Abstract
Tapestries represent a key but fragile component of many historic collections, as well as a complex challenge for textile conservators who aim to ensure their preservation. Indeed, the heterogeneity of materials, weaving features and conservation history make it difficult to predict the mechanical and physical behaviour of these objects, especially when hung for their display. The reported research postulates and investigates the role of different factors, namely relative humidity related strains and creep, in promoting the mechanical deterioration of tapestries. To track strain, the contactless full-field optical technique digital image correlation (DIC) was used. In particular, 2D DIC was successfully employed to monitor strains across large areas of a tapestry, demonstrating the occurrence of fatigue and creep damage mechanisms. While the former had the most influence on overall expansions and contractions, creep affected damaged areas. In addition, DIC was used for a preliminary evaluation of the efficacy of sloping boards, a non-traditional display method chosen by an increasing number of European museums in an attempt to reduce strain across tapestries. Both theoretical analysis and experimental work showed that, when minimal friction is present, small angles, like 5° from the vertical, do not appear to promote noticeable reductions in strain.
Highlights
Tapestries were the most widespread and explicit means to show off wealth and power by both religious and lay figures all across Europe [1]
In the first part of the experimental study, post self-weight loading strains were measured across an historic fragment when displayed vertically for 200 h
Averaged strain data from the entire region of interest were shown to closely track relative humidity (RH) variations: the random and high-frequency nature of these changing strains suggest a plausible mechanism for fatigue damage
Summary
Tapestries were the most widespread and explicit means to show off wealth and power by both religious and lay figures all across Europe [1]. Conservation is fundamental to preserve the cultural value of these works of art, which are known to be adversely affected by complex chemical and physical degradation processes [2]. There are no standard approaches among textile conservators [3]. Questionnaires conducted over the past three decades in both Europe and North America to investigate approaches in textile conservation show that, depending on the geographical area of the workshop and/or conservator’s training, different methods are still used for treating tapestries [4,5,6]. 0123456789().: V,-vol 515 Page 2 of 17.
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