paint and varnish, textile, printing media) to perform quality control and in testing
new products. The ability to quickly perform lightfastness tests and continuous
monitoring of color changes are strong arguments for the further dissemination of
the method, and if this happens, it will be a unique case of the transfer of measurement technique from the CH studies domain to others, and not vice versa.
Bruce Ford, one of the pioneers of the MFT method, has compiled and updates a
comprehensive list of research papers (60+) in which authors implement the
technique for various types of materials (microfading.com/resources). The types of
materials on the list are as numerous as diverse are items in museums collections:
different media paintings (oil, watercolors) on different supports (including wall
paintings in grottoes), prints, photographs, inks in manuscripts (predominantly iron
gall ink), historical banknotes, textiles (including Maori and Alaskan natives). One
of the recurring research topics is the use of the MFT technique to evaluate
application of inert gases for a safe display of sensitive objects in anoxic frames or
showcases. Removal of oxygen was proved to slow down photodegradation for
many of the tested colorants, particularly a highly fugitive Prussian blue pigment
[159–161].
Also, modern art materials have been evaluated by means of the MFT.
Morales-Merino studied a selection of contemporary writing media (fineliners and
roller ball pens) and original artworks where type of a pen used by the artist was
known [162] and found out that it is not possible to relate directly results obtained
for model samples to the artwork with identical colorants used—authors strongly
recommend testing originals. In the same paper, it was shown also how big
influence on lightfastness has a colorant loading—the lower the concentration of the
ink on a tested spot, the higher the color change in aging tests. Del Hoyo-Melendez
and co-authors [163] surveyed textiles with various dye/mordant/silk combinations,
and one of their findings supported cited Morales-Merino conclusion: Color saturation plays an important role in photostability of materials—textiles with higher
colorant load have shown also better lightfastness.
16.4 Conclusions
Scientific research on heritage and art objects began already in the eighteenth
century. The advent of modern analytical techniques in the mid-twentieth century
has brought enormous progress in this field. The introduction of Raman spectroscopy followed by an intensive development of its technical improvements and
following modifications greatly increasing its sensitivity (SERS) and flexibility in
applications requiring a nondestructive approach (FORS) has had probably the
greatest impact on heritage studies. Presented applications of Raman spectroscopy
in the study of cultural artifacts are just a small selection of the possibilities offered
by this technique in the field.
The second method presented in details in the chapter opens a possibility to
predict a future behavior of the studied sample upon its exposure to light, light—an
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T. Łojewski and B. Łydżba-Kopczyńska
new products. The ability to quickly perform lightfastness tests and continuous
monitoring of color changes are strong arguments for the further dissemination of
the method, and if this happens, it will be a unique case of the transfer of measurement technique from the CH studies domain to others, and not vice versa.
Bruce Ford, one of the pioneers of the MFT method, has compiled and updates a
comprehensive list of research papers (60+) in which authors implement the
technique for various types of materials (microfading.com/resources). The types of
materials on the list are as numerous as diverse are items in museums collections:
different media paintings (oil, watercolors) on different supports (including wall
paintings in grottoes), prints, photographs, inks in manuscripts (predominantly iron
gall ink), historical banknotes, textiles (including Maori and Alaskan natives). One
of the recurring research topics is the use of the MFT technique to evaluate
application of inert gases for a safe display of sensitive objects in anoxic frames or
showcases. Removal of oxygen was proved to slow down photodegradation for
many of the tested colorants, particularly a highly fugitive Prussian blue pigment
[159–161].
Also, modern art materials have been evaluated by means of the MFT.
Morales-Merino studied a selection of contemporary writing media (fineliners and
roller ball pens) and original artworks where type of a pen used by the artist was
known [162] and found out that it is not possible to relate directly results obtained
for model samples to the artwork with identical colorants used—authors strongly
recommend testing originals. In the same paper, it was shown also how big
influence on lightfastness has a colorant loading—the lower the concentration of the
ink on a tested spot, the higher the color change in aging tests. Del Hoyo-Melendez
and co-authors [163] surveyed textiles with various dye/mordant/silk combinations,
and one of their findings supported cited Morales-Merino conclusion: Color saturation plays an important role in photostability of materials—textiles with higher
colorant load have shown also better lightfastness.
16.4 Conclusions
Scientific research on heritage and art objects began already in the eighteenth
century. The advent of modern analytical techniques in the mid-twentieth century
has brought enormous progress in this field. The introduction of Raman spectroscopy followed by an intensive development of its technical improvements and
following modifications greatly increasing its sensitivity (SERS) and flexibility in
applications requiring a nondestructive approach (FORS) has had probably the
greatest impact on heritage studies. Presented applications of Raman spectroscopy
in the study of cultural artifacts are just a small selection of the possibilities offered
by this technique in the field.
The second method presented in details in the chapter opens a possibility to
predict a future behavior of the studied sample upon its exposure to light, light—an
508
T. Łojewski and B. Łydżba-Kopczyńska