2022
DOI: 10.1016/j.ibiod.2022.105389
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A multidisciplinary study of biodeteriorated Celje Ceiling, a tempera painting on canvas

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Cited by 15 publications
(10 citation statements)
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“…This is relevant when very few recent studies focus on image recognition of biodeterioration patterns particularly in paintings. For instance, recent research using machine learning to predict areas of deterioration based on information from cross-sections of samples (not based on the large-format images of the artworks) was used to study a tempera painting, Celje Ceiling , located in Old Counts’s Mansion, Slovenia 7 .…”
Section: Introductionmentioning
confidence: 99%
“…This is relevant when very few recent studies focus on image recognition of biodeterioration patterns particularly in paintings. For instance, recent research using machine learning to predict areas of deterioration based on information from cross-sections of samples (not based on the large-format images of the artworks) was used to study a tempera painting, Celje Ceiling , located in Old Counts’s Mansion, Slovenia 7 .…”
Section: Introductionmentioning
confidence: 99%
“…High numbers of visitors will contribute to higher humidity and carbon dioxide concentration, which can disrupt the indoor environment and further constitute a risk to the conservation of the murals [ 108 111 ]. The airflow in crowed archeological sites contains a high amount of fungal spores including the Aspergillus genus, Malassezia [ 109 , 112 ], and these genera are often the dominant genera on the surface of the murals and can lead to biodeterioration of the murals [ 109 , 113 ]. Without adequate protection measures, airborne fungi are an important source of contamination on the murals, and some murals can be seriously contaminated and even damaged after a large number of visitors come [ 114 ].…”
Section: Mechanisms Of Mural Contaminants Formation and Deteriorationmentioning
confidence: 99%
“…Figure 1. Historic oil painting RCS 15 [37] from the church with signs of biodeterioration on both sides. (A) Front side of the painting, (B-D) Back (courtesy of Polona Zalar), (E-G) Stratigraphy of the painting under UV light (courtesy of Katja Kavkler) showing the isolation layer between the canvas and the ground (E), the ground layer, the paint layer, and the surface of the varnish (F), and the ground layer and the paint layer (G), all with visible penetration of dark septate hyphae.…”
Section: Introductionmentioning
confidence: 99%