It is generally known as the wooden musical instruments are covered by varnish protective layers made by different organic compounds. Historically, the varnishes had the aim to protect the instrument by the external agents and to confer an aesthetic value to the object. During the 17th and 18th century, in Italy, all the violins were generally covered by a layer of varnish, made by a varnish based on linseed oil and colophony in the ratio 4:1 [1]. The main aim of this work was to study the modifications that occurred in ancient violin varnishes, after the exposure to some factors of degradation, as to be played by the violinist and the conditions in the context. In order to study the different properties of organic coating and their suitable compositions as a good varnish, a natural varnish which is a mixture of linseed oil and colophony used on the violins during the XVII century was recreated in the laboratory following an ancient recipe [2]. Here, for instance, linseed oil and colophony mixed together with different ratios (50/50 and 75/25, respectively) and then, they were applied on Maple wood samples and on glass slides for experimental purposes. Here, Maple wood was used, because it’s the same wood used for the back of the violin. In a common sense, it’s known as the playing routine of the musical instrument can perform different changes on the varnishes due to the contact with the player and the context, with a strong degradation of the organic layers and a consequent widespread worn-out of the varnish. Considering this effect, in order to investigate the properties of prepared varnish due to ageing, samples (treated wood and films on glasses) were exposed to different ageing cycles (humidity (RH%) /temperature (T), pH variations, and exposition to UV light). The performances of varnishes were evaluated handling color, contact angle, micro-FTIR, optical microscope, SEM-EDS, TGA and hardness analyses. Out of strong experimental evaluation, all the results suggested that the composition of 75/25 (oil: colophony) is much better as a varnish for musical instruments. [1] B. Brandmair, S.-P. Greiner. Stradivari Varnish. [2] Manuscript It. III 10, f. 193v of Biblioteca Marciana di Venezia, title with "Segreti di arti diverse".
EXPERIMENTAL CHARACTERIZATION OF OIL-COLOPHONY VARNISHES: PROTECTION OF MUSICAL INSTRUMENTS
Claudio Canevari;Maurizio Licchelli;Marco Malagodi;Maduka L. Weththimuni;Alberto Zeffiro
2016-01-01
Abstract
It is generally known as the wooden musical instruments are covered by varnish protective layers made by different organic compounds. Historically, the varnishes had the aim to protect the instrument by the external agents and to confer an aesthetic value to the object. During the 17th and 18th century, in Italy, all the violins were generally covered by a layer of varnish, made by a varnish based on linseed oil and colophony in the ratio 4:1 [1]. The main aim of this work was to study the modifications that occurred in ancient violin varnishes, after the exposure to some factors of degradation, as to be played by the violinist and the conditions in the context. In order to study the different properties of organic coating and their suitable compositions as a good varnish, a natural varnish which is a mixture of linseed oil and colophony used on the violins during the XVII century was recreated in the laboratory following an ancient recipe [2]. Here, for instance, linseed oil and colophony mixed together with different ratios (50/50 and 75/25, respectively) and then, they were applied on Maple wood samples and on glass slides for experimental purposes. Here, Maple wood was used, because it’s the same wood used for the back of the violin. In a common sense, it’s known as the playing routine of the musical instrument can perform different changes on the varnishes due to the contact with the player and the context, with a strong degradation of the organic layers and a consequent widespread worn-out of the varnish. Considering this effect, in order to investigate the properties of prepared varnish due to ageing, samples (treated wood and films on glasses) were exposed to different ageing cycles (humidity (RH%) /temperature (T), pH variations, and exposition to UV light). The performances of varnishes were evaluated handling color, contact angle, micro-FTIR, optical microscope, SEM-EDS, TGA and hardness analyses. Out of strong experimental evaluation, all the results suggested that the composition of 75/25 (oil: colophony) is much better as a varnish for musical instruments. [1] B. Brandmair, S.-P. Greiner. Stradivari Varnish. [2] Manuscript It. III 10, f. 193v of Biblioteca Marciana di Venezia, title with "Segreti di arti diverse".I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
