## 1 Introduction
Damage to the objects due to anthropogenic causes can also occur, as a result of improper storage and exposure (e.g., materials being placed directly on top of one another, wrinkled, placed in contact with metal objects, fixed with needles and/or nails, the improper affixing of labels among others) [5; 6]. Under certain environmental conditions the colonization of microorganisms is possible with the combination of factors including: temperature, humidity fluctuation, natural or artificial lighting (favorable premises for the installation and evolution of microorganisms are improper exposure to sunlight and weather [7; 8; 9], dust content and carbon dioxide high values or when nutrients are favorable); these can induce very frequent biodeterioration, alteration processes [10; 11; 12]. Wool fibers are most susceptible to attack by bacteria and fungi, especially in conditions where moisture can be accentuated due to the hygroscopic properties of wool. The microorganisms most frequently [13] mentioned in degradation of wool and other protein fibers are bacteria which belongs to the genus:Bacillus, Proteus, Actinomycetes (Streptomyces sp.) and micro-funggi: Aspergillus, Fusarium and Trichoderma, Pencillium. The biodeteriogens represented by fungi can lead to the deterioration of the cultural heritage organic composition materials, with their hyphae penetrating the substrate material favouring the germination of spores. The possible physical damage is likely to be colouring/discoloration, the smell of mould, fissures, fragment detachments, fragility and the variation of dyeing properties, among others [13; 14; 15; 16; 17]. Possible chemical damage and changes can be wrought by fungal-derived carboxylic acids, including oxalic, citric, succinic, formic, malic, acetic, fumaric and others. In addition, chemical changes can also be reflected in aesthetical damages to the cultural materials concerned, such as in the form of the discoloration and deterioration of the surfaces involved, leading to the appearance of stains that may alter the original colour of the garment [18; 19; 20; 21]. The presence of organic residues (e.g., glue, dirt, dust) may accelerate the processes of degradation, with the aesthetical changes and chromatic alteration taking place. At the same time, they can lead to the loss of strength and elongation specific to the material, oxidation, discoloration or coloration, due to the pigments involved and the modification of the molecular structures present [22]. Remediation can be realised using toxic materials (e.g., ethylene oxide [EtO], gamma rays, etc. ), but the use of such materials can significantly affect the biodiversity and ecological systems concerned. Therefore, specialists in the field try to apply environmentally and ecologically friendly biocides instead. The use of antifungal natural extracts (i.e., essential oils [EOs]) has always been a viable alternative to the use of harmful chemicals, with, for example, plant extracts (_Allium ursimum_ and _Ocinum  basilicum_) having been tested as successful antifungal [23]. EOs (e.g., lemon, spearmint, rosemary, fennel, marjoram, pin, eucalyptrus, etc.) can successfully serve as part of a green bioremediation procedure to be applied in the sustainable conservation of artworks. Having been tested against microbial colonies isolated from different substrates using green potential strategies, they have been found to act as a sound alternative to traditional procedures in terms of their selective action, human safety and impacts on artworks [20; 24; 25; 26; 27; 28; 29; 30; 31; 32; 33; 34; 35; 36; 37; 38; 39; 40; 41]. The antifungal activity of _Origanum vulgare_, _Rosmarinus officinalis_ and _Lavandula angustifolia_ EOs has been tested, with positive results having been achieved against fungi isolated on stone (_Bipolaris_ sp.) and against _Aspergillus_ sp., _Penicillium_ sp., and _Trichoderma_ sp. on different objects by [PERSON] et al. [42], [PERSON] et al. [43] and [PERSON] [44], among others.