nyuuzyou/wikis huggingface dataset:
Accelerated aging test

__NOTOC__
procedure carried out in controlled conditions that determines effects of one or a combination of agents such as temperature, humidity, light, pollutants in materials, and extrapolated the collected data to rate of change over time.
==Related Terms==
life expectancy, Arrhenius function
=== Synonyms in English ===
aging test, fading test
=== Translation ===
English 	accelerated aging test
French 	
Spanish 	
Portuguese 	teste de envelhecimento acelerado
Italian 	
German 	
Arabic 	
Chinese (Traditional)	人工加速老化試驗
==Discussion==
Quoting from SAA's Glossary: 
"Although sound in theory, accelerated aging tests are, at this time, of limited usefulness. The reason is that conditions of storage, which vary widely, have a considerable influence on the degree of permanence; also, it is difficult to verify empirically the accuracy of such tests except by experiments conducted over a number of years."(Pearce-Moses 2012)
==References==
 Pearce-Moses, Richard. 2012. “A Glossary of Archival and Records Terminology.” Society of American Archivists. http://www2.archivists.org/glossary.
Category:Lexicon
Category: Process Terms
Category:Testing
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Accretion

__NOTOC__
A build-up of matter which lies on, rather than being embedded in, a surface. 
==Related Terms==
efflorescence; encrustation; fly specks; incrustation
=== Synonyms in English ===
deposit; incrust, encrust, incrustration, concretion
=== Translation ===
English 	accretion
French 	accrétion
Spanish 	acreción
Portuguese 	acreção
Italian 	accrescimento
German 	akkretion
Russian 	
Arabic 	
Dutch 	aangroeisel
Chinese (Traditional)	附著物
==Discussion==
A growth or accumulation of new material on the exterior surface of an object. Accretions may be unintentional (dirt, salts, corrosion, insect deposits, guano, drips, burial deposits) or intentional (expansion, alteration) additions that change the appearance of the object.
Conservators may choose to leave accretions on an object for the additional details it may provide about an objects use, importance or history. In some instances conservators decide to leave accretions on a work for its pleasing color and appearance, or the additional protection to the underlying material from further damage.
METHODS OF REMOVAL
Laser cleaning is one of the newest technologies utilized in the removal of surface accretions and can be performed to burn or blast away any undesirable material. Infrared laser is often used when dealing with dark surface buildup on light colored stone or rocks such as marble or limestone, due to the materials reflective nature.
==References==
Anon. 2000. “Accretion.” Art and Architecture Thesaurus Online. Los Angeles, CA: J. Paul Getty Trust. http://www.getty.edu/research/tools/vocabularies/aat/.
———. 2012. “Accretion.” CAMEO:Conservation and Art Material Encyclopedia Online. Boston: Museum of Fine Arts, Boston. http://cameo.mfa.org/.
Cato, Paisley S., Julia Golden, and Suzanne B. McLaren. 2003. Museumwise: Workplace Words Defined. Society for the Preservation of Natural History Collections.
Jewett, D. 1983. A glossary for recording the condition of an artifact. Ottawa : Canadian Heritage Information Network, National Museums of Canada.
Krueger, Holly, Kitty Nicholson, and Sarah Melching. 1994. “Written Documentation.” In Paper Conservation Catalog. 9th ed. Washington, D.C.: American Institute for Conservation of Historic and Artistic Works. http://www.conservation-wiki.com/w/index.php?title=BP_Chapter_5_-_Written_Documentation.
MFA Publications. 2011. Conservation and Care of Museum Collections. Museum of Fine Arts Boston. 
Category:Lexicon
Category: Condition Terms
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Acid-free

__NOTOC__
State of being neutral or alkaline in pH, often used to describe paper goods used to house art or artifacts.
-Definition from original Paper Conservation Catalog. 
==Related Terms==
Base, alkalinity, 
=== Synonyms in English ===
Acid neutral
=== Translation ===
English 	acid-free
French 	
Spanish 	
Portuguese	
Italian 	
German 	
Russian 	
Arabic 	
==Discussion==
==References==
Category:Lexicon
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Acidity

__NOTOC__
The amount of acid present in an object. Materials with pH below 7.0 on the pH scale are considered acidic. Objects closer to 0 on the scale have a higher acidity than objects closer to 7. The pH level of an object can be tested with pH strips, pH testing pens, or pH testing meters. 
 
==Related Terms==
acidic 
=== Synonyms in English ===
deposit
=== Translation ===
English 	acidity
French 	acidité
Spanish 	acidez
Portuguese 	acidez
Italian 	acidità
German 	Säure
Russian 	кислотность
Arabic 	حموضة
Chinese (Traditional)	酸性
==Discussion==
Testing and Instrumental Analysis
==References==
Anon. 2000. “Acidity.” Art and Architecture Thesaurus Online. Los Angeles, CA: J. Paul Getty Trust. http://www.getty.edu/research/tools/vocabularies/aat/.
———. 2012. “Acidity.” CAMEO:Conservation and Art Material Encyclopedia Online. Boston: Museum of Fine Arts, Boston. http://cameo.mfa.org/wiki/Acidity
 
Category:Lexicon
Category: Condition Terms
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Additional Topics

Back to the AIC Wiki Main Page 
This section of the AIC wiki presents information created and gathered from a variety of sources. 
<Br>
* History of Conservation and Conservators - Information on individuals, private practices, institutional labs involved in our profession as well as a list of FAIC Oral History Interviewees. 
*Conservation Organizations and Conferences - Information on conservation and preservation professional organizations, meetings and symposia.
* Exhibiting Conservation - This page is a product of feedback from the 2012 AIC Annual Meeting Outreach Exhibiting Ourselves session and members of the conservation community worldwide are invited to submit entries on exhibits that explain the fields of conservation and conservation science. Visit the page for information on how to participate.
* Lexicon - The Lexicon project has contributors from across AIC's membership. Please visit the wiki page to read the information on how you can contribute to this resource without learning a bit of wiki code
Albumen Negatives

Page Information	Page Information
Date initiated 	
Contributors 	
__TOC__
==Albumen Negatives==
=== Historical Facts===
thumb| Caption
=== Identification Characteristics===
==== Image material====
==== Color ====
==== Support ====
=== Conservation ===
=== Housing and Storage Considerations===
==== Housing ====
==== Storage ==== 
=== Exhibition ===
=== Emergency Recovery === 
=== References ===
 
=== Further Reading===
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Category:Photographic Materials
Category: Photographic Processes
Albumenized Salt Print

Page Information	Page Information
Date initiated 	
Contributors 	
__TOC__
==Albumenized Salt Print==
=== Historical Facts===
thumb| Caption
=== Identification Characteristics===
==== Image material====
==== Color ====
==== Support ====
=== Conservation ===
=== Housing and Storage Considerations===
==== Housing ====
==== Storage ==== 
=== Exhibition ===
=== Emergency Recovery === 
=== References ===
 
=== Further Reading===
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Category:Photographic Materials
Category: Photographic Processes
Alkaline

Contributors: Sophie Carman
__NOTOC__
Alkaline refers to a solution or material that contains a base.
==Related Terms==
Base, alkalinity
=== Synonyms in English ===
=== Translation ===
English 	alkaline
French 	alcalin
Spanish 	alcalino
Portuguese 	alcalino
Italian 	alcalino
German 	alkalisch
Russian 	
Arabic 	
Chinese (Traditional)	鹼性
==Discussion==
Alkaline is synonymous with the term “base,” referring to a solution or material that has a pH greater than 7 (Getty: Alkalinity). The logarithmic pH scale is used to measure alkalinity. (Museum of Fine Arts Boston: pH). Bases (alkaline materials) have a pH greater than 7 (a pH of 7 being neutral) and increase in alkalinity as the pH approaches 14 (Museum of Fine Arts Boston: Alkaline). For example, a pH of 6.9 indicates a very weak acid, whereas a pH of 0 (zero) indicates a very strong acid. Alkalinity is opposed to acidity, which refers to a solution that has a pH less than 7 (Getty: Acidity). Examples of bases used in conservation include sodium hydroxide, sodium carbonate, etc.
Alkaline can also refer to an environmental condition. Alkaline environments can be created by low rainfall and high evaporation, as in arid and semi-arid (Cronyn 1990). This type of environment allows bases in dissolving rock particles to remain in place instead being washed out by rainwater. Sea-water has a pH of 8.2 and is also considered to be an alkaline environment. Such environments are favorable to metals but can be destructive to organic materials.
==References==
 “Acidity.” Getty. Accessed April 1st, 2014.
http://www.getty.edu/vow/AATServlet?english=N&find=acidity&logic=AND&page=1¬e=
 “Alkaline.” Museum of Fine Arts Boston. Accessed April 1st, 2014. http://cameo.mfa.org/wiki/Alkaline
 “Alkalinity.” Getty. Accessed April 1st, 2014. http://www.getty.edu/vow/AATServlet?english=N&find=alkalinity&logic=AND&page=1¬e
 Cronyn, J. M. 1990. The Elements of Archaeological Conservation. London: Routledge.
 “pH.” Museum of Fine Arts Boston. Accessed April 1st, 2014. http://cameo.mfa.org/wiki/PH
Category:Lexicon
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Analytical Techniques: Additional Techniques

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The information presented on the Paintings Conservation Wiki is the opinion of the contributors and does not imply endorsement or approval, or recommendation of any treatments, methods, or techniques described.
=Microfadeometry=
=Colorimetry=
Author: Elizabeth Robson 
Editors: Erin Stephenson, Kari Rayner
Colorimetry is a branch of color science used to numerically describe the color of a target area. The standards are defined by the CIE (the Commission Internationale de l’Eclairage, or the International Commission on Illumination), whose diagrams are based on normalized illuminants and an average observer (Johnston-Feller 2001). The most commonly used standard currently is the CIE 1976 L*a*b* colorimetric space (Figure 1). The “language” of colorimetry is used to unambiguously define the perceptual dimensions of color using three independent variables: hue/tint, saturation, and lightness (Johnston-Feller 2001). Practically, these variables are measured using a non-destructive analytical technique with a small, handheld device to obtain spectral reflectance curves (Figure 2). A standard sample, such as a tablet of barium sulphate or a disk of opal glass, should be used to calibrate the device (Lorusso et al. 2008). Templates can be created using mylar or paper and circular punches to ensure that the exact same surface area is measured each time. Once two or more measurements have been made
of a surface area, the change in L* (lightness), a* (red-green shift), and b* (yellow-blue shift) values can be compared, and the ΔE (total color difference) can be calculated using various formulas (Johnston-Feller 2001, Lorusso et al. 2008). These colorimetric measurements can be used to monitor changes in color during treatment or display; quantify discoloration of media, including restorations, over time; and occasionally to characterize and identify pigments (Marchiafava et al. 2014, Johnston-Feller 2001).
File:Colorimetry 01.jpg|Figure 1: Representation of the ΔE in the chromaticity diagram L*a*b* (Lorusso et al. 2008). In this diagram, the target color (A) refers to what would be considered the original measurement, while the “champion” (B) refers to a second measurement taken later in time.
File:Colorimetry 02.jpg|Figure 2: Spectrophotometric colorimeter Minolta CM-2600 D model (Lorusso et al. 2008).
=Glossimetry=
=Secondary Ion Mass Spectrometry and Laser Desorption Ionization Mass Spectrometry=
=Radiocarbon Dating=
=References=
Johnston-Feller, R. 2001. Color Science in the Examination of Museum Objects: Nondestructive
Procedures. Tools for Conservation. Los Angeles, Getty Conservation Institute.
Lorusso, S., A. Natali, and C. Matteucci. 2008. “Colorimetry applied to the field of cultural
heritage: examples of study cases.” Conservation Science in Cultural Heritage 7 (1): 187-220.
Marchiafava, V., G. Bartolozzi, C. Cucci, M. De Vita, and M. Picollo. 2014. “Colour measurements
for monitoring the conservation of contemporary artworks.” Journal of the International Colour
Association 13: 36-42.
Analytical Techniques: Chromatography

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The information presented on the Paintings Conservation Wiki is the opinion of the contributors and does not imply endorsement or approval, or recommendation of any treatments, methods, or techniques described.
Author: Jessica Ford
Editors: Anne Schaffer, Kari Rayner
Chromatography is a technique that physically separates components of a sample through either volatilization (gas chromatography) or solubilization (liquid chromatography), then conveys each component into a mass spectrometer at different speeds characteristic of their molecular structure. This technique yields precise identification of organic compounds and is capable of distinguishing between similar materials with a great deal of specificity; for example, chromatography can identify the specific type(s) of oil or resin present in a sample. The different chromatography systems have different specialties: high-performance liquid chromatography (HPLC) with mass spectrometry is especially useful for identification of organic dyes such as lake pigments. Pyrolysis gas chromatography with mass spectroscopy (Py-GCMS) is most useful for identification of synthetic materials such as plastics, epoxies, and other polymeric materials. A non-reusable sample is required for all of these chromatographic techniques. (Mills and White 1999)
=References=
Mills, J. S., and R. White. 1999. The organic chemistry of museum objects. 2nd ed. Routledge.
Analytical Techniques: Microscopy

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The information presented on the Paintings Conservation Wiki is the opinion of the contributors and does not imply endorsement or approval, or recommendation of any treatments, methods, or techniques described.
Author: Jessica Ford
Editors: Anne Schaffer, Kari Rayner
=Microscopy=
Optical microscopy is the study of works of art under magnification, either in-situ or focused on a small sample (Eastaugh and Walsh 2012). Microscopic examination of an in situ painted surface by a trained conservator can yield an extraordinary amount of information about artistic technique, condition, and material content. Stereomicroscopes are used most commonly, sometimes in tandem with ultraviolet illumination and/or a camera. Some high magnification and multifunctional microscopes, such as a Hirox microscope, are able to graphically render the 3-dimensional topography of a surface and non-invasively examine stratigraphy by zooming into the depth of cracks. Compound microscopes allow for the examination of small samples taken from paintings using higher magnification.
==Polarized Light Microscopy==
Polarized light microscopy (PLM) is the examination of visual and morphological properties of dispersed pigment, canvas fiber, paper fiber, or wood panel samples to gain qualitative information. This technique requires destructive sampling from the painting, but depending on how the sample is mounted, it may be reused for further analysis. Microchemical testing can be employed to help identify the material in question; however, staining may limit the sample’s potential for reuse.
==Cross-Section Microscopy==
Cross-section microscopy is the examination of the stratigraphy of a painting to yield qualitative information about artistic technique, condition, and material content that cannot be ascertained by viewing the surface of a painting alone. A microscopic sample that includes the full stratigraphy of a painting, from topmost surface to ground layer or substrate, is removed, embedded in resin, and polished along its depth for clear viewing of the stratigraphy. Microchemical staining can be performed on a cross-section to characterize and locate oil, gum, or protein in binding media throughout a painting’s stratigraphy, which can be instructive for both contextualizing a painting stylistically, historically, and/or culturally; and deciding on an appropriate treatment (Wolbers et al. 2012). After staining, it may not be possible to reuse the sample for other types of analysis.
=References=
Eastaugh, N., and V. Walsh. 2012. Optical microscopy. In Conservation of easel paintings, edited by J. H. Stoner and R. Rushfield, 306–17. Abingdon, Oxon England: Routledge. 
Wolbers, R. C., S. L. Buck, and P. Olley. 2012. Cross-section microscopy analysis and fluorescent staining. In Conservation of Easel Paintings, edited by J. H. Stoner and R. Rushfield, 326–35.. Abingdon, Oxon England: Routledge.
Analytical Techniques: Scanning Electron Microscopy

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The information presented on the Paintings Conservation Wiki is the opinion of the contributors and does not imply endorsement or approval, or recommendation of any treatments, methods, or techniques described.
Author: Jessica Ford
Editors: Anne Schaffer, Kari Rayner
Scanning electron microscopy coupled with energy dispersive spectroscopy (SEM-EDS) scans a sample with an electron beam, and the resulting backscatter produces an ultra-high magnification image of the sample along with an elemental map of the viewed surface. The image may be useful for examination of pigments, cracks, lead soap formation, microstructures, and other material qualities. The elemental analysis results are more specific than those from (non-scanning) XRF, because the distribution of elements is visualized; often this technique is employed on a cross-section sample, clarifying the stratigraphic distribution of elements. Also, SEM-EDS is capable of measuring the response of elements with atomic size as small as boron. SEM requires removal of a sample, which usually cannot be reused for other forms of analysis. (Townsend and Boon 2012) 
=References=
Townsend, J., and J. Boon. 2012. Research and instrumental analysis in the materials of easel painting. In Conservation of Easel Paintings, edited by J. H. Stoner and R. Rushfield, 341-365. Abingdon, Oxon England: Routledge.
Analytical Techniques: Ultraviolet-Induced Visible Fluorescence Examination

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The information presented on the Paintings Conservation Wiki is the opinion of the contributors and does not imply endorsement or approval, or recommendation of any treatments, methods, or techniques described.
Author: Jessica Ford
Editors: Anne Schaffer, Kari Rayner
Ultraviolet-induced visible fluorescence examination is a non-invasive technique for qualitative characterization of materials on the surface of a painting. Radiation in the ultraviolet electromagnetic region excites materials on the surface of a painting, causing them to emit characteristic visible fluorescence (Measday 2017). In contrast, areas that are not excited by ultraviolet radiation will absorb it and appear dark. Varnishes, adhesives, relatively recent restorations, and some colorants can be characterized in this way, and inconsistencies or selective applications of materials may be visually distinguished. Recent advances have led to the development of reference standards and photographic documentation protocols to improve consistency in interpretation (Sexton et al. 2014).
=References=
Sexton, J. M., J. J. Chen, and P. Messier. 2014. "Development and testing of a reference standard for documenting ultraviolet induced visible fluorescence." Paper presented at 42nd Annual Meeting of the American Institute for Conservation, San Francisco, CA.
Analytical Techniques: X-radiography

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The information presented on the Paintings Conservation Wiki is the opinion of the contributors and does not imply endorsement or approval, or recommendation of any treatments, methods, or techniques described.
Author: Jessica Ford
Editors: Anne Schaffer, Kari Rayner
X-radiography is a non-invasive technique that directs x-ray radiation through a painting and onto film or an imaging plate, producing an image based on the radio-opacity of the materials. Many features that would otherwise be hidden or difficult to distinguish may be visually clarified, such as hardware and construction of frames or stretchers; canvas weave and tacking margins; brushwork and hidden paint layers; and damages/restorations (MacBeth 2012). 
==Thread Counting==
Thread counting has long been performed as a way to document and compare canvases. In more recent years, an algorithm has been developed to automate thread counting and reliably weave-match canvases cut from the same bolt of cloth (Van Tilborgh et al. 2012). This automated technique can be performed using normal light imagery of an unlined painting’s verso; x-radiography provides the opportunity to apply automated thread counting and weave matching to lined canvases.
=References=
MacBeth, R. 2012. The technical examination and documentation of easel paintings. In Conservation of Easel Paintings, edited by J. H. Stoner and R. Rushfield, 291–305. Abingdon, Oxon England: Routledge. 
Van Tilborgh, L, T. Meedendorp, E. Hendriks, D. H. Johnson, C. R. Johnson Jr, and R. G. Erdmann. 2012. "Weave matching and dating of van Gogh’s paintings: an interdisciplinary approach." The Burlington Magazine 154 : 112–122.
Analytical Techniques: X-ray Diffraction

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The information presented on the Paintings Conservation Wiki is the opinion of the contributors and does not imply endorsement or approval, or recommendation of any treatments, methods, or techniques described.
Author: Jessica Ford
Editors: Anne Schaffer, Kari Rayner
X-ray diffraction (XRD) analysis is exclusively useful for identification of crystalline compounds, whether organic or inorganic. During analysis, X-ray radiation is diffracted by the sample’s crystal lattice in characteristic patterns, yielding both qualitative and quantitative results. Most common XRD practice requires sampling. (May and Jones, eds 2006)
=References=
May, E., and M. Jones, eds. 2006. Conservation Science: Heritage Materials. Cambridge: Royal Society of Chemistry.
Anoxia

__NOTOC__
==Definition==
Anoxia is a treatment used in conservation to kill insects by way of oxygen deprivation. 
==Related Terms==
=== Synonyms in English ===
anoxic
=== Translation ===
French 	anoxie; hypoxie
Spanish 	anoxia; hypoxia
German 	hypoxie
Dutch 	hypoxie
Chinese (Traditional)	低氧除蟲
==Discussion==
In order to create an oxygen free environment, a vapor barrier film may be used. Then the sealed environment is purged with a non-oxygen gas, such as argon or nitrogen, and oxygen scavenger tablets are added to maintain the low oxygen concentrations (CAMEO). If oxygen levels are kept at or below 0.1%, all life stages of ten common museum insects can be killed in ten days (Daniel, et al., 1990).
==Additional Information== 
Gilberg, M. "Inert Atmosphere Disinfestation of Museum Objects using Ageless Oxygen Scavenger", ICOM preprints, 9th Annual Meeting, Dresden (1990), p. 812-816. 
Valentin, N. and Preusser, F. "Insect Control by Inert Gases in Museums, Archives and Libraries" Restaurator (1990) vol. 11., p. 22-23.
==References==
CAMEO: Conservation and Art Material Encyclopedia Online. “Anoxia.” Accessed from http://cameo.mfa.org/wiki/Anoxia on March 29, 2015. 
Daniel, V., Hanlon, G., and Mekawa, S. "Eradication of Insect Pests in Museums Using Nitrogen" in WAAC Newsletter (Sept. 1993), Vol. 15 (3), p. 15-19.
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