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Cultural heritage objects present a special set of challenges for chemical analysis. Often micro-sampling or even contacting the object is deemed an unacceptable risk to the object. This study examined if specular reflection FTIR, a non-sampling and non-contact analytical technique, can provide insight into chemical composition of the layered coatings on Frédéric Flachéron’s paper negatives (1848–1852) in the Harrison D. Horblit Collection of Early Photography, in Houghton Library, at Harvard University. Specular reflection FTIR data confirmed the identification of beeswax and sandarac as the transparentizing media on Flachéron’s paper negatives, as previously published by Lee Ann Daffner. However, specular reflection FTIR analysis also indicated that some negatives had additional localized coatings of orange shellac in specific areas of the images. To understand why Flachéron retouched his negatives with orange shellac, modern experimental replications of the paper negative process were performed. Through modern experimentation with the paper negative technique, it was found that Flachéron’s coatings of shellac served as an integral part of his image-altering technique. The color of the orange shellac subtly alters contrast and density, but it does not mask an area the way an opaque watercolor or highly pigmented paint might. The fine adjustments to the negatives with orange shellac were an attempt to perfect the contrast in the print, and better render depth and detail. These discoveries add to a growing body of recent research that points to the historic and art historic importance of negatives and coatings in photography. The specificity with which specular reflection FTIR was able to nondestructively identify the chemical composition of the local coating, and specifically target the analysis on the areas in which it appeared, allowed for an understanding of Flachéron’s use of local coatings as a retouching method rather than a protective coating.

Paper materials and works of art on paper such as drawings, watercolors, prints, books, and manuscripts represent a large portion of museum, archive, and library collections. However, paper materials are infrequently the subject of technical studies due to inherent limitations in their analysis such as the fragility of the paper substrate, a lack of suitable sampling opportunities, and the presence of mixed, but chemically similar cellulosic materials. The application of principal component analysis (PCA) modeling to specular reflection FTIR data has the potential to provide a non-invasive means of analysis for major and minor components in paper materials. Using known study collection objects, PCA models distinguishing paper sizing materials and fiber types based on specular reflection FTIR data were successfully demonstrated thus providing a plausible alternative method for the identification of paper materials in collection objects without the need for destructive testing or sampling of the object.

Paper aging and protection processes play an essential function in the preservation of library collections and archives. In this study, some physical-mechanical properties of paper samples from XXth century books (private collections), such as pH acidity, tensile strength, and modulus of elasticity, as well as optical properties, such as absolute change in yellowness, were examined before and after treating them with hydroxyapatite nanoparticles (HAp). Accelerated light aging was also evaluated and discussed. The treatment with HAp nanoparticles increased the paper’s pH to slightly alkaline values (approximately pH 8). Washing and treating the paper improved its mechanical properties compared to untreated paper; the tear length increased by 35% and the modulus of elasticity increased by 56%. That the treated and aged samples are more elastic than the original samples demonstrates that HAp nanoparticles consolidated the cellulose fibers. Additionally, particle morphology, size, composition and size distribution were assessed via image analysis using scanning electron microscopy (SEM-EDX), atomic force microscopy (AFM), and the ImageJ processing program.

Natural ageing has a major influence on the properties of paper, while light, heat, and humidity are the environmental influences that most disrupt the stability of paper. This research focuses on changes in straw-containing papers caused by accelerated ageing. The papers were made in the laboratory by mixing straw pulp with the pulp of recycled fibers in different weight ratios and were artificially aged by a dry-heat treatment (thermal oxidation) and UV radiation treatment (photo-oxidation) over a 24 h period to simulate natural ageing. The observed changes in the optical, surface, and chemical stability of papers were analyzed and are discussed in this paper. It is evident that, regardless of the origin of straw for pulp production, it forms papers that undergoes similar optical properties (photo-yellowing and brightness lose), while certain differences have been observed in surface and chemical stability. Based on all analyses performed as part of this research, it was found that paper produced with the addition of wheat pulp is the most stable of all laboratory straw-containing papers. However, it must be emphasized that, if lignin-containing straw pulp is used as the main constituent of paper, the brightness stability of such pulp must be improved, or the paper surface must be improved by surface finishing in order to obtain greater stability against ageing.

This paper introduces the Watermark Imaging System (WImSy) which can be used to photograph, document, and study sheets of paper. The WImSy provides surface images, raking light images, and transmitted light images of the paper, all in perfect alignment. We develop algorithms that exploit this alignment by combining several images together in a process that mimics both the “surface image removal” technique and the method of “high dynamic range” photographs. An improved optimization criterion and an automatic parameter selection procedure streamline the process and make it practical for art historians and conservators to extract the relevant information to study watermarks. The effectiveness of the method is demonstrated in several experiments on images taken with the WImSy at the Metropolitan Museum of Art in New York and at the Getty Museum in Los Angeles, and the results are compared with manually optimized images.

The aim of this study was to identify the nature and cause of foxing spots in a historical manuscript. This manuscript was a Holy Quran from the beginning of the Qajar period and the end of the 18th century. Samples were incubated for 14 days and were evaluated for the presence of fungal activity. UV fluorescence photography, micro X-ray fluorescence spectroscopy and Fourier transform infrared spectroscopy were also used to investigate the characteristics and causes of foxing spots. The results showed that there was no fungal activity in the foxing spots of this manuscript. Based on the morphology of the stain in UV fluorescence photography, these foxing stains are of the Bullseye type, usually associated with metal ions. µXRF spectroscopy also showed a high accumulation of iron and copper at the site of these spots. This indicates abiotic foxing in this manuscript. Based on FTIR spectroscopy and peak deconvolution and fitting by Gaussian function, abiotic foxing increases the cellulose oxidation rate. Intensification of cellulose oxidation in foxing stains can be considered as one of the reasons for paper discoloration.

Melanins play a fundamental role in the biology and ecology of several fungal species. Unfortunately, this group of amorphous macromolecules also severely (and most times irreversibly) stains cultural heritage objects. Despite efforts made throughout the years, knowledge of the chemical composition and structure of melanins is still insufficient, which hampers the task of safely cleaning these colourants from cultural heritage materials in a targeted way without causing further deterioration. This work aimed therefore to contribute towards enlightening the characteristics of fungal melanins from three fungi that are common paper colonizers: Aspergillus niger, Chaetomium globosum and Cladosporium cladosporioides. The extracted melanins were characterized by FTIR, Raman, UV-vis, Solid-State NMR and MALDI-TOF MS spectroscopies and the effect of inhibitors of DHN-melanin and DOPA-melanin pathways on colony pigmentation and growth was evaluated. Although all the extracted colourants show a predominantly aromatic structure with carbonyl and phenolic groups, some differences between the melanins can be highlighted. Melanins obtained from Ch. globosum and Cl. cladosporioides exhibited similar structures and composition and both presented DHN-melanin characteristics, while A. niger’s melanins revealed a more complex and ordered structure, with a higher prevalence of highly conjugated carbonyls than the others, besides the additional presence of a yellow/green component. These conclusions cannot be overlooked while selecting targeted cleaning methodologies for melanin stains on cultural heritage materials.

We studied the feasibility of image-based quantitative analysis of foxing stains on collections of old (16th−20th century) European books stored in the Rare Book Library of the Seoul National University in Korea. We were able to quantitatively determine the foxing affected areas on books from their photographs using a newly developed image processing software (PicMan) including cultural property characterization applications, specifically. Dimensional and color analysis of photographs were successfully done quantitatively. Histograms of RGB (red, green, blue) pixels of photographs clearly showed the change in color distribution of foxing stains compared to the other areas of the photographs. Several sample images of quantitative measurement of foxing stains and virtually restored images were generated to provide easy visual inspection and comparison between restored images and the original photographs. Image quality, resolution, and digital file format requirements for quantitative analysis are described. Image-based quantitative analysis of foxing stains on paper documents are found to be very promising towards automation for objective characterization of photographs of cultural properties. This technique can be used to create a cultural property digital database. Quantitative and statistical analysis techniques can be introduced to monitor the effect of storage and conservation environment on the cultural properties.

Maize stem sculptures, produced during the 16th and 17th centuries in New Spain (today, Mexico) are a clear example of the convergence of the artistic traditions from the American indigenous populations and European influence. This typology of sculptures is not limited to the Americas, as the examples found in European countries have shown. Therefore, a detailed technological investigation is required to correctly classify them. This work presents the interdisciplinary and multianalytical investigation of a 16th-century sculpture made with a maize stem preserved in Guadalajara city, Mexico. We used a set of techniques, such as CT, SEM-EDX, μ-FTIR, and μ-Raman, to study, from a macro to a micro level, the structure, the polychromy, and the modification of the sculpture. The results showed the use of maize stems, paper, and wood in the construction of the sculpture and the use of the traditional polychromy, as well as the numerous modifications that changed its appearance considerably resulting in its misclassification. We were able to associate the statue with the Cortés workshop (Mexico City region), probably produced in the decade of 1580, and track its liturgical use and historical development through the centuries.

Old manuscripts are among the most important elements of the cultural and historical heritage of ancient knowledge. Unfortunately, many of them suffer from degradation, mostly those written with iron gall inks. In the present work, a study using non-destructive techniques was designed with the aim of analyzing the elemental composition and structural characteristics of iron gall inks, reproduced in laboratory, paper and their interaction when the ink is deposited on paper, inducing the paper degradation. Proton induced X-ray emission, X-ray diffraction and Fourier-transform infrared spectroscopy provided the elemental and structural information, and photography under infrared (IR) and ultraviolet (UV) light allowed the differentiation between manufactured inks. Results show that the first step of inked paper deterioration is due to acid-hydrolysis of the cellulose and the presence of reactive Fe(II) species by reducing the crystallinity index of the paper, which is affected depending on the ink recipe and the starting raw materials. These results will be useful to future studies on ancient documents written with iron gall inks, which suffer deterioration due to ink corrosion, and to differentiate between the different paper degradation mechanisms.

At the beginning of the 20th century, the eclectic artist Mariano Fortuny y Madrazo patented two innovative methods for polychrome printing on fabrics and textiles, giving life to Fortuny fabric production in Venice. The first patent was related to colour application, while the second to a special machine that allows continuous printing using cylindrical rollers. Despite the descriptions, the methodology and materials used remain a secret. In collaboration with the Fortuny Museum in Venice, this research aimed at studying and identifying the different steps of Fortuny printing methodologies. Printing matrices, fabrics and raw materials found in the artist’s studio were analysed in a multi-analytical campaign through digital microscopy, X-ray fluorescence (XRF), Fourier-transform infrared spectroscopy in attenuated total reflectance (FTIR-ATR), μ-Raman spectroscopy and gas chromatography–mass spectrometry (GC–MS). Three main pigments were identified in paper samples: ivory black, a copper-based pigment, and a carbon black pigment with ultramarine for blues. The pigments were bound with linseed oil and colophony in varying proportions. Polychrome silk fabrics were dyed with a base colour, and then the coloured patterns were superimposed by continuous printing. Prussian blue was identified as one of the textile inks. Results provided a better understanding of printing methodology.

The disinfection of deteriogenic microorganisms and the removal of induced chromatic alterations in artworks are still open challenges in the field of conservation. For this purpose, a new alcoholic hydrogel was tested to remove an extensive fungal attack from a multimaterial collage by the artist Alessandro Kokocinski and to mitigate chromatic changes caused by the contamination of its poster paper and plywood support layers. A Gellan gum-based hydrogel was used, which was modified by adding a high concentration of alcohol (66.7% ethanol), to give the system an effective disinfecting agent in addition to the detergent capacity of the gel for water-sensitive works of art. It was successfully tested on samples mimicking the complex stratigraphy of the artwork under study. To create replica mock-ups, the artwork materials and stratigraphy were investigated through diagnostic and laboratory techniques such as multispectral imaging, X-ray fluorescence spectroscopy, Fourier transform infrared spectroscopy, and pyrolysis coupled with gas-chromatography-mass spectrometry. The treatment was shown to have a disinfecting effect on the test samples and did not alter their structure, allowing us to apply the method to the artwork. Here, the hydrogel successfully removed and inhibited fungal proliferation in addition to mitigating the color changes caused by fungi.

This work was carried out for a master’s degree thesis concerning the conservation of a contemporary artwork made by the surrealist artist Roberto Sebastian Matta. The artwork is a large (one central panel 180.3 × 405.1 cm; two side panels 179.1 × 150.6 cm) triptych created in 1974 with pastels on tracing paper adhered onto canvas as a secondary support. After thoroughly studying the execution technique and conservation status of the artwork, several issues arose, including a strong acid hydrolysis of both the paper and canvas supports. We focused our intervention on deacidification treatments by comparing either traditional substances, such as calcium propionate in an alcoholic solution, or more innovative methods, such as a nanostructured calcium hydroxide in isopropyl alcoholic solution. Acid hydrolysis degradation was the most difficult issue to address because of the size of the artwork and for the different sensitivities to aqueous methods of the materials used to make the artwork. For the first time to our knowledge, we used an innovative deacidification method consisting of nanostructured calcium hydroxide particles. This intervention would allow the homogeneous atomization of the deacidifying agent in alcoholic solvents to be safe and effective for the work as a whole.

Microbial contamination control in indoor environments, such as libraries and archives, represents a challenge. Essential oils (EOs), well-known for their antimicrobial properties, have been applied in pharmaceutical and food industry from many years. In the present study, Thymus vulgaris and Origanum vulgare EO antimicrobial efficacy on paper-born microorganisms, Staphylococcus epidermidis, Rhodotorula mucilaginosa and Alternaria alternata, was investigated to protect water-damaged paper documents and to control indoor air quality for operator’s health safety. T. vulgaris EO was the most effective: Minimum Inhibitory Concentration (MIC) values obtained for S. epidermidis and R. mucilaginosa, with a broth macro-dilution method, were 7.5 µg/mL and 5.63 µg/mL, respectively. T. vulgaris EO (0.75% v/v), nebulized immediately after the inoculation on agar plates or paper sheets, showed a high inhibition effect against the three biodeteriogenic microorganisms, also when lyophilized on paper sheets; in this last case, the EO has a higher efficacy when applied immediately after the freeze drying. Regarding the EO effect against A. alternata, the inhibition percentage of the mycelial growth, MGI, (81.4%), observed for nonsporulated mycelium, was higher than that for the sporulated one (51.4%). Finally, T. vulgaris EO (0.75% v/v) was effectively applied on a real contaminated book cover by means of EO impregnated contact sheets. Obtained results demonstrated that tested EOs were able to delay or completely inhibit paper-born microorganism growth for both flood-independent or -dependent contamination.

This paper presents the limitations and potential of ATR-FTIR spectroscopy applied to the study of cellulosic textile collections. The technique helps to differentiate natural fibres according to the content of lignin, pectin, hemicellulose, and wax, although some problematic issues should be considered. The spectral differences derived from the environmental humidity uptake and the plant composition are reviewed and discussed in the light of new experimental data. Diagnostic bands are proposed that can discriminate between different fibres from different plants. The contribution of ageing is also considered, demonstrating that sometimes aged fibres cannot be reliably recognised. In contrast, the potential of ATR-FTIR spectroscopy to discriminate between natural and modified fibres is discussed and proven. The best results were obtained when microinvasive ATR-FTIR spectroscopy was coupled with SEM observations. The proposed protocol was tested on microsamples of various cellulosic materials from traditional Japanese samurai armours dating from the 16th to the 20th centuries (Morigi Collection, Museo delle Culture, Lugano, Switzerland). The results facilitated a complete characterisation of the materials and demonstrated that the protocol can be used to study a wide variety of cellulosic materials, including both natural and man-modified fibres, and paper.

The conservation of contemporary art often offers unique occasions to study complex multi-material artworks and understand their creative process and esteem degradation distress. The recent diagnostic campaign on the surrealist artwork Perché le vittime vincano (For the victims to win) (1974–75) by the artist Roberto Sebastian Matta allowed us to characterize the original painting materials (pastels on spolvero paper), never investigated and completely unknown, in order to support the imminent restoration. Due to the great dimensions of the artwork and its conservative issues, non-invasive multispectral imaging (HMI) analyses were done to investigate the whole painted surface, mapping and differentiating original materials and possible degradation patterns. Imaging data supported analytical characterization analyses run through elemental (portable X-ray fluorescence spectroscopy and scanning electron microscopy coupled with energy-dispersive spectroscopy) and molecular spectroscopy (Fourier transform infrared and portable µ-Raman spectroscopy) to identify the original artist’s materials and to support the restoration operations. The analysis revealed that the painting materials used by Matta are pastels characterized by modern pigments and dyes, such as Cu-phthalocyanines, chrome orange, titanium and zinc whites, compacted with kaolin without any organic binder or with a possible minuscule amount of gum.

Stored under optimal conditions, paper can last for hundreds of years; however, paper is also susceptible to numerous agents of deterioration as it is primarily made of cellulose fibre derived from plant cell walls. Paper is especially vulnerable under conditions with high temperature and humidity, which together can encourage mould growth and foster insect pests. Pest infestation is a common type of deterioration responsible for significant damage to paper and books. Endsheets prepared with red lead and sewn into traditional Chinese bookbindings are a historical method used to minimise insect damage to books in southern China. Samples of red-coloured papers from the Fung Ping Shan Library at the University of Hong Kong were assessed. Two types of so called wan nian hong papers (萬年紅紙), (1) damaged and (2) undamaged by insects, were analysed with a scanning electron microscope equipped with an energy dispersive X-ray fluorescence detector. The chemical analyses reveal high concentrations of red lead (lead tetroxide, Pb3O4) in the undamaged papers, and only very few traces of lead in the damaged papers. The orange papers with insect feeding tunnels seem to have been only coloured in orange, and not treated with red lead as a biocide. These results are discussed and compared with modern treatment methods in the integrated pest management of books, archive, and library materials in (a) Europe and (b) Asia.

The complex and colorful textiles of ancient Peru have long been a focus of technical study, particularly to characterize the sources of the wide variety of dyes utilized by these Andean artisans. This manuscript describes the characterization of the dyes of both primary (red, blue, and yellow) and secondary (purple, orange, and green) colors sampled from textiles spanning five major civilizations: the Paracas Necropolis, the Nazca, the Wari, the Chancay, and the Lambayeque, all from Peru. All but the Paracas Necropolis samples were part of technical conservation studies of the ancient South American textiles collections of the Michael C. Carlos Museum. Analysis of the dyes was carried out utilizing direct analysis in real time time-of-flight mass spectrometry (DART-MS) and paper spray MS. To validate these ambient ionization MS methods, the samples were further investigated using high-performance liquid chromatography (HPLC) with ultraviolet-visible diode array detection (DAD). These results show that ambient ionization MS methods are simple and fast for characterization of the general classes of dyes, e.g., plant reds vs. insect reds, and indigoids in blues and greens. Due to the myriad possible sources of yellow dyes and their tendency to undergo oxidative decomposition, positively identifying those components in these yarns was difficult, though some marker compounds and flavonoid decomposition products were readily identified by ambient ionization mass spectrometry.

How can one best transform a paper-based publication into a living online resource? This is the theme of a project at The National Museum of Art, Architecture and Design in Norway, supported by the Arts Council Norway. The National Museum aims to create, publish and maintain an authority list of Norwegian artists, architects, designers and craftsmen. The objective is to ease the digitisation process for other museums, scholars and the public in general and contribute to better data quality in Norwegian online collections. The list will in part be based on the Norsk Kunstnerleksikon (Encyclopaedia of Norwegian Artists in English), published in 1982⁻1986 and subsequently digitised in 2013. With the help of other public collections in Norway, the purpose is to make the new resource as complete as possible and available in both human- and machine-readable formats. Although the original paper publication contains biographical texts as well as lists of exhibitions, education, travels, publications and more, the data in the new authority list will be constrained to a set of core biographical data. It will however carry references to online biographical resources such as Norsk Kunstnerleksikon (NKL), Wikidata, Union List of Artist Names (ULAN) and Virtual International Authority File (VIAF). This article discusses the process of defining the scope of and setting constraints for the list, how to enrich and reconcile existing data, as well as strategies to ensure that other institutions contribute both as content publishers and end users. It will also shed light on issues concerning keeping such a resource updated and maintained.

This paper describes an innovative method developed by the authors to support basic decisions concerning the structural restoration of a large historical panel painting which had been damaged by inappropriate attachment to a wall and ongoing exposure to severe changes in environmental humidity. The Lapidazione di Santo Stefano is a large panel (2.78 × 3.92 m2) painted by Giorgio Vasari in 1571 and has been housed since then in the Church of Santo Stefano dei Cavalieri in Pisa (Italy). Its wooden support is made of large horizontal planks glued together along their edges and stiffened by vertical, dovetailed crossbeams. The panel was tightly fastened to a church wall with several rigid bolts; due to the moisture cycling produced by rainwater leakage and a subsequent “compression set”, it had developed severe tension stresses perpendicular to the grain, resulting in cracks affecting both the wood and the paint layers. To decide how to carry out the structural restoration of the panel, it was necessary to know whether slippage could occur between the panel and crossbeams during seasonal variations in environmental humidity. Without slippage, tensile stresses would be generated in the wood and could produce further cracks and damage the paint layers. An in situ monitoring method for assessing the possibility of slippage was developed and implemented. An analysis of data collected over a period of 6 months before the structural restoration confirmed that adequate slippage was possible; hence, the decision to fully repair the cracks was taken. Monitoring continued for a year after restoration and confirmed the previous findings. This paper describes the monitoring method, the equipment used, the results of its implementation and its value as a preventive conservation tool.

During the third millennium cal BC, the Indus communities exploited great quantities of chert from the Rohri Hills mines in Upper Sindh for making different types of artifacts. This paper discusses the way chert was transported to the Indus Civilization centers and the problems related to the type, quantity, and quality of raw material and artifacts that were transported, including when, why, and where. This paper raises the question of land and water transport. Both these methods were probably used according to the landscape location of the Indus sites. Another problem concerns the landscape characteristics of the Indus Valley during the Bronze Age before the climate changes that took place around the end of the third millennium cal BC and the disappearance of the Hakra River, which was an important watercourse during the Indus phase. What do we know of the way the Indus communities exploited, transported, and circulated knappable chert? Why have the Indus settlements excavated around the Rohri Hills, the largest chert mines of the Indian Subcontinent, yielded little evidence of chert artifacts and nodules? What do we know of this important problem, which is strictly related to the everyday life of the Indus communities and their economy? Why this problem has been systematically neglected by most archaeologists despite its importance?

In contemporary narratives, rural landscapes and identities, as judged by the inhabitants’ sense of belonging, continue to be important points that need to be (re)considered when discussing places as instruments for local development. This paper pushes forward these debates and explores the construction of rural and regional identity in Romania with the help of a case study that focuses on perceptions of rural landscapes as cultural heritage in two rural communities situated on opposite sides of the river Mureș. Based on participant and ethnographic observation and making use of a survey and a qualitative analysis, this paper highlights the most significant features of the local cultural identities and their rural landscape heritage expressed by the two sets of people, which often coincide with the most important characteristics attributed to the regions separated by the river Mureș. The results of this study underline the dividing role of the river in the preservation of rural identity and cultural heritage. They also demonstrate that rural landscapes and the construction of identities along the river have generated both development opportunities and various risks.

This paper uses digital approaches to investigate Priene’s (Turkey) archaeological area. The city was built ex novo, after a catastrophic earthquake around 350 BC, on a new site facing the Mediterranean Sea. The city suffered a slow decline following centuries of development and was abandoned after the 12th century. The remains of Priene were discovered in the 17th century, and different excavations and studies have been conducted in the last few centuries. The city’s remains have been studied from various archaeological and historical points of view. It is documented that the city suffered different earthquakes during its existence, as demonstrated by the partial restorations and damage patterns visible within the remains. This contribution offers a methodological and interdisciplinary approach for studying and enhancing archaeological heritage. This paper presents the preliminary results of the first comprehensive digital acquisition of the Aegean city of Priene. The digitization approaches here described focused on digital acquisition and 3D modeling restitution in the form of virtual reconstructions of two monumental buildings: the Doric Stoa near the Temple of Athena Polias and the Theater. The procedure was complementary to the analysis and comprehension of previous numerous studies carried out by British and German institutions, where digital acquisition and restitution techniques have led to the validation of previously obtained results. For the first time, digital models have been used as tools for accessing heterogeneous knowledge, and they have been incorporated into the discourse of archeological studies. Indeed, the interdisciplinary team went beyond archaeological data to attempt to digitally reconstruct monumental complexes and conduct preliminary structural evaluations scientifically.

Many aspects of intangible cultural heritage have associated objects of material culture that augment or enable aspects of intangible heritage to be exercised or emphasized. Christmas markets have been publicized as the quintessential event in Germany leading up to Christmas, with the over 2000 locations attracting large numbers of local, domestic, and international visitors. From their origins as mercantile venues during the medieval period, Christmas markets have evolved into multisensory social and experiential events, where the acquisition of Christmas decorations or gifts has been supplanted by the consumption of mulled wine in a social setting. Christmas markets represent intangible cultural heritage staged in ephemeral surroundings. While the abundance of material culture in Christmas markets is widely understood, this focuses on the objects offered for sale at the markets, rather than the objects that characterize a Christmas market and enable its functioning. This paper provides the first comprehensive assessment of the portable material culture associated with the German Christmas markets, covering objects as diverse as payment tokens, lapel pins, special postmarks, beer mats, and commemorative cups issued for the consumption of mulled wine. These objects, as well as numerous other manifestations of material culture, are discussed in the wider framing of the materiality of the markets, examining their ontological qualities within the multiple spheres in which these objects attain meaning (i.e., personal, event, social, and public spheres). It demonstrates that the wide range of alienable material culture associated with German Christmas markets has different manifestations of materiality, depending on the viewpoint of the user (i.e., participant, vendor, organizer), and these manifestations have different expressions of representativeness. On this foundation, this paper examines the various groups of portable and alienable material culture and discusses them in terms of their authenticity and to what extent these are representative of German Christmas markets. While all items have a connection with Christmas markets and function as symbolic shorthand souvenirs, commemorative cups issued for the consumption of hot drinks as well as the deposit tokens associated with these are both genuine and authentic and are also representative of the conceptual, social, and experiential dimensions of the event.

Crowdsourcing applications that integrate storytelling and geotagging capabilities offer new avenues for engaging the public in cultural heritage. However, standardised evaluation frameworks are lacking. This paper presents an applied evaluation methodology involving the analysis of relevant web-based tools. Towards this goal, this paper presents the development of crowdsourcing applications using, as a case study, the collection of myths and legends associated with the monumental heritage site of the Palace of the Grand Master of the Knights of Rhodes in Greece. Additionally, the paper presents an evaluation conducted through a criteria-based approach and user-based survey. The study reviews the concepts of crowdsourcing and digital storytelling within digital heritage, along with current concepts of living heritage and folklore, and examines relevant initiatives. The evaluation follows a four-stage methodology: (i) initial web-based tool selection based on the minimum requirements of web compatibility, crowdsourced data display, and map-based storytelling capability; (ii) application development using the selected web-based tools; (iii) a five-criteria assessment, based on the factors of open access, usability/tool support, participatory content/story creation, metrics provision and metadata model usage; and (iv) a crowd-based survey, indicating the most effective option. Findings from 100 respondents reveal limited exposure to participatory storytelling applications but interest in contributing content. Social media and influential figures serve as key channels for promoting crowdsourcing open calls. The results highlight gaps in understanding user expectations and perceptions, suggesting future research for gaining insights into engagement rates.

The aim of this paper is to understand the long-COVID impact on cultural heritage organisations, and future research needed. COVID-19 was disruptive to cultural heritage socioeconomic activities across the world during 2020 and 2021. Whilst government intervention and changes from physical to digital engagement generally prevailed, the long-COVID impact on cultural heritage organisations, their people and users, buildings, and collections remains unknown. The extent, also, to which financing, curating, visiting, and volunteering patterns have changed is uncertain. Following the pandemic closures and associated support, cultural heritage organisations are facing continuing economic, social, political, environmental, technological, and organisational culture pressures. This research examines the existing academic literature, sector publications, annual reports and associated visitor information to understand whether cultural heritage organisations have long-COVID, whether they can survive another pandemic, and what further research is needed to be better prepared. Four case studies from the UK look at the visitor and financial impacts of COVID-19 on the British Library, the London Transport Museum, The Theatre Royal Drury Lane, and Kensington Palace. This paper contributes to heritage research by providing a deeper understanding of the impact that COVID-19 had on heritage, and how to proactively plan for similar future disruptions. The impact themes show that change did not result in a new normal but in the need for a new space, consisting of blended space (physical and digital), mixed space (indoors and outdoors), and community of practice space (isolated or cross-sector networking space). The literature highlights the significance of the sector coming together during the pandemic to share knowledge and provide support through its networks. It also highlights how important it is for such unity not to be lost but to be harnessed to support ongoing organisational sustainability and better preparedness for future crises. Finally, future research suggestions are proposed grouped into social, digital, financial, and operational research themes.

Landscapes have been shaped and reshaped by humans to meet the changing needs of shifting subsistence strategies and demographic patterns. In the Mediterranean region, a widespread subsistence strategy that has left a major imprint is pastoralism, often tied with transhumance. Pastoralism and the associated tensions between pastoralists and settled agriculturalists have political and legal dimensions which are sometimes overlooked in mainstream accounts of national “patrimony”. The rapid transformations of subsistence strategies witnessed in the twentieth century have changed pastoral landscapes in diverse ways. This paper focusses on the central Mediterranean archipelago of Malta to explore how the values and management of such landscapes require holistic assessment, taking into account the intangible practices and embedded legal rights and obligations that maintained these systems. While in Malta pastoralism has practically disappeared, its physical imprint persists in the form of a network of droveways, which was once a carefully regulated form of commons. Burgeoning demographic growth is erasing large tracts of the historic environment. Against this backdrop of contestation, this paper draws on interdisciplinary approaches to interrogate the shifting legal and historical narratives through which pastoral landscapes have been managed, in the process revealing how dominant epistemological and legal frameworks are also implicated in the erasure of these landscapes.

This paper introduces a recently restored late-medieval tower house called the Dobbins, located in the historic town of Carrickfergus, Northern Ireland. The restoration process transformed what appeared visually as a Georgian house into a medieval-esque tower house. Despite considerable historical and archaeological research prior to the restoration, the responses from the local community were mixed. This ignited a discussion surrounding whether or not the Dobbins is authentic. Multiple understandings of authenticity are used to analyse the restoration results and evaluate whether a desire for authenticity can be detected. It is clear that authenticity is a myriad of complexities and contradictions comprising tangible, intangible, stable and dynamic elements, and when this is a motivation for restoration the complexity is embedded in the result. This is deconstructed to find that tourism and local identities underpinned the motivation for authenticity and their role in influencing the hierarchy of narratives retold through the restored Dobbins will be discussed. By exploring the authenticity craze through the prism of the Dobbins, this paper allows a deeper understanding of the term to be generated.

This paper presents a historical analysis of a rare dyer’s manuscript, preserved within the Museum of Industry in Ghent, Belgium. The manuscript, originating from a dyer in late 18th-century Antwerp, includes an extensive collection of recipes. The study will enable researchers to better grasp the practices of traditional dyeing techniques and materials in the region during that time. The manuscript focuses primarily on the dyeing of woolen fabrics. Approximately 90 of the 132 recipes utilize red dyes. Recipes for dying orange, brown, black, blue, and green colors are also described. The document mentions the use of madder, brazilwood, redwood, and cochineal. To create a variety of red shades, the dyer describes how fabrics were treated with different mordanting compounds, with alum and tin as the main ingredients, and how the dyeing solutions were prepared. The resulting colors include ‘madder red’, ‘formal red’, ‘crimson’, ‘scarlet’, ‘Turkish red’, ‘fire color’ and ‘flesh color’. In addition to the dyeing recipes, the manuscript contains various accounting documents and correspondences between the dyer, customers, and suppliers. Lastly, over 100 original, colored samples are attached to the described recipes. In this paper, the artifact’s contents will be disclosed, comprising recipes with attached samples and correspondence. Findings resulting from archive research will be included, contextualizing and placing the dyer in their urban and social context. The paper concludes by discussing its potential limitations and provides avenues for possible future research.

Caño Roto (Madrid) is one of the most relevant Spanish post-war architectures. Its typological contributions have already been studied within the framework of the so-called “Led Settlements”. This paper proposes a systematic analysis of the evolution of the neighborhood townscape, its most singular characteristic as a critical approach to the CIAM city project. It starts with the photographic documentation, studied through the methodology established by Gordon Cullen and developed, in a systematic way, by Nigel Taylor. The comparative study includes the original published photographs, a sample of photographs from the 2010s, and the shots taken in a new exhaustive documentation campaign. The comparison yields relevant results on the evolution of urban space definers: building volumes, facade composition, pavements or vegetation, and the presence of people in public areas. Several paths are studied to allow an understanding of the overall landscape structure. As a result, the key elements of the townscape of the settlement are identified and valued. The aim of this paper is to provide tools for the preservation of both the architectural and landscape heritage of Caño Roto. In short, thorough knowledge will help residents to become aware of the heritage value of their neighborhood.

Although nuclear magnetic resonance (NMR) is recognized as a powerful tool in many areas of research, among the investigative techniques used in the field of cultural heritage its application is still largely unknown. One of the reasons for this is that artifacts are complex heterogeneous systems whose analysis requires a multi-disciplinary approach. In addition, major drawbacks in the analysis of objects belonging to cultural heritage are their limited quantity, number of samples collected from the artifact, and their immovability. Consequently, a methodological approach where non-destructive, and possibly non-invasive techniques are used, is advisable. In recent years, thanks to the development of portable instruments, there has been an increasing use of the NMR methodology in the cultural heritage field. The use of portable NMR has allowed us to study several materials in the cultural heritage, such as frescoes, stones, wood, paper, and paintings, to address the challenges in monitoring dampness in historical masonries, to evaluate the penetration depth of a hydrophobic treatment into a porous material, and to study of the effect of cleaning procedures on artifacts. In this paper, recent studies illustrating the potential of NMR portable methodologies in this field of research are reported.

In 2011, a new approach was introduced into the management of heritage on Ilha de Moçambique by the UNESCO World Heritage Centre. Known as the Historic Urban Landscape (HUL) approach, this seeks to expand current understanding of the island’s historic urban heritage, recognising that ‘heritage’ is not limited solely to monuments or the built environment. Importantly, HUL incorporates urban sustainable development within the scope of heritage preservation. Given this, the adoption of the HUL approach has the potential to contribute to ensuring the authenticity and integrity of the built heritage, as prescribed by the 1972 UNESCO Convention, of Ilha de Moçambique, and effectively maintaining the Outstanding Universal Values that resulted in the declaration of the island as a UNESCO World Heritage Site in 1991. This paper discusses how local communities use the resources and heritage available to them and the central role of commerce, and the marketplace, in the heritage landscape of the island. A critical aspect of this is the sale of antiquities, including archaeological items, to tourists. Perspectives developed within the Rising from the Depths (RftD) network recently supported by the Arts and Humanities Research Council (AHRC) UK, with funding from the Global Challenges Research Fund (GCRF), offer positive alternative solutions to overcome this challenging situation. In particular, the network sought to identify how the tangible submerged and coastal Marine Cultural Heritage (MCH) of Kenya, Tanzania, Mozambique, and Madagascar, and its associated intangible aspects, can be utilised to stimulate ethical, inclusive, and sustainable economic growth in the region. Our paper demonstrates how the implementation of the RftD initiative when combined with the HUL approach can help to increase awareness among communities on Ilha de Moçambique about the relevance of their heritage and the need for preserving it while meeting everyday needs.

This study presents the background and the evaluation of integrating eXtended Reality (XR) in the permanent exhibition at the Tomato Industrial Museum “D. Nomikos”. This paper firstly provides the context of this study by outlining the methodological, technological, and museological approaches undertaken to integrate XR in a quest to enhance visitors’ meaningful engagement with the industrial heritage-related exhibition. Storytelling and narration are key elements of the museum’s museological design through audio tours and interactive AR-based visualization n of the machinery’s role and function. This paper presents and discusses the design of the evaluation methodology employed in the context of pertinent methods and approaches used in related research. This study investigates the effectiveness of XR for audience engagement and the added value that such technologies offer to the user experience as well as possible improvements. The main method adopted for gathering quantitative data is the User Experience Questionnaire (UEQ), and for qualitative data, through semi-structured interviews. Moreover, the findings are analyzed, interpreted, and discussed. Based on a case study, this paper offers a broader discussion of the challenges and prospects connected to the quest of employing emerging technologies and assessing their impact on visitors’ museum experience, reaching conclusions for future directions in the field.

This paper presents a comprehensive survey on the utilization of smart glasses in the context of cultural heritage. It offers a systematic exploration of prevailing trends, the latest state-of-the-art technologies, and notable projects within this emerging field. Through a meticulous examination of diverse works, this study endeavors to categorize and establish a taxonomy, thereby facilitating a structured analysis of the current landscape. By distilling key insights from this categorization, the paper aims to draw meaningful conclusions and provide valuable insights into the potential future trajectory of SGs technology in the realm of CH preservation and appreciation.

This paper considers the digital transformation of museums and, particularly, the challenges museum professionals face today in the implementation of digital practices. The exploration of the challenges that museum professionals need to address, and the values associated with the “digital” are critical in the context of current and rapid sociocultural and technological changes. This paper reviews a diverse typology of resources—including project reports and deliverables, qualitative and quantitative surveys, academic articles, edited volumes, and chapters—relevant to the implementation of digital practices in the “backstage of museums.” This essay will show that, although digital technologies have acquired a normative presence, organisational and technical challenges in the “backstage” of museums pose systemic problems in their digital transformation. These are systemic problems related to skills and knowledge, and human and financial resource deficits, which result in museum professionals exerting constant effort to keep up with the rapid changes in digital technologies with limited resources at hand and the risks of technological obsolescence and abandonment always present. Situated within the emerging literature advocating for a holistic, ethical, and sustainable digital transformation of museums, this paper draws attention to the implications of the digitalisation of museums in the transition to a responsible and sustainable digital future in a European context. It argues that a relational understanding of sustainability and ethics can be a pivotal first step towards the formation of a digitally purposeful museum in the post-digital era.

Over the past decade, virtual museums have rapidly evolved due to technological advancements, and after the COVID-19 disruption grew in importance, this sustained the innovation of storytelling and the digital transformation of touristic practices. This paper presents the outcomes of a cooperation project: a virtual museum for eight ports in the Adriatic area, constituting notable examples of widespread heritage. The platform Adrijo is a multi-scalar, multilayer virtual museum that leverages the concept of geo-storytelling and e-tourism, also applying two augmented reality technologies for site-specific installations. In addition to the project results, an assessment of the different levels and experiences is provided, based on qualitative and qualitative analysis. As a re-usable resource, the technical tender specification from the methodological work package is presented, encompassing details of the technology, structure, functionalities, costs, timing for realization, and accessibility for disabled people. This paper proposes, through the critical analysis of the VM, a methodology that can be reused in other contexts, also providing toolkits for both its implementation and user satisfaction surveys, as well as for analyzing the strengths and weaknesses of some specific examples. The goal of the present research is thus to establish a consolidated methodological framework for designing, developing, implementing, and assessing a virtual museum, fully featured with 3D models and augmented reality technologies.

The inscription of properties on the World Heritage List often places restrictions on existing livelihoods. In these contexts, tourism is widely held to be a panacea for the economic and social wellbeing of local communities. Ecotourism, in particular, is regarded as addressing both environmental and social needs of communities. However, existing research demonstrates that tourism seldom delivers benefits to Indigenous peoples or local communities in developing countries. This paper suggests that such limitations are equally problematic for local communities in developed nations such as Australia. Through ethnographic research including participant observation and interviews, this paper describes the impacts of tourism on the local community of Strahan, a small logging, fishing, and mining town that transformed into a tourism village following the World Heritage listing of Southwest Tasmania. We suggest that contrary to the widely held view that tourism created employment and economic growth in the town, locals experience diminished quality of life, limited opportunities, and reduced amenity and services. This suggests that ecotourism overlooks its responsibilities for local communities in developed countries, with profound consequences for social sustainability.

The historic house of Sheikh Mohammed Bin Khalifa, Al Ain (Abu Dhabi, UAE) belongs to the World Heritage Cultural Sites. The courtyard and two rooms include mudbrick archaeological remains that are preserved in showcases for public display. The building lies in a hot desert climate and needs air conditioning to be comfortable. This paper is concerned with indoor showcases and their compatibility with the indoor climate. Sometimes, misting for condensation is generated on the glass panes for the temperature and humidity contrast between the room climate and the showcases that are embedded in the floor. When misting occurs, the remains cannot be viewed. This paper investigates indoor glass misting, the exchanges of heat and moisture between archaeological remains, showcases and rooms, and the results after a year of environmental monitoring. An aim is to assess the potential risks for the preservation of the remains, recognizing the frequency and severity of the conditions for condensation. Another aim is to discuss mitigation methodologies to avoid glass misting, e.g., (i) reducing the room cooling; (ii) raising the glass pane temperature with electrical devices; (iii) increasing air exchanges between showcases and rooms; (iv) adopting a combination of these methodologies.

The paper in question is focused on (1) valuing the expanded and transdisciplinary approach for the definition of cultural heritage, consolidated in Brazil from the 1970s/1980s onwards, (2) and its subsequent applicability in the field of education, under the influence of a liberating pedagogy proposed by educator Paulo Freire. An important consequence of this process involves the conception of a formal education system structured to promote collectivity, equality, diversity, and educational equity, as a solution towards ensuring both the learning and development of students. (3) The paper discusses the contribution of the expanded context of cultural heritage and its relationship with the field of education in the development of pedagogical strategies that promote educational equity, through the Base Nacional Comum Curricular (BNCC), a document that parameterizes the curricula from early childhood education to high school in Brazil. From a bibliographic review, the paper presents the conjuncture on which the new look at cultural heritage has been consolidated, and the consequent redefinition of heritage education actions, and then, as a result, analyzes the approximation between this new approach and the formal educational strategies present in the BNCC, as well as the possibilities of intercommunication between both.

Throughout the last decades, engaging with cultural landscapes has been a scientific, social, ethical, political, and economic imperative that calls for novel theoretical approaches, effective strategies and, above all, participatory action. Facing this multifarious challenge, academic disciplines have to redefine their traditional methods and aims, and demonstrate an openness towards new and risky paths of scientific pursuits. The present paper arose from interdisciplinary cooperation between the humanities and social sciences with the main objective to explore the potential of cultural landscapes as resources for social innovation in rural regions, addressing issues such as out-migration of original inhabitants, unemployment, and an overaging population. Based on an overview of landscape semantics and theoretical approaches, the paper first analyzes (cultural) landscape and social innovation as applied concepts. In a second step, both disciplinary angles mingle into a joint approach. Moving from methodologies to challenges, the authors discuss the Social Grid Model, which allows for an integrated analysis of social networks, institutions, and cognitive frames. They also delve into the Structured Democratic Dialogue as a tool for the revitalization of ‘active’ and ‘inactive’ cultural landscapes by reinforcing the role of local communities. Finally, the authors investigate how such novel ideas for the promotion of tangible and intangible heritage in rural habitats can be employed by example of two intervention regions in Greece (Koumasa) and the People’s Republic of China (Honghe Hani Rice Terraces), and as part of an orchestrated collective action.

Preserving and managing historical cultural heritage necessitates innovative approaches that harmonize technology with historical documentation. This paper presents a case study showcasing an adaptable online database tailored for the incorporation of Building Information Modeling (BIM) models and associated historical records. Notably, this approach offers distinctive integration with historical data, enabling users to contextualize heritage assets historically. The study delves into the database’s capabilities, focusing on its role in cultural heritage structure management. It explores interactive exploration, semantic querying, and attachment features, highlighting BIM’s potential in digital conservation, documentation, and archival efforts for historical structures. Additionally, the paper underscores the database’s significance as a valuable tool for education, research, and collaboration among heritage professionals and the public. While addressing specific modeling challenges, it emphasizes the importance of enhancing software solutions to elevate historical asset management. Historical BIM emerges as a powerful resource bridging the gap between historical structures’ conservation and modern technology.

The focus of this paper is the revitalization of a heritage city center and the significance of retail trade and cruise ship tourism within this context. Fundamental concepts are presented in the literature review and the factors contributing to the decline of old city centers explored. The empirical section of the paper comprises a case study that highlights a specific municipality’s efforts to revive its heritage city center. The main attraction in Koper is its well-preserved medieval city center with five-centuries-old Venetian architecture. An analysis of the municipality’s initiatives is performed and a qualitative study that investigates the perceptions and experiences of stakeholders regarding the situation and the municipality’s actions to preserve commercial activity in the city center. The results of the semi-structured interviews conducted with three distinct stakeholder groups are analyzed using the qualitative content analysis method. The findings reveal that the chosen municipality has achieved relative success in revitalizing its heritage city center. Concurrently, stakeholders’ perspectives are utilized to identify potential drawbacks and explore opportunities for mitigating them. This paper concludes by presenting its theoretical and methodological contributions to the field of heritage city center revitalization, not only in the selected municipality but also beyond. These insights can inform the appropriate sustainable policy development and marketing strategy.

The Via Francigena stands as a European Cultural Route recognized by the Council of Europe, serving as a link between Northern and Southern Europe, extending from Canterbury through France and Switzerland to Rome in Italy. The Universal Declaration of Human Rights underscores the right of all individuals to partake in the cultural life of their communities, which entails ensuring that heritage sites remain accessible to everyone, regardless of their physical, cognitive or sensory abilities. To achieve this, the ‘rurAllure’ project has been initiated to promote and disseminate the cultural and natural heritage along this pilgrimage route in an inclusive manner. This paper reviews the existing resources regarding accessibility in the Italian segment of the Via Francigena, comparing them to initiatives undertaken on other European Cultural Routes. This serves as an initial step to comprehend the measures required to guarantee that everyone can fully engage with and comprehend these cultural experiences. The analysis revealed that most of the limited accessibility efforts along this route have primarily focused on physical accessibility. Regrettably, cognitive and sensory accessibility has received considerably less attention. In this context, this paper proposes the thermal heritage located along the Val d’Orcia section in Tuscany, Italy, as particularly promising for the development of accessible experiences due to its tactile characteristics. The future efforts to enhance accessibility along this route should consider approaches like Universal Design for Learning and the geography of perception to create resources and new experiences that cater to a wide range of individuals.

The application of Building Information Modeling (BIM) on historic constructions is investigated in this paper by discussing, as a representative case study, the Galleria dell’Accademia di Firenze (Italy), thus showing as this tool can be used effectively for the management and maintenance activities of a historic museum. In fact, while BIM is already well-known as a powerful tool for the design and management of new buildings, its development in the field of historical construction is currently growing and attracting increasing interest in the scientific community. This paper proposes, in particular, an Information Model (IM) aimed to collect the structural information to be subsequently employed for numerical modeling of the building, thus representing the link between the real world and the computational models. The possibility to handle different types of information to be used for the management, maintenance, and modeling of existing constructions, as shown in this paper, encourages the popularization of this approach as an effective method to support cultural heritage (CH) conservation.

Using rock art conservation as a focus, this paper outlines the levels of legislated protection afforded to designated natural and cultural areas/sites in Australia and describes the co-management approach adopted in 1998 in relation to Mutawintji National Park in western New South Wales. The park encompasses four different protection categories: a Historic Site, a Nature Reserve, a National Park, and a State Conservation Area. Known for more than a century, the Historic Site is a major area of rock art containing Aboriginal engravings, paintings and stencils. Management of the Historic Site is a key concern, given the tourist interest and associated potential for accelerated deterioration of cultural heritage. The Mutawintji Plan of Management pointed to the importance of Mutawintji for Aboriginal people to connect with the country, and the co-management model encouraged tourism development as a means of providing employment opportunities as Aboriginal guides. No special legislative requirements in relation to rock art conservation, beyond those already in existence, were applied to the co-management system. Using field knowledge involving rock art research and early guide training programs at Mutawintji and literature sources, this paper suggests possible future approaches to rock art conservation in the Mutawintji Lands.

On 26 April 2017, Mexico formally adopted the 2030 Sustainable Development Agenda to link the national government to local governments, the private sector, civil society and academia. The restoration of heritage residential buildings (recovery programme) and the construction of new residential buildings aim to create a diversified environment for populations at different economic levels. However, the restoration programme faces conservation challenges. Given this context, this paper presents the results of in-depth, semi-structured interviews conducted with stakeholders in Mexico’s heritage and energy sectors. The duration of each interview was approximately two hours, with 52,372 total interview words. The paper identifies prevailing opinions regarding prioritising historical values, energy efficiency, historic buildings and users concerning Mexico City’s Historical Centre, a World Heritage Site needing a more appropriate sustainable development plan. Using grounded theory and thematic analysis, the interview data were analysed based on the interrelationship between thermal comfort, energy efficiency and heritage conservation changes over time. The results of this research will strengthen our understanding of the interventions and processes involved in managing and living in this World Heritage Site and its future impacts on buildings. The approach also underscores the importance of how stakeholders prioritise different values in making energy efficiency-promoting decisions and enhances awareness of the decision-making process and actions adopted by heritage building users. Thus, understanding the dynamic interrelationship between values, users and energy could improve the sustainable management of heritage sites and future development.

In the field of the Cultural Heritage (CH), image-based 2D and 3D digital acquisition is today the most common technique used to create digital replicas of existing artifacts. This is carried out for many reasons, such as the following: research, analysis, preservation, conservation, communication, and valorization. These activities usually require complementary specialized equipment, tailored to specific purposes in order to achieve the desired results. This equipment is not easy-to-find on the market, it is not always affordable for museums operators; it is sometimes expensive, and it usually needs tricky customizations. However, the development in recent years of more generalized, versatile, and affordable instruments and technologies has led to new approaches, leveraging a new generation of low-cost, adaptable equipment. This paper presents custom-made equipment following this new path, designed to provide optimized results through calibrated tools alongside the software to make it work. The essay focuses specifically on the self-production of instruments for the digital reproduction of ancient drawings, manuscripts, paintings, and other museum artifacts and their transformative impact on digitization techniques. The outcomes of self and custom-built equipment specifically produced for the contexts described in this paper highlight their potential to foster interdisciplinary collaboration, facilitate scholarly research, enhance conservation efforts, and promote cultural exchange. The final goal is to propose inexpensive equipment that is easy to use (even by not specifically trained operators) and that provides remarkable quality.