@article { author = {V., Fassina, and S., Benchiarin, and G., Molin,}, title = {THE DECAY OF NANTO STONE IN AN OUTDOOR-SHELTERED ENVIRONMENT IN THE CLOISTER OF SAINT ANTHONY BASILICA IN PADOVA}, journal = {Egyptian Journal of Archaeological and Restoration Studies}, volume = {9}, number = {2}, pages = {115-127}, year = {2019}, publisher = {Sohag University Publication Centre}, issn = {2090-4932}, eissn = {2090-4940}, doi = {10.21608/ejars.2019.66979}, abstract = {The present work aims to define the type and extent of deterioration in the funerarymonument to Giovanni Calfurnio (1443-1503), a valuable Renaissance artwork ofAntonio Minello. The monument is made of Nanto stone, a soft yellow-brown stone,often used locally for its aesthetic qualities and easy working. In order to planurgent restoration work, characterisation of the stone and decay products, bymeans of classic mineralogic-petrographic and chemical methods was carriedout. Since its realization until 1871 it stayed inside a church, and successivelyit was moved to the Novitiates. Cloister of St. Anthony`s Basilica in Padova where,according to detailed photographic documentation, collected since 1900 up totoday, stone decaywas considerably increased over the past fewdecades. Physicalparameters such as relative humidity, temperature, wind as well as sulphur dioxidepollution are mainly responsible of the rapid decay observed in the last fourdecades of the last century.}, keywords = {Stone decay,Black crusts,Atmospheric pollutants,Carbonaceous particles,Gypsum crystals}, url = {https://ejars.journals.ekb.eg/article_66979.html}, eprint = {https://ejars.journals.ekb.eg/article_66979_9ab085e8ea9a630e5e34bab160ef1e94.pdf} } @article { author = {S., Beskhyroun, and G., Mahgoub, and I., El-Rifai, and H., Mahgoub. and I., Osticioli, and A., Nevin, and A., El-naggar,}, title = {STUDY OF THE PAINTED DOME OF THE CHURCH OF ARCHANGEL GABRIEL, CAIRO}, journal = {Egyptian Journal of Archaeological and Restoration Studies}, volume = {9}, number = {2}, pages = {129-140}, year = {2019}, publisher = {Sohag University Publication Centre}, issn = {2090-4932}, eissn = {2090-4940}, doi = {10.21608/ejars.2019.66982}, abstract = {This study was carried out in preparation for the conservation of the oil painteddome of Archangel Gabriel church located at Haret El Saqqayeen in Abdeen(Cairo). Stratigraphic, chemical and environmental studies were conducted toexamine the painting technique and to assess the conservation state of thedome. The dome was imaged using Multi-spectral imaging and samples werecollected from representative areas. Cross-sections were investigated by themeans of scanning electron microscopy coupled with dispersive energy of X-rayspectrometer (SEM-EDS) and stereo microscopy. Fourier transformed infraredspectroscopy (FTIR) and gas chromatography-mass spectroscopy (GC/MS) wasemployed for the identification of the paint medium. X-ray diffraction (XRD) andthe colorimetric measurements were conducted for characterization the differencesof hues between the original and non-original pigments. As a part of thestudy, the environment within the dome was measured with data loggers and gassampling. The results showed that the painted dome dates back to two differentperiods. The older paintings were applied before 1907 and were covered byground layers to be repainted in 1907. Non-professional over-painting and theuncontrolled indoor climate have a significant role in the deterioration phenomenaof the dome.}, keywords = {Dome,Data loggers,Gas sampling,Multi-spectral imaging,Over paintings}, url = {https://ejars.journals.ekb.eg/article_66982.html}, eprint = {https://ejars.journals.ekb.eg/article_66982_3fc6ee1580e64f1c22e72298705047a5.pdf} } @article { author = {Th., Abo-Taleb,}, title = {DOCUMENTING OIL PAINTINGS BY FINGERPRINT BRUSHSTROKE APPLICATION TO ANTIQUE PAINTING IN THE EGYPTIAN MUSEUM OF MODERN ART}, journal = {Egyptian Journal of Archaeological and Restoration Studies}, volume = {9}, number = {2}, pages = {141-154}, year = {2019}, publisher = {Sohag University Publication Centre}, issn = {2090-4932}, eissn = {2090-4940}, doi = {10.21608/ejars.2019.66983}, abstract = {The present study discusses documenting a topographic surface in an oil paintingby remote sensing. It is a new technological method in documenting the propertiesof the brush texture statistically, including the area, width, length, the shape ofends of the edges lines of the hair (curve, point, or polygon), directions, as wellas the angle among these edges and surfaces. Then, the study carries out aquantitative evaluation of signature spectral fingerprint of the brush areas. Itexamines the spatial distribution of the texture and the spectral recording of thecolor by recording the reflected or emitted radiation from the colors varying inabsorption, penetration, and reflection according to the physical and chemicalproperties of each substance, forming the so-called signature spectral fingerprint.Using the ENVI sensor program to check the texture of the brush in the visualpart and find statistical patterns which helps us to identify the optical properties ofthe brush strokes and artist style. The result of the texture analysis revealed thatthe brush was flat, with hard hair, parallel lines, and perpendicular angles. Thespectral signature of orange was (591.08 nm), pink was (495.87 nm) (595.2 nm),adobe was (600.93 nm), and dark brown was (579.55 nm). The brushstroke'sarea equaled 49248, and the perimeter measured 888. Furthermore, SEM-EDX,XRD, and FTIR were utilized to define the materials and methods of three coloredsamples of oil painting (red, yellow, and green). Results illustrated that thesamples contained linseed oil as binders and ground layer from calcite mixedwith animal glue. SEM-EDX and XRD results pointed out that the pigmentsamples were earth pigments (goethite - Hematite - Celadonite).}, keywords = {Edge contours,Brushstroke,Spectral signature,Envie 5,Pixel}, url = {https://ejars.journals.ekb.eg/article_66983.html}, eprint = {https://ejars.journals.ekb.eg/article_66983_cf64a10bd5b8c0c000fbf3a29ed52a70.pdf} } @article { author = {Elsayed, Yosr}, title = {IDENTIFICATION OF THE PAINTING MATERIALS OF A UNIQUE EASEL PAINTING BY MAHMOUD SA'ID}, journal = {Egyptian Journal of Archaeological and Restoration Studies}, volume = {9}, number = {2}, pages = {155-169}, year = {2019}, publisher = {Sohag University Publication Centre}, issn = {2090-4932}, eissn = {2090-4940}, doi = {10.21608/ejars.2019.66984}, abstract = {The present study aims at examining a unique easel painting by the well-knownEgyptian painter, Mahmoud Sa'id. It was painted over four years and displayed atthe Agricultural Museum in Egypt. It experienced many deterioration phenomena.The study utilized some non-destructive and non-invasive analytical techniques,i.e. MA-XRF, SEM-EDX, ATR-FTIR, and GC-FID in addition to XRD and SM.Due to the case-study painting multilayers technique, the results of MA-XRF andEDX mapping and XRD patterns revealed using Ultramarine (Na,Ca)8 (AlSiO4)6(SO4,S,Cl)2, yellow ochre (Fe2O3.H2O), red ochre (Fe2O3), and a mixture ofgraphite (C) and bone black (C,Ca5(OH)(PO4)3) as a coloring pigments in theblue, yellow, reddish brown and black samples, respectively. Moreover, Barite(BaSO4) and Zincite (ZnO) were used in the ground layer with Hydrocerussite(Pb3(CO3)2(OH)2) and Sphalerite (ZnS) in lightening colors. Linseed oil wasasserted as the pigment binding media, while the binding media of the groundlayer was not confirmed. Furthermore, fragility, brittleness, cleavages, peeling,cracks, macro cracks, stains, and ancient fault restoration were detected in thecase-study painting. Accordingly, it urgently requires treatment.}, keywords = {Painting,MA-XRF,ATR-FTIR,SEM-EDX,GC}, url = {https://ejars.journals.ekb.eg/article_66984.html}, eprint = {https://ejars.journals.ekb.eg/article_66984_d4af7dd0707edb2771f10c2f9b875283.pdf} } @article { author = {ABDELAAL, SHAABAN}, title = {INVESTIGATION AND IDENTIFICATION OF MURAL PAINTINGS' MATERIALS AND TECHNIQUES IN AIN EL-LEBEKHA, EGYPT- PART ONE}, journal = {Egyptian Journal of Archaeological and Restoration Studies}, volume = {9}, number = {2}, pages = {171-181}, year = {2019}, publisher = {Sohag University Publication Centre}, issn = {2090-4932}, eissn = {2090-4940}, doi = {10.21608/ejars.2019.66987}, abstract = {The present study aims to investigate and identify the layers, components, andpainting techniques of a mural painting in Ain el-Lebekha Temple located inKharga Oasis, the capital of the New Valley Governorate, about 200 km to theNile valley and 232 km to the south of Asyut city, forming a depression of 160km long and 80 km wide. Archaeological and historical references pointed outthat Ain el-Lebekha dates back to the Roman period between the 2nd and 5thcenturies AD. Multi analytical and investigation studies were done to identify anddefine the compositions, techniques, and components, and state of the muralpainting layers in Ain el-Lebekha Temple. Moreover, the investigations and examinationswith the optical microscope, polarizing microscope, and scanningelectron microscope were used to show the state, number and technique of thesurfaces and painting layers. XRD, FTIR, and SEM-EDS analytical methods wereused to identify the compositions of the mural painting layers and ground layers.They illustrated that calcite and quartz were used in the ground layer, hematite inthe red pigment paint, and the Arabic gum as an organic medium in the paintingprocess. The obtained results will enrich our knowledge about mural paintingsand materials in an important archaeological site of the Greco-Roman art inEgypt to support the restoration plan.}, keywords = {Ain el-Lebekha,Temple,Greco-Roman,Mural paintings,Pigments,deterioration}, url = {https://ejars.journals.ekb.eg/article_66987.html}, eprint = {https://ejars.journals.ekb.eg/article_66987_0e88532db0093f854d876b882c5a1e60.pdf} } @article { author = {Abdelmegeed, Mohamed and S., Hassan,}, title = {DIAGNOSTIC INVESTIGATION OF DECAYING LIMESTONE IN HISTORICAL BUILDINGS AT THE MAMLUKS CEMETERY- CITY OF THE DEAD, EGYPT}, journal = {Egyptian Journal of Archaeological and Restoration Studies}, volume = {9}, number = {2}, pages = {183-196}, year = {2019}, publisher = {Sohag University Publication Centre}, issn = {2090-4932}, eissn = {2090-4940}, doi = {10.21608/ejars.2019.66989}, abstract = {The Mamluks cemetery, City of the Dead, is one of the famous historical Islamicplaces that contain many outstanding structures. Limestone, which is the mainbuilding material used in the Mamluks cemetery buildings, always underwentweathering processes and deterioration factors. The present study is an analyticaland petrographic assessment of limestone used in historical buildings inCairo-Egypt. It is organized into three main sections. The first section providesa histo-rical background of Mamluks cemetery. The second one sets out toevaluate the current situation of the decaying limestone. The third sectionexplains the alteration mechanisms between deterioration forms and surroundingenvironmental factors. Visual, microscopic, and laboratory analysis by meansof PM, XRD, and EDX highlighted the causes of limestone decaying. Thedecay phen-omena of limestone in the (City of the Dead) are independent ofthe exposure of the architectural surface and are strongly influenced by thesedimentary nature (micro laminations), which acts with the formation anddistribution of salts as preferential planes for the formation of aggressiveweath-ering forms. Another issue is related to the formation of cavities.Furthermore, small quartz grains occasionally occupy some shell cavities(chambers).}, keywords = {Building materials, Salt crystallization, Damage phenomena,Petrographic characteristics, Thin-section, EDX}, url = {https://ejars.journals.ekb.eg/article_66989.html}, eprint = {https://ejars.journals.ekb.eg/article_66989_156e375c7951885171cc80ffb7cc871e.pdf} } @article { author = {E., Orabi, and Th., Abo-Taleb,}, title = {DEGRADATION OF VERMILION RED COLOR IN OIL AND MURAL PAINTINGS: A COMPARATIVE APPLIED STUDY}, journal = {Egyptian Journal of Archaeological and Restoration Studies}, volume = {9}, number = {2}, pages = {197-206}, year = {2019}, publisher = {Sohag University Publication Centre}, issn = {2090-4932}, eissn = {2090-4940}, doi = {10.21608/ejars.2019.66990}, abstract = {The present study investigates and compares the vermilion red color changephenomenon in an oil painting executed on wood from the 18th century storedat the Archaeological Museum Store of Manial Palace Museum, Cairo and amural painting executed using Tempera from the Greco-Roman Period in adestroyed archeological house next to Medinet Madi Temple, (35kms far fromFayoum city). The vermillion red color may change to dark red, brown, orgrayish-white due to the exposure to the environmental conditions andpollutants, the common role of both light and chlorine as the main factors of reddiscoloration, some impurities in color components, as well as the dissolvedsalts and organic media used in painting. The blackness of the color wasdetected after doing an analytical study to identify the damaged products ofthe vermillion red using different methods of analysis (i.e. microscopy, X-raydiffraction, Energy Dispersive X- rays and Infrared). The change to gray colorin oil paintings due to the presence of the prokovite was associated withcinnabar. In the mural painting, it resulted from the conversion to blackhypercinnabar, not to the resin.}, keywords = {Cinnabar,Meta cinnabar,Hypercinnabar,Vermillion,Effect of light,Chlorine,Humidity}, url = {https://ejars.journals.ekb.eg/article_66990.html}, eprint = {https://ejars.journals.ekb.eg/article_66990_1a5e0c4500d5d55bf483611827a7087e.pdf} } @article { author = {Elsayed, Mohammed}, title = {LION AS AN EPITHET OF HORUS OF BEHDETY AT EDFU}, journal = {Egyptian Journal of Archaeological and Restoration Studies}, volume = {9}, number = {2}, pages = {207-218}, year = {2019}, publisher = {Sohag University Publication Centre}, issn = {2090-4932}, eissn = {2090-4940}, doi = {10.21608/ejars.2019.66991}, abstract = {This paper examines one of the epithets throughout the texts of Edfu where adominating Horus of Behdety interacts with the forces of chaos as a lion bytrampling, retreating, smiting and devouring. The textual sources containlexical expressions of this epithet and provide the visual metaphors asdramatic scenes of the god's domination. Also they show Horus as theupholder of the legitimacy of the kingship and the defeater lion over anytransgressors. Furthermore he played a beneficent role toward the two landsof Egypt, his sacred mound, his chapel, his divine character and Osiris withIsis.}, keywords = {Edfu,Horus of Behdety,lion,Egyptian domination,Subdued enemies}, url = {https://ejars.journals.ekb.eg/article_66991.html}, eprint = {https://ejars.journals.ekb.eg/article_66991_762cc4072894ffdd89af6e5d211da3ee.pdf} } @article { author = {galal, ahdab}, title = {THE PORTRAITS OF TWO OTTOMAN SULTANS PRESERVED AT THE PALACE OF PRINCE MOHAMED ALI MUSEUM, EGYPT}, journal = {Egyptian Journal of Archaeological and Restoration Studies}, volume = {9}, number = {2}, pages = {219-228}, year = {2019}, publisher = {Sohag University Publication Centre}, issn = {2090-4932}, eissn = {2090-4940}, doi = {10.21608/ejars.2019.66992}, abstract = {The present study analyzes and publishes a portrait of an Ottoman Sultan inthe museum's register, entitled "the portrait of Sultan Muhammad al-Fatih". It ispreserved in the Store of Islamic Department, Prince Mohamed Ali Museum,Cairo under number (3) and register no. (516). It was drawn on paperboard withwatercolors. It is in good condition, and it measures 52î 46 cm. It is publishedand studied for the first time with its distinctive artistic formation. The problem isthat the portrait does not include any dates. Accordingly, the study adopts thecomparative analytical approach of the technical composition and design method.The elements of the colors used were identified and thus the date of this portraitcould be traced back to the 13th AH. / 19th A.D. century, to the art center in Egypt.}, keywords = {Sultan Muhammad al-Fatih,Murad IV,Portrait,SEM-EDS,Paper,Painting,Ottoman decoration}, url = {https://ejars.journals.ekb.eg/article_66992.html}, eprint = {https://ejars.journals.ekb.eg/article_66992_a935dc090530ec7ea27a7c2e97e45e3b.pdf} }