ANALYSIS OF GYPSUM-CONTAINING LIME MORTARS: POSSIBLE ERRORS DUE TO THE USE OF DIFFERENT DRYING CONDITIONS
A. ELENA CHAROLA, & SILVIA A. CENTENO
Flowchart of the three main experimental protocols used. Symbols (* or **) indicate subsequent treatment listed below.
The authors would like to thank Michel Dupas, recently retired from the Institut Royal du Patrimoine Artistique–Koninklijk Instituut voor her Kunstpatrimonium (IRPA-KIK), Brussels, for his thorough revision of the paper and his valuable comments. Also to be thanked for valuable comments and suggestions to improve the text are Dr. Margaret Thomson, Chemical Lime, Boulder City, Nev.; Dr. Eddy DeWitte, IRPA-KIK, Brussels, Belgium; and Dr. Michael Steiger, Universität Hamburg, Germany.
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A. ELENA CHAROLA obtained her degree in chemistry from the Universidad Nacional de La Plata in her native Argentina. She completed her postdoctoral work at New York University and stayed in the United States, becoming a citizen 20 years ago. She served as associate chemist in the Department of Objects Conservation at the Metropolitan Museum of Art in New York; scientific advisor at the International Center for the Study of the Preservation and Restoration of Cultural Property (ICCROM) in Rome; and consultant to the Easter Island Program for World Monuments Fund (WMF). Since her return to the United States some 10 years ago, she has continued as technical consultant to WMF, including working on projects in other countries (Torre de Belem and Mosteiro dos Jerónimos in Lisbon, and Nemrut Dag in Turkey) while being an independent consultant in conservation. She has been lecturer in advanced architectural conservation in the graduate program in historic preservation, University of Pennsylvania, and national chair of the Brick Masonry Specialty Committee of US/ICOMOS since 1996. Address: 3618 Hamilton St., Philadelphia, Pa. 19104
SILVIA A. CENTENO received her Ph.D. in chemistry from the Universidad Nacional de La Plata in Argentina in 1994. In 1995 she was awarded an L.W. Frohlich Fellowship in Conservation at the Sherman Fairchild Center for Objects Conservation, Metropolitan Museum of Art in New York, to work on the investigation of pre-Columbian metalwork from Peru. From 1997 to 2001 she continued to be involved in various research projects in conservation at the MMA. In 2001 she was appointed associate scientist at the Sherman Fairchild Center for Works on Paper and Photograph Conservation and at the Sherman Fairchild Paintings Conservation Center (MMA). Her principal interests include the technical examination of works on paper and paintings by nondestructive techniques. Address: Sherman Fairchild Paintings Conservation Center, The Metropolitan Museum of Art, 1000 Fifth Ave., New York, N.Y. 10028-0198