By Andrew J. Clark
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Extra resources for Advanced Techniques in Art Conservation
Appl. Phys. A: Mater. Sci. Process. 2007, 89, 849–856. ; Favaro, G. In-situ fluorimetry: a powerful non-invasive diagnostic technique for natural dyes used in artefacts. Part II Identification of orcein and indigo in Renaissance tapestries. Spectrochim. Acta. Part A 2009, 71 (5), 2057–2062. ; Brunetti, B. ; Favaro, G. Portable Equipment for Luminescence Lifetime Measurements on Surfaces. Appl. Spectrosc. 2008, 62, 1395–1399. ; Wadum, J. Jordaens The Making of a Masterpiece; Statens Museum for Kunst: Copenhagen, 2008.
Chem. 1989, 61, 1228A-1233A, 1237A-1240A. ; Colombini, M. ; Ribechini, E. Gas chromatographic-mass spectrometric characterisation of plant gums in samples from painted works of art. J. Chromatogr. A 2007, 1175, 275–282. ; Lapre’vote, O. Identification of ritual blood in African artifacts using ToF-SIMS and synchrotron radiation microspectroscopies. Anal. Chem. 2007, 79, 9253–9260. ; Colombini, M. ; Diring, S. Identification of garlic in old gildings by gas chromatography-mass spectrometry. J. Chrom.
List of the Most Used Organic and Inorganic Blue Pigments from Antiquity to 19th Centurya distorted by the inversion of those fundamental bands that show k . 20 The diffuse reflection is ruled by Kubelka-Munk’s law and depends on both the absorption index and scattering coefficient. The main distortion generated by diffuse reflection is the change of relative band intensities with respect to transmission mode. Weak absorption bands strongly increase in their intensity; thus, in reflectance mode, absorptions relative to minor components or combination and overtone bands of major components become visible (Figure 2).