The Characterization and Deterioration of Modern Metallic Threads

Gál, Tamás; Jaro, Marta; Gál, Tamás; Tóth, Attila

doi:10.2307/1506667

Cited by 16 publications

(13 citation statements)

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“…14.67 is shown as an example). Those components were also detected from a [16][17] th century Safavid carpet [9]. Luteolin is found in various dye plants [32] page 171.…”

Section: Resultsmentioning

confidence: 99%

“…Some studies concentrated on qualitative compositional characterization of the metal strips, typically silver-gilt [12][13][14]. Other studies have also used SEM-EDS for quantitative compositional analyses and characterization of the layer structures of giltsilver as well as silvered copper, and more modern metal wrappings made with brass coated copper or aluminum foil [15,16]. While most compositional analysis of metal wrappings has been done with SEM-EDS, some have also supplemented this with wavelength dispersive X-ray spectrometry (WDS) quantitative analysis of the interiors of the metal strips to get better results on the minor elements which may be below the minimum detection limits of SEM-EDS [17].…”

Section: Background/introductionmentioning

confidence: 99%

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Analysis of natural dyes and metal threads used in 16th -18th century Persian/Safavid and Indian/Mughal velvets by HPLC-PDA and SEM-EDS to investigate the system to differentiate velvets of these two cultures

2015

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Introduction: Analyses of natural dyes and the metal of the metal-wrapping threads used in 16 th -18 th century Persian/Safavid and Indian/Mughal period velvets were performed on these textiles in the collection of The Metropolitan Museum of Art. The purpose was to determine whether velvets from the two cultures, which have shown problems in the past with attribution based on historical and iconographical studies, could be more precisely differentiated with the additional evidence from identification of their natural dyes and metals along with information of weaving techniques. Dyes and metal of the metal-wrapped threads from fifteen Persian velvets and six Indian velvets were analyzed by high performance liquid chromatography with photo diode array detector and by scanning electron microscopy with energy dispersive X-ray spectrometry respectively. Results: There seem to be types of dyes which specifically characterize the velvets of each culture, as well as types of dyes commonly found in velvets of both cultures. Dyes typical of Persian velvets are cochineal and yellow larkspur, while lac and turmeric are characteristic of Indian velvets. The dyes commonly found are a combination of yellow larkspur and indigo dye in green, as well as safflower, indigo dye, soluble redwoods, and tannin dye. There were exceptions however. Because of those exceptions, examining the range of dyes used in the velvets would be important in differentiating the velvets. Metal used for wrapping the threads was in all cases found to be silver of fairly high purity, the majority of which had been gilded. The silver from Persia metal threads showed very slightly higher copper content, while Indian threads showed nearly pure silver. This is the first extensive comparative study of dyes and metal threads of Safavid and Mughal velvets: the first evidence of yellow larkspur being the most used yellow dye in Persia, and of the possible differences in the two cultures' metal threads.

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“…14.67 is shown as an example). Those components were also detected from a [16][17] th century Safavid carpet [9]. Luteolin is found in various dye plants [32] page 171.…”

Section: Resultsmentioning

confidence: 99%

Section: Background/introductionmentioning

confidence: 99%

Analysis of natural dyes and metal threads used in 16th -18th century Persian/Safavid and Indian/Mughal velvets by HPLC-PDA and SEM-EDS to investigate the system to differentiate velvets of these two cultures

2015

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“…As to the gilding method used on the strips, Járó et al (2000) referred to the use of a simple hammering process, in the 16th century, which was carried out by covering a silver sheet or larger strip on one side with gold, hammering it into a thin foil and cutting it into narrow strips. Hacke (2006) revised the literature and mentioned welding, soldering, and fire gilding.…”

Section: Resultsmentioning

confidence: 99%

The Liturgical Cope of D. Teotónio of Braganza: Material Characterization of a 16th CenturyPluviale

et al. 2014

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A 16th century liturgical cope belonging to D. Teotónio of Braganza (collection of the Museum of Évora, ME 172/1) was selected for a material study. The cope is made of a variety of materials that include two different types of metal threads, dyed silk yarns, and vegetable yarns used in the weft. Several samples from different points representing the different metal thread types and colored silk yarns were collected. Stereomicroscopy (optical microscopy) and scanning electron microscopy were used for morphological analysis of the textile fibers and evaluation of metal thread degradation products. Evaluation of mordants and metal thread composition was carried out by energy-dispersive X-ray spectroscopy. Liquid chromatography with diode array and mass spectrometry detection was used for dye identification, which allowed the determination of three different red dye sources and one yellow dye source in the colored silk yarns. Although different fabrics were used in the manufacturing of the cope, similarities identified in the characterization of the materials suggest that a single workshop was involved in its making.

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“…Successively, the use of metallic threads did not decrease, and we can find it in Croatian liturgical vestments and festive folk costumes from the 17th to 20th century [10], Spanish coaches and furniture textiles from the 18th to 19th century [11], Turkish caftans and brocades dating between the 16th and 19th century [12], ornamentation for ecclesiastic clothing, religious statues, and church decoration from the Colonial Andes, which dates back to 17th and 19th century [13]. Pure gold, gold alloyed with silver, gilded or gilt-silvered copper, and gold-like copper alloys (e.g., pinchbeck alloy or brass) were used as the materials for the metal strips or wires [1], until the introduction of aluminum in the late 19th century, which brought to market new combinations of materials [14].…”

Section: Introductionmentioning

confidence: 99%

Unveiling the Complexity of Japanese Metallic Threads

et al. 2021

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In the framework of an extensive survey campaign on a collection of Japanese samurai armors, metallic threads from different parts of the traditional equipment were studied by several analytical techniques. The collection of armors belongs to Museo delle Culture (Lugano, Switzerland) and it is composed of ten elements, which date back from the 15th to 20th century. Metallic threads under study come from six of ten elements of the collection and represent a complex and unique multimaterial, which shows specific characteristics in Japanese tradition (kinran). The multianalytical approach based on ATR-FTIR (Attenuated Total Reflection-Fourier Transform Infrared) spectroscopy and SEM-EDX (Scanning Electron Microscopy, Energy Dispersive X-Ray) analysis, together with a careful observation with optical and digital microscopy, permitted to obtain a complete characterization of materials, which have shown a great variability in metal foils and in organic adhesives (urushi, animal glue, starch). Gold and silver turned out to be not so largely used as scholars thought, while aluminum showed a great diffusion. Within the collection of analyzed armors, the obtained results allowed us for the first time to get a complete comprehension of materials and techniques used by Japanese craftsmen, and to observe differences in the quality of the materials and in manufacture technology over the centuries.

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The Characterization and Deterioration of Modern Metallic Threads

Cited by 16 publications

References 0 publications

Analysis of natural dyes and metal threads used in 16th -18th century Persian/Safavid and Indian/Mughal velvets by HPLC-PDA and SEM-EDS to investigate the system to differentiate velvets of these two cultures

Analysis of natural dyes and metal threads used in 16th -18th century Persian/Safavid and Indian/Mughal velvets by HPLC-PDA and SEM-EDS to investigate the system to differentiate velvets of these two cultures

The Liturgical Cope of D. Teotónio of Braganza: Material Characterization of a 16th CenturyPluviale

Unveiling the Complexity of Japanese Metallic Threads

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