, 11 pt) The main goal of our research was combining powerful non-destructive bulk and surface analysis techniques in a deliberately interdisciplinary way. Many data were collected, with the main goal of deriving new insights into the manufacturing technique of bronze age defensive armour from Hungary. Based on our analysis it was possible to distinguish that the earlier objects (1300–1050) were made of binary CuSn alloy, while in the later period (1050–950) Pb was also added as an alloying element. Some parts (wires of the greaves, rivet of the vessel), however, were made of almost pure Cu, and since these parts of the armour have to be rather flexible, the usage of almost pure Cu comes as no surprise. For the knobs of the helmets studied, the TOF-ND agreed with previously published metallographic analyses of knobs of similar helmets. The knobs from the helmets from two sites were directly cast on the cap using the lost-wax technique. Furthermore, the TOF-ND results of two shield fragments had been supposed to belong to one shield proved that they belong to different objects. Since a total number of less than 95 Bronze Age shields is currently known, this result is particularly valuable for Bronze Age research. The project improved the knowledge of development, manufacture and usage of the first metal defensive armour in the European Bronze Age, and as weapons design often applies the most advanced technologies a society has to offer, they can therefore be used as an indicator of the scientific, technical and sociocultural complexity of a society or culture The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 52 Non-invasive PGAA, PIXE and ToF-ND analyses on Hungarian Bronze Age defensive armour – FIXLAB 2012 Fig. 1 Hungarian Bronze Age armour studied. 1 Hajdúböszörmény. 2 Mezőkövesd. 3 Nagytétény. 4 Lengyeltóti. 5 Rinyaszentkirály. 6 Várvölgy. 7 Keszőhidegkút. 8 Bodrogkeresztúr. 9 Jászkarajenő Fig. 2 Radiography images of the knobs of the helmets from Hajdúböszörmény (right) and Mezőkövesd (left). Lighter areas of the radiography indicate higher neutron attenuation. The knobs are both c. 3.5 cm wide The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Non-invasive PGAA, PIXE and ToF-ND analyses on Hungarian Bronze Age defensive armour – FIXLAB 2012 53 Fig. 3 Traces of manufacture and use on greaves. Left Rinyaszentkirály, Hungary. The holes to fix the crack were punched from the inside to the outside (above). Scribed lines were applied on the inside of the greaves. These were used as guidance for the applica tion of the actual, punched decoration (below). Right Lengyeltóti, Hungary. Crack with two rivet holes punched from the inside to the outside (above) and vice versa (below) The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 54 Meteoritic origin of mankind’s earliest iron artefacts – FIXLAB 2011 Meteoritic origin of mankind’s earliest iron artefacts – FIXLAB 2011 2. Target of the story – mark ALL applicable audience ☒ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☒ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – The earliest known iron artefacts, a set of small beads dated to ca. 3300 BC, were unearthed in a predynastic cemetery in Lower Egypt. Predating the invention of bloomery smelting by nearly two millennia, the nature and origin of this iron material have remained a matter of dispute ever since the excavation in 1911. Our interdisciplinary investigation has provided unambiguous results about the meteoritic origin and the manufacture of three items and about their significance for the history of iron working development. The experimental study of the beads was performed by complementary neutron and proton beam techniques at the institutes of BNC-WIGNER. 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☒ CHARISMA ☐ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☐ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? IF YES, provide the description and available links National Geographic https://news.nationalgeographic.com/news/2013/13/130822-ancient-egypt-beads-meteorites-iron-g erzeh/ Popular Science https://www.popsci.com/science/article/2013-08/confirmed-egyptian-jewelry-came-meteorites#pag e-2 Science News http://www.sci-news.com/archaeology/science-egyptian-artifacts-meteoritic-iron-01323.html The Telegraph https://www.telegraph.co.uk/news/science/science-news/10252529/Ancient-Egyptians-made-jewell ery-from-meteorites.html Times Live https://www.timeslive.co.za/news/sci-tech/2013-08-20-earliest-iron-artifacts-made-from-meteoritearchaeologists/ The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Meteoritic origin of mankind’s earliest iron artefacts – FIXLAB 2011 55 Los Angeles Times https://www.latimes.com/science/sciencenow/la-sci-sn-egyptian-beads-meteorite-20130820-story.h tml https://www.livescience.com/38995-egyptian-beads-made-from-meteorites.html UCL News https://www.ucl.ac.uk/news/2013/aug/earliest-known-iron-artefacts-come-outer-space Science Daily https://www.sciencedaily.com/releases/2013/08/130819202413.htm International Business Times https://www.ibtimes.co.uk/ancient-egypt-jewellery-meteorite-gerzeh-tomb-500234 The Times of India https://timesofindia.indiatimes.com/home/science/Earliest-iron-artifacts-came-from-outer-space/ar ticleshow/21939360.cms UPI https://www.upi.com/Some-of-worlds-earliest-iron-artifacts-came-from-outer-space/358713770355 28/ Collective Evolution https://www.collective-evolution.com/2017/01/24/archaeologists-discover-5000-year-old-egyptianartifacts-that-came-from-space/ News Punch https://newspunch.com/archaeologists-find-5000-year-old-egyptian-artifacts-that-came-from-space/ ABC Science http://www.abc.net.au/science/articles/2013/08/20/3829786.htm 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details (sent by Katalin Bajnok) name: Zsolt surname: Kasztovszky institution: Centre for Energy Research, Hungarian Academy of Sciences / Budapest Neutron Centre e-mail: [email protected] contact phone: +36-1-3922222 / 3143… TNA Proposal Details The title TNA proposal: Mankind’s earliest iron – investigating the meteoritic beads from Gerzeh, 3,500 BC Project proposal acronym: Petrie’s iron beads Date of realization: 09-16th December 2011 Information about the user: Project leader name: Thilo Rehren Project leader institution: UCL Institute of Archaology, other institutions involved in using of the results (if applicable) University of Pierre and Marie Curie (France), Petrie Museum of Egyptian Archaeology (UK) Field of specialization of the user group: archaeologist, geologist, historian General description of the TNA activity The main research goals were: The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ 56 Meteoritic origin of mankind’s earliest iron artefacts – FIXLAB 2011 To determine the nature of the iron from which these earliest known iron beads manufactured by men are made – can we demonstrate that they are meteoritic in origin, as has been speculated based on their early date?  Specifically, to determine the crystal structure of the beads (presence of schreibersite Fe3P crystals, grain size of remaining metallic iron)  To determine their chemical composition (particularly full body composition of nickel, cobalt, germanium), and any other related information Major results of the access Thilo Rehren, Tamás Belgya, Albert Jambon, György Káli, Zsolt Kasztovszky, Zoltán Kis, Imre Kovács, Boglárka Maróti, Marcos Martinón-Torres, Gianluca Miniacif, Vincent C. Pigott, Miljana Radivojević, László Rosta, László Szentmiklósi & Zoltán Szőkefalvi-Nagy: 5,000 years old Egyptian iron beads made from hammered meteoritic iron. Journal of Archaeological Sciences 40 (2013), 4785-4792. The earliest known iron artefacts are nine small beads securely dated to circa 3200 BC, from two burials in Gerzeh, northern Egypt. We show that these beads were made from meteoritic iron, and shaped by careful hammering the metal into thin sheets before rolling them into tubes. The study demonstrates the ability of neutron and X-ray methods to determine the nature of the material even after complete corrosion of the iron metal. The iron beads were strung into a necklace together with other exotic minerals such as lapis lazuli, gold and carnelian, revealing the status of meteoritic iron as a special material on a par with precious metal and gem stones. The results confirm that already in the fourth millennium BC metalworkers had mastered the smithing of meteoritic iron, an iron–nickel alloy much harder and more brittle than the more commonly worked copper. Feedback from the user - was the user enquired about the satisfaction from the results? If YES, what was the response? ………………………………….. - did the user participated in the dissemination of the results? ☐ YES – how: article in scientific journal, interviews for popular media (listed above)................ Importance (about 1/2 page, 11 pt) The non-invasive analysis of the earliest known iron artefacts is of wider significance as it demonstrates that metalworkers had already nearly two millennia of experience to hot-work meteoritic iron when iron smelting was introduced. This knowledge was essential for the development of iron smelting, which produced metal in a solid state process and hence depended on this ability in order to replace copper and bronze as the main utilitarian metals. The TNA activity related to „iconic” object or providing new results of common interest ___________________________________________________________________________ Meteoritic origin of mankind’s earliest iron artefacts – FIXLAB 2011 57 Fig. 4: Photographs of three of the originally nine iron beads from Gerzeh, Lower Egypt. From left UC10738, UC10739 and UC10740. © Petrie Museum of Egyptian Archaeology. Photo by Gianluca Miniaci. Fig. 5: Neutron images of the three iron beads, in side view (left) and perpendicular (right). UC10740, UC10739 and UC10738 (from top). New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ 64 Non-sampling analysis of painting layers by non-linear optical microscopy of THG, and especially SHG, signal acquisition in the reflection mode makes possible the study of non-transparent CH substrates. The lateral and axial resolutions of these techniques (diffraction‐ limited) are in the range of approx. 500 nm and approx. 2 μm respectively. The penetration depth is of the order of a few hundred μm for samples with high transparency in the NIR region. In the framework of the EU Project IPERION CH, the modality of MPEF, as standalone or in combination with THG have been developed for the determination of thickness of transparent or partly transparent copper-phthalocyanine acrylic paint layers (results published in Spectrochim. Acta A 208 (2019) 262.) and for the assessment of modifications following laser removal of varnish (results published in Phys. Chem. Chem. Phys. 19 (2017) 22836.). Furthermore, an overview of the implementation of non-linear imaging contrast microscopy techniques (MPEF, SHG, polarization-SHG and THG), as diagnostic tools for cultural heritage studies has been published (Insight - Non-Destructive Testing and Condition Monitoring, DOI: 10.1784/insi.2018.60.12.XXX, DOI: 10.1784/insi.2018.60.12.XXX, in press). Importance (about 1/2 page, 11 pt) Non‐linear optical microscopy techniques are non‐invasive, do not require sampling and can be used to obtain 3D images (cross‐sections), not only from substrates but also from whole cultural heritage (CH) objects. At present, these methods have been applied to a limited range of materials. The achievements here described allow extending the field of applications to the study of paintings which are complex substrates from the structural and compositional point of view. The advanced knowledge here obtained pave the way for development and validation of user‐friendly workstations based on a suitably modified microscope with the capability of scanning and detecting very weak non-linear optical signals and a stable compact femtosecond laser source for in-situ applications in cultural heritage. Non-linear Optical Microscopy for studying paintings. Left: Determination of thickness of copper-phthalocyanine acrylic paints by Multi-Photon Excitation (adapted from Spectrochim. Acta A 208 (2019) 262-270.). Right: Assessment of modifications following laser removal of varnish (adapted from Phys. Chem. Chem. Phys. 19 (2017) 22836.). New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ Development of TLC/MU-ATR/SERS method 65 Development of TLC/MU-ATR/SERS method 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☐ science community ☐ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☐ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☐ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? NO 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: SILVIA surname: PRATI institution: UNIBO e-mail:…S.[email protected]T…......................... contact phone: + ….390544937153.................………… Objective The present research is focused on the setting up of an advanced analytical system for the detection of synthetic dyes. The aim of this research is to propose for the first time a new TLC plate that allows the analysis of trace amounts of dyes present in mixture by means of the integrated use of enhanced Raman (SERS) and enhanced FTIR spectroscopy (Mu-ATR), obtaining complementary results. General description of the instrument The system is based on the combination of an innovative thin layer chromatography (TLC) plate coupled with enhanced infrared (MU-ATR, metal underlayer attenuated total reflection) and Surface Enhanced Raman (SERS) spectroscopy. In particular, a TLC plate made of silver iodide (AgI) applied onto a gold coated glass slide (AgI@Au) is proposed as an efficient stationary phase for the New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ 66 Development of TLC/MU-ATR/SERS method separation of dyes mixtures. The separated dyes are then identified by means of both enhanced FTIR and SERS, performed directly on the same eluted spots. The use of a mid-IR transparent inorganic salt as stationary phase coupled with the underneath gold layer avoids spectral interferences, enhancing the signal obtained from ATR analyses. At the same time, SERS spectra can be recorded as the TLC plate may act as a SERS active substrate due to the photoreduction of AgI to metallic Ag caused by the exposure to the laser during the Raman analysis. Unique features of the instrument For the first time a new TLC plate that allows the analysis of trace amounts of dyes present in mixture by means of the integrated use of enhanced Raman (SERS) and enhanced FTIR spectroscopy (Mu-ATR), obtaining complementary results. Unique methodologies For the first time a new TLC plate that allows the analysis of trace amounts of dyes present in mixture by means of the integrated use of enhanced Raman (SERS) and enhanced FTIR spectroscopy (Mu-ATR), obtaining complementary results. Importance (about 1/2 page, 11 pt) The characterization of organic dyes still represents a challenging task, because due to their high tinting strength, dyes are present in very low concentrations and are usually embedded into ulticomponent matrices (such as: paints, textiles, or inks). Nevertheless, their unambiguous and sensitive identification is of outmost importance for the characterisation istic samples for instance for provenance, dating and authentication studies. The study has been published in Analytica Chimica Acta: Sciutto, G., Prati, S., Bonacini, I., Litti, L., Meneghetti, M., & Mazzeo, R. (2017). A new integrated TLC/MU-ATR/SERS advanced approach for the identification of trace amounts of dyes in mixtures. Analytica Chimica Acta, 991. https://doi.org/10.1016/j.aca.2017.08.020 Gold substrate AgI µRaman objective Laser beam ATR crystal Gold substrate AgI TR crystal New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ Development of TLC/MU-ATR/SERS method 67 G old substrate AgI ATR crystal Gold substrate AgI Gold substrate AgI µRaman objective Laser beam New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ 68 NMR-MOUSE instrument NMR-MOUSE instrument 2. Target of the story – mark ALL applicable audience ☒ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☒ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – Portable MRI inspects frescoes, paintings, violins and mummies 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☒ Eu-ARTECH ☒ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☒ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? IF YES, provide the description and available links There has been a number of reports on the NMR-MOUSE on television over the years. The most prominent one features the study of Charlemagne’s tibia in the three-part movie on the life of Charlemagne (see movie at 1:00 h): https://www.bing.com/videos/search?q=arte+karl+der+grosse&&view=detail&mid=4B188F967CFF9 0FB1FAC4B188F967CFF90FB1FAC&&FORM=VRDGAR 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. The NMR-MOUSE is a commercial product of Magritek holding and is being produced by Magritek GmbH in Aachen. Magritek GmbH is directed by Federico Casanova and Juan Perlo, who developed the instrument in the EU-ARTECH project. The company has expanded since and leads the world market in producing tabletop NMR spectrometers for chemical analysis. 8. Person to be contacted for details name: Blümich surname: Prof. Dr. Bernhard institution: RWTH Aachen University e-mail: [email protected], contact phone: +49 241 80 26421 New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ NMR-MOUSE instrument 69 Objective A compact MRI instrument has been developed with which large objects can be inspected locally from one side with the superior soft-matter contrast of magnetic resonance imaging General description of the instrument The instrument is called NMR-MOUSE for MObile Universal Surface Nuclear Magnetic Resonance Explorer. It consist of a permanent magnet with a radio-frequency coil. Unique features of the instrument The NMR-MOUSE is essentially an MRI machine. But instead of having a large magnet where the object goes inside, the magnet is small, and the object is placed next to it. The pixels of the NMR-MOUSE are flat disks, 0.1 mm thin and 10 mm wide. They are defined by the sensitive measurement volume outside the sensor and are measured one by one. Unique methodologies Typically, the instrument is placed on a precision sliding table by which the sensitive volume is stepped out of the object so that the acquired pixels constitute a high-resolution depth profile that reports the stratigraphy and physical material properties of the object. Typical material properties are the moisture content, the wax content, or the elasticity of the material. These are the same parameters that give rise to the contrast in clinical magnetic resonance images. Like its clinical big brother, a measurement with the NMR-MOUSE is non-destructive. Importance (about 1/2 page, 11 pt) All non-metallic objects containing hydrogen can be studied non-destructively with the NMR-MOUSE. Important applications to heritage science concern the optimization of solvent-cleaning procedures for paintings, the efficiency of stone conservation treatments, the identification of undocumented conservation measures with bones, wood, plaster and stone, the determination of the content and flux direction of moisture inside walls, and the stratigraphic analysis of the plaster layers from frescoes which provide unique and novel insights into the craftsmanship and socio-economic conditions at the time of making. New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ 70 NMR-MOUSE instrument The NMR-MOUSE scanning the depth of a wall from the Cathedral of St. Anthony in Padua in search of a hidden Giotto fresco. Copyright Bernhard Blümich. New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ Optimisation of portable Digital Holographic Speckle Pattern Interferometry system DHSPI III 71 Optimisation of portable Digital Holographic Speckle Pattern Interferometry system DHSPI III 2. Target of the story – mark ALL applicable audience ☐ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – NDT structural Diagnosis: The DHSPI III hybrid geometry provides non contact high resolution defect detection with digital capturing ease. DHSPI detects in micrometer resolution all typical subsurface/bulk defects that impact on the surface. Hidden cracks and detachments, voids and weakened areas invisible to other advanced imaging tools become traceable from surface. Raw data manipulation algorithms offer multi-tasking tools usable to generate accurate defect documentation topography, defects with exact coordinates, surface morphology , 3D surface mapping. Post-processing tools are employed to most applications of DHSPI . Example: serve to generate a coded “signature” conducing to the verification of originality procedures, e.g. Originality assessment before and after travel. Risk priority map: Defect topography map is direct visual qualitative result from pre-processing recording, while risk priority map is quantitative result after post-processing. The structural condition is prioritised according to the impact of defects on precious surface to carry out necessary remedial interventions. Additionally it is visualised the defect micro-structure in 2D and 3D. The defects or defected areas are located, sized in 1:1 scale and deformation is measured to be marked as μm per area (mm2, cm2 related to the severity of defect impact on surface signifying the risk of permanent damage. Preventive conservation: Monitoring environmental and microclimate impact of interior/exterior surfaces. Decorative artifacts, furniture, frescoes and wall paintings in historical buildings and monuments deteriorate constantly in response to the environment. DHSPI III can operate automatically in long term measurements to perform monitoring of surface reactions due to natural fluctuations of RH/T. Suits for on-field measurement requirements and can operate in moderate harsh out of laboratory conditions, e.g. Monuments and Churches environmental impact Direct monitoring of materials, fragile surfaces are recorded in respond to natural climate conditions allowing to evaluate microclimate safety. 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☒ CHARISMA ☒ IPERION CH ☐ ARIADNE New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ 72 Optimisation of portable Digital Holographic Speckle Pattern Interferometry system DHSPI III 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? IF YES, provide the description and available links http://popularizacija.ifs.hr/wp-content/uploads/2018/07/LaserLab_NL_07-2018_web.pdf Digital Holographic Speckle Pattern Interferometry (DHSPI) is a non-destructive optical technique which can be used to investigate deformation, deterioration and fracture mechanisms in cultural heritage objects. In the context of the European IPERION CH MOLAB project, Laserlab-Europe partner IESL-FORTH has developed DHSPI-II, a portable custom-made prototype, which has already been used to monitor wooden objects and to examine 17th century paintings by Peter Paul Rubens at the Whitehall Banqueting House in London. In DHSPI two coherent beams from the same laser form a holographic interferogram of the speckle patterns – spatial variations in the observed light intensity of the light reflected from a rough surface – on a CCD detector. A computer processes the phase changes in the reflected beam, which are caused by changes in the shape and position of the surface and the underlying material, revealing any changes in the surface as well as the internal structure. The laser beams employed in the DHSPI-II are highly divergent, allowing imaging of the whole or extended parts of the surface (full field). This also guarantees safety for the operator as well as the object, because in this power density regime the laser radiation does not interact with the surface. The technique enables detection of the location, shape and size of invisible defects, as well as their changes over time. As such, it allows monitoring of structural changes resulting from varying environmental and climatic conditions, conservation treatments, aging, and transportation or handling. The DHSPI-II instrument is a 15 kg light-weight portable system, comprising an optical head of 30x20 cm and a PC driven control unit. It has been developed at the holography laboratory of IESL-FORTH, and funded through several national and EU projects related to artworks diagnostics. In a preliminary preventive conservation experiment, DHSPI was employed to monitor in real time the response of complex materials and objects to fluctuations in relative humidity and temperature. Analysis has focused on the assessment of the dynamics of dimensional changes in cultural heritage objects made of hygroscopic materials. Oak and pine with sizes of 2 x 2 cm, and of varying thicknesses from 1 mm to 1 cm, were monitored while relative humidity was varied between 45% and 65% at different rates. The data of this work in progress suggests that wood sensors could be suitable for future assessment of environmental changes in collections. In addition, scaffold access between February and April 2018 enabled the recording of The Apotheosis of King James I and The Wise Rule of King James I, two ceiling paintings produced by Peter Paul Rubens and installed at the Whitehall Banqueting House in London in 1636. The assessment by the DHSPI-II instrument was part of a multidisciplinary effort to carry out a first ever full and systematic technical conservation survey, to determine how the paintings were created, how they have changed over the years, as well as to establish an accurate record of the present condition of the paintings to inform on approaches to future possible conservation interventions. Vivi Tornari A.Nevin, M. Andrianakis, V. Tornari, Towards understanding the impact of environmental changes on cultural heritage through the real time monitoring of dimensional change in wood sensors with Digital Holographic Speckle Pattern Interferometry, to be published in Applied Surface Science List New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ Optimisation of portable Digital Holographic Speckle Pattern Interferometry system DHSPI III 73 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: Vivi surname: Tornari institution: IESL-FORTH e-mail: vivit[email protected]orth.gr contact phone: + …..................………… Objective Holographic interferometry and thermography techniques in contactless non-destructive real-time direct-surface reflectance to record in full field changes in terms of a) surface optical displacement and b) its temperature gradient General description of the instrument Workstation development on optical table or in-situ integrating two separate systems for the interferometry and thermography measurements. Unique features of the instrument Contactless, non-destructive, real-time, direct-surface reflectance, full field. Unique methodologies Importance (about 1/2 page, 11 pt) Enhanced diagnosis of subsurface damage provoking unknown sub and surface reactions can be provided by the complimentary study of DHSPI-SIRT. In general the effort to a combined use of the thermostructural information revealed data to diagnose unknown problems it is a challenge for the in situ applicability of portable systems and thus it is a problem of major importance if further hybrid instrumentation development is to be concerned and funded. New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ 80 Neutron imaging driven prompt gamma-ray activation analysis (PGAA) at the NIPS-NORMA facility of the BNC Fragments of a bronze dagger from the Füzesabony-Öregdomb settlement, dated to the 16th–15th century BC, i.e. Early or Middle Bronze Age were analyzed. Although neutron imaging is perfect to reveal the internal structure of the heterogeneous objects, with a spatial resolution far better than what neutron-based elemental analysis can ever offer, it cannot provide unambiguous evidence about the materials used, since, by chance, more than one material can have the same macroscopic attenuation property. An object’s internal structure and its production technology can sometimes be understood only if a complementary element analysis technique, such as handheld X-ray fluorescence spectrometry (hhXRF), or position sensitive prompt-gamma activation analysis (PGAI) is involved, that can greatly improve the confidence of the conclusions. PGAI can outperform XRF when an altered layer is present on the surface either due to the corrosion processes during the burial, or due to surface treatment carried out in the museum for the purpose of restoration. From the elemental analysis results, a clear difference between surface and bulk compositions was identified. The surface-related hhXRF data showed an alloy of about 70 wt% Cu and a variable Sn content (0.7–8 wt%), whereas bulk results measured by PGAI were 86 wt% Cu and 5.9 wt% Sn. These two major components do not sum up to 100%. Some lighter elements, e.g. Si, S and Fe were also present at 1% levels. The differences in elemental compositions found on the surface and in the bulk are attributed to soil contamination, or to near-surface corrosion, as well as to the concentration gradients caused by the fabrication. © 2018 Elsevier Ltd. All rights reserved. L. Szentmiklósi, B. Maróti, Z. Kis, and Z. Kasztovszky, “Integration of neutron-based elemental analysis and imaging methods and applications to cultural heritage research,” J. Archaeol. Sci. Reports, vol. 20, pp. 476–482, 2018. New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ Bimodal (neutron and X-ray) imaging at the RAD neutron facility of BNC 81 Bimodal (neutron and X-ray) imaging at the RAD neutron facility of BNC 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – The parallel use of a filtered neutron beam and X-rays in imaging for better selectivity in objects. 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☐ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☒ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? IF YES, provide the description and available links There is a YouTube video about the scientific collaboration between the Hungarian National Museum and the MTA EK, showing a success story about the work related to a Late Bronze Age spearhead with wooden shaft: https://www.youtube.com/watch?v=2X8i9QA5p6E&list=PLYLO2tytittlFQmhEf11-fFIQ04MaS9Gg&ind ex=3 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details (sent by Katalin Bajnok) name: Zoltán surname: Kis institution: Hungarian Academy of Sciences Centre for Energy Research e-mail: [email protected] contact phone: +36-1-392-2539 Objective The parallel use of a filtered neutron beam and X-rays in imaging for better selectivity in objects. New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ 82 Bimodal (neutron and X-ray) imaging at the RAD neutron facility of BNC General description of the instrument The RAD station uses a horizontal beam that consist of a mixture of thermal and more energetic (epithermal and fast) neutrons, with the option of the mutual use of an X-ray source up to 200 kV tube voltage. Unique features of the instrument For HS objects, neutrons proved to be a useful probe, of which advantages could be better exploited at state-of-the-art facilities. Such facilities should combine the advantages of the filtered neutron beam, and the complementary feature of the neutron and X-ray imaging, providing a vivid tool for the investigation of HS problems. Unique methodologies Imaging as a non-destructive and non-invasive technique is rather powerful for the investigation of complex samples. Its objective is to look through and into objects made of a few varied materials, created by complex manufacturing processes and used for different purposes. Because of the different reaction mechanisms of the thermal and epithermal (and fast) neutrons, and X-rays with matter, they can effectively be utilized for advanced imaging. If we could separate the different energy components using filters, we could achieve better contrast in our imaging system for the different materials. Importance (about 1/2 page, 11 pt) The neutron beam at RAD is a radial beam where the beam port is facing to reactor core. There are two distinct aims to filter the white beam: a, to get rid of the more energetic part (epithermal and fast), and b, to use the most energetic part (fast) of it. In the first case, the sapphire crystal, which scatters out the energetic neutrons from the beam, makes it more thermal. This setup shields the system from the unnecessary burden of the higher energy neutrons. In the second case, a combination of a boron sheet and a lead column as a shielding against the lower energy neutrons, keeps just the higher energy ones. Such beam could effectively be used for the imaging of large (>10 cm) objects consisting of light and heavy materials (e.g. organic materials in metal structures) when using our polypropylene-based scintillation screen. Another advantage of the application of beam-filters is that the induced activity of the objects can significantly be reduced that will eventually simplify the loan, storage and transportation process of the valuable museum objects. The use of bimodal imaging (neutron and X-rays) makes sense for experiments with low contrast between the relevant features, where adding a second modality is beneficial to reduce ambiguity. Hydrogen-containing materials and several light elements (e.g. chlorine) will give high contrast, and many metals can easily be trans-illuminated by neutrons, while for X-rays, light elements (e.g. organic materials) have low contrast, and heavy elements (e.g. metals) are difficult to trans-illuminate. The joined evaluation of the two datasets will provide better base for distinction between different materials in the sample. New instrument developed or significantly improved or new methodology developed ___________________________________________________________________________ Bimodal (neutron and X-ray) imaging at the RAD neutron facility of BNC 83 X-ray and neutron imaging of the full Kikinda bronze spearhead from the Hungarian National Museum, Department of Archaeology, Prehistoric Collection: (a) the X-ray radiography (b) the neutron radiography, (c) the neutron tomography and (d) a slice from the neutron tomography. The grayscale values of the radiographic images (a–b) are characteristic to the object's transmission, i.e. brighter spots mean more transmission. The grayscale values of the tomographic image (c) are characteristic to attenuation power of the object, i.e. brighter spots mean less transmission and, as a consequence, larger attenuation power. © 2018 Elsevier Ltd. All rights reserved. J. G. Tarbay, B. Maróti, and Z. Kis, “Introducing the spear project: The tale of the Late Bronze Age spearhead with wooden shaft from the Marshland of Kikinda, Serbia,” J. Archaeol. Sci. Reports, vol. 21, pp. 268–274, Oct. 2018. New research methodology for commercial instrumentation ___________________________________________________________________________ 84 NMR-MOUSE New research methodology for commercial instrumentation NMR-MOUSE 2. Target of the story – mark ALL applicable audience ☒ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – Portable MRI inspects frescoes, paintings, violins and mummies 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☒ Eu-ARTECH ☒ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☒ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? NO 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. The NMR-MOUSE is a commercial product of Magritek holding and is being produced by Magritek GmbH in Aachen. Magritek GmbH is directed by Federico Casanova and Juan Perlo, who developed the instrument in the EU-ARTECH project. The company has expanded since and leads the world market in producing tabletop NMR spectrometers for chemical analysis. 8. Person to be contacted for details name: Blümich surname: Prof. Dr. Bernhard institution: RWTH Aachen University e-mail: [email protected], contact phone: +49 241 80 26421 New research methodology for commercial instrumentation ___________________________________________________________________________ NMR-MOUSE 85 Cleaning a painting while monitoring the solvent uptake by compact MRI with the NMR-MOUSE. Copyright Christian Rehorn. New research methodology for commercial instrumentation ___________________________________________________________________________ 86 G-PE electrochemical cell for in situ diagnostic of metallic cultural heritage G-PE electrochemical cell for in situ diagnostic of metallic cultural heritage 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry ☒ other – describe: Other industrial/research applications which need to measure carry out in-situ corrosion/protection measurements. 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – Need to measure in-situ the degradation rate of a metallic sculpture, compare protective treatments or predict their failure? We have the tool for it, which will provide quantitative information on the corrosion process and protective systems for metallic heritage. 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☐ CHARISMA ☒ IPERION CH ☐ ARIADNE ☒ other: national projects comments: The development of an electrochemical cell, specially tailored for in-situ application on cultural heritage, has been carried out under two Spanish nationally funded projects (CREMEL and CREMEL II). Under IPERION CH, the methodology using the cell has been tested and improved, demonstrating the utility for evaluation of the performance of different coatings over various typical heritage metals. Based on these developments, a new MOLAB facility, METAL.es (METAL Electrochemical Studies) has been created. 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☒ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? NO 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: Emilio surname: Cano New research methodology for commercial instrumentation ___________________________________________________________________________ G-PE electrochemical cell for in situ diagnostic of metallic cultural heritage 87 institution: Centro Nacional de Investigaciones Metalúrgicas, Consejo Superior de Investigaciones Científicas (CENIM-CSIC) e-mail: ecan[email protected]sic.es contact phone: + …..................………… Objective The objective of this design is to provide a tool for in situ diagnostic of metallic cultural heritage (and protective properties of patinas, coatings or other treatments) by electrochemical techniques. General description of the instrument or the procedure for which the methodology was developed The G-PE cell is a solid electrolyte electrochemical cell, with a gelled electrolyte, specifically designed for in situ electrochemical measurements on metallic cultural heritage. This G-PE cell can be used with any commercial electrochemical measuring instrument. Unique features of the methodology Electrochemical techniques such as electrochemical impedance spectroscopy (EIS) give information on corrosion processes on metal objects, being a powerful tool for metal conservation. Traditional electrochemical cells consist of a vessel containing the electrolyte and electrodes, or a rigid container filled with a liquid electrolyte. None of these configurations are suitable to measure on the non-flat, leaning and/or irregular surface of a heritage object. The G-PE cell consists of a plastic mould in which the reference and counter electrodes are fixed, which is filled with an aqueous electrolyte representing the corrosive environment, gelled with agar. The cell is inserted in a support fixed to an articulated arm that allows positioning on the surface to study. The use of a gelled electrolyte cell adapts to the irregularity of the surface and allows measuring in-situ on the heritage asset on any position. Importance (about 1/2 page, 11 pt) Protecting metallic cultural heritage from corrosion is a serious challenge for metal conservators. Limitation of time and resources and uncertainty on the effectiveness or duration of protective treatments are major issues in this enterprise. Electrochemical techniques such as Electrochemical Impedance Spectroscopy can provide an answer to these questions, and for these reasons are widely used in industry for corrosion studies and coatings evaluation. In the last decades its application to metallic cultural heritage conservation has raised some interest, though the difficulties to perform measures on the complex surface of monuments and objects has limited its use. The G-PE cell provides a diagnostic tool that allows corrosion resistance evaluation of patinas and coatings, its evolution over time and helps to predict the failure of the protective coatings before active corrosion starts again. Having an adequate tool for in situ corrosion studies will facilitate research and improve the knowledge on corrosion and protection mechanisms in cultural heritage. The quantitative information obtained allows selecting the most efficient treatments and programming conservation interventions, saving resources and improving the preservation of unique heritage assets. New research methodology for commercial instrumentation ___________________________________________________________________________ 88 G-PE electrochemical cell for in situ diagnostic of metallic cultural heritage Electrochemical field measurements using the G-PE cell to assess the protective properties of Cor-Ten steel patinas. New research methodology for commercial instrumentation ___________________________________________________________________________ Identification of highly aged organic residues in ancient wall paintings 89 Identification of highly aged organic residues in ancient wall paintings 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☐ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☐ CHARISMA ☒ IPERION CH ☐ ARIADNE Read the following definitions before going ahead Academic impact: the demonstrable contribution that the achievement makes to academic advances, across and within disciplines, including significant advances in understanding, methods, theory and application (this could be scientific, but could also be in other disciplines related to heritage science eg advances in understanding the materials and structure of an object contributing to historical research questions) Economic impact: the demonstrable contribution that the achievement makes to the economy. (e.g. the commercialisation of the instrument developed) Societal impact: the demonstrable contribution that the achievement makes to society, especially to preservation of CH – e.g. by introducing a new method of conservation, adopted by the community or commonly adopted new facts (knowledge) about the object of art 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☐ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? NO 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: Sophia.....…. surname: Sotiropoulou…….. institution: … IESL-FORTH, Institute of Electronic Structure and Laser of the Foundation for Research and Technology-Hellas ...................…. e-mail: [email protected] contact phone: + …..................………… Software tool ___________________________________________________________________________ 96 Entropy repository software Screenshot of the demo MOLAB Raman repository Showing a Raman measurement in an interactive viewer with download options. Software tool ___________________________________________________________________________ TBA.. 97 TBA.. High IF publication or series of publications ___________________________________________________________________________ 98 Optimisation of portable Digital Holographic Speckle Pattern Interferometry system DHSPI III High IF publication or series of publications Optimisation of portable Digital Holographic Speckle Pattern Interferometry system DHSPI III 2. Target of the story – mark ALL applicable audience ☐ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – NDT structural Diagnosis: The DHSPI III hybrid geometry provides non contact high resolution defect detection with digital capturing ease. DHSPI detects in micrometer resolution all typical subsurface/bulk defects that impact on the surface. Hidden cracks and detachments, voids and weakened areas invisible to other advanced imaging tools become traceable from surface. Raw data manipulation algorithms offer multi-tasking tools usable to generate accurate defect documentation topography, defects with exact coordinates, surface morphology , 3D surface mapping. Post-processing tools are employed to most applications of DHSPI . Example: serve to generate a coded “signature” conducing to the verification of originality procedures, e.g. Originality assessment before and after travel. Risk priority map: Defect topography map is direct visual qualitative result from pre-processing recording, while risk priority map is quantitative result after post-processing. The structural condition is prioritised according to the impact of defects on precious surface to carry out necessary remedial interventions. Additionally it is visualised the defect micro-structure in 2D and 3D. The defects or defected areas are located, sized in 1:1 scale and deformation is measured to be marked as μm per area (mm2, cm2 related to the severity of defect impact on surface signifying the risk of permanent damage. Preventive conservation: Monitoring environmental and microclimate impact of interior/exterior surfaces. Decorative artifacts, furniture, frescoes and wall paintings in historical buildings and monuments deteriorate constantly in response to the environment. DHSPI III can operate automatically in long term measurements to perform monitoring of surface reactions due to natural fluctuations of RH/T. Suits for on-field measurement requirements and can operate in moderate harsh out of laboratory conditions, e.g. Monuments and Churches environmental impact Direct monitoring of materials, fragile surfaces are recorded in respond to natural climate conditions allowing to evaluate microclimate safety. 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☒ CHARISMA ☒ IPERION CH ☐ ARIADNE High IF publication or series of publications ___________________________________________________________________________ Optimisation of portable Digital Holographic Speckle Pattern Interferometry system DHSPI III 99 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? IF YES, provide the description and available links http://popularizacija.ifs.hr/wp-content/uploads/2018/07/LaserLab_NL_07-2018_web.pdf Digital Holographic Speckle Pattern Interferometry (DHSPI) is a non-destructive optical technique which can be used to investigate deformation, deterioration and fracture mechanisms in cultural heritage objects. In the context of the European IPERION CH MOLAB project, Laserlab-Europe partner IESL-FORTH has developed DHSPI-II, a portable custom-made prototype, which has already been used to monitor wooden objects and to examine 17th century paintings by Peter Paul Rubens at the Whitehall Banqueting House in London. In DHSPI two coherent beams from the same laser form a holographic interferogram of the speckle patterns – spatial variations in the observed light intensity of the light reflected from a rough surface – on a CCD detector. A computer processes the phase changes in the reflected beam, which are caused by changes in the shape and position of the surface and the underlying material, revealing any changes in the surface as well as the internal structure. The laser beams employed in the DHSPI-II are highly divergent, allowing imaging of the whole or extended parts of the surface (full field). This also guarantees safety for the operator as well as the object, because in this power density regime the laser radiation does not interact with the surface. The technique enables detection of the location, shape and size of invisible defects, as well as their changes over time. As such, it allows monitoring of structural changes resulting from varying environmental and climatic conditions, conservation treatments, aging, and transportation or handling. The DHSPI-II instrument is a 15 kg light-weight portable system, comprising an optical head of 30x20 cm and a PC driven control unit. It has been developed at the holography laboratory of IESL-FORTH, and funded through several national and EU projects related to artworks diagnostics. In a preliminary preventive conservation experiment, DHSPI was employed to monitor in real time the response of complex materials and objects to fluctuations in relative humidity and temperature. Analysis has focused on the assessment of the dynamics of dimensional changes in cultural heritage objects made of hygroscopic materials. Oak and pine with sizes of 2 x 2 cm, and of varying thicknesses from 1 mm to 1 cm, were monitored while relative humidity was varied between 45% and 65% at different rates. The data of this work in progress suggests that wood sensors could be suitable for future assessment of environmental changes in collections. In addition, scaffold access between February and April 2018 enabled the recording of The Apotheosis of King James I and The Wise Rule of King James I, two ceiling paintings produced by Peter Paul Rubens and installed at the Whitehall Banqueting House in London in 1636. The assessment by the DHSPI-II instrument was part of a multidisciplinary effort to carry out a first ever full and systematic technical conservation survey, to determine how the paintings were created, how they have changed over the years, as well as to establish an accurate record of the present condition of the paintings to inform on approaches to future possible conservation interventions. Vivi Tornari A.Nevin, M. Andrianakis, V. Tornari, Towards understanding the impact of environmental changes on cultural heritage through the real time monitoring of dimensional change in wood sensors with Digital Holographic Speckle Pattern Interferometry, to be published in Applied Surface Science List High IF publication or series of publications ___________________________________________________________________________ 100 Optimisation of portable Digital Holographic Speckle Pattern Interferometry system DHSPI III 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: Vivi surname: Tornari institution: IESL-FORTH e-mail: vivit[email protected]orth.gr contact phone: + …..................………… Reference Journals: 1. "On development of portable Digital Holographic Speckle Pattern Interferometry system for remote-access monitoring and documentation in art conservation", Vivi Tornari, Strain 2018 DOI:10.1111/str.12288 2. "Digital holographic interferometry for cultural heritage structural diagnostics: A coherent and a low‐coherence optical set‐up for the study of a marquetry sample", Kosma K, Andrianakis M, Hatzigiannakis K, Tornari V., STRAIN. 2018; e12263. https://doi.org/10.1111/str.12263 Conferences 1. "Portable Digital Holographic Speckle Pattern Interferometry system and Infrared Thermography: A data combination strategy for Cultural Heritage research and applications",invited, Vivi Tornari Michalis Andrianakis , Vincent Detalle, Didier Brissaud, Stephanie Duchêne and Witold Nowik, David Giovannacci , Antonina Ghaban, LACONA VII, Paris 10-15 September 2018 2. "Development of Digital Holographic Speckle Pattern Interferometry for Cultural Heritage", invited , Vivi Tornari (invited), Shanghai, IcOPEN International Conference, April 2018 General description of the contents Journals: 1. In the paper it is described the methodology used to develop a portable optical geometry and the relevant algorithm to perform holographic interferometry using speckle pattern recorded on digital medium for assisting conservators to proceed to structural diagnosis. 2. In the paper it is described the experimental geometry used to acquire low coherence compared to high coherence measurements using holographic speckle pattern interferometry. The idea is the basis to explore further the tuneable interferometry for low-cost thermostructural diagnosis. The novelty of the communication Journals: 1 Portable interferometry for Cultural heritage in movable and non-movable artworks 2. Hybrid tuneable interferometry Importance (about 1/2 page, 11 pt) 1. Digital Holographic Speckle Pattern Interferometry portable system is the only system for remote full field real time structural diagnosis and its potential plays an important contribution to modern investigation of non-invasive systems. 2. Experimentation on new optical geometries and combination of wavelengths in low coherence can provide new instruments in the near future High IF publication or series of publications ___________________________________________________________________________ NMR-MOUSE 101 NMR-MOUSE 2. Target of the story – mark ALL applicable audience ☒ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – Portable MRI inspects frescoes, paintings, violins and mummies 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☒ Eu-ARTECH ☒ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☐ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? NO 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. The NMR-MOUSE is a commercial product of Magritek holding and is being produced by Magritek GmbH in Aachen. Magritek GmbH is directed by Federico Casanova and Juan Perlo, who developed the instrument in the EU-ARTECH project. The company has expanded since and leads the world market in producing tabletop NMR spectrometers for chemical analysis. 8. Person to be contacted for details name: Blümich surname: Prof. Dr. Bernhard institution: RWTH Aachen University e-mail: [email protected], contact phone: +49 241 80 26421 Reference C. Rehorn, B. Blümich, “Cultural Heritage Studies with Mobile NMR”, Angewandte Chemie 57(25), pp. 7304-7412 (2018), DOI: 10.1002/anie.201713009, IF=12.102, https://onlinelibrary.wiley.com/doi/abs/10.1002/anie.201713009, OA = N High IF publication or series of publications ___________________________________________________________________________ 102 NMR-MOUSE General description of the contents This publication reviews how the NMR-MOUSE, the compact MRI sensor developed in this consortium, works and where it is being employed in heritage science. The novelty of the communication This is the first time that the NMR-MOUSE is described and its applications are summarized for the heritage science community. The publication is in a special issue of the most prominent European chemistry journal “Angewandte Chemie”. Importance (about 1/2 page, 11 pt) This manuscript summarizes the function of the NMR-MOUSE and the applications which are relevant to heritage science. Many different studies have been performed over more than 15 years, but only some of them are of value for routine analysis. Examples of these are presented in the mini-review. Angewandte Chemie is one of the prime Chemistry Journals worldwide. The fact that this manuscript was accepted in the special edition on Cultural Heritage underlines the recognition which the NMR-MOUSE is receiving in the heritage science community. High IF publication or series of publications ___________________________________________________________________________ Accounts of Chemical Research: Special issue on Advanced Techniques in Art Conservation 103 Accounts of Chemical Research: Special issue on Advanced Techniques in Art Conservation 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☒ Eu-ARTECH ☒ CHARISMA ☐ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? NO 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: Piotr surname: Targowski institution: NCU Toruń e-mail: [email protected] contact phone: + …..................………… Reference  Advanced Techniques in Art Conservation; B. Giovanni Brunetti, A. Sgamellotti; Acc. Chem. Res., 2010, 43 (6), pp 693–694; DOI: 10.1021/ar100072f  In Situ Noninvasive Study works: The MOLAB Multitechnique Approach; C. Miliani, F. Rosi, B.Giovanni Brunetti, Antonio Sgamellotti; Acc. Chem. Res., 2010, 43 (6), pp 728–738; DOI: 10.1021/ar100010t  Noninvasive Testing and Cultural Heritage by Mobile NMR; Bernhard Blümich, Federico Casanova, Juan Perlo, Federica Presciutti, Chiara Anselmi, Brenda Doherty; Acc. Chem. Res., 2010, High IF publication or series of publications ___________________________________________________________________________ 104 Accounts of Chemical Research: Special issue on Advanced Techniques in Art Conservation 43 (6), pp 761–770; DOI: 10.1021/ar900277h  New Advances in the Application of FTIR Microscopy and Spectroscopy for the Characterization istic Materials; S. Prati, E. Joseph, G. Sciutto and R. Mazzeo; Acc. Chem. Res., 2010, 43 (6), pp 792– 801; DOI: 10.1021/ar900274f  Structural Examination of Easel Paintings with Optical Coherence Tomography; Piotr Targowski, Magdalena Iwanicka, Ludmiła Tymińska-Widmer, Marcin Sylwestrzak, Ewa A. Kwiatkowska; Acc. Chem. Res., 2010, 43 (6), pp 826–836; DOI: 10.1021/ar900195d  Fluorescence Spectroscopy: A Powerful Technique for the Noninvasive Characterization work; Aldo Romani, Catia Clementi, Costanza Miliani, Gianna Favaro, Acc. Chem. Res., 2010, 43 (6), pp 837–846; DOI: 10.1021/ar900291y  Scanning Multispectral IR Reflectography SMIRR: An Advanced Tool for Art Diagnostics; Claudia Daffara, Enrico Pampaloni, Luca Pezzati, Marco Barucci, Raffaella Fontana; Acc. Chem. Res., 2010, 43 (6), pp 847–856; DOI: 10.1021/ar900268t  Immunodetection of Proteins in Ancient Paint Media; Laura Cartechini, Manuela Vagnini, Melissa Palmieri, Lucia Pitzurra, Tommaso Mello, Joy Mazurek, Giacomo Chiari; Acc. Chem. Res., 2010, 43 (6), pp 867–876; DOI: 10.1021/ar900279d General description of the contents New noninvasive and microsampling analytical techniques more effectively guide the assessment and conservation of historical artifacts and works . The novelty of the communication Peer-review articles. Importance (about 1/2 page, 11 pt) High Impact factor (IF2010 = 21.8) ensures the high visibility of published articles. High IF publication or series of publications ___________________________________________________________________________ Conservation and Revelation of the Ghent Altarpiece 105 Conservation and Revelation of the Ghent Altarpiece 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – The rediscovery of Jan van Eyck, ’ King of Painters’ 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☒ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? IF YES, provide the description and available links Several press releases and conferences have been organised in the framework of the conservation of the Ghent Altarpiece: http://www.kikirpa.be/uploads/files/PersberichtGhentAltarpiece_EN_V2.pdf http://www.kikirpa.be/uploads/files/PressRelease_KIK-IRPA_GhentAltarpiece_27June2013.pdf http://www.kikirpa.be/uploads/files/2014.06.20_Press_kit_Ghent_Altarpiece.pdf http://www.kikirpa.be/uploads/files/12-10-2016_Press_Lam_Gods.pdf http://www.kikirpa.be/uploads/files/Persbericht%20Lam%20Gods%209%20nov%202017%20EN.pdf http://www.kikirpa.be/uploads/files/Dossier%20de%20presse%20Jan%20van%20Eyck%20en%20lign e%2011%20jan%202018.pdf http://www.kikirpa.be/uploads/files/2018.06.19%20Press%20kit%20Ghent%20Altarpiece%20EN.pdf The website closertovaneyck www.closertovaneyck.kikirpa.be, launched in 2011 and regularly updated, is a pioneering example of open-access resources for technical art history and conservation. This has also been echoed in the press. http://www.kikirpa.be/uploads/files/Ghent%20Altarpiece%20-%20Web%20site%20-%20Press%20rel ease%20-%20July%207%202011%20-%20EN.pdf http://www.kikirpa.be/uploads/files/GhentAltarpiecewebsite_PressRelease.pdf 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. The website “closer to van Eyck” (http://closertovaneyck.kikirpa.be) is financially supported by the Book (a chapter of the book) ___________________________________________________________________________ 112 Scientific Examination for the Investigation of Paintings, A Handbook for Conservators-restorers and what kind of effects/results they are expected to supply. Importance (about 1/2 page, 11 pt) The book is organised with a problem solving approach in order to support restorers in the choice of the type of analytical investigation most useful for their needs. Book (a chapter of the book) ___________________________________________________________________________ A textbook about neutrons for Archaeology and Cultural Heritage 113 A textbook about neutrons for Archaeology and Cultural Heritage 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☒ CHARISMA ☒ IPERION CH ☐ ARIADNE ☐ other: comments: The book “Neutron Methods for Archaeology and Cultural Heritage summarizes the 20 years long experiences of the Budapest Neutron Centre in the field 5. May this success story be considered as innovation? Specify its impact: ☐ academic ☐ economic ☐ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? NO 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: Nikolay surname: Kardjilov institution: Institute of Applied Materials, Helmholtz Zentrum, Berlin, Germany e-mail: [email protected] contact phone: + …..................………… Book (a chapter of the book) ___________________________________________________________________________ 114 A textbook about neutrons for Archaeology and Cultural Heritage Reference - Zs. Kasztovszky, V. Szilágyi, K. T. Biró, J. Zöldföldi, M. I. Dias, A. Valera, E. Abraham, M. Bessou, F. LoCelso, V. Benfante, Ceramics, Marbles and Stones in the Light of Neutrons: Characterization by Various Neutron Methods, in: N. Kardjilov, G. Festa (Eds), Neutron Methods for Archaeology and Cultural Heritage, Springer International Publishing Switzerland, 2017, 89-140, ISBN 978-3-319-33161-4 - Z. Kis, L. Szentmiklósi, R. Schulze, E. Abraham, Prompt Gamma Activation Imaging (PGAI), in: N. Kardjilov, G. Festa (Eds), Neutron Methods for Archaeology and Cultural Heritage, Springer International Publishing Switzerland, 2017, 303-320, ISBN 978-3-319-33161-4 General description of the contents The book provides an extensive overview of the application of neutron characterization techniques in cultural heritage to a broad audience and will be of interest to both scientists and non-scientists in the field. The first section of the book is dedicated to stories describing spectacular discoveries brought about by the use of neutron techniques in a range of applications. The second section covers the experimental techniques in appropriate detail: basic principles, limitations and fields of application. The novelty of the book (the chapter) Neutrons, due to their weak interactions with materials, provide a penetrating, but non-invasive probe of bulk properties. They allow the characterization of the composition and mechanical properties of materials, helping to answer questions related to the dating, the manufacturing process or the state of degradation efacts. They allow detailed interrogation of the internal structures of objects that may be otherwise hidden from view. In the chapter “Ceramics, Marbles and Stones in the Light of Neutrons”, we give examples of Cultural Heritage studies with the applications of neutron-based methods, performed at the Budapest Neutron Centre. In the chapter “Prompt Gamma Activation Imaging (PGAI)” we give a description of a new methodology, developed at the Budapest Neutron Centre. Importance (about 1/2 page, 11 pt) Archaeologists, palaeontologists, restaurateurs and conservators, historians and collectors will be fascinated by the wealth of information that can be obtained using neutron techniques, while material scientists and engineers will find details of the experimental techniques and materials properties that can be determined. Book (a chapter of the book) ___________________________________________________________________________ A textbook about neutrons for Archaeology and Cultural Heritage 115 Book (a chapter of the book) ___________________________________________________________________________ 116 Advanced Characterization Techniques, Diagnostic Tools and Evaluation Methods in Heritage Science Advanced Characterization Techniques, Diagnostic Tools and Evaluation Methods in Heritage Science 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – Some of the most innovative analytical techniques for heritage science, as presented in the 1st IPERION CH Doctoral School, compiled in a single volume for reference of users and future heritage scientists. 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☐ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☐ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? NO 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: Emilio surname: Cano institution: Centro Nacional de Investigaciones Metalúrgicas, Consejo Superior de Investigaciones Científicas (CENIM-CSIC) e-mail: ecan[email protected]sic.es contact phone: + …..................………… Reference David M. Bastidas and Emilio Cano (Eds.), Advanced CharacterizationTechniques, Diagnostic Tools and Evaluation Methods in Heritage Science, Springer, 2018, ISBN 978-3-319-75315-7 ISBN 978-3-319-75316-4 (eBook), 978-3-319-75316-4 (eBook), https://doi.org/10.1007/978-3-319-75316-4 Book (a chapter of the book) ___________________________________________________________________________ Advanced Characterization Techniques, Diagnostic Tools and Evaluation Methods in Heritage Science 117 General description of the contents The book gives an overview of the fundamentals and applications of novel and advanced techniques for the study of cultural heritage assets, its conservation condition and the evaluation of different conservation treatments. This book compiles lectures from the 1st IPERION CH Doctoral Summer School on “Advanced Characterization Techniques, Diagnostic Tools and Evaluation Methods in Heritage Science”, held in Madrid from 12th to 15th July 2016. The book chapters describe the use of electrochemical techniques in conservation science, with a particular focus on its application for on-site measurement; the capabilities of the nuclear magnetic resonance (NMR) analysis by means of the innovative portable NMR mouse sensor in the assessment and preservation of soft heritage materials, such as wood, parchment, bone, and painted walls, or the application of optical coherence tomography (OCT) and its usefulness to obtain cross sections in a non-invasive way, the application of multispectral infrared reflectography for data collection from underlayers in paintings and other materials is presented, and its advantages over traditional wide-band reflectography are discussed; the capabilities of high-performance liquid chromatography coupled to UV–VIS diode array detector and tandem mass spectrometry detectors as quadrupole–time of flight (HPLC-DAD-QTOF) for the analysis of different organic components and a novel image analysis technique based on Fourier transform to precisely characterize, count threats and compare painting canvases. The novelty of the book (the chapter) The techniques and methodologies described in the book have been developed and/or improved by IPERION-CH partners, specifically for cultural heritage. Techniques described in chapters 3, 4 and 5 are already part of IPERION-CH/E-RIHS facilities, while the other techniques are being developed and evaluated to its future integration in E-RIHS services. Importance (about 1/2 page, 11 pt) The relevance of the book is being the first time several innovative techniques, developed and offered through IPERION CH access services or considered for the future infrastructures, are presented in a single academic text. While detailed description of them and their capabilities had already been published in specialized scientific journals, this book present them in a single volume with an academic approach. This book aims to be useful both as reference for tentative users of these techniques (scientists, conservators, curators, etc.) and as training textbook for conservation scientists. Book (a chapter of the book) ___________________________________________________________________________ 118 Advanced Characterization Techniques, Diagnostic Tools and Evaluation Methods in Heritage Science Contents 1 David M. Bastidas and Sean Coleman; On-Site Corrosion Diagnosis and Its Control by Electrochemical Techniques in Contemporary Built Heritage ............................................................ 1 2 Emilio Cano and Blanca Ramírez Barat; Electrochemical Techniques for in situ Corrosion Evaluation of Cultural Heritage ......................................................................................................... 21 3 Raffaella Fontana, Marco Barucci, Alice Dal Fovo, Enrico Pampaloni, Marco Raffaelli and Jana Striova; Multispectral IR Reflectography for Painting Analysis ......................................................... 33 4 Magdalena Iwanicka, Marcin Sylwestrzak and Piotr Targowski; Optical Coherence Tomography (OCT) for Examination works ....................................................................................... 49 5 Bernhard Blümich; Concepts and Applications of the NMR-MOUSE ................................................ 61 6 Enrique Parra; Application of HPLC–DAD–QTOF to the Analysis of Natural and Synthetic Organic Pigments in Paint Layers .................................................................................................... 77 7 Juan José Murillo-Fuentes and Laura Alba Thread Counting in X-Rays of Plain-Weave Painting Canvas ............................................................................................................................................... 91 Book (a chapter of the book) ___________________________________________________________________________ Conservation and Revelation of the Ghent Altarpiece – 119 Conservation and Revelation of the Ghent Altarpiece – 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – The rediscovery of Jan van Eyck, ’ King of Painters’ 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☒ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? IF YES, provide the description and available links Several press releases and conferences have been organised in the framework of the conservation of the Ghent Altarpiece: http://www.kikirpa.be/uploads/files/PersberichtGhentAltarpiece_EN_V2.pdf http://www.kikirpa.be/uploads/files/PressRelease_KIK-IRPA_GhentAltarpiece_27June2013.pdf http://www.kikirpa.be/uploads/files/2014.06.20_Press_kit_Ghent_Altarpiece.pdf http://www.kikirpa.be/uploads/files/12-10-2016_Press_Lam_Gods.pdf http://www.kikirpa.be/uploads/files/Persbericht%20Lam%20Gods%209%20nov%202017%20EN.pdf http://www.kikirpa.be/uploads/files/Dossier%20de%20presse%20Jan%20van%20Eyck%20en%20lign e%2011%20jan%202018.pdf http://www.kikirpa.be/uploads/files/2018.06.19%20Press%20kit%20Ghent%20Altarpiece%20EN.pdf The website closertovaneyck www.closertovaneyck.kikirpa.be, launched in 2011 and regularly updated, is a pioneering example of open-access resources for technical art history and conservation. This has also been echoed in the press. http://www.kikirpa.be/uploads/files/Ghent%20Altarpiece%20-%20Web%20site%20-%20Press%20rel ease%20-%20July%207%202011%20-%20EN.pdf http://www.kikirpa.be/uploads/files/GhentAltarpiecewebsite_PressRelease.pdf 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. The website “closer to van Eyck” (http://closertovaneyck.kikirpa.be) is financially supported by the Book (a chapter of the book) ___________________________________________________________________________ 120 Conservation and Revelation of the Ghent Altarpiece – Getty Foundation. It is a pioneering tool in the presentation of conservation-restoration process and a model for open access.The conservation is financed by the Flemish government (80%) and the Baillet-Latout Fund (20%). Research for conservation is carried out by KIK-IRPA in collaboration with the Universities of Ghent and Antwerp and has benefitted from sponsorship from the Gieskes-Strijbis Fund. Punctual analytical expertise have been provided by scientists from the Nicolaus Copernicus University (Toruń) and the National Gallery (Washington). 8. Person to be contacted for details name: Hélène surname: Dubois institution: KIK-IRPA e-mail: [email protected] contact phone: + …..................………… Reference C. Currie, B. Fransen, V. Henderiks, C. Stroo, D. Vanwijnsberghe (Eds.), Van Eyck Studies. Papers presented at the Eighteenth symposium for the Study of Underdrawing and Technology in Paintings, Brussels, 19-21 September 2012, Leuven, Peeters, 2016 Koninklijk Instituut voor het Kunstpatrimonium – Institut royal du Patrimoine artistique, Restauratie/Revelatie. De buitenluiken van het Lam Gods. Restauration/Révélation. Les volets extérieurs de l’Agneau mystique. Restoration/Revelation. The exterior wings of the Ghent Altarpiece, Ghent (Provincial Culture Center Caermersklooster), 2017. ISBN: 9789074311960 General description of the contents The Book “Van Eyck Studies” is the proceedings of a conference on the art of Hubert and Jan van Eyck took organized in Brussels by the KIK-IRPA and the Centre for the Study of the Flemish Primitives in collaboration with the Laboratoire d'étude des œuvres d'art par des méthodes scientifiques (Université catholique de Louvain-la-Neuve), and Illuminare - Centre for the Study of Medieval Art (Katholieke Universiteit Leuven) (19-21 September 2012). The book sheds new light on complex topics such as attribution, iconography and painting technique. through thirty-seven papers presented at the symposium and The book Restoration/Revelation gives a scientifically based, yet well accessible to the public of the research and conservation of the outer panels of the Ghent Altarpiece (2012-2016). The novelty of the book (the chapter) The books provide state-of-the-art knowledge on one of the most important artists of late medieval Western Europe painters and on the ongoing complex conservation of his greatest masterpiece. Importance (about 1/2 page, 11 pt) “Van Eyck Studies” is relevant for the conservation and scientific communities because it oversees the crucial historical material alterations, their impact on conservation and on art historical interpretations, It was a prerequisite for the conservation project. The book “Restoration/Revelation” is very useful for the general public since it gives a clear and well-illustrated insight into the conservation of this very important masterpiece and into the research methodology involved. The societal relevance resides in the clear communication on this complex conservation project and its impact on the appearance of the altarpiece. Communication is Book (a chapter of the book) ___________________________________________________________________________ Conservation and Revelation of the Ghent Altarpiece – 121 essential to avoid misunderstandings and disturbing public controversies. Conference branded under one of CH projects ___________________________________________________________________________ 128 The ‘Raphael’s Painting Technique: Working Practices before Rome’ with a publication Branded under project: EU-ARTECH Number of participants: around 200 How the proceedings were published? Provide bibliographic data of the book or journal issue: A book of Proceedings was published. See the voice: A book. General description of the subject: The workshop coincided with the great exhibition entitled: ‘Raphael: From Urbino to Rome’ (London, 20th October 200416th January 2005) and attracted around 200 participants among the international community of conservators, heritage scientists, curators, scholars, and students. The audience heard 11 presentations by eminent authorities from Italy, France, Britain and the United States, belonging to institutions internal and external to the EU-ARTECH consortium. Several papers combined discussion of painting materials and techniques with aspects of the conservation needs and treatments of paintings, as notably for the Raphael’s famous Madonna del Cardellino in the Galleria degli Uffizi. The wide-ranging technical survey of C2RMF on Raphael’s paintings in French museums included new results centred on infra-red and radiographic investigations. Contributions from the Opificio delle Pietre Dure (OPD) and CNR-INOA continued the theme of design and evolution of Raphael’s compositions relying on digital infra-red multispectral scanning of paintings and other imaging techniques. Many of the works dealt with materials in the paint layers through non-invasive in situ analysis with portable XRF and micro-Raman spectroscopy, including the MOLAB equipment. Presentations by the National Gallery included recent re-evaluation of the underdrawings in Raphael’s early pictures in the collection of London, new discoveries on Raphael’s materials and their relationship to other sixteenth-century pictures and an account of the painting technique of Raphael’s Madonna of the Pinks. The development of Raphael’s later painting practice was examined in papers on the Alba Madonna, now in Washington, Santa Cecilia from Bologna and the Baglioni altarpiece in Rome. The use of finely ground colourless manganese-containing glass, reported for the first time at the previous Perugino workshop (Perugia, 2003), was found in virtually all the examinations, confirming that Raphael and many artists of the period added powdered glass to their paint (in lakes and other contexts), most likely as a siccative. One of the studies from the National Gallery showed that in Italy it was already used by Raphael’s father, Giovanni Santi and by Justus of Ghent who was working in Urbino in the same period. Other examples from the Netherlands, Germany and France, were presented. In paintings from Northern Europe the use of powdered glass was extended back as far as 1432, since it is present in the famous Jan van Eyck’s Arnolfini Portrait. Interestingly, painters appeared to have used local glass, reflected in differences in the composition that can be determined by elemental analysis. For this reason, it was concluded that this feature could be taken as indication of geographical origin of a painting, in much the same way that a chalk ground in Renaissance paintings is usually an indication of a Northern European origin, while gesso is typical of the Mediterranean area. Ground bismuth metal powder was found in several paintings by Raphael. Through the close cooperation of the contributors both before and after the workshop, we know that other painters of the period also used bismuth, as well as other similar materials which can be used as dark grey pigments such as stibnite and galena. Each institution had discovered only a few occurrences of these materials, making it difficult to determine why they were used, but when placed together it seems clear that the artists were experimenting with novel grey pigments at this time, most probably through exchange of materials with other crafts such as glass making and pottery. Relation to the CH projects: The opportunity to collect together and discuss the data dispersed among the institutions involved in the Eu-ARTECH network, or having contact with it, proved particularly valuable. It was immediately clear that the methodologies and interpretation of results had benefited from the close cooperation Conference branded under one of CH projects ___________________________________________________________________________ The ‘Raphael’s Painting Technique: Working Practices before Rome’ with a publication 129 of the institutions. Another important aspect was that the organization of events like this one, in proximity of great exhibition, provided a formidable opportunity for dissemination of results from MOLAB examinations, i.e. the access to mobile equipment, offered for the first time to European researchers within EU-ARTECH. Importance (about 1/2 page, 11 pt) The workshop was attended by around 200 people, including scientists, conservators and curators, internal and external to the EU-ARTECH consortium, belonging to: 15 public institutions, such as Conservation Departments or Studios of United Kingdom, Italy, Finland, Germany, Portugal, USA; 7 Universities of different countries such as Sweden, United Kingdom, Netherland, Italy; 3 specialised European Journals (The Burlington Magazine, UK; Il Giornale dell’Arte, IT; Kermes, IT); several SME’s (21 private restorers were present). The event was very successful for the following reasons: (a) the opportunity to collect together and discuss the data dispersed among European (and global) heritage institutions was demonstrated to be extremely effective in enhancing the quality of research, with the achievement of results otherwise impossible; (b) a stronger interdisciplinary interaction of heritage scientists with conservators, restorers, and curators was finally achieved, together with the promotion of exchange of skills and methodologies among institutions; (c) the use of the most advanced investigation techniques was diffused among users of different disciplines (from art to science) and the access program of EU-ARTECH demonstrated to be an effective profitable opportunity for all heritage professionals; (d) the newly acquired knowledge represented a substantial step ahead in technical art history, not only concerning the Raphael working practice, but also that of his contemporaries. The results of the workshop were presented in the book entitled Raphael’s Painting Technique: Working Practices before Rome, published by Nardini Editore Firenze Programme of the conference 9.00-10.00am Registration Morning session Chair; Ashok Roy 10.00-10.05am Welcome 10.05-10.35 Raphael's paintings in French museums: some new results from recent technical investigations Bruno Mottin, Elisabeth Martin, Eric Laval (Centre de Recherche et de Restauration des Musées de France, Paris) 10.35-11.05 Raphael’s ‘Madonna del Cardellino’: The Conservation Project Marco Ciatti and Patrizia Riitano (Opificio delle Pietre Dure, Florence) 11.05-11.35 Coffee 11.35-12.05 Design, Raphael before 1509: technical examination of some paintings in Conference branded under one of CH projects ___________________________________________________________________________ 130 The ‘Raphael’s Painting Technique: Working Practices before Rome’ with a publication central Italy Claudio Seccaroni, P. Moioli (ENEA, Rome) B. Brunetti, C. Ricci, F. Rosi, I. Borgia (Centre SMAArt University of Perugia), C. Miliani, Sgamellotti (CNR-ISTM University of Perugia) 12.05-12.35 Design, Elaboration and Technique in Raphael's Underdrawing Roberto Bellucci and Cecilia Frosinini (Opificio delle Pietre Dure, Florence) 12.35-12.50 Optical analyses of Raphael's paintings Luca Pezzati, R. Fontana, M.C. Gambino, M. Materazzi, E. Pampaloni and P. Poggi 12.50-2.15 pm Lunch Afternoon Session Chair; Carol Plazzotta 2.15-3.00 Recent Research on the Early Paintings by Raphael in the National Gallery, London: -Study of the paintings by infrared reflectography Rachel Billinge (National Gallery, London) - Raphael’s materials: some new discoveries and their context within early sixteenth-century painting Marika Spring (National Gallery, London) - The re-emergence of The Madonna of the Pinks Ashok Roy (National Gallery, London) 3.00-3.30 The study of Raphael’s early paintings: re-analysis of cross-sections in the scientific laboratory of the Opificio delle Pietre Dure, Florence Giancarlo Lanterna, C. Lalli (Opificio delle Pietre Dure, Florence), B. Brunetti (Centre SMAArt University of Perugia), C. Miliani, A. Sgamellotti (CNR-ISTM, University of Perugia) 3.30-4.00 Tea 4.00-4.30 Raphael’s ‘Alba Madonna’ Barbara Berrie (National Gallery , Washington) 4.30-4.45 Raphael’s ‘Saint Cecilia’ in Bologna: New Data on the Genesis and the Materials Claudio Seccaroni (ENEA, Rome), Ilaria Borgia (University of Perugia), Diego Cauzzi (Soprintendenza P.S.A.D di Bologna), Bruno Radicati (CNR-IFAC, Florence) 4.45-5.15 Questions and Close Conference branded under one of CH projects ___________________________________________________________________________ The ‘Raphael’s Painting Technique: Working Practices before Rome’ with a publication 131 Conference branded under one of CH projects ___________________________________________________________________________ 132 “3D Imaging in Cultural Heritage” Conference at the British Museum, 2017 “3D Imaging in Cultural Heritage” Conference at the British Museum, 2017 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☒ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – A conference on 3D Imaging in Cultural Heritage, funded by IPERION CH, was held at the British Museum on the 9-10 November 2017. The conference brought together experts in a variety of 3D imaging techniques, and demonstrated the myriad ways in which they are now implemented in archaeological and cultural heritage research, education, public engagement and accessibility 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☐ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? NO 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: Daniel surname: O’Flynn institution: The British Museum e-mail: [email protected] contact phone: + +44 207 323 8980 A conference Fill-in if you organised or co-organised a conference branded under one of CH projects. Conference details: Name of the conference: 3D Imaging in Cultural Heritage Location: The British Museum Conference branded under one of CH projects ___________________________________________________________________________ “3D Imaging in Cultural Heritage” Conference at the British Museum, 2017 133 Daily dates: 9-10 November 2017 Organiser: Daniel O’Flynn Branded under project: IPERION CH, D "WP9. NA2 –Task 9.1 Knowledge exchange activities Cooperation and networking" Number of participants: 250 (approx.) How the proceedings were published? Provide bibliographic data of the book or journal issue: N/A General description of the subject: A conference on 3D Imaging in Cultural Heritage, funded by IPERION CH, was held at the British Museum on the 9-10 November 2017. The conference brought together experts in a variety of 3D imaging techniques, and demonstrated the myriad ways in which they are now implemented in archaeological and cultural heritage research, education, public engagement and accessibility Relation to the CH projects: The project was related to IPERION CH WP9. NA2 –Task 9.1 Knowledge exchange activities Cooperation and networking. The IPERION CH logo was used throughout the conference media (e.g. programme, list of abstracts, cover slide for conference). The conference consisted of 43 presentations (unknown how many directly related to IPERION CH) specify, how the conference was related to the CH projects (e.g. presentation of results of a WP, financed by the project, preparation phase etc.), how the project’s brand was exposed? Estimate, how many presentations were directly related to the project? Importance (about 1/2 page, 11 pt) One of the key benefits of the conference was the bringing together of an audience of highly varied disciplines, including archaeologists, art historians, physicists, engineers, software developers and visual media producers. This gave the opportunity for attendees to see the different perspectives of the presenters, as well as to discover new advances in technology, and how they are being applied across the broad spectrum of cultural heritage. This diversity was reflected in the conference programme, with talks given by (for example), university lecturers, curators (from regional and national museums) and experimental scientists. Companies were present in the conference foyer area demonstrating the display and use of 3D models (Sketchfab), 3D implementation in the British Museum (Soluis Heritage), and new 3D imaging equipment (Cyreal) The three keynote talks delivered at the conference reflected high profile uses of 3D imaging technology: Michael Scott (Professor of Classics and Ancient History, University of Warwick) discussedhow laser scanning was used to uncover secrets of historic cities, as he presented in the BBC TV programmes “Italy’s Invisible Cities” and “Ancient Invisible Cities”. Daniel Antoine (Curator of Physical Anthropology, The British Museum) spoke about the use of X-ray CT scanning in exploring the ancient lives of Egyptian mummies, and the use of the scans in a permanent gallery in the Museum, as well as in a high profile exhibition at the Museum and subsequent touring exhibitions across the world. Alex Ball (Head of Imaging and Analysis, Natural History Museum) discussed the challenges of 3D imaging of material over a wide range of sizes and resolutions, and the correlation of different methods – applied across material from the Natural History Museum as well as material from other museums and research institutions. The conference was actively discussed on Twitter throughout, using the hashtag #IPBM3D. Conference branded under one of CH projects ___________________________________________________________________________ 134 IAEA technical meeting on developing strategies for safe analysis of paintings and paint materials IAEA technical meeting on developing strategies for safe analysis of paintings and paint materials 2. Target of the story – mark ALL applicable audience ☐ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☐ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☒ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? NO 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: Ineke surname: Joosten institution: Cultural Heritage Agency of the Netherlands e-mail:[email protected]. contact phone: +31611455626 A conference Conference details: Name of the conference: IAEA technical meeting on developing strategies for safe analysis of paintings and paint materials Location: Ateliergebouw, Amsterdam Daily dates: 27-30 June 2017 Organiser: Cultural Heritage Agency of the Netherlands, IPANEMA, Rijksmuseum and IAEA Branded under project: IPERION CH Number of participants: 45 Conference branded under one of CH projects ___________________________________________________________________________ IAEA technical meeting on developing strategies for safe analysis of paintings and paint materials 135 How the proceedings were published? Provide bibliographic data of the book or journal issue: No precedings were published.......... General description of the subject: Paintings are an important part of our world cultural heritage. Analytical techniques using intense photon, electron and ion beams produced by particle accelerators, synchrotrons, microscopes and other sources are increasingly being applied for their study. Whole paintings are scanned using X-ray methods at synchrotrons and in laboratory environments. Electron, Raman, X-ray and ion beam microscopies are widely applied to study both lateral and cross sections of paint samples to learn more about their complex composition, to construct painting biographies and to inform on degradation mechanisms. Analytical investigations are based on photon, electron and ion interactions with the material. Such material under irradiation, visible or non-visible, might induce visible or non-visible alterations during analysis which can be also permanent or temporary. The effects of irradiation depend both on the investigated materials and the experimental conditions. All these need to be taken into account as e.g. changes of local colour, structural, chemical, morphological can influence the analytical results. The consequences of the analyses in terms of radiation effects are insufficiently known. Radiation effects have been investigated for a long time in materials from life sciences to semiconductors. However, the main focus of such studies has been on pure materials and not on heterogeneous, complex and multi-layered systems like paintings. Several recent works have shown that interactions between pigments and binding media are likely to influence significantly material behaviour under irradiation. More specific, “pure” pigments are already complex mixtures containing traces phases, substitution elements and structural defects, which behaviour will deviate from standard chemicals. Therefore, to understand the radiation effects on paintings has outmost importance in order to minimize any possible alteration. The meeting confirmed that the study of these samples with these techniques is broad and popular, providing valuable information. It was also confirmed the complexity of these samples from the point of view of composition material (generally a mix inorganic and organic materials), which will react to radiation in different ways, pointing out the wide modification mechanism involved. The reports presented a number of studies performed in the laboratories and museums equipped with particle accelerators, photon sources and laser beams. Special attention was paid to experimental conditions that can induce damage or alteration of the sample due to irradiation conditions. Discussions, first in the frame of working groups and then by the participants, about the need of a history radiation passport of the objects/samples was performed. It is necessary to collect this information to monitor the effects (immediate or future) of radiation in future, and also to limit the radiation exposure and avoid duplication of measurements. repetitive in their integrity. Very related with this topic, another working group was focused on damage prevention wizard, in an attempt to reduce the modifications induced in some materials, especially in the organics, as binders. Finally, other working group was dedicated to define a Round robin exercise where, jointly with the participants, were identified potential pigments and dyes (in mock-ups forms, aged mock-ups or real samples) to be studied. It was also discussion the need to diffuse and discuss these induced modifications at conferences and addressed to a broader public through international organizations, such as ICOM, ICCROM and UNESCO, and to link these concerns with the radiation effects in materials community. Relation to the CH projects: The conference was the direct result of WP6.4 Safe boundaries for analysis of heritage materials Conference branded under one of CH projects ___________________________________________________________________________ 136 IAEA technical meeting on developing strategies for safe analysis of paintings and paint materials under intense radiation sources and a successful collaboration with the IAEA. Results from this workpackage were presented and many partners were involved. Around 11 presentations were related to the project. Importance (about 1/2 page, 11 pt) The technical meeting was attend by 45 people from 10 different countries including scientists and conservators internal and external the IPERION CH consortium, belonging to: universities of different countries such as Portugal, the Netherlands and Italy, public institutions such as Conservation departments or studios from Germany, Croatia and the Netherlands, large scale facilities from Brazil, France, Hungary , Italy, Jordan and the United States of America. The meeting resulted in the development of a special pamphlet on SAFE EXAMINATION OF HERITAGE MATERIALS. Another result was the funding of a NICAS seed money project Irradiation Passport for Art. Provide the programme of the conference 8 :30 – 9 :00 Registration 9 :00 – 9 :15 Opening addresses Robert van Langh, Netherlands Institute for Conservation, Art and Science (NICAS) Susan Lammers, Cultural Heritage Agency of the Netherlands (RCE) 9 :15 – 9 :30 Hilde de Clercq International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) 9 :30 – 9 :45 Loic Bertrand, Integrated Platform for the European Research Infrastructure ON Cultural Heritage (IPERION CH) and European Research Infrastructure for Heritage Science: a new way of approaching Heritage Science (E-RIHS) 9:45 – 10:00 Aliz Simon, International Atomic Agency (IAEA) Overview of the IAEA activities for Cultural Heritage Objectives and expected outcomes of the Technical Meeting Introduction of the Participants, Election of the Rapporteurs 10 :00 -10 :10 Mathieu Thoury, IPANEMA Report on previous activities 10 :10 – 10 :20 Ineke Joosten, RCE Theme of the meeting 10 :20 – 10 :50 Coffee break SESSION 1A: IMPACT ON PURE ORGANIC PAINT MATERIALS 10:50 – 11:30 Paul Jonkergouw, Radbout University, Nl 11:30 – 11:50 Zita Szikszai, ATOMKI, HU Systematic investigation on ion beam effects on painted and unpainted parchment 11:50 - 12:10 Branka Mihaljevic, Radiation Chemistry and Dosimetry Laboratory (RCDL), CR Gamma irradiation of selected fungi on linen textile 12:10 – 12:30 Han Neevel, RCE, NL A study of the light degradation of some ink-related dyes on paper using μ-fading 12:30 – 13:30 Lunch Buffet SESSION 2A: METHODOLOGIES 13:30 – 14:10 Samual Webb, Stanford Synchrotron Radiation Lightsource (SSRL), SLAC National Laboratory, USA Characterization of X-ray Induced Beam Damage of Pigments 14:10 – 14:30 Raul Freitas, LNLS, BR Mitigating Radiation Damage on the Nanoscale – a Case for the Next Generation of Synchrotron Sources 14:30 – 14:50 Franco Zanini, Elettra Sincrotrone Trieste, IT Risk vs. danger perception in the analysis of cultural heritage Conference branded under one of CH projects ___________________________________________________________________________ IAEA technical meeting on developing strategies for safe analysis of paintings and paint materials 137 14:50 – 15:10 Lambert van Eyck, Delft University of Technology, NL Neutrons Imaging: A gently probe to study the interior objects 15:10 – 15:40 Coffee break SESSION 2B: METHODOLOGIES 15:40 – 16:20 Sunil Sabharwal, IAEA, ORG – video conference Voluntary irradiation for treatment 16:20 – 16:40 Salvatore Siano, Istituto di Fisica Applicata “N. Carrara” – Consiglio Nazionale delle Ricerche IT Efficient and Thermally Controlled System for Safe Raman Spectroscopy 16:40 – 17:00 Annelies van Loon, Rijksmuseum, Mauritshuis, Delft University of Technology, NL Macro X-ray fluorescence (MA-XRF) scanning in the Rijksmuseum in-situ, considerations regarding safety 17:00 – 18:00 Visit the Rijksmuseum Eregalerij 18:30 Drinks Conference branded under one of CH projects ___________________________________________________________________________ 144 2nd Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH) 2017 2nd Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH) 2017 2. Target of the story – mark ALL applicable audience ☒ press (media) release ☒ science community ☒ CH community (e.g. restorers, curators, prospective TNA users, etc.) ☐ European Commission ☐ business and industry 3. Tentative punch line (i.e. your story in a tweet or a Facebook post) – Merging heritage and neutron science communities 4. Indicate the CH projects within which it was developed – mark ALL applicable projects: ☐ LabS-TECH ☐ Eu-ARTECH ☐ CHARISMA ☒ IPERION CH ☐ ARIADNE 5. May this success story be considered as innovation? Specify its impact: ☒ academic ☐ economic ☐ societal 6. Has this success story generated already any public release (e.g. in press, TV etc.)? IF YES, provide the description and available links Iperionides – Newsletter of IPERION CH http://www.iperionch.eu/did-you-miss-it/ International NR Newsletter – International Society for Neutron Radiology http://www.isnr.de/images/nr_newsletter/NR13.pdf 7. Any additional information which may be important for the presentation of the success story, not included in the relevant questionnaire below. 8. Person to be contacted for details name: László surname: Szentmiklósi institution: MTA Centre for Energy Research, Hungarian Academy of Sciences / Budapest Neutron Centre (BNC) e-mail: szentmiklosi.laszl[email protected] contact phone: + …..................………… Conference branded under one of CH projects ___________________________________________________________________________ 2nd Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH) 2017 145 A conference Conference details: Name of the conference: 2nd Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH) 2017 Location: Budapest, Hungary Daily dates: 11-13 October, 2017 Organiser: Budapest Neutron Centre (MTA Centre for Energy Research, MTA Wigner Research Centre for Physics), chairman: László Szentmiklósi Branded under project: IPERION CH Number of participants: 70 How the proceedings were published? Provide bibliographic data of the book or journal issue: László Szentmiklósi, Katalin Bajnok, Zsolt Kasztovszky, Adél Len (eds.), Proceedings of the Second International Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH), Journal of Archaeological Science: Reports – Special Issue https://www.sciencedirect.com/journal/journal-of-archaeological-science-reports/special-issue/10M PRBGBFSH General description of the subject: The three-days-long meeting, organized by the Budapest Neutron Centre in cooperation with the International Atomic Energy Agency (IAEA), took place in the landmark building of the Hungarian Academy of Sciences at the river banks of Danube. Sessions were devoted to present studies from Neutron imaging, Neutron activation analysis and Prompt gamma activation analysis as well as Neutron scattering. The technical background was highlighted in sessions called Facilities, techniques and data processing and Multi-technique approach and complementary techniques. The four keynote speakers represented the state-of-the-art of neutron imaging (Dr. Eberhard Lehmann, Dr. Burkhard Schillinger) and the interdisciplinary (Prof. Thilo Rehren) and multi-technique approach (Dr. Thomas Calligaro) of heritage science. Two of the five invited talks were focussing on archaeological interpretation (Dr. Katalin T. Biró, Dr. Friedrich Wagner), one on conservation application of historical buildings (Dr. Francesca Sciaretta) while the two others on instrumental approaches (Dr. László Szentmiklósi, Dr. Nikolay Kardjilov). The dense program of the conference included 27 oral presentations and 20 posters. In addition, a workshop by the Volume Graphics, supplier of high-end data visualization software, was also part of the program. The most represented topic was neutron imaging with three sessions, in total 9 lectures. This meeting was attended by 66 participant representing a wide range of disciplines (physics, chemistry, geology, archaeology, conservation science, engineering) and nationalities (Argentina, Australia, Cyprus, Czech Republic, France, Germany, Greece, Hungary, Italy, Japan, Korea, Netherlands, Portugal, Romania, Russia, Switzerland, UK, USA) Relation to the CH projects: The mission of the NINMACH conference series is to bring together neutron scientists, archaeologists and conservators, by creating a stimulating environment to exchange ideas and to promote this interdisciplinary research field. The scope of the conference was strongly connected to WP4 of the IPERION CH project, as results of the transnational access programme were presented, forming ca. the ¼ of the total presentations in the programme. Conference branded under one of CH projects ___________________________________________________________________________ 146 2nd Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH) 2017 Importance (about 1/2 page, 11 pt) The mission of the NINMACH conference series is to address neutron scientists, as well as archaeologists and conservators, by creating a stimulating environment to exchange ideas and to make a bridge between them. In 2017, the Hungarian neutron and cultural heritage communities received the honour to organize the second NINMACH. The three-days-long meeting took place in the landmark building of the Hungarian Academy of Sciences, right next to the famous UNESCO world heritage river banks in Budapest, Hungary. The event was organized by the Budapest Neutron Centre (BNC), the consortium of Centre for Energy Research and Wigner Research Centre for Physics, Hungarian Academy of Sciences, in cooperation with the International Atomic Energy Agency (IAEA). This meeting was a successful one with 62 registered participants representing a wide range of disciplines (physics, chemistry, geology, archaeology, conservation science, engineering) and nationalities (Argentina, Australia, Cyprus, Czech Republic, France, Germany, Greece, Hungary, Italy, Japan, Korea, Netherlands, Portugal, Romania, Russia, Switzerland, UK, USA). Peer-reviewed proceedings will be published in a special issue of Journal of Archaeological Science: Reports. Conference branded under one of CH projects ___________________________________________________________________________ 2nd Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH) 2017 147 Conference branded under one of CH projects ___________________________________________________________________________ 148 2nd Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH) 2017 Conference branded under one of CH projects ___________________________________________________________________________ 2nd Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH) 2017 149 Conference branded under one of CH projects ___________________________________________________________________________ 150 2nd Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH) 2017 Conference branded under one of CH projects ___________________________________________________________________________ 2nd Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH) 2017 151 Conference branded under one of CH projects ___________________________________________________________________________ 152 2nd Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH) 2017 Conference branded under one of CH projects ___________________________________________________________________________ 2nd Conference on Neutron Imaging and Neutron Methods in Archaeology and Cultural Heritage (NINMACH) 2017 153