Characterization of biodegradation in a 17th century easel painting and potential for a biological approach

Abstract

It is important to characterize the microorganisms involved in biodeterioration processes to understand their effects on cultural assets and to define an efficient strategy for protecting artworks, monuments, and buildings from microbiological recolonization. In this study, we analyzed the microbial communities dwelling on the verso (front) and recto (back) sides of a 17th century easel painting attributed to Carlo Bononi, an Italian artist of the first Baroque period. Cultivable bacteria and fungi colonizing the painting were isolated and identified in order to characterize the microbial community possibly involved in deteriorating the pictorial layer of the painting. The isolated bacterial strains belonged to the Staphylococcus and Bacillus genera. Furthermore, culture-dependent techniques and SEM/EDS analyses revealed the presence of filamentous fungi of the genera Aspergillus, Penicillium, Cladosporium, and Alternaria. The chemical compositions of pigments were consistent with typical 17th century paintings, and some of the identified pigments, namely red lac and red and yellow earths, could be exploited as nutrient sources by painting-associated microorganisms. The study also evaluated, in vitro, the potential decontaminating activity of a biocompound, containing spores of Bacillus subtilis, Bacillus pumilus, and Bacillus megaterium. The results indicated the ability of this biocompound to counteract the growth of contaminating microorganisms that are potentially dangerous to the painting, suggesting the potential use of these microorganisms to prevent biodeterioration of artworks.

Onsite advanced biocleaning system for historical wall paintings using new agar-gauze bacteria gel

“…Recently, the potential use of selected micro-organisms to prevent the biodeterioration of artworks has also been reported; the results suggested and indicated the ability of biocompounds to counteract the growth of contaminating micro-organisms that are potentially dangerous to paintings (Caselli et al 2018).…”

“…Recently, the biodegradation processes occurring in a 17th century easel painting have been characterized, and the potential decontaminating activity of a biocompound has been investigated to prevent the biodeterioration of artworks (Caselli et al . ). Other successful biorestoration treatments have been recently carried out on frescoes at the Camposanto Monumentale in Pisa; in this case, the specific aim was to remove the gauze glued to the paint surface, which was used in the ‘strappo’ technique during World War II to detach frescoes from the original walls after a bomb (Ranalli et al .…”

“…In all these studies, the most common alterations were black crusts, nitration, sulphation, salt efflorescence and the deposition of dust and organic compounds such as hydrocarbons as a consequence of atmospheric pollution (Gauri et al 1989;Saiz-Jimenez 1995, 2004Doehne and Price 2010). Recently, the biodegradation processes occurring in a 17th century easel painting have been characterized, and the potential decontaminating activity of a biocompound has been investigated to prevent the biodeterioration of artworks (Caselli et al 2018). Other successful biorestoration treatments have been recently carried out on frescoes at the Camposanto Monumentale in Pisa; in this case, the specific aim was to remove the gauze glued to the paint surface, which was used in the 'strappo' technique during World War II to detach frescoes from the original walls after a bomb (Ranalli et al 2003aAntonioli et al 2005).…”

Art‐omics: multi‐omics meet archaeology and art conservation

“…For example, a recent report describing the microbiome of a 17th century baroque easel demonstrated the potential of Bacillus spp. to control fungal populations associated with poor conservation and deterioration of the pictural layer (Caselli et al, 2018). The use of microorganisms in restoration of painting and other artworks, often defined as 'biocleaning' has been shown to be less hazardous than traditional, mechanical or chemical techniques, as well as to be non-toxic for both restorers and the environment.…”

Portable X‐ray fluorescence device reveals the artistic palette of Carlo Bononi, Baroque artist from Ferrara

“…The latter is part of a larger study carried on by the CIAS Laboratory and has been discussed elsewhere. [3] 2 | MATERIALS AND METHODS "The Coronation of the Virgin" was originally placed 17 m above the floor, in the false dome at the centre of the Basilica. For the restoration, a working area was equipped inside the Basilica, where the restorers operated.…”