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Depuis 2013, la revue Technè a repris une formule mise en place par Jean-Pierre Mohen et interrompue en 2007, qui consiste à consacrer un numéro sur quatre aux actualités de l’apport des sciences à la conservation du patrimoine. Le présent numéro inaugure cependant une formule nouvelle pour la revue, celle d’alimenter la rubrique « Actualités et perspectives » par un appel ouvert à contributions. Chacune des propositions reçues a été soumise à une expertise menée par les membres du comité de ...

The sophisticated colors of medieval glasses arise from their transition metal (TM) impurities and capture information about ancient glassmaking techniques. Beyond the glass chemical composition, the TM redox is also a key factor in the glass color, but its quantification without any sampling is a challenge. We report a combination of nondestructive and noninvasive quantitative analyses of the chemical composition by particle-induced X-ray emission–particle-induced γ-ray emission mappings and of the color and TM element speciation by optical absorption spectroscopy performed on a red-blue-purple striped glass from the stained glass windows of the Sainte-Chapelle in Paris, France, during its restoration. These particular glass pieces must have been produced as a single shot, which guarantees that the chemical variations reflect the recipe in use in a specific medieval workshop. The quantitative elemental mappings demonstrate that the colored glass parts are derived from the same base glass, to which TMs were deliberately added. Optical absorption spectra reveal the origin of the colors: blue from CoII, red from copper nanoparticles, and purple from MnIII. Furthermore, the derivation of the quantitative redox state of each TM in each color shows that the contents of Fe, Cu, and Mn were adjusted to ensure a reducing glass matrix in the red stripe or a metastable overoxidized glass in the purple stripe. We infer that the agility of the medieval glassmaker allowed him to master the redox kinetics in the glass by rapid shaping and cooling to obtain a snapshot of the thermodynamically unstable glass colors.

Ce bref article de synthèse traite des lignes de force du projet européen IPERION CH (2015-2019), qui fait suite aux projets LabS TECH, Eu-ARTECH et CHARISMA, ainsi que de la création d’une structure pérenne dédiée au développement de la recherche sur les sciences du patrimoine, dénommée E-RIHS. Inscrite, après sélection par le Forum ESFRI, sur la feuille de route des grandes infrastructures de recherche par la Commission européenne, celle-ci verra le jour en 2021 et élargira le champ d’investigation du patrimoine culturel et naturel aux collections d'histoire naturelle. This short paper describes the key elements of the European project IPERION CH (2015-19), which is the sequel to the Labs TECH, Eu-ARTECH and CHARISMA projects. It also outlines the creation of a long-term programme called E-RIHS (the European Research Infrastructure for Heritage Science). Listed on the ESFRI (European Strategy Forum on Research Infrastructures) Forum Roadmap, it will see the day in 2021 and will widen the field of research to natural history collections.

This short paper describes the key elements of the European project IPERION CH (2015-19), which is the sequel to the Labs TECH, Eu-ARTECH and CHARISMA projects. It also outlines the creation of a long-term programme called E-RIHS (the European Research Infrastructure for Heritage Science). Listed on the ESFRI (European Strategy Forum on Research Infrastructures) Forum Roadmap, it will see the day in 2021 and will widen the field of research to natural history collections. Ce bref article de synthèse traite des lignes de force du projet européen IPERION CH (2015-2019), qui fait suite aux projets LabS TECH, Eu-ARTECH et CHARISMA, ainsi que de la création d’une structure pérenne dédiée au développement de la recherche sur les sciences du patrimoine, dénommée E-RIHS. Inscrite, après sélection par le Forum ESFRI, sur la feuille de route des grandes infrastructures de recherche par la Commission européenne, celle-ci verra le jour en 2021 et élargira le champ d’investigation du patrimoine culturel et naturel aux collections d'histoire naturelle.

From 2009 to 2013, steered by Bruno Brunetti, a European project was developed to set up research infrastructures in the field of heritage conservation and restoration: it is called CHARISMA (Cultural Heritage Advanced Research Infrastructures). This paper draws up a short summary of its achievements, highlighting the innovations made, namely the development of mobile analytical devices and the opportunity to consult the scientific archives of the institutions participating in the project via the ARCHLAB transnational access programme. Lastly, it briefly assesses the impact made by the research undertaken. De 2009 à 2013 s’est développé, sous le pilotage de Bruno Brunetti, un projet européen d’infrastructure de recherche en conservation-restauration du patrimoine, dénommé CHARISMA. L’article en dresse une brève synthèse en insistant sur les innovations apportées, telles que la mise au point d’instruments d’analyse mobiles et la mise à disposition des archives scientifiques détenues par les institutions partenaires du réseau, via l’accès transnational ARCHLAB. Il dresse enfin un rapide bilan des principales actions de valorisation des travaux.

De 2009 à 2013 s’est développé, sous le pilotage de Bruno Brunetti, un projet européen d’infrastructure de recherche en conservation-restauration du patrimoine, dénommé CHARISMA. L’article en dresse une brève synthèse en insistant sur les innovations apportées, telles que la mise au point d’instruments d’analyse mobiles et la mise à disposition des archives scientifiques détenues par les institutions partenaires du réseau, via l’accès transnational ARCHLAB. Il dresse enfin un rapide bilan des principales actions de valorisation des travaux. From 2009 to 2013, steered by Bruno Brunetti, a European project was developed to set up research infrastructures in the field of heritage conservation and restoration: it is called CHARISMA (Cultural Heritage Advanced Research Infrastructures). This paper draws up a short summary of its achievements, highlighting the innovations made, namely the development of mobile analytical devices and the opportunity to consult the scientific archives of the institutions participating in the project via the ARCHLAB transnational access programme. Lastly, it briefly assesses the impact made by the research undertaken.

France is one of the countries involved in the future E-RIHS - European Research Infrastructure for Heritage Science. The research infrastructure dedicated to the study of materials of cultural and natural heritage will provide transnational access to state-of-the-art technologies (synchrotron, ion beams, lasers, portable methods, etc.) and scientific archives. E-RIHS addresses the experimental problems of knowledge and conservation of heritage materials (collections of art and natural museums, monuments, archaeological sites, archives, libraries, etc.). The cultural artefacts are characterized by complementary methods at multi-scales. The variety and the hybrid are specific of these artefacts and induce complex problems that are not expected in traditional Natural Science: paints, ceramics and glasses, metals, palaeontological specimens, lithic materials, graphic documents, etc. E-RIHS develops in that purpose transnational access to distributed platforms in many European countries. Five complementary accesses are in this way available: FIXLAB (access to fixed platforms for synchrotron, neutrons, ion beams, lasers, etc.), MOLAB (access to mobile examination and analytical methods to study the works in situ), ARCHLAB (access to scientific archives kept in the cultural institutions), DIGILAB (access to a digital infrastructure for the processing of quantitative data, implementing a policy on (re)use of data, choice of data formats, etc.) and finally EXPERTLAB (panels of experts for the implementation of collaborative and multidisciplinary projects for the study, the analysis and the conservation of heritage works).Thus E-RIHS is specifically involved in complex studies for the development of advanced high-resolution analytical and imaging tools. The privileged field of intervention of the infrastructure is that of the study of large corpora, collections and architectural ensembles. Based on previous I3 European program, and especially IPERION-CH program that support the creation of new mobile instrumentation, the French institutions are involved in the development of LIBS/LIF/RAMAN portable instrumentation. After a presentation of the challenge and the multiple advantages in building the European Infrastructure and of the French E-RIHS hub, the major interests of associating the three lasers based on analytical methods for a more global and precise characterization of the heritage objects taking into account their precious characters and their specific constraints. Lastly some preliminary results will be presented in order to give a first idea of the power of this analytical tool.

In this work, three pieces of historical on-site glass windows dated from the 13th to 16th century and one archeological sample (8th century) showing Mn-rich brown spots at their surface or subsurface have been characterized by optical microscopy and Scanning Electron Microscopy coupled with Energy Dispersive X-ray spectroscopy. The oxidation state of Mn as well as the Mn environment in the alteration phase have been characterized by X-ray absorption spectroscopy at the Mn K-edge. Results show that the oxidation state of Mn and therefore the nature of the alteration phase varies according to the sample considered and is correlated with the extent of the brown alteration. The larger the brown areas the more oxidized the Mn. However, by contrast with literature, the samples presenting the more extended brown areas are not similar to pyrolusite and contain Mn mainly under a (+III) oxidation state.

The methodology of protecting the European stained glass windows against environmental risk (e.g. meteorological factors, air pollution, microorganisms) by means of an external glazing is not new. In spite of many scientific studies carried out in the last 20 years, some questions were still up for discussion. The European VIDRIO (2002–2005) project gave an answer to these questions. The research carried out by the different project partners established a new multidisciplinary approach aimed at evaluating the efficiency of the protective glazing systems and their effects on stained glass windows conservation, and finally at assessing the most appropriate strategy to preserve stained glass windows. Scientific results showed that the so-called isothermal glazing (i.e. ventilation by the air coming from the inside of the building) protected efficiently the ancient stained glass window from environmental attack (i.e. rain, pollutants, condensation, thermal shocks) with very limited secondary effects. The scientific research highlighted that its efficiency was strongly related to the technical design of the protective system. In particular, the ventilation and the size of the interspace had to be carefully considered. The research developed within the VIDRIO project was turned into general recommendations to the owners and practitioners on the best practice for the stained glass windows future conservation.

Analyse der Farbfassung der Schlusssteine im Chor der Kathedrale von Chartres, von Émilie Checroun, Vincent Detalle und Isabelle Pallot-Frossard Die Analyse der Farbfassung der Putze und der Schlusssteine erbrachte nicht nur Kenntnisse über ihre Zusammensetzung, ihre Pigmente und die dabei eingesetzten Techniken, sondern auch den Nachweis, dass es sich dabei um die originale Bemalung handelt., Analyses of the polychromy on the keystones in the choir of Chartres Cathedral, by Émilie Checroun, Vincent Detalle, Isabelle Pallot-Frossard The analysis of the polychromy of the revetments and the keystones permitted the identification of the components, pigments, and techniques used, and confirmed that this was the original decoration., L’analyse de la polychromie des enduits et des clefs de voûte permet non seulement de connaître les composants, les pigments et les techniques mises en oeuvre, mais aussi d’affirmer que ce décor est bien celui d’origine., Checroun Émilie, Detalle Vincent, Pallot-Frossard Isabelle. Analyses de la polychromie des clefs de voûte du choeur de la cathédrale de Chartres. In: Bulletin Monumental, tome 169, n°1, année 2011. La cathédrale de Chartres. Restaurations récentes et nouvelles recherches. pp. 27-28.

Conservation as a source of knowledge, knowledge as a resource for conservation ? About fifteen years ago, an issue of the present journal dedicated to the theme “From conservation to art history” opened with important articles by Paul Philippot and Ségolène Bergeon. While the first discussed Cesare Brandi and the different moments in the life of a work of art, from its creation to its conservation, the second questioned recent evolutions in the concept of conservation-restoration. This article would like to offer a new' analysis of the relationship, as it exists in 2011, between the natural sciences, conservation and the history of works of art. It discusses not only the contribution of science to our understanding of a work of art and to its proper conservation, but also that of art to the natural sciences - both the notable advances this has allowed and the limits and disappointments it has sometimes generated. The article then evokes the symbiotic relationship that can exist between conservation-restoration and research in art history, a reciprocal exchange between conservator and historian who both work towards the preservation of cultural heritage. This paper also reminds us that this sharing of skills has often been unsatisfactory in the past. Indeed, there have been a number of cases of abusive conservation practices since the 19th century, often based on an excess of confidence in scientific knowledge or a lack of respect for the materiality of the work. Lastly, this article examines the emergence of conservation-restoration as a recognized field at the university level in a large number of European countries., Il y a une quinzaine d’années, paraissait un numéro de la présente revue intitulé « De la restauration à l’histoire de l’art » qui s’ouvrait sur deux articles de fond de Paul Philippot et de Ségolène Bergeon, l’un commentant Brandi et les différents temps de l’œuvre d’art, de la création à la restauration, l’autre s’interrogeant sur les mutations récentes de la conservation-restauration. Aujourd’hui, ce nouvel article se propose de faire le point sur les relations qui s’établissent en 2011 entre sciences exactes, conservation-restauration et histoire des œuvres. Il aborde en premier lieu le double apport des sciences exactes à la connaissance de l’œuvre d’art et à sa bonne conservation, et de l’œuvre d’art à la science elle-même, les notables avancées qu’il a permises, mais aussi ses limites et les illusions qu’il a parfois suscitées. Il évoque ensuite la relation réciproque entre les opérations de conservation et de restauration et la recherche en histoire de l’art, l’enrichissement mutuel du restaurateur et de l’historien au service de la conservation du patrimoine. Il rappelle également que cette mise en commun des compétences ne s’est pas toujours faite de façon idéale, et que les dérives ont été nombreuses depuis le XIXe siècle, souvent fondées sur un abus de confiance dans les connaissances acquises ou un manque de respect pour la matérialité de l'œuvre. Enfin, cet article fait le point sur l’émergence dans de nombreux pays d’Europe d’une véritable discipline de la conservation-restauration au niveau universitaire., Pallot-Frossard Isabelle. La restauration, source de connaissance, la connaissance, source de restauration ?. In: Histoire de l'art, N°68, 2011. Les enjeux de la restauration. pp. 7-16.