Abstract
Cleaning of old icons requires special attention to selecting the processes and systems compatible with the chemical nature and adhesions of the deposits, to not affect the polychrome layer or their conservation status. The study was carried out on a 19th century icon made in fat tempera, on a thin layer of preparation that presents fouling. The cleaning was done using extracts obtained from sage, St. John’s Wort, and, respectively, licorice root teas obtained through different extraction processes: microwave, ultrasound, boiling, and room temperature, respectively. The washing capacity of the new system used was analyzed by analytical methods of assessing the cleaning degree: UV-Vis reflection, reflective colorimetry type CIE L*a*b*, co-assisted with optical microscopy and scanning electrone microscopy (SEM-EDX).
Highlights
IntroductionThe cleaning of old paintings is an important step in the restoration process, because in order to remove dirty and adherent deposits it is necessary to know the conservation status and the impact of the solutions used in cleaning.To date, the dispersed systems involved in washing have varied greatly, from aqueous solutions to those based on organic solvents [1–7], with or without surface additives-surfactants [8,9], hydrogels [10–12], ionic liquids [13–20], or enzymes [21–25], some of which are highly toxic to the operator.An often-used modern procedure consists of the volatilization of the dirt by laser pyrolysis, but which becomes highly invasive for varnishes and color layers if used inadequately [26–33].In recent years, attempts have been made to obtain environmentally friendly washing solutions based on aqueous dispersions obtained from colorless, freshly prepared juices, from vegetables or green plants, and from dried herbal teas, containing surfactant and emollient chemical components, Appl
The dispersed systems involved in washing have varied greatly, from aqueous solutions to those based on organic solvents [1–7], with or without surface additives-surfactants [8,9], hydrogels [10–12], ionic liquids [13–20], or enzymes [21–25], some of which are highly toxic to the operator
On the icon made in fat tempera, was done by
Summary
The cleaning of old paintings is an important step in the restoration process, because in order to remove dirty and adherent deposits it is necessary to know the conservation status and the impact of the solutions used in cleaning.To date, the dispersed systems involved in washing have varied greatly, from aqueous solutions to those based on organic solvents [1–7], with or without surface additives-surfactants [8,9], hydrogels [10–12], ionic liquids [13–20], or enzymes [21–25], some of which are highly toxic to the operator.An often-used modern procedure consists of the volatilization of the dirt by laser pyrolysis, but which becomes highly invasive for varnishes and color layers if used inadequately [26–33].In recent years, attempts have been made to obtain environmentally friendly washing solutions based on aqueous dispersions obtained from colorless, freshly prepared juices, from vegetables or green plants, and from dried herbal teas, containing surfactant and emollient chemical components, Appl. The dispersed systems involved in washing have varied greatly, from aqueous solutions to those based on organic solvents [1–7], with or without surface additives-surfactants [8,9], hydrogels [10–12], ionic liquids [13–20], or enzymes [21–25], some of which are highly toxic to the operator. An often-used modern procedure consists of the volatilization of the dirt by laser pyrolysis, but which becomes highly invasive for varnishes and color layers if used inadequately [26–33]. Attempts have been made to obtain environmentally friendly washing solutions based on aqueous dispersions obtained from colorless, freshly prepared juices, from vegetables or green plants, and from dried herbal teas, containing surfactant and emollient chemical components, Appl.
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