ENGLISH FOR THE CONSERVATION OF WORKS OF ARTS AND ANTIQUITIES TEI AQHNAZst UNIT TITLE PAGE fi 1. Colour sl sl 2. Colour contrast a : 3. The influence of environment I 8 : 4. The influence of environment IT 12 s 5. Causes of damage to Museum objects 15 ; 6. Museum lighting 19 : 7. Conservation of paintings . 23 s 8. ReStoration of Michelangelo’s frescoes 27 3 9. Old china and ceramics: Tools and materials 30 : 10, Old china and ceramics: supporting 34 s 11. Stages of Glass conservation 38 12, Wood finishing: Safety, comfort and conditions 41 in the workspace 18. Woodframe furniture: Final touches / Minor surface 44 repairs / Wax polishing 14, Stone decay: The weathering environment 48 1 15. Solvents and thinners 52 ; 18. Adhesives: What is needed to make a good joint? 55 ‘ 17. Archaeological techniques: Discovering sites 59 18. Dating methods: Radiocarbon dating / Tree ring 62 dating or dendrochronology / Thergoluminescent datingUNIT 1 COLOUR L.PRE-READING ACTIVITIES Before you read the text try to answer these questions.Work in pairs. 1."COLOUR" : What do you know about it?(General information) 2.Do you know any qualities of "colour"?If yes,which? 3.Do you associate "colour" with moods or feelings? IL E-READ IVIT. Z EXERCISE A:Now read the text and answer the following question 1.The purpose of this text is to: a.describe the intensity of colour. b.explain the nature of colour. c.tell us how to use colour. 2.Give the text a suitable subtitle: 3.Try to give the definition of "colour", Colour is an important part of our lives. It surrounds us in nature. It is in the things we make and buy. Colour can set moods and create impressions. Reds and yellows are warm advancing colours. They come right at you. Blues and greens are cool,receding colours.They have a relaxing effect on us. Colour can change how things appear.Dark colours make objects appear smaller.Light colours make things look larger.There are even colours the eye cannot see. These are the infrareds and ultraviolets. Colour is a visual sensation.It is seen but it cannot be heard or felt.It cannot be seen unless there is light.Colour can be described by three basic qualities: 1.Hue: usually means the basic name of the colour. For example ,red,yellow,blue,or green. 2.Intensity or Saturation:is the amount of colour in a hue.For example,a vivid red is almost pure red but a dark red has been subdued by adding black to it(shade).The intensity of a colour can be lessened 1-also by adding white(tint).Complementary colours can also be used to reduce intensity. ess or Value: refers to how light or dark a colour is.For example,yellow is naturally bright.Blue is less so.Notice that tints are brighter than shades.So pink,for instance, is a tint of red while maroon is a shade of red. EXERCISE B: Find words in the text which mean: 1.it is around us=(v.) 2 the way we feel at a particular moment=(n.) 3.calming=(adj.) 4.result=(n.) S.things= (n.) 6.colours of the spectum beyond the visible range at the red end= (adj.) 7.colours of the spectrum beyond the visible range at thé violet end= (adj.) 8.it can be seen=(adj.) Q.our ability to feel things physically, feeling= 10.base name of the colour= (n.) 11.strength=(n.) 12.the process or state that occurs when one thing is so full of another thing that no more can be added=(n.) 13.very bright=(adj.) 14.not mixed with anything else,clear=(adj.) 15.has been made darker=(v.) 16.putting some more=(v.) 17.a lighter tone of a colour= (n.) 18.a darker tone of a colour= (n.) 19.to make less= (v.) 20.dark brownish red = (adj.) 2l.one of two colours opposite each other on the spectrum= (adj.) n.) EXERCISE C: Read the text carefully and decide whether the following sentences are True(T) or False(F): 1.Colour is closely associated with feelings. 2.Reds and yellows have a relaxing effect on us. 3.Colour can make things look different. 4.Light colours usually make things look smalle 5.Colour can be felt but not seen. 6.Intensity is the purity of a colour. 7.We can increase the intensity of a colour by adding black to it. 8.Grey is a tint of black.{ ! t EXERCISE D: Complete the following table: VERB NouN ADJECTIVE ADVERB impression colour basic add difference describe | create light dark 11.POST-READING ACTIVITIES Answer the questions: 1.Why does colour play such our lives? an important part in 2.Can you imagine a world without colour?UNIT 2 COLOUR CONTRAST READING ACTIVIT Before you read the text try to answer these questions. Work in pairs. 1.Do you know how colours contrast? 2.Is there contrast of colours in nature?Think of some examples. 3.Can contrast be created in a studio?If yes,how? 4.Is harmony or contrast of colours closely related with moods?If yes, how? a HOW COLOURS CONTRAST : Determining which colours contrast and which clash is largely a matter of personal taste. Generally, though, the more extreme the qualities of the colours the greatest the contrast. Strong primary colours often contrast with each other. This is Frequently seen in nature, as shown in the picture of a red poppy. Strong complementary colours contrast with each other. Blues and greens, for example, will contrast with their complementaries, yellow and magenta respectively. m Bright or light colour contrasts with dark colour. Primrose yellow will make navy blue appear even darker, and the yellow itself will seem to shine out against the darkness. m The contrast between warm and cold colours is strong, as shown by the example of red and blue given earlier. mw Strong colour contrasts with neutral colour. Green leaves provide an effective contrast against the neutral background of an overcast sky. m Tones may contrast. A deep red, for example, will contrast with a Very pale pastel pink. The difference of tone provides contrast even though the colours themselves appear to be in harmony. USING COLOUR CONTRAST There are two main ways in which you can use contrast in your Photographs. You can either create it, as when arranging a still-life, or it may already be present - in a landscape for example, and can be balanced in the viewfinder. Colour contrast can be introduced in still-life by moving the objects around to achieve the best effects, either between the colours of the objects or the objects and the background. The same is true although to a more limited extent, when taking shots of people. Even if you are photographing a group dressed in identical clothing, you can choose a contrasting setting. The beauty of colour contrast is that once you started looking for it, you will find no end of potential subjects. If the colours of nature are generally muted, modern paints, dyes and plastics make city centres a rich hunting ground for bright colours and strong colour Contrasts. Indeed, there is so much bright colour in the modern city that it is easy to fail to see it at all. But by closing in andisolating the contrasts you can bring them to life and show what a colourful place the city can be. Or by careful framing, you can use these strong contrasts in much the same way an artist uses paint, and create almost abstract images. From the right viewpoint, virtually any brightly-coloured object can make an effective photograph. Strong colour contrasts disguise, rather than reveal, form, and by closing in on a contrast and ignoring the form, you can make the colours part of an almost abstract design. Properly framed, the colour contrasts in something as mundane as painted drainpipe or the side of a bus can make an attractive image. Simplicity is vitally important in shots like this. Fussy detail distracts attention fromthe overall design and reduces the impact of the shot. But bear in mind that it is not always enough to simply close in on the contrast and isolate it in the frame. The sheer impact of a strong colour contrast is so powerful that, at first, simply capturing it all seems attractive. But the effect soon palls and, for a lasting image, you need to compose the picture carefully. Examine the subject through the viewfinder to find how the lines and blocks of colour lie.. Then try to relate the boundaries between colours positively to the frame. Sometimes, a square-on approach, with the lines of contrast lying parallel to the sides of the frame works best. At other times, tilting the camera to create a powerful diagonal is more effective. But it is important to make a positive choice. With less abstract subjects, where the colour contrast is just part of the overall picture, it is still important to relate it positively to the frame. Strong contrasts are so eyecatching that they will inevitably form the focus of the picture. Use this effect to complement not undermine the rest of the subject. Make sure that strong contrast either forms part of, or is related to, the main subject. It can then contribute to the composition without being a distracting influence. (Extract from "Making more of Colour" ~ Dixons - World of Photography) I1.WHILE-READING IVITIES Now read the text and check your answers. VOCABULARY EXERCISE A:Find in the text and write below words which mean: HOW COLOURS CONTRAST . 1.deciding on=(v.) 2.oftens(adv.) 3.colours made by the combination of two other colours=(adj.) 4. look bright=(v.) S.serve as,offer=(v.)USING COLOUR CONTRAST 1.photographs of non-living things=(n.) 2.small window in a ca€ra through which the photographer can see the area that will be photographed=(n. 3.to succeed=(v.) 4.photos=(n.) S.exactly the same=(adj.) 6.possible=(adj.) 7. harmonized=(v.) 8.zooming=(v.) 9.separating=(v.) 10.choosing what to put in a photograph=(v.) 11.successful=(adj) 12.pipe to carry waste water away=(n.) 13. especial ly=(adv.) 14. confusing=(adj.) 15.draws the attention=(v.) 16.the general=(adj.) 17.effect=(n.) 18.becomes boring=(v.) 19. borders, limits=(n.) 20.bring into a sloping position=(v.) 21.attracting the eye=(adj.) 22.unavoidably=(adv.) EXERCISE B:Find if the following sentences are TRUE (T) or FALSE (F according to the text. 1,There are generally accepted principles according to which colours contrast or harmonize. 2.The degree of contrast between colours depends on how extreme their qualities are. 3.Colours in harmony or,in other words,different tones of the same colour can never contrast with each other. 4.The photographer himself cannot create contrast but can only find i in nature. 5.There cannot be contrast when photographing people wearing exactly the same clothes. 6.It is easier to find contrast in cities than in nature 7.4 photographer can create an abstract effect by closing in ona contrast. . 8.Contrast can make everyday,unimportant and often ugly things look exceptionally beautiful. 9.There should always be contrast in the background of a photo.complete the sentences using Gerund ing form) and information from the text. EXERCISE C 1.Colour contrast can be introduced in still-life by 2,0ne can show what a colourful place the city can really be by 3.0ne can use strong contrasts in the city in much the same way an artist uses paint by : 4.0ne can create a powerful diagonal frame byUNIT 3 THE INFLUENCE OF ENVIRONMENT HUMIDITY AND TEMPERATURE CHANGES ON EXCAVATION The condition of an antiquity or a work of art depends on two main factors - the materials of which it is composed, which vary enormously, and the conditions to which it has been subjected in the course of its life history. The materials in question may be divided, broadly, into groups according as they are organic or inorganic in origin. The organic materials are generally considered to be the more susceptible to deterioration, but no single type of matter is stable under all conditions. It is equally true that when changes take place, these may be preponderantly > We—_bamp—— Fung. Heat Bacte, Weakening of adhesives Rotting of size Staining of paper, vellum, etc. Blurring of inks Metallic corrosion encouraged Mildewing of leather *Loss of adhesion of illuminations Adhesion of loaded papers Slackening of canvas (Extract from the "Conservation of Ai by: H.J.Plenderleith & A.E.A Werne Pests i ria Termites Rats ete. and Mice Wood beetles and Silverfish ntiques and Works of Arts" 1, OUP)VOCABULARY ), Match the words in Column A with their definitions or g in Column B. \go”_synonyms in COLUMN A COLUMN B HUMIDITY i.excessive when things such as fruit,food or wood decay/decompose 2.embrittlement inlaid work (wood,ivory etc) used “for decorating furniture 3.desiccation gsmall,thin pieces of something coming off 4.marquetry too much 5.slackening ‘é.spreading and losing its distinct outline 6.warping Pidestruction by falling into very small pieces/crumbling 7. flaking 44.parchment/yellowish-cream skin of sheep or goat used in ancient 8.rotting « times for writing on Hithe process of becoming 9.staining? completely dried out changing shape and becoming damaged 10.vellum by bending or curving (esp.wood) {becoming looser, losing its tightness 11.blurring x, becoming full of spots/stains Amany papers one on top of the other 12.mildewing becoming full of white,soft fungus which grows on leather when warm and damp 13. illuminations n.pictures and designs painted in official documents,manuscripts or 14. loaded papers books CONTAMINATED AIR / NEGLECT 1.bleaching < Abecoming soft and sensitive and so easily damaged,broken or cut 2.tendering .insects,rats or other small animals which destroy food supplies and crops 3. pigments Avinsect with large wings which flies. black powder carried into the air in the smoke from fire 4, tarnishing S.pests becoming white or pale in colour “either with a chemical or by sunlight oyCOLUMN A COLUMN B 6. fungi Polluted 7.moth A-® small silvery-coloured insect without wings found in houses 8.wood beetles bh celouring metter : 9.silverfish i. (for metal) becoming stained and losing its brightness cinsects with a hard usually black covering to their body _ attacking wood 11.contaminated / X.very small plants with no flowers,leaves or green colouring 10. soot EXERCISE A: Gm the table below match the different kind of damage in Column A with the materials or museum objects they affect in Column B. COLUMN A COLUMN B 1. slackening 7 pecolours 2. warping ¢ BS. leather 3. flaking ‘1H . lead pigments 4. weakening / % loaded papers 5. rotting 4 < wood 6. staining / f< size 7. blurring gf canvas 8. mildewing h« adhesives 9. tarnishing | A ink 10. loss of adhesion 16 desiccated objects 11, adhesion 4 bf metals 12. bleaching X paper, vellum 13. embrittlement pO illuminations 14, blackening A paint a PaEXERCISE B: Here is a list of nouns / gerunds referring to pl different kinds of damage. Find the verbs of these Chace nouns and fill in the blanks with the correct form of . each verb. adnedion / sernighing / correion / wanking / bleahing / byirring slackening / flaking / weakening / stai#ing / blackening Slacke The canvas of this painting has Sick due to excessive dryness. 2. artefacts often shrink and var“ when exposed to a dry atmosphere after excavation. 3. Adhesives weetxi when exposed to dry environment. == ae 4. The colours in all these paintings have _ Weaclied due to long exposure to sunlight. v . misfo 5. This metal does not __& easily. It resists chemical attacks. v 6. The museum curator discovered that the sudden rise of the humidity in room 3, had _daynev! the ancient Egyptian paper and the ink on the manuscripts had fuwed) . 7. After many years of storage in a dry environment, the paint had bes in most parts of the painting. 8. If you use a slow setting glue the new plaster will safely adit, to the old. : Vv hacten/ 9. The lead pigments Jeers’ “if the air in the museum is contaminated. 10. The damp atmosphere tends to Cetrecke objects made of brass. =eUNIT 6 MUSEUM LIGHTING Even when precautions are taken to protect objects from atmospheric pollution, adverse climatic conditions, and biological attack, there still remains the very real dangers that may arise from exposure to light. Many materials, particularly those of an organic nature, are susceptible to damage by light; among the most sensitive are textiles, water - colours, paintings and illuminated manuscripts. While daylight or a near equivalent is essential for the study and enjoyment of works of art, exposure to uncontrolled conditions of illumination will cause the photochemical degradation of susceptible pigments and dyestuffs and the tendering of textiles. In studying the damaging effect of light two factors have to be taken into consideration: the quality of the light source and the actual level of illumination. The ultra-violet component in light is most potent in causing degradation, and clearly the higher the level of illumination, the greater will be the damage cost. Therefore exclusion of ultra - violet radiation and control of illumination at a reasonable level are the prime considerations. Ultra - violet radiation can be excluded by the use of Plastic sheeting that contains ultra - violet absorbing compounds; these sheets such as Oroglas UF3 and Perspex VE, are cheaper and in general more effective than certain colourless glasses previously used. Also Philips 37 and 27 lamps emit considerably less ultra - violet radiation than other types. As regards the levels of light intensity, this problem has been studied in considerable detail by Thomson, who has recommended the following specifications: 300 LUX for objects not particularly sensitive to light, 150 LUX for objects of medium susceptibility, and 50 LUX for objects that are extremely sensitive to possible damage by light. The LUX is the international unit for measuring luminous energy and is given in Lumens/sq. metre. Once the dangers inherent in lighting are realized, much can be done to mitigate them. Due consideration should be given to the following points: (i) Storage rooms and galleries should normally be kept unlighted when not open to the public. (ii) Direct sunlight should always be rigorously excluded by the use of blinds, louvres, or curtains. (iii)Sensitive material should, if possible, not be kept on Permanent exhibition unless conditions are strictly controlled. (iv) Preference should be given, where possible, to methods of illumination in which the lighting is not direct but reflected and diffuse. -19-(v) Care should be taken to choose a type of fluorescent ~ lamp that does not emit an undue amount of ultra - violet radiation. (vi) Ultra - violet absorbing filters should be used where appropriate. (Extract from the "Conservation of Antiques and Works of Arts” by: H.J.Plenderleith & A.E.A Werner, OUP) VOCABULARY Match the words in Column A with their definitions or synonyms in Column B. COLUMN A COLUMN B 1. precautions 2. textiles 3. manuscripts 4. equivalent 5. illumination 6. degradation 7. susceptible 8. dyestuffs potent 10. radiation a. measures for protection b. of the same use or value / similar c. sensitive to d. the lighting that a place has e. the most important f. hand - written documents g. colouring materials h. deterioration of quality i. fabrics, cloths j. powerful and effective / strong 2. sheeting 3. absorbing 4. compounds 5. to emit 6. susceptibility 11. prime k. energy in the form of rays coming from a source aon 4) 1. excluded a. chemical substances sensitivity to send / give out d. deliberately not included e.doors or windows with sloping pieces of wood or glass across air frame f. protective cover -20-COLUMN A COLUMN B 7. luminous g.wide rolls of cloth,paper or plastic which keep light out of window 8. to mitigate h, taking in and reducing the effect of something 9. blinds i, thrown back / sent back 10. louvres giVing out light 11. reflected k, to spread in a lot of directions 12. to diffuse 1, to reduce / to make less serious QUESTIONS Answer the questions: l.Which category of materials is particularly sensitive to damage by light? 2.Within this category which are the most susceptible ones to photochemical degradation? 3.Which are the two factors one should take into consideration when studying the damaging effect of light? 4.How can one protect museum exhibits from ultra - violet radiation? What are the materials used? S.wWhat do we call the unit for luminous energy? EXERCISE inish each of the following sentences in such a way that it means exactly the same as the sentence printed before it. In studying the damaging effect of light two factors have to be taken into consideration. When the conservator 2.Exclusion of ultra - violet radiationvand control of illumination at a reasonable level are the prime considerations. The first thing a conservator should3.Ultra - violet radiation can be excluded by the use of plastic sheeting that contains ultra violet absorbing compounds . You can ...- 4,AS regards the level of light intensity, this problem has been studied in considerable detail by Thomson. ThOMSON vs es eeeee sees eeseeeeeeseeees S.0nce the dangers inherent in lighting are realized, much can be done to mitigate them. After . 6.Due consideration should be given to the following points. One should Been EXERCISE B:Give symonyms to these words with the meaning they are used in the text (Number of paragraph and line is given). 1.While (1, line 7) 2.Therefore ( 1, line 18) 3.as regards ( 3, line 1) 4.0nce ( 4, line 1) = EXERCISE C: Notice the use of PASSIVE VOICE in paragraph 4 (i), (ii), (iti), (iv), (v), (vi). Why is Passive Voice preferred here? Can you change the sentences into ACTIVE VOICE? (i) (ii) (iii) (iv) (v) (vi) -22-E SS 0 ° WPye eae AYO OOOO RFAGLGAGAYRRY, * ANATOMY OF aN OM. PAINTING (Reading up from the bottom of the diagram) ‘A—Linea support B—Ghue sizing C—Firat costing of ground Second coating of ground E-The painting. This may be one simple, directly applied paint fm or it may consist of several layers, eg. 1. Underpainting 2 Overpaiating 3. Glazes scumblings 4. Tolting varnishes or vel F—Picture varnish G— Dire\ TO > ea) CONSERVATION OF PAINTINGS : GENERAL RULES In attempting restorations, try to avoid doing anything that cannot be undone; keep it possible to return the picture to its status quo if necessary. Do not treat a dilapidated canvas which is to be restored as though further rough handling will not matter. The difference between an average conservation problem and a complicated or hopeless case is often slight. Also, every new blemish means just so much more work. The most troublesome operations the professional restorer is required to employ are often those made by previous unskillful attempts at restoration. Attempt should be made -to save every vestige of original paint; Te-painting should be done only where -all original paint is missing, as in the case of holes, burns, etc. Too little perfection is preferable to overdone restoration. Work must be planned. in advance in this respect, and judgment exercised in its execution, Excellent ‘restoration has been practiced for a good many years. Generally speaking, the old, well-tried methods are superior to the more recent ones, but a considerable number of the modern materials and recipes are superior to the old. As mentioned in the section on painting in oil, linseed oil is not a particularly good adhesive or glue. Therefore remember that a powerful glue is not necessary to make paint adhere to canvas; what is more important is stability - the power of the binding material to "stay put" or remain unchanged under normal conditions. In the same connection, it should be borne in mind that conditions only slightly away from normal tend to destroy this adhesion. One of the most powerful enemies of oil paintings is water, including water vapour or moisture in the air. Canvas is commonly sized with glue before an oil ground is applied. The picture consequently is separated from the cloth by an exceedingly thin layer of glue; if this be moistened from the back, the picture may immediately detach itself from the canvas. Water seeps through cracks and fissures when applied on the face of a painting and may produce the same effect. It is inadvisable to use water or mixtures containing watér for cleaning most old pictures, and when the experienced restorer finds it necessary he will use it as sparingly as possible and dry the picture afterward. Proprietary (nostrums) for the cleaning and “regeneration” of paintings, whose composition is never published, bear the same relation to correct restoration as patent cure-alls do to the practice of medicine, and should be strictly avoidable. ~23-VOCABULARY Match the words in Column A with their definitions or synonyms in Column B. COLUMN A COLUMN B § 1,2,3,4,5,6 1.dilapidated 2.handling ~ 3.blemish 4.unskillful S.vestige 6.overdone T.superior to 8.recipes 9. linseed oil 10. adhesive 11,to adhere 12.binding ( 4 e a.unsucccessful,without skill or talent b.too much,more than necessary eto stick d.old and in bad condition g.better than f.treatment g/sticking material(e.g glue etc) (flaw,mark that spoils the appearance jet something list of instructions on how to make or do something jcremnant,trace,very small part that still remains of something that was once much larger K.oil made from seeds of flax used to make paints and inks «joining, sticking 37 l.is sized 2.0i1 ground 3.is applied 4.exceedingly Slayer 6.moistened 7.to detach (for liquids)to flow through something slowly and in small quantities/trickle any c.deep cracks Mis kept extended and straight e.little/in small quantities fvextremely/very @.base layer ~24-COLUMN A COLUMN B 8.to seep w dois put on 9.fissures © i.very well 10.sparingly ito separate from 11. thoroughly K. dampened,wet @Jexenctse A:Find if the following sentences are TRUE (T) or FALSE (F) according to the text. 1.There is not much difference between an average conservation problem and a complicated one. ¥ ad 2.Unsuccessful restoration work on a painting is often the most, problematic and difficult case a restorer has to deal with. = 3.Repainting is inadvisable since it changes the original look of the painting. F v 4.Modern materials and recipes are always better than older ones. 5.Water,even in the form of vapour or moisture in the air,affects the condition of a painting. 7 wv 6.Using water or mixtures containing water _to clean paintings is a common method employed by restorers. © 7.Pictures may separate from their canvas if they get wet at the back. ? ip Bxeacrse B:Fill in the blanks with the words given below. adhere / adhegive / blemishes / dilapidated / appifed / vesfige handling / seep / I.The canvas of that picture was so _hiapcled / that any restoration work would be useless. 2.He did an excellent restoration work.All the >< thishes V_ have been perfectly covered. 3.The careless and rough andloyy during the transportation to the museum destroyed some” of the paintings of the collection. 4.We should try to save every verte Vv of the original paint by stabilising it before the painting is displayed. 5.She used a fast-setting _alenve to stick the parts of the broken vase. 6.after. examining the surface of the wall he __Gppled _ two coats of paint. v 7.1f there is a crack on the surface,water will See through it. 8.This substance will help the new plaster to luere. to the old. U 252GROUP DISCUSSION l.Is there any painting which has been successfully restored by you or someone else (e.g restorer in a museum etc.)? If yes,describe the painting and give information about the painter,the period,the school of painting,the technique and materials employed. 2.Give information about the damage before restoration. 3.Try to describe the various stages of restoration work,if you can. : 4.What does the picture look like now (i.e after restoration)? Is the result satisfactory? 5.Do you happen to have any photos taken before,during and after restoration to show the group?UNIT 8 RESTORATION OF MICHELANGELO’S FRESCOES The restorer’s credo is like the physician’s:First,do no harm.The treatment is to lift layers of Rome’s dust,Sooty grease from burning candle tallow,and other substances - even the residue of Greek wine used as a cleaning solvent some 275 years ago.All have obscured Michelangelo’s Promethean work. Worst of all were the varnishes made of animal glues.Applied in various centuries to brighten the darkening surface,they did so for a time.Then each deteriorated and turned the ceiling darker than before. Despite its dingy appearance,most of the fresco remained in good condition. The technique of painting on fresh plaster was its own best protection.In the hours after Michelangelo painted,the day’s application of fresco dried.As it did,the pigments were chemically bonded in a hardening layer of calcium carbonate.The various glues and gums of centuries did not penetrate that hard carbonate shell. The glues have,however,shrunk and (puckered,and in spots (scabs) of glue have fallen away,pulling pigment with them.This slow destruction by glue pox,rather than some large immediate threat,has been the Vatican's principal motivation for cleaning the ceiling now.Water damage from leaks since plugged has also infiltrated dissolved salts to the surface,stains that cannot be removed as easily as ordinary grime. The restoration plan calls for examination of each section of fresco with scientific instruments and assessment of the results with human judgement.Then under ‘exacting procedures,the gentlest effective solvent is applied to overlying grime and both are rinsed away.It seems a nearly magical process to watch. On one side of the scaffold Bonetti is cleaning the figure of the Libyan Sibyl.First he wets a natuc@igs ‘sponge. in distilled,deionized water and gently wipes a small section of fresco.With a@ natural-bristle brush he applies the cleaning solution.Used by restorers for about 20 years and known as AB 57,it is made of bicarbonates of sodium and ammonium.an antibacterial,antifungal agent is added.All these are mixed in carboxymethylcellulose and water to become a gel that will cling without. dripping. The gel is applied and remains for about three minutes.Then the gel-together with the dissolved grime-is removed with sponge and water.Where grime is especially heavy,the process may be twice repeated at 24-hour intervals. (Extract from the journal:"The National Geographic"). ~27-VOCABULARY Find words or phrases in the text which mean: L.belief=(n.) vd 2.doctor=(n.) de 3. therapy=(n.) K @to remove=(v. iii 3.oily layer blackened from smoke=(2 words) ©) 9¢va 6.animal fat used for making candles=(n.) f 7.that which remains after a part is taken or used=(n.) ; Shave darkened have hidden=(v.) kel 10.dirty looking= (aa. ) 11.colouring matter for making dyes,paint etc=(n.) v.) 12,make a way in.or.through=(v. ee come together into small folds or wrinkles=(v.) ). places=(n.) $.dry crust=(n.) sma in=(adj.) :crack through which liquid or gas may wrongly get out= ( mm.) 18.to stop a leak by putting a piece of wood or metal in the hole=(v.) -coat of dirt on a surface=(n.) .evaluation=(n.) @i.hard and demanding=(adj.) Y 22.structure put up for workmen and materials around a building which is being erected or painted=(n.) g. purified=(v.) | 1 4.when the ions have been removed=(v.) @}.to hold tight=(v.) i @ EXERCISE A: 1.Greek wine was used to ¢leam the frescoes from the dust and sooty grease. T J 2.Varnishes made of animal ‘glues used to brighten the darkening surface had only a temporary effect. T v 3.The frescoes needed some days to dry. © ¢ 4.Although some pieces of the outer layer of glue fell,the paint stayed. PY 5.Ordinary grime is easier to remove than stains from salts. ¢ / 6.The solvents used to clean the dirt must be soft. * ~ 7.Where grime is especially heavy the cleaning process may be twice repeated every other day. + ind if the following sentences are True(T) or False(F) according to the text. ~28-TEXT COHESION EXERCISE B:Find in the text the words,phrases or sentences the following pronouns refer to. 1.All (§1,line 8) 2.they (§2,line 3) 3.its (§3,line 1) 4.it (§3,line 6) 1"), S.it (86,line 8) 6.these (§6,line 11) EXERCISE C:In the table below there is a list of factors of decay and their effect on frescoes.Fill in the missing parts. FACTORS OF DECAY EFFECT ON FRESCOES 1.Candle tallow and dust 2. F Obscuring/darkening 3.Varnishes made of animal glues 4. L Glue pox (i.e scabs of glue + Pigment fell away) S.Water EXERCISE D:Look at § 5,6,7 and fill chart, I: x 4 2. in the restoration work flow- nd ‘ 3.Wetting a natural sponge in distilled,deionized water. 4 sox K S.Application of the cleaning bristle brush. 6. > | solution of sodium and ammonium + antibacterial carboxymethylcellulose + water= non dripping AB 57 (i.e bicarbonates santifugal agent + water gel) with natural ftUNIT 9 OLD CHINA AND CERAMICS ‘cools _and materials All the tools and materials you will need to complete the projects in this section should be available from either a hardware or DIY store; an art and/or craft shop; good toy shops, especially those which specialize in models, or specialist model shops; chemists (pharmacists); and, finally car accessory shops. Department stores with good toy departments are worth investigating. Art shops are often prepared to order goods in small quantities if they do not stock them, and you should look through their catalogues for various alternatives. Similarly, chemists will usually order goods which they may not have in stock.As a general rule, buy the smallest quantities available. The workspace You need a table (or bench), a chair, a good light, and adequate ventilation. Many of the solvents you will be using are highly flammable ~ do not smoke and do not have any naked flames in your workroom. A laminate (formica) top is excellent, but if you are using your kitchen table, for instance, cover it with a board, or lay down some newspaper, and cover that with one or two layers of tissue paper taped down on to the table. Throw away the tissue when you have finished and want to use the table for something else. General This section includes those materials and tools which have a variety of uses. An apron, besides keeping your clothes clean, will ensure that if you drop something, it will be caught in your lap. An eye-dropper is used for transferring drops of acetone, glaze, paint thinners, and so on. Small clear glass jars with lids are useful for decanting large amounts of filling powders, liquids and so on, for ease of access. Do not use plastic ones which may dissolve in acetone and paint thinners. The more you have the better. Ask for them in your local chemist. A white tile, preferably several; these are used for mixing fillers and paints. Petroleum jelly is used as a releasing agent. ~30-A domestic oven or low temperature plate warmer is useful for a variety of jobs, but only vital if you decide to use stoving enamels (p.119). An electric oven is best. Never heat china to more than 120°C (250°F). Acetone is the best and most easily available all-round solvent and cleaner for china restoring. You can use it, for example, to clean adhesives before they dry. Paint thinners and alternative solvents. Soft toilet paper and small cotton rags are used mainly for cleaning-up. Make sure rags are cotton, not man-made fibres, which can dissolve in acetone. A scalpel (or similar sharp knife) is important and a no 15, with its curved blade, is the most useful. Buy a no 11 next. If, . generally you use more than one type of blade, use a separate handle for each. Scissors and tweezers will also be necessary. (Extract from "The care and repair of antiques", Crescent Books) VOCABULARY Join the words in column A with their definitions in column B. COLUMN A COLUMN B 1.hardware shop A. searching B.piece of cloth worn over the front 2.D.1.¥ shop part of the body to keep clothes clean C.transparent jelly taken from petroleum used as lubricant and in 3. investigating ointments D.to pour liquid into a bottle 4.to order E.sticking material F.plate of baked clay for covering S.highly inflammable roofs, walls etc for decoration or flammable G.easy to catch fire and burn rapidly H.a Do-It-Yourself shop 6.adequate I.circulation of air d.sharp edge of a knife 7.ventilation K.thin glassy coating L.arrange for a thing which is not in 8.apron stock to be brought there for you M.sufficient, enough 9.glaze N.tiny pair of tongs for picking up or pulling out very small things esiCOLUMN A COLUMN B 10.to decant . Q.shop where you can buy metal goods 11.tile or domestic use e.g pans, nails, locks ete P.glass-like paints for covering 12.stoving enamel metal or porcelain which need to be heated in order to become fixed 13. adhesives Q.not st@ight 14.blade (| 1S.curved GRAMMAR PRACTICE REVISION: CONDITIONAL f = clause ——————— Main clause If + Present tense 1.Present (or Should + bare infinitive) 2.Puture 3. Imperative 4.Ought to S.Had better 6.Should + Infinitive 7.Must ,may 8.Can EXERCISE A:Write all instances of Conditional Type 1 found in the text and identify the number of the alternative in the main clause from the list above.EXERCISE B:Put the verbs in the brackets in the correct form. 1.1f you (not,can) find the tools you want,you may order them. 2.1f you wear an apron while working,you (not,destroy) your clothes. 3.(not,smoke) if you use highly inflammable solvents. 4.If she (not,read) the instructions carefully,she may fail to prepare the right mixture. S.If water is heated at 100’C,it (boil). REVISION: TYPE 1. A is used for + Gerund TYPE 2. A is useful for + Gerund TYPE 3. You can use A + Infinive 1. A paint stripper is used for removing old paint 2. A paint stripper is useful for removing old paint. 3. You can use a paint stripper to remove old paint. EXERCISE C:Find similar sentences in the text and change them into the two other types. Cath cue 2, a bate dit. 2. 2 3 a5 =33-UNIT 10 OLD CHINA AND CERAMICS Basic techniques Supporting Before you begin any bonding job, you must consider how fhe item is to be supported and strapped together. Cleae adhesive tape and tourniquets can be used to strap tight and secure simple breaks together while the adhesive cures: But these are not appropriate when you are bonding gmall | or awkward pieces on an ornamental figure, for instance. Pony amateurs attempt to overcome the problem by using fast-setting glues, the most extreme being the "superglues” (cyanoacrylates) which set. in under a minute. These are not sutable for use on china. For one thing, mistakes cannot be rectified without dismantling the join and starting again. With slow-setting epoxy resins, you have the time necessary to achieve the most perfect join. In addition, no available adhesive has the strength of a slow-setting epoxy resin, Always position the piece you are working on in such a manner as to maximize the effect of gravity. A tourniquet is the best way to hold the two sides of a simple crack or break firm while the glue dries. An old pair of tights makes an ideal tourniquet. Tie them round the @ase of plate with a loose knot. ‘then inserenn stick in the knot and twist the stick until the tourniquet is tight. Clear adhesive tape (Sellotape/scotch tape) is useful for holding both sides of a break together while slow-setting epoxy resin dries. If it leaves a sticky residue on the Surface, clean it off with acetone. Do not uae this tape on gilding ~ it can lift gilding off, Sfationery clips (bull-dog clips) are useful for holding the sides of @ join in a plate or saucer in perfect alignment. A sandbox or a tin full of sand or salt is a valuable aid for positioning pieces of ceramics at whatever angle is most appropriate. Use a cake tin or a box - a cat-litter tray is an ideal size. . Plastic modelling clay (plasticine) is almost indispens- able for propping up and supporting in position. it becomgs soft and pliable when warm, yet maintains its shape"Will, and can be removed easily, Do not allow it te come into contact with the join, ~34-Fast-setting epoxy resin can be used if you can find no effective means of support. This is not as strong as slow- setting, but on many small pieces, great strength is not of crucial importance. Mix up the fast-setting resin in the same way as you would the slow-setting type, and apply it thinly to one side of the join. Make sure you have practised joining the broken piece without adhesive to familiarize yourself with the join, and the best way of holding it together with your fingers. Fast-setting epoxy resin takes 10-15 minutes to harden, so after mixing, leave it for five minutes, then press the broken piece on to the join and hold it there for between five and ten minutes more until the adhesive has hardened. Use a firm éven pressure. Do remember, however, that holding something for five or ten.minutes without moving is not easy. Whatever method of support you choose, check its effectiveness after two hours. Make sure none of the pieces have moved, and if one (or more) has, then readjust it. (Extract from "The care & repair of antiques", Cresent Books) EXERCISE A:Find words in the text which mean: 1. joining, uniting=(adj.) 2.fastened,held together=(v.) fe 3.tape used for sticking things together=(2 words),(v.) 4.(of objects)not well designed ‘for use,causing inconvenience or difficulty=(adj.) S.long piece of cloth for stopping the flow of blood through an artery by twisting it round the wound=(n.) 6.decorative=(adj.) 7.glues which dry very fast=(adj.) 8.one reason is that....=(3 words) 9.corrected=(v.) 10, separat ing=(v.) ~35-1f.to make the best of,increase to a maximum=(v.) 12.force which attracts objects towards the centre of the earth=(n.) i3.strongly held together=(adj.) 14.not tight=(adj.) 15.turn round=(v.) 16.that which remains after a part is taken=(n.) 17.covering with gold-leaf or gold-coloured paint=(v.) 18.to remove=(2 words),(v.) 19.small_ metal things to keep things (eg.paper) together=(2 words), (n.) 20.in a straight line=(n.) 21.help=(n.) 22. very useful,essential=(adj.) 23.easily bent,shaped,or twisted adj.) EXERCISE B ind if the following sentences are True(T) or False(F) according to the text. 1.When bonding. small or awkward ornamental pieces adhesive tape and tourniquet should be used to hold the pieces together firmly. 2.With slow-setting glues mistakes can be easily corrected. 3.Fast-setting glues are stronger than slow-setting ones. 4.While waiting for the glue to set you can put the object being repaired in whichever position you want. 5.Adhesive tape does not affect gilding. 6.The main advantage of plasticine is its flexibility in use. EXERCISE C:Put the following captions under the right picture 1.Use a core of modelling clay in a spout as a support when filling. 2.Support an arm with modelling clay. 3.Support bonded plates and cup handles at an angle to maximise the effect of gravity. EXERCISE D:Fill in the blanks with one suitable word. Slow-setting epoxy resin is used for china and it has two main advantages:mistakes can be easily and it is stronger ‘than fast-setting epoxy resin.While the adhesive is the two parts of the broken object need to be together as as possible.Clear adhesive tape and a tourniquet are used for this, you may also need metal stationery to hold the two sides in good -36-EXERCISE E:The sentences below describe a joining process using a fast-setting epoxy resin.Put the sentences in the right order and then check your answers against the text under the title "Fast-setting epoxy resins". a.Apply a thin coat to one side of the join only. b.Now,press the broken piece onto the join. c.If you can’t find a better means of support,use a fast- setting epoxy resin. d.Check if the join is okey. e.Practise joining the broken piece without adhesive so that you get familiar with the join and the best way of holding it. f.Mix up the fast-setting resin. g.Hold the joined parts firmly for between five and ten minutes. h.If not, repeat the procedure. ~37-UNIT 11 STAGES OF GLASS CONSERVATION NG_ACTIVITIES I ‘AD Try to answer these questions before reading the text Work in pairs. 1.Do you know any of the stages of the conservation of glass?If yes,which? 2.Do you know when the first stage of conservation actually takes Place? 3.In your opinion, how many scientists and which may cooperate for the conservation of glass? WHILI EADING ACTIVITIE! The first stage of conservation must take place even before the Sierevation beginssin theory there should be no excavation without prior consideration being given to conservation of the finds.Liaison must take place between ‘the excavator, the finag “Af0r and the curator of the museum or store in which the finds will ultimately be deposited,to ensure thae there is adequate time,money,space and administrative machinery to accept any glass which may be found on site. it should be possible to give the glass first-aid treatment in the field,and to follow this with the relevent conservation techniques in a laboratory.on-site conservation congiecs of the fobocatore eting: labelling) and packaging of the glass.tn the laboratory, conservation starts with examinat ion,which itself must continue through the subsequent processes of cleaning and,where mecer tary consolidation of the glass.The assembly of fragments Usually follows but it may not always be considered pagat ial Subsequently full reconstruction may be restereted to those objects required for display. Finally, there is the long term storage of the glass which must be considered as a conservation technique.In choosing treatments for individual conservation problems, the consesvacor must be eyare of the condition of the glass,and understand the effects of the processes and materials used, (Extract from "Glass conservation", R.Newton, §.Davison ) -38)VOCABULARY Now read the text and find in it words which mean: 1.step=(n.) to happen,to occur=(v.) revious to,before something else=(prep.) 4.valuable, interesting things discovered in an excavation=(n.) //t 5.cooperation=(n.) 1 6.person in charge of the objects or works of art in a museum or art gallery=(n.) \\ m 7.finally,eventual ly=(adv.) eae be put, left or place all the machines used: n.) 10.the first help given,the first stages of conservation=(3 words) iJ.at the place where something is found=(2 words) 3. picking, taking out from its surroundings=(v.) {\{)09 (414 i4.marking a piece of glass or writing information about it on a sticker=(v.) 15.putting something in a box,packet,bag ete=(v.) “1 16.process by which we strengthen fragile glass so that it doesn't crumble=(n.) x 17.gathering,putting together again=(n.) 1° ~0/llu 18.small pieces,small parts of something=(n.) 19. then, next=(adv.) 20.repair,restoration=(n. 21.show, exhibition=(n. ) mn 22.keeping something in a special place until it is needed=(n.) results=(n.) ind if the following sentences are TRUE (T) or FALSE EXERCISE A: (F) according to the text. 1.It is possible to give first-aid treatment to excavated glass only at a museum laboratory where there are all the necessary machines. 2.The cooperation of conservators,excavators and museum curators brings the best conservation results. 7 j-Labelling an excavated piece of glass takes place at the museum. f #.Conservators should always reconstruct destroyed glass. - $.Storage is the last stage of conservation. T EXERCISE B:Put the following stages of conservation of glass in the right order.Give numbers 1-10. a@.Consolidation. b.Lifting, @ c.Storage of the glass. | d.Assembly of the fragments .(~ ~39-rst-aid treatment in the field. Labelling. GC -Full reconstruction if necessary. -Cleaning -Consideration about the conservation of the finds. -Packaging. © em ron ow EXERCISE C:Here is a list of nouns found in the text.Give the verbs. 1.conservation > 2.excavation ———> 3.consideration > 4.treatment > S.lifting —, 6. labelling > 7. packaging > 8.examinat ion ——_> 9. process > 10. consolidation > il-assembly > 12. fragment > 13. reconstruction ——> 14.display > 15.storage > ry EXERCISE D:Fill in the blanks using the words below: first7aid, treatment / fragménts / curator / consoligation / TeconStrdction / storage / lifting / label / disptayed i 1.1f there isn’t enough __Siwo< space,we can keep these finds in their boxes temporarily. 2 heeeicfim ot fragile glass is necessary if this is ready to fall into pieces. 3.The museum “ is responsible for the well-being of the finds Asn aeJ at the museum, 4.The conservator/is/ trying to gather the feo mer of the broken glass. - 5.Certain fragments of the glass are missing and thus we cannot proceed to its full Reconstruction 6. iw? methods vary according to the state of the glass and the nature of the surrounding soil. T.afser, the finds have been excavated and given (ele. 4. in the field,they are carried to the laboratory. S-Marking glass is often very difficult.1f glass is, wet. the dets should be recorded on a waterproof Labe with a waterproof pen. -40-UNIT 12 WOOD FINISHING SAFETY, COMFORT AND CONDITIONS IN THE WORKSPACE Most abot ithe, materials you will be using are highly flammable, highly corrosive or both.Do nor smoke;do not leave Saturated rags lying about;always put the caps back on containers, and store them where they will not be kneckea ° any which) Grou. | kop) yours Gun Proportions of the mix so you can face mask when you use acid-cata one,but it is easier to be lazy abo Stripping.splashes go a lot further thay you think and it is not Porth risking damage.Rubber gloves are as fost for these liquids 100, j2ithough if you wear them for french Polishing you will lose the feel of the qubber.Shellac,although not harmful to the skin,is no cosmetic,and you just might discover some interesting allergies. Dust is your major enemy. any sticky surface is like fly-paper,and eee, USE Sticks syou will do more damage to the finish trying to get it. off.You can only guarantee a dust fron atmosphere if you work in an operating theatre,or have an extraction system, but there are ways of minimizing ityaim not ce disturb it rather than lenges Completely rid of it.you need good ventilation for your Tungs’ sake and for drying,but try to arrange it so the air does The Cause, draughts near the work,or bring dust in from outside the room.Damp the floor and sweep it thoroughly,then lay your clothes or newspapers-polythene (plastic) sheeting is melted by cprippers and many of the finishes - and do soe sweep again until the finish is completely dry. For your own comfort and the sake of the finish, the workspace este’ wmeither hot nor cold,and certainly noe damp. Moisture Bot hecdes enue (ai White haze) Ginttrench polisncenion also will not harden below about 18°C (65'F) Varnishes ann lacquers,on the other hand,dry too quickly if they are tes hotsa skin forms which Gnderneathen’ Teaction with the air,and they ae ‘ore harden underneath. Light is also important.Work near a window if Possible so you can incectoctly what you are doing,and do not foot yourself about imperfections in the surface. Be methodical,be patient,and do not hurry.Allow time to get pitted and to clear up.Always add one-third to your estimate of how long something ‘will take,and poun elu note bee tar off. Impatience is a guarantee of eventual dissatisfaction, and more than likely a lot of time wasted redoing a finish.Your standards not thing 2oUgbut you are unlikely to be reading this if you do not think something worth doing is worth doing well. (Extract from "The care & repair of antiques",Cresent Books ) ~41-ind and underline words or phrases in the text which mean: EXERCISE A: l.catches fire easily=(adj.) 2.destroys slowly by chemical action=(adj.) 3:pieces of cloth wet with any chemical substance=(2 words) 4-chemical substance produced by mixing together other substances=(n.) S-write, on & piece of paper the déacription®dr information about an object and stick it on=(v.) 6.writing=(v.) 7.make something again=(v.) 8.kind of varnish used for wooden things=(n.) 9.varnishes which need to be mixed with acid before us. (3 words) 10.removing the varnish or paint from a surface=(v.) 11.causing damage, harm=(adj.) 12.sticky paper used as a trap for flies=(n.) 13.special system to remove dust from a room=(2 words) 14.system which causes air to move in and out freely=(n,) 1S.currents of air=(n.) 16.wet=(v.) 5 17.clear dirt away using a brush=(v.) 18.put=(v.) 19.chemicals used to remove paint or varnish=(n.) 20.minor mistakes,when something is not perfect=(n.) ind if the following sentences are TRUE(T) or FALSE(F) according to the text. EXERCISE 1.You can smoke in the workspace if the ventilation is good. : 2.You must always wear a face mask when stripping. 3.It is better not to wear gloves for french polishing. 4.Shellac is totally harmless S.It is better if you try not to change the dust conditions in the workspace than to try for a dust-free atmosphere. EXERCISE C:Match the first parts of the sentences 1-5 with their second parts a-e. 1.If you work in an operating theatre or have got an extraction system , G 2.When the workspace is damp, 3.When the workspace is hot, 4.1f the varnishes and lacquers are too hot, 5.If you wear gloves for french polishing, -42-a.a white haze is created in the french polish. b.they do not harden underneath due to a skin formed on the surface. c.you will lose the feel of the rubber. d.the varnishes and lacquers dry too quickly. €.you can have a dust-free atmosphere. VOCABULARY PRACTICE EXERCISE D:Fill in the blanks using the words given below. moisture / skin / corrosive / stripped / concoction flammable / damp / saturated 1.Petrol is a highly liquid. 2.Sulphuric acid is a substance, 3.She wiped the table with a cloth. 4.Very often pharmacists prepare tailor-made for their customers. S-Yowlhavejtoujatir the! paint’ well: befare you uss it to get rid of any on the surface. 6.The atmosphere was with moisture and all our things were wet. 7.The old paint could easily be off. Str ecs have) ledormous’ ccota tlat@ieantirenctl (Gut toc far below the surface. EXERCISE E: ive the nouns of the following verbs. 1,to saturate —_______, 2,to concoct ———_______ 3.to mix ———_________, 4.to reproduce ———_____, §.to protect ——_______, 6.to damage ———______,, 7.to lose ———_________, 8.to extract ——______, 9.to ventilate ——_____, 10.to prevent ——______, 11.to react ————______, 12,to estimate ——_____, 13, to guarantee ———___5 14.to corrode ———_____, ~43-UNIT 13 WOODFRAME FURNITURE FINAL TOUCHES "Beauty is skin deep" is an expression the restorer should remember. Most of our judgements about the quality or looks of a piece of furniture are based on its surface appearance. For this reason, restorers always consider carefully the finish they give to their work. Indiscriminate stripping of the surface is not recommended, unless it has deteriorated due to damp or neglect, or in cases where a piece has been refinished with paint or varnish that is definitely not original. This may require research. Eighteenth-century Windsor chairs found in Britain, for example, were originally waxed or spirit varnished, while contemporary exports, for assembly in the USA, were usually painted black or green with line decoration. EXERCISE A:Find words in the text which mean: 1.surface =(n) 2.without care or taste =(adj.) 3.removing, taking off the cover =(v.) 4.is not adviseable =(3 words) 5.become worse=(v.) 6.because of =(2 words) 7.moisture,humidity =(n.) 8.not caring =(v.) 9.surely,certainly =(adv.) 10.need =(v.) Jil.at first =(adv.) 12.0f our time =(adj.) EXERCISE B:Find if the following sentences are True or False according to the text. Beauty is skin deep" means that a piece of furniture is beautiful if the surface looks beautiful. 2.Furniture restorers should always strip damaged parts of the furniture. 3.Restorers should not strip parts of.the surface which have been refinished with non-original varnish. 4.18th Century Windsor chairs exported to the USA had the same finish as those found in Britain, =44-MINOR SURFACE REPAIRS Whichever method of finishing you choose, surface damage will have to be made good. The ways of doing this are much the same, whether you are going to polish or paint the piece. The traditional filling material used for small holes - old nail or screw holes, for example - is hard stopping, or beaumontage, which is made from equal parts of beeswax and resin, and available from finishing specialists in a wide variety of colours. Make sure that the hole to be filled is free from dirt and grease before you start. Small dents on exposed surfaces can often be repaired by wetting the surface of the dent and pressing the tip of a hot iron against it. The steam produced swells the wood fibres, and the dent may almost disappear. Larger cracks and holes should be repaired with an insert of wood. Splits at the edge of a seat or table top will need reinforcing; the easiest way to do this is to bore a hole in the edge of the split part, and glue a dowel in to unite the two parts. This stops the crack from spreading and helps keep the filler in place. Hard stopping % 1 Heat the blade of an old 2 Press the hard stopping table knife over a candle against te blade until it melts 3 Lat the stopping ran ito the $ Whe i has cooled, are ort hole arerac any excess with a chisel, EXERCISE A:Find words in the text which mean: 1.to make smooth and shiny=(v.) 2.material used for filling=(2 words) 3.openings =(n.) 4.wax made by bees used for polishing wood =(n.) S.sticky substance that flows out from most plants especially from pine trees when cut,used in making varnish or lacquer = (n.) 6.can be found,can be bought =(adj.) 7.thick,oily substance = (n.) 8.hollow in hard surface made by a blow or by pressure = (n.) 9.grows bigger in volume or thickness=(v.) 10.breaks,separations,cracks =(n.) 11.making stronger by increasing the thickness =(v.) ~45-12.make a narrow.round deep hole in something with a revolving tool = (v.) 13.headless pin for keeping two pieces of wood together = (n.) 14.to join,put together =(v.) EXERCISE B:Find if the following sentences are True or False according to the text. 1.The ways of repairing damage on wood differ a lot according to whether one wants to polish or paint the wood. 2.The quantity of resin used in hard stopping or beaumontage is larger than that of beeswax. 3.Wood swells when wet. 4.We use hard stopping or beeswax to repair larger cracks or holes. 5.Split wood at the edge of a seat or table top needs to be made stronger. EXERCISE C:Look at the two texts and fill in the columns. KIND OF DAMAGE | METHOD OF REPAIR | MATERIALS OR TOOLS USED ~ 1.Deterioration due to damp or neglect 2.Small holes 3.Small dents 4.Larger cracks or holes 5.Splits at the edge of a seat or table top ~46-WAX POLISHING All furniture needs a finish of some sort and wax polishing is a simple technique appropriate for country-style furniture. Wash the piece down with a mixture of turpentine and methylated spirits, to remove old polish and grease, Any remaining polished parts have probably been finished with oil varnish, which can only be removed with paint stripper. When the surface is clean and dry, sand it smooth with 240 grid Paper. It is now ready for wax polishing. You can buy special wax from finishing suppliers, or you can make your own. The wax is best applied with a clean, soft shoebrush, When the whole piece has been coated, rub it hard with a small pad of finest grade (0000) steel wool. A final burnish with a soft cloth will finish the job. Waxing can be repeated as often as you like, but you should take care to avoid a build-up of sticky wax on the surface. (Extracts from "The care & repair of antiqies",Crescent Books) EXERCISE A: Find words in the text which mean: 1.suitable for =(adj.) 2.0il from certain trees used as a solvent in mixing paint and varnish 3.to take off 4.left =(v.) S.rub =(v.) 6.even =(adj.) 7.special paper for rubbing surfaces to make them smooth =(2 words) 8.put on =(v.) 9.polish by rubbing =(n.) EXERCISE B:Look at the text and complete the following flow chart. STEPS IN WAX POLISHING 1 aa ae L, L> heUNIT 14 STONE DECAY THE WEATHERING ENVIRONMENT Materials in nature continually deteriorate as a result of physical,chemical,mechanical and biological processes The gyolution and transformation of rocks is mainly the result of the Physico-chemical disparity between the initial informative environment of the rock,and the new environment to which it becomes exposed at the surface of the lithosphere.The where fequence of reactions of the lithosphere with the atmosphere, the hydrosphere ,and the biosphere,constitutes the process’ of weathering in the widest sense of the word. The alteration of rocks in the lithosphere is produced by the wazioua continental*: agents (tempsrature;watar, erosion, earth movements, biological agents,etc) as well as’ by their intrinsic properties,i.e. mineralogy,texture and structure.The changes Produced by weathering in fresh rocks are governed by thermodynamic laws,and can be ascribed to partial or complete decomposition of. some minerals and the partial or complete migration of both major and minor chemical elements. Ultimatelyithe: degree of altanation, depends on the Weatherability of the minerals that constitute the rock,on the homogeinity and on the specific.-surface area exposed to the disruptive agents.For instance,it is easy to predict thet monomineral rocks,such as sedimentary pure limestone,will generally be more resistant than polymineral rocks,and that Sandstones with a siliceous cement will have a greater durability than sandstones with a calcareous cement. When used as building stones or free stones,rocks are subject fo more influences in addition to natural ones,such as urban industrial pollution,the choice of stone materials that are not appropriate for their purpose,as well as damage sustained during quarrying. among the mechanisms generally recognised as responsible for the deterioration of exposed stone are: m The disruptive forces due to the formation and growth of crystals at the surface. m The etching,leaching,or dissolution of one or more mineral constituents due to the action of water or acidic solutions. The mechanical stresses accompanying the freezing of water in Pores,cracks and channels in the stone: m The physical and chemical consequences of the growth on stone of organisms such as bacteria,algae and fungi. (Extract from "Stone decay and conservation V.Fassina, Elsevier ) + G.Amoroso & ~43-VOCABULARY Match the words in Column A with their synonyms or definitions in Column B. COLUMN A COLUMN B §1 1.evolution part of the sphere of the earth 2.transformation >» b. damage, decay,deterioration 3.disparity g-change or development of something over a period of time 4.initial formative } environment d.difference which can be seen/noticed S.lithosphere « e.series 6.sequence f.the first environment which influenced the starting of a rock 7.weathering &.change into something else $2 1.alteration a.the way something is made 2.continental agents bigenuine characteristics 3.erosion _e.controtled 4.intrinsic properties. a change S.texture e«substances formed naturally in rocks ¢ and the earth 6.structure f.gradual destruction of rock or soil by rivers,the sea or water 7. governed ‘B+process of chemical destruction 8.decomposition h.movement from one place to another 9.minerals i.the earth’s environmental factors 4.appearence of something considered 10.migration from the point of view of the quality of the substance it is made from $3 1.homogeinity a.cement based on silicon substances 2.disruptive agents 3.sedimentary | 4. limestone Pocement based on calcium substances equality of being of the same “substance d.the ability of something to last ~49-COLUMN A COLUMN B S.siliceous cement % €.substances or conditions affecting rock or soil 6. durability f.formed as a precipitate) from water 7. sandstones g.white coloured rock used for building and making cement 8.calcareous cement |: h.rocks made of sand 84,5 1.urban ®-physical pressure applied to an area 2.quarrying ®.very small holes 3.etching ¢-narrow gaps on a surface 4. leaching d.type of parasitic plants with no green colouring S.dissolution f.area close to a town or city 6.constituents 9 f.draining process of liquids through rocks or soil A g-things or substances a mixture is made 7.stresses of 8.pores | h.engraving on rocks by the action of acids,water or sharp tools 9.cracks ivtype of plant usually green and slimy found on damp surfaces 10.algae j.remove from the earth by drilling and digging or blasting 11.fungi 4 k.process by which a substance dissolves and weakens until it disappears QUESTIONS Bee mower these questions without looking at the text.Then go back to it to check your answers. Which are the main factors influencing the deterioration of materials in nature? 2-Yhet is the most important reason for the evolution end transformation of rocks? 3-What do we mean by the term "continental agents"? Mention some. -50-4.Which are the intrinsic properties of the various continental agents"? S.According to the text, the thermodynamic laws are responsible for changes produced by weathering in fresh rocks.What kind of changes are these? 6.What do we mean by "monomineral" and "polymineral rocks"? Can you mention any examples? 7.Why are monomineral rocks more resistant than polymineral rocks? 8.What kind of damage do rocks used as building stones suffer? aes a oeUNIT 15 SOLVENTS AND THINNERS PR ING ACTIVI Try to answer these questions before reading the text Work in pairs or groups. 1,Do you know any applications of solvents and thinners?(i.e where are they used?) 2.What is the purpose of a thinner? The liquids which dissolve and mix with oils, resins, and other Paint ‘and varnish materials are employed by the painter Principally as diluents or thinners. Their use by him re solvents in the literal sense of the word, that is, as meme on putting Zeoins and other solid materials into solution. (as in the making of varnishes, etc.), is less frequent. They also find other applications in the ‘arts, as varnish or paint removers, as cleansing materials in the restoration of paintings, and as egents in-various art processes such as etching, lithography, etc. The sole purpose -of a thinner is to reduce the viscosity of a Paint or varnish so that it may be easily applied to the surface ina thin film, Nolatile solvents and thinners for paints and varnishes were Prev cacally unknown to the ancients. according to Pliny, come of the ‘crude petroleum from oil wells and some of the balsams and cleo-resins from pine trees were distilled locally in o primitive Banner by ‘boiling the crude material in a vessel covered mith a sheepskin laid over its fleece side down. The condensed volatile Tiquid which accumulated in the fleece was then squeezed out, Descriptions of distillation by use of an alembic os stirs begin with the physicians of Alexandria in the third century. The distillation of turpentine, alcohol, and other materials is mentioned in the writings of the early alchemists and craftsmen, but all the evidence indicates that these products were not applied or adapted to practical use (except in medicine) prior to the fifteenth century, when the commercial production and sale of folatile solvents and spirituous liquors began, and when recipes for cpatmishes containing them were first’ published. Many jevestigators attribute the introduction of oil painting, that is, the improvements of the fifteenth century, to the developments which made volatile thinners available to painters, Throughout the history of the materials of art we encourcen such instances of a considerable lapse of timerbetween the discovery of first application of a material and its adoption by or availability to painters in general, (Extract from "The Artist's Handbook") -52-EXERCISE A:Find words or phrases in the text which mean: l.sticky substance which flows out from most plants when cut,especially from pine trees=(n.) 2.chemical liquids used to weaken other liquids or dissolve solid materials=(n.) 3.uses=(n.) 4.hard,shiny,transparent coating on the surface of something=(n.) S.chemical,active substances producing an effect=(n.) 6.the art of using a needle and acid to make a picture on a metal plate from which copies may be printed=(n.) 7.process of printing from parts of a flat stone or sheet of zinc or aluminium that are prepared to receive a greasy ink=(n.) 8.the only=(adj.) 9.chemical substance used to reduce the reactivity of a@ paint=(n.) 10.measurement of the internal friction of liquid or in other words,a liquid’s resistance to flow=(n.) 11, coating, layer=(n.) 12.easily evaporating solvents=(adj.) 13.not processed oil pumped out from the earth=(adj.) 14.sources=(n.)- 15.process by which we change a liquid to vapour by heating it,cool the vapour and collect the drops of liquids that condense from the vapour or,in other words, purifying a liquid=(v.) 16.gathered,concentrated=(v.) 17.to take the juice of something by pressing it hard=(v.) 18.distillation column=(n.) 19.0il from certain trees,used as a solvent in mixing paint and varnish=(n.) 20.very skilled workers,experts=(n.) 21.shows=(v.) 3 22.before=(2 words) 23.a list of instructions for making a dish of food or medicin 24.we mee ind if the following sentences are True(T) or False(F) according to the text: EXERCISE B: 1,Among other things a thinner can make a paint flow more easily. 2.The first to discover the existence of volatile solvents and thinners were the ancients. 3.In ancient times some kind of ‘volatile liquid was taken from crude petroleum,balsams and oleo-resins. 4.According to the writings of early alchemists and craftsmen turpentine and alcohol were not only distilled but also used for practical purposes before the 15th century. 5.Recipes for varnishes containing volatile solvents were first published before the 15th century. -53-6.t is believed that the development of volatile thinners was an important reason for the introduction of oil painting. 7.very often in the history of the materials of art,painters do not immediately use or adopt a material which has been discovered. EXERCISE C:Find the verbs from the following nouns: 1.Diluent 2.Solvent 3.Remover 4.Application vuvy EXERCISE D:Find the nouns from the following verb: 1,to distil 2.to process 3.to accumulate 4.t0 indicate 5.to investigate —> 6.to develop > 7.to discover > 8.to adopt ————> vuvy EXERCISE E:Find all instances of Passive voice in the text and identify the tense. ~54-UNIT ADHESIVES WHAT IS NEEDED TO MAKE A GOOD JOINT? What is meant by a "good joint" really depends on the meaning of "good".It involves a balance between judgements about the quality of the joint on technical,aesthetic and ethical grounds,the required properties of the adhesive,and the efficiency with which the joint is made. Most modern adhesives have been developed to produce joints that are good in terms of the criteria of mass-production manufacturing industries.This has meant that the search has been for adhesives that produce very strong joints.Indeed with many modern adhesives the material of which the object is made may break,rather than the joint. Further,the requirement is for joints that resist degradation in use caused by chemicals in the environment.This usually means that joints produced by such adhesives are difficult to reverse by,for example,disslving in common solvents such as water and simple organic liquids.These needs for strong,chemically indestructible adhesives are usually at odds with those of the conservator,who often wishes to make a glued joint which holds the pieces of an object together satisfactorily but which can be readily taken apart at some future time without damaging its characteristics. In the context of conservation it is more straightforward to analyse the factors that produce’ a "strong joint" rather than those that produce a "weak joint" and also think of the special requirements of adhesives in conservation work. The diagram below attempts to cover the main points one should consider before choosing an adhesive.It can also be used as a specification of the desirable properties of an adhesive. DIAGRAM:Factors to be considered when joining an object during conservation treatment. . PREPARATION ‘ADHESIVE SURFACE Correct viscosity? Is it dust and grease free? (spreads easily but doesn’t run away) Should it be keyed or Correct surface tension? roughened? (it must cover the whole surface) 2 JOINING PROC SETTING TIME CHANGES DURING SETTING Slow(allows adjustment) Does it shrink?(sets up stress) Rapid?(prevents realignment) Does it react with the object Is heat involved? Does it change the nature of the object? (welding does) ~55-4.THE JOINT STRENGTH Too strong?(the object breaks rather than the joint) Too weak?(the objects fall apart) S.WILL IT Last? ONG TERM CHANGES Will it shrink? Will products of decay réett with the object? APPEARANCE REVERSIBILITY Can you take the joint apart without damage to the object? APPEARANCE Is it visible? Should it be? STRENGTH Will it lose strenth? REVERSIBILITY Will it become insoluble? Will it change colour? (Extract adapted from: "Science for conservators-Book 3 The conservation Unit/Museums and Galleries comission). VOCABULARY Match the words in in Column B. Column A with their definitions or synonyms COLUMN A COLUMN B 8 1,2,3,4 1. joint a.characteristics,qualities 2.properties b.needs, conditions 3.adhesive ¢.liquids that can dissolve other substances 4.resist d.bond, attachment S.degradation e.cannot be destroyed FO 6.to reverse g.to remain unharmed, undamaged 7.solvents h.any sticking material(e.g glue etc.) 8.indestructible i.do not match/suit each other 9.at odds j.detailed description of features or the characteristics of something k.process’ during which the quality of something becomes worse I.to change a process or a situation so that it has the opposite effect to the one it had before 10. requirements 11. specification -56-COLUMN A COLUMN B DIAGRAM l.viscosity a-not able to dissolve in a liquid 2. tension b.to become smaller in size 3.grease c.ability of something to change back to its previous state or situation 4. roughened da liquid’s resistance to flow S.setting e.thick oily substance put on the moving parts of engines,/fat animal 6.adjustment f. joining two pieces (of e.g metal) together by heating the edges 7.realignment g.tendency of a liquid to spread and cover a surface 8.to shrink h.to separate 9.welding i.process by which an adhesive increases its sticking strength by chemical or 10.reversibility ~ physical action j.correction 11.to take apart k.moving parts to put them in the correct position 12. invisible I,not able tobe seen 13. insoluble m.made less smooth ,uneven (usually by Tubbing) QUESTIONS Answer these questions.Work in pairs. 1.The meaning of the expression “good joint" depends on the quality of the joint.Judging this quality one should consider three aspects;which are these? 2.What are the features of modern adhesives used in the mass- production manufacturing industries? d.Are these features suitable for the adhesives used by the conservator?If not,why? 4.What do we mean by "correct viscosity" of an adhesive? 5.What do we mean by "correct surface tension"? €.What should one do before applying an adhesive on a surface? 7.What is the advantage of slow-setting adhesives? -57-S.What is the disadvantage of the fast-setting adhesives? S-What should the conservator pay attention to during the setting process? 10.What are the dangers concerning the endurance of adhesives? R is So) \solooooreada Sedoo|oo00)00) Io (33) i838} -58-NIT 17 ARCHAEOLOGICAL TECHNIQUES Arhaeology is undergoing a scientific revolution. Traditionally all the procedures of archaeology have involved escavating sites, uncovering artifacts, the Products of human workmanship, and establishing a chronology or time scale against which the artifacts can be dated. These procedures are still vital, but they are being supplemented by techniques and instruments drawn from a wide rage of sciences. A firm chronology can be provided by scientific dating methods. By analysing the composition of artifacts, the sources of their raw materials are often revealed - essential in understanding ancient trade and technoloy. Zoology and botany are used to give insights into the environment of our ancessors, and to show how they utilized the plants and animals of their time. The excavation process itself is being speeded by scientific methods for locating sites on the ground, by developments in photographic recording and by computerized data storage. DISCOVERING SITES AERIAL PHOTOGRAPHY has revealed many new archaeological sites. An earthwork, ploughed so, that it is difficult to recognize at ground level, can be seen from the air when the sun is at a very low angle and the slight ridges and hollows are clearly revealed by their long shadows. Some sites are totally invisible from the ground but, under suitable conditions of climate and crop, may be seen from the air by means of crop marks. Buried pits and ditches filled with good topsoil will retain moisture so that the vegetation above them will grow taller and greener, while buried roads and walls provide a well drained infertile subsoil stunting crop growth. When ploughing cuts into archaeological features such as ditches of walls the topsoil may become coloured with materials brought up from those, so that the site shows as a soil mark. Before excavation, it is necessary to pinpoint archaeolo- gical features on the ground and a number of instruments have been specially developed for this purpose. Resistivity meters are used to measure the RESISTANCE of the soil to the passage of an electric current. Electricity is conducted by water in the ground containing dissolved mineral salts and hence well drained soils will have a greater resistance than less drained ones. Since buried archaeological features will retain moisture to differing degrees they can be detected by their contrasting electrical resistance. In carrying out a resistivity survey, four equally spaced iron rods are -59-alternating sce the, Sround in a straight line. and an roo TMaging electric current is passed through the nate connectna ® pihe, fesistance is assessed on a” mecen connected to the inner pair. The \Tods are moved across the field in a series of Parallel traverses to record variations. An alternative Scheme, which greatly speeds survey, has “the meter mounted on a table with four sharp iron probes ts legs current is passed through one pair and the resistance assessed across the other. Tie EECTONE MAGNETOWETER Tes! ‘been develepsaics measure minute variations in magnetism and survey of this type gan be @ rapid way of detecting archaeological features cereaces which are not magnetically disturbed by electric pylons or the underlying bedrock. Most soils ong rocks Chek neg otter Of minute iron oxide particles, each of is uabeeueew weeks magnetic eieta%e rhesap errsrae are randomly orientated and tend to cancel one anothes out Ei the raw material in which they are embedded re heated above about 700°C (1300°F), the particles tose their the diseetien’ O% ,cOOling they will all re-magnetice in ene peeeetsonm alg they leartulagt tela" arheeseeetarsa will The macauforee one another so that the magnetic field of rhe material will be greatly increased. Fer this reason kilns and hearths where the ground has been hected can be rpedily detected by their relatively stros magnetic gyfect; Pits and ditches filled with topsoil aise puce a slightly enhanced megnotic field because the deen oxide pane dogreg en themselves with the earth's field cong Slight degree even without heating and because burning sesgciated with human occupation tends to alter tine oxide to the more magnetic varieties wlocy PERECTORS are of considerably less value in archae- ology than is commonly believed. If an excavation is PRenne seal eercet metal artifacts will wet coceversa: sa fhe normal course and it can be positively damaging to Gig small holes, removing them from their propos archaeo- logical context. EXERCISE A: ind words or phrases in the text which mean: ARCHAEOLOGICAL TECHNIQUES l.have included=(v.) 2-unburying bringing to surfaces(v:) , 3.places=(n.) {-simple tools or weapons of archaeological interest=(n.) S.setting=(v.) 6. improved or completed=(v.) 7.taken=(v.) 8.sethods of finding the date of an object 9.starting point ~60-10.materials in the natural state,not manufactured or prepared for use=(2 words) 11.uncovered,brought to surface=(v.) 12.buying and selling of goods=(n.) 13.to help us understand=(3 words) 14.persons whom we descend from=(n.) 15,used=(v.) 16.made faster=(v.) 17. finding=(v.) DISCOVERY OF SITES 18.preparing the soil for sowing=(v.) 19.raised part of land between two furrows=(n.) 20.agricultural plants in the fields=(n.) 21.holes in the earth=(n.) 22.narrow channels dug in or between fields,or at the sides of a road to hold or carry off water.=(n.) 23.keep=(v.) 24.all the plants=(n.) 25.barren soil,soil which doesn’t produce plant 26.stopping,preventing the growth=(v.) 27.is carried=(v.) 28.therefore,for this reason=(adv.) 29. research=(n.) 30.is estimated=(v.) 31.method=(n.) 32.very small=(adj.) 33.furnaces or ovens for burning=(n.) 34.floor of a fireplace=(n.) =(adj.) EXERCISE B:Find if the following sentences are TRUE(T) or FALSE(F) according to the text: 1.Archaeological techniques and instruments have more or less remained the same. 2.0ther sciences such as zoology and botany help us understand better previous civilizations. 3.Under suitable conditions of climate and crop,some sites are better seen from the ground 4.Buried pits and ditches can be easily detected from rich vegetation above. 5.Resistivity meters help us find archaeological features on the ground. 6.All burried archaeological features retain the same amount of moisture and therefore have the same electrical resistance. . 7.When heating iron oxide particles their magnenism is not only changed but also made stronger. 8.Metal detectors are not as useful as we think 9.Metal detectors may destroy buried metal objects. EXERCISE C:Find and underline all instances of PASSIVE VOICE in the text. ~61-UNIT 18 DATING METHODS The | invention of _RADIOCARBON DATING has had a profound effect on archaeological chronologies. Small quantities of the radioactive ISOTOP carbon 14 are formed in the upper atmosphere when the nitrogen in the air is bombarded with cosmic rays. The newly formed isotope, contained in the gas carbon dioxide, is distributed throughout the earth’s atmosphere, taken up by plants and passed to the animal kingdom in’ food. All living matters contains minute quantities of carbon 14 constantly supplied from the "reservoir" in the upper atmosphere. On death the supply is not renewed and the quantity of carbon 14 gradually diminishes at a constant rate as the unstable isotope decays back to nitrogen. Thus the amount of carbon 14 present in a sample of wood or bone will relate to its age. Since isotopes are chemically identical with their related atoms it is difficult to actually isolate carbon 14, but the amount present can be estimated by measuring the radioactivity of the sample. This is usually done by converting the material to a gas such as methane (CH4) and measuring its RADIOACTIVITY with a sensitive GEIGER COUNTER shielded from atmospheric radiation by a thick armour of lead. Another way is to-convert the sample to the liquid benzene (C6H6) ° and measure with a scintillation counter, another kind of PARTICLE DETECTOR. The date can be calculated with knowledge of the present day radioactivity of the sample, the radioactivity it would originally have had and the decay rate (half life) of carbon 14. In the early development of the method, the original ratioactivity was estimated by assuming that the amount of carbon 14 in the atmosphere and hence in living matter had remained constant over the past few thousand years, but this has recently been shown to be untrue by taking measurements of carbon 14 in trees. Trees grow by adding a fresh ring of wood to their circumference annually : in a good growth year the ring will be a broad one, in a bad year a narrow one. Tree rings are easily visible in almost any log of wood and if the life spans of two trees overlap it should be possible to see parts of the same thick and thin ring patterns appear in each. By cross dating in this way it is sometimes possible to establish a long sequence of wood samples and if the date of any one tree ring is known it is possible to date all the rings in the sequence. In America a tree ring series has been built up for the past 7000 years, using the long- lived bristlecone pine tree, and study of the carbon 14 content of individual dated rings has shown that there must have been significant variations in the carbon 14 ~62-content of the earth's atmosphere - enough to cause serious errors in the calculated date. For example, the early radiocarbon dates for the beginning of farming in northwestern Europe centred around 3000 BC, but the bristlecone pine work suggests that they are about 500 years too young. RING DATING. NDROCHRONOLOGY. is a valuable technique in its own right. It has been extensively used, for example, in the excavations on the mediaeval Russian town of Novgorod, where conditions were responsible for the preservation of a remarkable sequence of timber streets and buildings. Comparison of ring widths in numerous wood samples established a tree ring sequence which spanned the whole period of the mediaeval town and absolute dates were given by wood samples from beams in standing churches of known foundation date. The last ring in these beams would date to the season immediately preceding the foundation year, so the ring sequence was tied and every log of wood from Novgorod could be dated to the very year in which it was felled. THERMOLUMINESCENT DATING, first demonstrated at Oxford in 1968, is providing valuable in assessing the age of fired materials such as pottery. Ratioactive particles given off by the decay of the isotopes found in any crystalline substance tend to "knock off" electrons from the atoms of which it is made. Some of these become trapped in imperfections in the crystal structure and these trapped electrons accumulate with the passage of time. When the crystalline matter is heated, the electrons are released and energy is given off in the form of light. The intensity of the glow is related to the age of the crystal or to the time that has elapsed since the material was heated by early man, since this drives off the geologically accumulated glow and the build up begins again Particles of quartz are present in almost all ceramics, and these crystals are commonly used in dating. Thermoluminescence has proved of great value in the fine art world as it is a rapid and almost infallible way of distinguishing ancient ceramics from modern forgeries. EXERCISE A:Find words in the text which mean: 1.finding the date=(n.) . 2.obvious,easily seen=(adj.) 3.higher=(adj.) 4.radiations that reach the earth from outer space= (2 words) 5. freshly, recent ly=(adv. ) 6.is spread out,is sent out=(v.) 7. living things=(2 words) -63-8.very small=(adj.) 9. cont inuously=(adv. ) 10. provided, offered: ll. little by littles(adv.) 12.becomes less, is reduced=(v.) 13. therefore,for this reason=(adv.) 14.the same=(adj.) 1S.separate,keep apart from the others=(v.) 16. changing=(v.) 17.protected=(v. ) 18.instrument that measures radiation=(2 words) 19,taking as true before there is proof=(v.) 20.from here=(adv.) 21.line that marks out a circle(in Geometry)=(n.) 22.every year=(adv.) 23.piece of a tree-trunk that has fallen or cut down=(n.) 24.years of life=(2 words) 25.are the same=(v.) 26.a series of=(n.) 27.method of finding the date of a tree from its rings=(n.) 28.widely,a lot=(adv.) 29.made of wood=(adj.) 30.date when they were buil 31.small parts=(n.) 32. become more,gather=(v.) 33.are set free=(v.) 34-has passed=(v.) . 35.never failing,with no chance 6f mistake=(adj.) 36.seeing the difference betwee: 37. copies=(n,) =(2 words) EXERCISE B:Find if the following sentences are TRUE(T) or FALSE(F) according to the text: 1.Radioactive isotope Carbon 14 can be found in food. 2.When a living thing dies Carbon 14 remains stable. 3.The older a sample of wood is ,the less Carbon 14 it contains. 4.The date of a sample of wood or bone can be estimated if we know the radioactivity it originally had and the radioactivity it has now. 5.Measurements of carbon 14 in trees proved that the amount of carbon 14 in the atmosphere and living matter has changed over the past few thousand years. 6.In Novgorod,a lot of timber streets and buildings were destroyed due to humidity. =64—EXERCISE C:Use information from the text and fill in the table: RADIOCARBON THERMO- LUMINESCENT DATING DENDROCHRONOLOGY | DATING Is used to find the date of Element being measured EXERCISE D: Fill in the flow chart using information from the text. THE RADIOCARBON CYCLE Cosmic rays 1. Upper atmosphere Nitrogen changes into’ radioactive isotope 3. from Plants into animal food 4. he Death ~65-BIBLIOGRAPHY Amoroso G. & Fassina V. Stone decay and conservation. Elsevier, Crescent books. The care and repair of antiques Dixons. 1d of P : National Geographic Magazine. Newton R. & Davison S. Glass Conservation. Butterworth. The conservation Unit/Museums and galleries commission. Science for Conservators - Book 3. Plenderleith H.J & Werner A.E.A. The Conservation of Antiques and Works of art: Treatment, Repair and Restoration. Oxford University Press. (From the mates oF S, Keroneou.) -66-ATTAIKA ZYNTHPHZHE TERMINOLOGY A acetone = axetévn 080 activation= evepyoroinan adhere = ovyKoMd adhesion = cuykéNAnon adhesives = cuykoAAntixés oustes agent = dopéac alignment = evdvypéuyton alembic = anootaxtiipas, algae = dkyn antibacterial = aveBxrnprstaxd antifungal = avequxntiaKd application = ebappoysi, aitnan apron = roid arrange = 6tevBered assembly = cuvappoAdynon, assessment = extiyinon B balsams = aAowpég beau montage = povtdg kaAAwmiopod bicarbonates of sodium and ammonium = SxcavBpaxiké data varpiou Kat appwviag binding = cuvSenxd, Qi@qretecla binder = BiBALoSEtng bleaching = Aedxavan, anoxpwydeian blemish = aréAeta, xnAiSar bloom = Aenté orpdya nou oxnperiverat oe EUAwvES erapaveres blurring = @6Awpa, pourfoupupa bore = tpunw brush = rwvého build — up = Snjtoupyia orpdsparos burnish = yudAtopa c calcareous = aoBeotd5ec calcium carbonate = av8paxobxo aoBéono carbonate shell = avepaxosxo nepiBAnna ceiling = opodt} cement = Koviayia chemically bonded =xnyixé ovykoAnpéva china= nopaeAdvn circumference = nepiépera cleaning solvent = xaSaptovtxd StaAUtIKS cling = npooKoMoé pat composition = abvdeon, concoctions = cKevdoparta condensed = oupnuxvayévo =ouveripnan conservator = cuvenpntis consolidation = ota@eponoinan constitute = anoteht constituent = cvotartixé containers = 6oxeia contemporary = abyxpovo contract = avotéAw corrode = SiaBpdvwr corrosion = &éBpwon and xnuiKods napdyoutes corrosive = 6iaBpurixs ‘ cotton rags = KoupeAdnia ané Bap Bx country style = efoxiKod otuh crack = pwypi crude = axd@apro, axartépyaoto crumbling = @pupyoriopds cure all = navaxeta curator = éop0¢ pouseiou curved blade = kapndAn Aeniba D damp = vypatvw dating methods = 48060t xpovoRdynang decant = wetayyiteo decay = 80pa, anocd8pwan, anoatvecn desiccation = anofpavon, anootpdyyion decomposition = anoodv8eon, didonaon ,ancepntn degradation = unoBaBpton , anosdpBpwen deionized = artovopévo dents = KotAdyata deposit = evanodéw detach = anoKohodpat deteriorate = erwSewveovn deterioration= eniSetvwan, xeporépevon, diffuse = Btaxéw dilapidated = kateotpayyévos diluents = 6adutuxét dingy = Bettas, Aepeaprévoc dismantling = anoouvappoddynon disparity = avopodtnta disruptive = SaonactKds Siddven BtaAupévosATTAIKA ZYNTHPHEHE : TERMINOLOGY dissolved salts = 6aAupéva dAara distilled = anootaypévo distortion = napaydpdwon ,crpeequsen distribute = Stavéuw domestic oven = aririKds ou pvos dowel = axépaho kapii drip = orétw durability = av@exnxémnta — embrittlement = evdpavorétnta enamel = Bepviki equilibrium = opponia erosion = 5148pwon, etching = xapaxtuxs} evolution = efétén excavation = avaoKadr execution = extéheon expose = exriBepat extraction system = odatnya avappddnens eye dropper = orayovduetpo fing material = vAKé rAripwons, yenioparos filling powders = nodépec ouunApwong final touch = vedux rivedtd finishing = gwviptoya, tehetonoinon first-aid treatment = npdra owound xerpropod sure = Oxon fiaking = unokéron flaw = ehérrwpa, atéAewa mmable = evgAeKco ee Aah HdAAWwos, npoBere forgery = nAactoypanon, napanoinan fragments = Gpadouara free stones = avexevadeutot XiGot french polishing = nod yuaAtopéva éruntha frescoes = vwnoypadie fresh rocks = ppeaKoonaopéves nétpes friction = eowteptxr tpBrh fungi = wOxntes 6 geiger counter = werpntiig ortv8npioyod gilding = erixpbowon ' ep vint ia YudoUa vane Cepvinuweroerpn See eRe gee aint glue sizing = KoAgpiopa ground = Béon, é5abos, grease = Aino grime = Bpuwpude H handle = xepouat hardening layer = oxAnpuvtiKr otpwon, haze = opixAn homogeneity = opotoyévera hale squreeré fare 1 immerse = epBudiQw imperfection = atéAeva pervious = abtanépacto, ateyave industrial = Btoynxavixd infiltrate = eunoritw infrareds = unépuOpec insert = évBeon intervals = Staotfpora investigating = efepedvnon J Jar = Bago K knock-over = avanoboyupitw t label = extxéra labeling = xapaxtnpropdc, lacquers = haxes laminate (formaica) = entavera dopudeKas id (ndvin anc ro yovarto) MBrAVn, ATootPAYVION, Exner. HéAUBEOG Lappor lift layers = avaonkdoets emotpdcewy linen support = udacpdrwvo otriptypia (evicyvon Auvod udéoparros) linseed oil = Ad6t and Awapéonopo, Awépt loaded = oroiBaynéva, vraviacpéva,AYTAIKA YYNTHPHEHS TERMINOLOGY SS mM man made fibres = texuntés ives marquetry = evOenixi| Staxdopnon GUA. emudaverdv manuscript = xewpdypago methyllated = peOuAtkr migration =petaxivnon, petavéotevon, yeraxtvqon mildewing = podxhaopa, mineralogy = opuxtoRoyia moisture = vypaota monomineral = povépuktou moth = oxépo¢ N nails = mpdkec natural bristle = BoUproa uot tpixas neglect = apéhera nitrogen = a{wto oO obscure = Gokdvw (entoxidtw) oil ground = Baon AaSiob oil wells = netpeXatornyés operating theater = ycspog epyaatag original = auBevauxs overlying = ertxaAuppiévos overpainting = 6eGtepo xépt Zwypaduxis P pad = uné8ena paint thinners = 6adutiKé xp paroG particle detector = popiaxdg avyveuriig patent = eupeattexvia penetrate = Stanepvs petroleum jelly = BazeAivn pest = emBhaBi évtopa pigments = xpworés ouoles plaster = aoBeotoKoviaaua pliable = edrAaoto plugged = dpaypévo, erixadiopévo polishing = yuéAiopa, ortBwpc. pollution = poravon, wéduvon pottery = ayyeia preservation = ouvejonon primitive = npwrdyovos procedure = Siadixagia process = 6tabikaaia proportion = avaAoyla pucker = fapdvea Q quarry = Aaropeio quarrying = Aéfevon R radiation = axtwoBohia radioactivity = padievépyera radiocarbon = pabtolsétona tou évOpaKa rays = axrives recipes = 1é00601, tpérot, ouveayeés ssiputoution smonuregran, TEpainting’S emeuypasicn errors arep ere. reinforce etoxiu repair = ertoxeuh research = gpeuva residue = undAewpa resins = pnives resistant = avOextiKés restoration = anoxatéovaan reversibility = avetotpeinomnta avec cepeypbemca ring = Baxthog rinse away = ferAévoo rotting = arpodia, cémopa. rubber = kaoutooux rubber gloves = Aaotiyévier yavei sandstones = ayys6At6or saturation = kopeowss, Sandton saturated rags = epmotiopéva naveta scabs of glue = kpovotes KéAAaG scaffold = scalpel screw scumblings = Oaynd Bepvixia seep = 6ianepvid sedimentary limestone = KaS{npatiKds aoBeotéArBos, sheepskin = mpofié shellac =Geprius yopaqduas. shield = npootateupévoAITAIKA ZYNTHPHEHE TERMINOLOGY SS shrink = ouppixvaoves siliceous = nuptcxd sized = KoRaptopévos skin deep = enupavetaxds slackening = xaAdpwan slimy = yAoudéng, AaondSng soak = pounce soil = xdpa soluble = 6.aXutég solvent = 8.aAUTIKS,Fiapbens sooty grease = kanwtopéver Kirn specifications = npotaypadés spirit = aAKodkn, splashes = miroWiopara split = xian spots = onpeta squeezed out = cunmeopéva storage = ané@nkevon stoving enamel: 3epviKict ou Shipping = adatbeon vo sulphur = Oeio ecg sweep = axouniqw pvwy T take up = artoppodis tallow = Gwikd Nirtog tarnishing = nadpiopa,, Odpmwper (ueTadruxiy emupaveubv) tendering = efacdévion thinners = apawotixé mAaxékt tip = éxpn tissue paper = Aemrd xaprti transformation = Weceoxnpwaropes transparent = Staaves tray = 6iokog treatment = enefepyacia trickle = otd§i0 turpentine = teprevtivn tweezers = toyinides U ultraviolets = unepwi6n underpainting = npato xépt Zwypadurig v vapour = v6paryds, varnishes = Bepvixia veil = némho (Btécbavo xpwpa),nApupe - vellum = nepyaunysh ventilation = efaepiopdc vessel = Soxeio, oKebog, oxtibos vestige = iqvog viscosity = naxupevototnta, wes volatile = mentiK6 w warp = oxeBpdvw, napapoppdver weakening = e€ac@évicn weathering = 614Bpwon, ofe(5won weatherability = StaBpwousdtnta waxed = nepaapévos He Kept : wipe = opouyyi3w, nabapific Ke “ype navi 0 HBWHETOS pe xnfanb Tidq4ee wood beetle = capa woodframe furniture = érumAa ie §6Awo oxeheté workroom = xdpos epyasiag