## 1 Introduction  
Preventive preservation of cultural assets in museums represents an important topic in the field of integrative scientific conservation [1; 2; 3; 4; 5] and incorporates indirect actions on the environment around cultural objects in order to avoid damaging processes and to increase their lifespan [6; 7]. The main environmental factor in museums is the museum's indoor microclimate, which consists of all changes in air temperature and moisture characteristics, natural and artificial lighting, gas, and particles of matter present in rooms [8; 9; 10; 11]. These elements can have a great impact on the optimal maintenance of cultural assets over an extended period. However, [PERSON] et al. consider that \"pollutants do not generally represent a significant threat to the overall rate of chemical degradation, as their concentrations are small\" [12] in museums or libraries, and that temperature and moisture contribute the most to the deterioration of the materials from which the cultural artifacts are made. The monitoring of indoor and outdoor climate conditions in a museum to reduce the environmental risk [13] can facilitate the accomplishment of the three important roles of a museum: providing public access to cultural assets, preserving them, and restoring the cultural assets in order to make them available for research [11; 12]. Many studies have been carried out to establish the peculiarities of the museum microclimate, with a view to ameliorating their indoor microclimatic conditions [14; 15; 16; 17; 18; 19]. [PERSON] [9] proposed that a monitoring campaign to study historic climate should take a minimum of 12 months, or a shorter period if monitoring is used to calibrate building simulation. For preservation purposes, air temperature (T) is highly important since increase in molecular vibrations is considered the cause of the exponential increase in decomposition reaction processes according to the theory of chemical kinetics. Change in air temperature also determines phase modifications of materials since atoms reorganize their relative positions in order to adapt to higher vibrations at higher temperature [15]. A wider temperature range of various materials causes shearing stress on objects made from laminated materials, such as paintings, veneered furniture and film [15; 19; 20; 21]. Air moisture is also known as hygroscopic moisture since it is adsorbed by organic or inorganic materials until a balance is reached. Hygroscopic moisture represents the amount of water vapor in a volume of air, and is also referred to as absolute humidity [13; 19]. Relative humidity (RH) is expressed as a percentage and represents the ratio between the absolute humidity in the air and the maximum possible amount for the observed temperature. For several classes of objects which contain hygroscopic material (such as canvas, textiles, ethnographical objects or animal glue), a stable RH is needed (40-60%), and a stable air temperature (16-25 \({}^{\circ}\)C), with fluctuations of no more than \(\pm\)10% RH over 24 h [22]. More sensitive objects need more specific and closer RH control depending on the composing materials, the state and the age of the cultural object [23; 24]. Atmospheric pollutants, such as nitrogen or sulfur oxides, are absorbed in the structure of artifacts, reacting with humidity, leading to in situ formation of acids [25; 26; 27]. Generally, for most materials, a climate with lower RH (but not below 40%), moderate air temperature and lower lighting are ideal. [PERSON] et al. [28] performed a simulation of the hygothermal behavior of a historic building in Portugal using EnergyPlus, which they validated with data obtained from a campaign to monitor the conditions of the microclimate. They analyzed fluctuations in the temperature and humidity of the indoor air relative to a performance index with the aim of making recommendations for the climate control system. [PERSON] et al.