141. Montagner C, Bacci M, Bracci S, Freeman R, Picollo M (2011) Library of UV-Vis-NIR
reflectance spectra of modern organic dyes from historic pat-tern-card coloured papers.
Spectrochim Acta A 79:1669–1680
142. Depuis G, Menu M (2006) Quantitative characterisation of pigment mixtures used in art by
fiber-optics diffuse-reflectance spectroscopy. Appl Phys A 83:469–474
143. FORS (2016) Fiber optics reflectance spectra (FORS) of pictorial materials in the 270–
1700 nm range. http://fors.ifac.cnr.it. Accessed 16 June 2018
144. Bacci M, Picollo M, Trumpy G, Tsukada M, Kunzelman D (2007) Non-invasive
identification of white pigments on 20th century oil paintings by using fiber optic
reflectance. Spectrosc JAIC 46:27–37
145. Cosentino A (2014) FORS spectral database of historical pigments in different binders.
e-Conservation J 2: 57–68
146. Cavaleria T, Giovagnolia A, Nervoa M (2013) Pigments and mixtures identification by
Visible Reflectance Spectroscopy. Procedia Chem 8:45–54
147. Some examples for Textiles (2014) ISO 105-B01:2014 Textiles—tests for colour fastness—
part B01: colour fastness to light: daylight; ISO 105-B02:2014, Textiles—tests for colour
fastness—part B02: colour fastness to artificial light: Xenon arc fading lamp
148. Whitmore PM, Pan X, Bailie C (1999) Predicting the fading of objects: identification of
fugitive colorants through direct nondestructive lightfastness measurements. JAIC 38:395–
409
149. Pesme C, Lerwill A, Beltran V, Druzik J (2016) Development of contact portable microfade
tester to assess light sensitivity of col-lection items. J Am Inst Conserv 55:117–137
150. Ashley-Smith J, Derbyshire A, Pretzel B (2002) The continuing development of a practical
lighting policy for works of art on paper and other object types at the Victoria and Albert
Museum. In: ICOM Committee for Conservation, preprints, 13th triennial meeting, Rio De
Janeiro, Brazil. ICOM, Paris, pp 3–8
151. Feller RL (1979) Use of the international standards organization’s blue wool standards for
exposure to light. In: AIC preprints of papers presented at the 7th annual meeting, Toronto,
Canada
152. Michalski S (1987) Damage to museum objects by visible radiation (light) and ultraviolet
radiation (UV). In: Lighting in museums, galleries and historic houses. Museums
Association, UKIC, and Group of Designers and Interpreters for Museums, London
153. Thompson G (2013) The museum environment, 6th edn. Elsevier, Amsterdam
154. Colby KM (1992) A suggested exhibition/exposure policy for works of art on paper. J Int
Inst Conserv Can Gr 17:3–11
155. Roscoe HE (1865) The Bakerian Lecture: on a method of meteorological registration of the
chemical action of total daylight. Philos Trans R Soc L 155:605–631
156. del Hoyo-Meléndez JM, Mecklenburg MF (2011) An investigation of the reciprocity
principle of light exposures using micro-fading spectrometry. Spectrosc Lett 44:52–62
157. Liang H, Lange R, Lucian A, Hyndes P, Townsend J., Hackney S (2011) Development of
portable microfading spectrometers for measurement of light sensitivity of materials. In:
International Council of Museums, Committee for Conservation (ICOM-CC) triennial
conference, Lisbon
158. Bacci M, Cucci C, Mencaglia AA MA& PS (2004) Calibration and use of photosensitive
materials for light monitoring in museums: blue wool standard 1 as a case study. Stud
Conserv 49:85–98
159. Lerwill A, Townsend JH, Thomas J, Hackney S, Caspers C, Liang H (2014) Photochemical
colour change for traditional watercolour pigments in low oxygen levels. Stud Conserv
60:15–32
160. del Hoyo-Meléndez JM, Mecklenburg MF (2011) The use of micro-fading spectrometry to
evaluate the light fastness of materials in oxygen-free environments. Spectrosc Lett 44:113–121
161. Łojewski T, Thomas J, Gołąb R, Kawałko J, Łojewska J (2011) Light ageing with
simultaneous colorimetry via fiber optics reflection spectrometry. Rev Sci Instrum
82:076102
516
T. Łojewski and B. Łydżba-Kopczyńska
reflectance spectra of modern organic dyes from historic pat-tern-card coloured papers.
Spectrochim Acta A 79:1669–1680
142. Depuis G, Menu M (2006) Quantitative characterisation of pigment mixtures used in art by
fiber-optics diffuse-reflectance spectroscopy. Appl Phys A 83:469–474
143. FORS (2016) Fiber optics reflectance spectra (FORS) of pictorial materials in the 270–
1700 nm range. http://fors.ifac.cnr.it. Accessed 16 June 2018
144. Bacci M, Picollo M, Trumpy G, Tsukada M, Kunzelman D (2007) Non-invasive
identification of white pigments on 20th century oil paintings by using fiber optic
reflectance. Spectrosc JAIC 46:27–37
145. Cosentino A (2014) FORS spectral database of historical pigments in different binders.
e-Conservation J 2: 57–68
146. Cavaleria T, Giovagnolia A, Nervoa M (2013) Pigments and mixtures identification by
Visible Reflectance Spectroscopy. Procedia Chem 8:45–54
147. Some examples for Textiles (2014) ISO 105-B01:2014 Textiles—tests for colour fastness—
part B01: colour fastness to light: daylight; ISO 105-B02:2014, Textiles—tests for colour
fastness—part B02: colour fastness to artificial light: Xenon arc fading lamp
148. Whitmore PM, Pan X, Bailie C (1999) Predicting the fading of objects: identification of
fugitive colorants through direct nondestructive lightfastness measurements. JAIC 38:395–
409
149. Pesme C, Lerwill A, Beltran V, Druzik J (2016) Development of contact portable microfade
tester to assess light sensitivity of col-lection items. J Am Inst Conserv 55:117–137
150. Ashley-Smith J, Derbyshire A, Pretzel B (2002) The continuing development of a practical
lighting policy for works of art on paper and other object types at the Victoria and Albert
Museum. In: ICOM Committee for Conservation, preprints, 13th triennial meeting, Rio De
Janeiro, Brazil. ICOM, Paris, pp 3–8
151. Feller RL (1979) Use of the international standards organization’s blue wool standards for
exposure to light. In: AIC preprints of papers presented at the 7th annual meeting, Toronto,
Canada
152. Michalski S (1987) Damage to museum objects by visible radiation (light) and ultraviolet
radiation (UV). In: Lighting in museums, galleries and historic houses. Museums
Association, UKIC, and Group of Designers and Interpreters for Museums, London
153. Thompson G (2013) The museum environment, 6th edn. Elsevier, Amsterdam
154. Colby KM (1992) A suggested exhibition/exposure policy for works of art on paper. J Int
Inst Conserv Can Gr 17:3–11
155. Roscoe HE (1865) The Bakerian Lecture: on a method of meteorological registration of the
chemical action of total daylight. Philos Trans R Soc L 155:605–631
156. del Hoyo-Meléndez JM, Mecklenburg MF (2011) An investigation of the reciprocity
principle of light exposures using micro-fading spectrometry. Spectrosc Lett 44:52–62
157. Liang H, Lange R, Lucian A, Hyndes P, Townsend J., Hackney S (2011) Development of
portable microfading spectrometers for measurement of light sensitivity of materials. In:
International Council of Museums, Committee for Conservation (ICOM-CC) triennial
conference, Lisbon
158. Bacci M, Cucci C, Mencaglia AA MA& PS (2004) Calibration and use of photosensitive
materials for light monitoring in museums: blue wool standard 1 as a case study. Stud
Conserv 49:85–98
159. Lerwill A, Townsend JH, Thomas J, Hackney S, Caspers C, Liang H (2014) Photochemical
colour change for traditional watercolour pigments in low oxygen levels. Stud Conserv
60:15–32
160. del Hoyo-Meléndez JM, Mecklenburg MF (2011) The use of micro-fading spectrometry to
evaluate the light fastness of materials in oxygen-free environments. Spectrosc Lett 44:113–121
161. Łojewski T, Thomas J, Gołąb R, Kawałko J, Łojewska J (2011) Light ageing with
simultaneous colorimetry via fiber optics reflection spectrometry. Rev Sci Instrum
82:076102
516
T. Łojewski and B. Łydżba-Kopczyńska