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Kegiatan tersebut diikuti sekitar peserta yang terdiri dari anggota forum anak kota dan kelurahan serta pendamping. Kegiatan ini dilakukan untuk mengimplementasikan peran dari forum anak kelurahan dengan baik dalam upaya pemenuhan hak-hak anak. Dalam kesempatan ini, diberikan kepada Forum Anak di 10 kelurahan. Ke depan program ini diharapkan dapat dilakukan replika ke seluruh kelurahan wilayah Kota Kediri.

Selain itu, lanjut dia, mereka dapat melaporkan pelanggaran hak yang terjadi terhadap teman sebayanya melalui di kelurahan atau via daring yang telah disediakan. Edi Subkhan. WhatsApp Image at Like Dislike. Posting Terkait. In Marco Aurelio: Storia di un monumento e del suo restauro, 75— Treviso: Canova. Corrosion Science 27 7 [special issue]— Rome: ICR. Materiali e Strutture 1 2 — In Preprints: Conferenza nazionale Prove non Distruttive, 1— Brescia: AIPnD.

ODDY, W. Perocco, ed. Milan and New York: Olivetti. Gallia XXIV 1 — Gallia XXV 1 — Gallia XXVI 2 — Essen: Verlag Gluckauf. London: Heinemann. Boston: Museum of Fine Arts. In Marco Aurelio: storia di un monumento e del suo restauro, 83— Marabelli is the author of more than ninety papers in the fields of nondestructive technology, conservation of metals and mural paintings, and air- pollution control.

It was never buried or excavated; rather, it has gone through a series of relocations in the open environment. The pedestal on which it rests has often been altered; in fact, it has been completely replaced several times throughout history. Some of these changes have been recorded, from multiple restorations in the twelfth century to the most recent restoration efforts in , during which some 2, repairs were counted Apolloni The monument was last moved during World War II.

The monument Past restorations focused on the importance of the visual presence and appear- of Marcus Aurelius prior ance of the two bronzes the horse and the rider. To maintain the association of the to Efforts also focused on those threats that caused immediate concern for the survival of the monument. Little attention was paid to the materials of the bronze, the previous repairs, and the interaction of the monument with the environ- ment.

Other interventions more specific to the surface of the castings can still be recog- nized today. These include several regildings that took place up to the fifteenth cen- tury and the more recent applications of protective coatings with resinous films, which have certainly not helped the preservation of the bronze. The entire monument is particularly predisposed to corrosion because of its extensively heterogeneous nature. This heterogeneity is due in large part to past structural and surface repairs, such as regilding, and the high lead content of the bronze alloy used for the original castings.

The result has been a reduction in the thickness of the casting, with chemical attacks on the patina, causing a partial removal of the gilt layer. The monument also has many cracks and thin faults passing through the metal.

These are particularly severe in the horse, which, as the bearing structure, undergoes load strain. The extent of this damage, much more of which was revealed during the recent restoration, was partially hidden by a deposit of airborne particulate that, cemented with the alloy-alteration products, had grown 5—6 cm thick in the recesses less exposed to rain leaching Fig. Such concretions considerably altered the outline of the sculpture.

In those areas with the most exposure to rain and the greatest loss of gilding, powdery patinas or the typical geodetic lines of the rain-washed patterns anodic areas have formed. The corrosion is clearly more extensive in these areas. Trappings of the horse, detail showing par- ticulate deposits.

The expe- diency of placing the monument in a controlled environment rather than depending on coatings or treatments—which might or might not inhibit corrosion and would surely require frequent maintenance—was also considered. The restoration of a monument requires a detailed knowledge of its structure and the chemical and physical deterioration mechanisms it has undergone or is likely to undergo given its environment and the various stresses to which it is exposed.

Restoration also requires a full identification and characterization of the materials originally used to manufacture the monument and any alteration com- pounds produced since its manufacture. Considering this, the Marcus Aurelius can be seen as a unicum, or one-of-a-kind object. It may seem logical to compare it to the horses of St. Like the Marcus Aurelius, St. However, there are some important and striking differences between the two monuments. The St.

Ultimately then, the St. The team of experts that studied the Marcus Aurelius monument for two years was aware of the seriousness of the damage but based its research on the premise that the monument would remain in the Piazza del Campidoglio to which it is his- torically linked.

Surveys were carried out to determine fusion, repair, and gilding techniques, following current practices. The studies pinpointed the causes and mechanisms of degradation.

Climatic conditions around the monument and their effects were also studied. Calculations were made for the preparation of an internal consolidation structure which, as far as possible, would support the rider and relieve the load on the horse. Specifically, new methods of evaluation were often applied to deter- mine the suitability of coatings when applied to a bronze in a specific state of preser- vation and the ultimate effectiveness of these coatings in the open air Marabelli and Napolitano There the first research workshop-laboratory was established that was solely dedicated to restoring the monument.

Tests to identify the alloy-alteration products were required, involving some sixty samples taken from the external and internal surfaces of the sculpture. These samples were chosen according to specific character- istics such as color—dark green, light green, gray, whitish, yellowish, light blue, black, earthy—as well as their physical characteristics, such as smooth and compact or powdery and voluminous.

Brochantite was by far the most common mineral identified for the light- and dark-green samples. Anglesite was predominant for the gray samples. In some sam- ples atacamite predominated, while in others cassiterite was present. In the blue samples, taken mainly from the areas where rainwater gathered, chalcanthite was clearly present.

Gypsum and feldspar composed most of the particulate deposits. The extremely widespread black alterations—probably formed of amorphous sulfides, carbon particles, and oxidized organic material—did not provide clear diffraction patterns, and their identification is inferred. Finally, the presence of gypsum and copper oxalate was found in many samples of the yellowish corrosion products, while in the internal walls of the castings, at points where there was the greatest accumulation of particulate on the outer areas, cupric chloride in a typical pitting formation was found.

These tests revealed the extensive surface sulfation caused by urban pollution, and the obvious accumulation of airborne particulate that retained humidity in some areas, encouraging cyclic cor- rosion involving cupric chloride.

Using a method already tested on the St. These twelve areas were used to evaluate the efficacy and suitability of washing with demineralized water.

The purpose of the washing was to extract the harmful soluble salts contained in the corrosion patinas, as well as to remove any residue from chemical cleaning agents. The use of demineralized water avoided any damage to the gilding and the more sta- ble corrosion patinas. Three sample areas demineralized water and applying brushes for five minutes. The extraction of total chosen for the cleaning tests. Up to 18 1, ml total fractions of deionized water were needed for the internal surface.

Some assumptions can be made from these tests: Any minute detachment of patina particles that occurred due to the mechanical action of the brush could be considered acceptable, and no gold particles were noted in the solutions collected.

In addition, the proportion of soluble salts removed from the external surface was lower than that found inside the monument, where the salts had accumulated—obviously because the interior was less exposed to rainwater—and also where, given the greater surface adherence, it was possible to carry out longer treatments under safer condi- tions.

Finally, the black alterations were found to be the least soluble and less likely to be removed. The water collected was then used to identify the ions released, with particular reference to sulfate, chloride, copper, and lead ions Marco Aurelio, mostra di cantiere — The pur- pose was to compare seven reagents for their efficacy in removing the deposits and alterations that concealed the gilding.

The reagents were chosen for their relative inability to react with the underlying bronze alloy and gold gilding layer. Each type of alteration was represented by several samples taken from the statues of both the horse and the rider, providing a series of similar samples for the experiment. The reagents used for the cleaning tests were as follows: 1. Rochelle salt in saturated solution 5.

For the resin tests, 7. The gels were applied for fifteen minutes each and repeated three times on each area, so the action of the reagent could be checked each time the gel was removed. The applications were followed by washing with demineralized water and soft brushing as previously described. The results of the treatments and subsequent washing are summarized in Tables 1 and 2. Type of Sample Amm. Series Alteration No. Series No. On visual inspection for series Nos. An area of the appeared quite satisfactory Figs.

The test included all the effectiveness of the reagent above-mentioned alteration products and was used to assess both the possibility of compared to the untreated repeating the various treatments and prolonging the washing, as well as the efficacy region outside it. A cleaning methodology was worked out on the basis of the different requirements of the surfaces of the two bronzes. Using the reagents found to be suitable water, EDTA, ammonium tartrate, RH it was pos- sible to treat the whole surface except for the areas with thick and tenacious ac- cumulations of particulate.

The various reagents were applied after the surfaces were freed of encrustation. The treatment procedures, conducted with extreme caution, enabled all the existing gilding to be saved, and also revealed subtle and previously hidden aspects of the sculptural form, which in many cases had been concealed by thick encrusta- FIGURE 5.

Detail of the rider, tion. Inside the castings, various details of the fusion or assembly techniques were left side, showing folds of the revealed. This provided new information regarding the fabrication techniques and tunic before cleaning, below repair methods used both in ancient times and at the times of the various restora- left.

Obviously, the restoration of such a degraded and mistreated monument involved other, less exacting operations, such as a more thorough elec- FIGURE 6. Same area as in trochemical cleaning of the internal areas with pitting,5 or retouching the patina of Figure 5, after cleaning, the Renaissance repairs which, being of a different and better-preserved alloy, were below right.

The surface of the monument remains porous and cracked, and the gold is not stable. The micro- and large fis- sures, previously concealed by encrustation, now allow rainwater to enter and spread to a greater extent and absorb water rain and condensation.

Closing them with repairs would once again require a brutal grafting on already fragile and nonhomoge- neous castings. As an alternative, synthetic materials might be applied. Such materi- als would have to be proven suitable for the project, stable with regard to the main chemicophysical points of view, and resistant outdoors. These substances, if used as sealants, would result in a virtual plastification of the monument, which is contrary to any conservation principle.

For these reasons, fractures, holes, and gaps have not been repaired. For the most part, the surfaces have been freed of polluting salts by cleaning and washing, and are thus in a more balanced and stable state. But despite the treatments, cupric chloride is still present inside the crystalline structure of the alloy, and a corro- sion-inhibition treatment would probably be more harmful than not because of the volumetric and chemicophysical modifications to the patinas, with negative conse- quences on the gilding.

In any case, if the bronze were to be exposed in the open again, such a stabilization treatment could only be effective for a brief period. The possibility still exists of finding a coating that, by remaining unaltered for a reasonable time, would postpone maintenance for as long as possible, even if this alone would not be enough to defend the monument from rain infiltration and the consequences of mechanical and thermal stress.

But such maintenance of the Marcus Aurelius would also mean the replacement of the coating, and removing the coating would damage the corrosion patina permeated by the resin. In addition, for correct maintenance, it would be necessary to separate the two bronzes, but the maintenance would then be extremely difficult.

Microscopic view of In addition to these concerns, one must keep in mind that it was precisely the the first older oxidized damage caused by the old coatings that prompted the team restoring the Marcus coating, which is partially Aurelius to reflect on whether it was advisable to continue to use these substances.

Traces of two different materials remain: the older coating, perhaps dating back to the early years of this century, was recognized in samples of hardened and oxidized material under the microscope Fig. Because the material was fractured and par- tially detached, it had formed blackish stains cathodic areas , which were higher than the surrounding anodic areas, marked by powdery alterations.

It was only pos- sible to remove the remains of this by-product with careful, lengthy, and mechanical action, since solvents had no effect on it. Mechanical means were also used to remove this patina, since solvents only restored a little elasticity. At the most, a gentle consolida- tion of the corrosion patinas was necessary to prevent their continuous crumbling.

Area of the monu- reached not to repair the lesions of the castings as well as not to protect the surface. But there are various fundamental aims in more recent coatings with the conservation of a work of art, such as respect for the historical value and the sections of the latter peeling elimination or partial inhibition of the causes of degradation.

A careful evaluation of away from the older corro- the risk factors is always necessary. For the Marcus Aurelius monument, the causes of decay have only been partially removed Fig. Continuing to work against the preservation of the monument is the environment of the Piazza del Campidoglio, which has not been improved and could rapidly reactivate the alteration processes if the equestrian statue were to be returned to the same location.

The conservation of this monument mainly entails preventing, insofar as possible, any further work on or handling of the castings. Thus, the solution of conserving it in an air-conditioned environment, protected from dust, rainwater leaching, mechanical and thermal stress, as well as the avoid- ance of any introduction of a new support system between the rider and the horse, should not be considered a hasty measure but the most important conservation action carried out on the monument.

Even ignoring the mechanical causes of the deterioration, the extent of water- vapor absorption inside the surface and the speed with which the patina would con- tinue to be corroded and leached if the monument were to be placed outside once again Marabelli et al.

The monument of Marcus Aurelius after restoration. This causes one to contemplate the remarkable survival of this monument thus far and the loss for future generations if it were to be erected again FIGURE Detail of the in the open air and this link to the past were thereby destroyed. For the study of the structure of the monument, see Accardo, Amodio et al. For corrosion, see Marabelli et al. The restoration was begun in and took 18 months to complete.

Demineralized water was used with conductivity values of 1. The conductivity values fell within the —4. Retouching was done with watercolors. Alcohol, acetone, toluene, benzene, and xylene were used for this purpose. Rome: Accademia di San Luca. Venice: Procuratoria di San Marco. Ghiberti: Tests and proposals for cleaning. Materiali e strutture 1 2 — She received her degrees at the Arts Academy of Rome and at the ICR School of Restoration, where she has taught metal-restoration techniques since She has worked for the ICR since , specializing in metal preservation and the restoration of important monuments.

Apart from dating tech- niques, botanical, zoological, and sedimentological studies have contributed to a better understanding of the cultural and ecological development of ancient popula- tions. As far as metal artifacts are concerned, research has been centered mainly on the examination of metal alloys and the history of technologies. Considering all these investigations, it is surprising that little attention has been paid thus far to the composition and structure of corrosion layers on metals as an opportunity for archaeometric research.

The aim of this contribution is to show that there is a close link between the composition of patinas and the environments in which they are formed. If one understands the relationship and interaction between soil types and the formation and stability fields of corrosion products on metals, one may be able to tell under what sort of environmental conditions these materials have grown.

This information should provide investigators with the possibility of writing the biography of ancient metal artifacts. Few studies have been published on the effect of the soil type on the composition of patinas Geilmann ; Tylecote ; Robbiola et al. Benkert and Egger During the recent excavation, more than 5, bronze objects needles, pins, bracelets, etc. The archaeologist in charge of the metal artifacts, Annemarie Rychner-Faraggi, was struck by their differ- ent appearances.

She distinguishes two main groups of patina on bronze objects: 1. Land patina—a thick, green-blue patina containing quartz grains A few objects contained both patina types. The great number of bronzes with land patina is very unusual for a lake settle- ment.

Therefore, the question was raised as to whether this settlement was originally on dry land or on damp or wet ground. In approximately B. From that time until their recent excavation, all the objects had remained underwater. In collaboration with Rychner-Faraggi, five questions were formulated: 1. Are the different patinas due to different bronze-alloy compositions?

What is the composition and stratigraphy of each—the green-blue land and the brown-yellow lake—patina? Under what sorts of environmental conditions on dry land, in wet soil, in the water were the patinas formed?

Are they primary corrosion products or were they formed later by chemi- cal reactions with the soil? Is it possible to retrace the history or the corrosion biography of an indi- vidual bronze object after its use? Later, four more bronzes were added Table 1. The second series contained objects that were used for metallo- graphic examinations and for the investigation of corrosion mechanisms.

Its pH is 7. Layer 2: Lake sediment of sand and clay. Layer 3: Layer containing different strata of organic material due to human activ- ities. Its pH varies between 7.

Archaeological of several bronze objects. Layer 5: Layer rich in organic remains. This stratum is related to human activi- ties during the Bronze Age and is on top of a neolithic lake sediment. Table 1 indicates that the bronze objects examined are from layers 1 and 3. A tungsten drill was used to sample between 30 and 50 mg of bronze from the uncorroded metal core. After observation, the samples were etched with alcoholic FeCl3 solution. For composition analysis of the corrosion product by X-ray diffraction, some grains were removed with a steel blade, mounted on a glass needle, and exposed in a Gandolfi camera Some samples were also examined4 with the Debye-Scherrer camera using Fe radiation for 8 hours.

Quantitative analysis on polished cross sections of the corrosion layers of the lake patina were undertaken with an electron microprobe. The results of the ICP spectrometry are listed in Table 2. The bronzes are classical, copper-tin alloys with minor constituents that were cer- tainly not added intentionally.

There is no systematic difference between bronzes with a lake patina and and those with a land patina and The four objects analyzed showed a similar microstructure: a network of fairly regular twinned grains. Close to the surface, some grains contain slip lines. There was probably a series of working and annealing regimes after the casting process. In a final phase, they were again slightly cold-worked.

H2O—on archaeologi- cal bronzes has been reported. Posnjakite is a light-blue mineral closely related to antlerite and brochantite. It was described first by Komkov and Nefedov Geologically, it is associated with auricalcite and other secondary minerals near oxi- dized chalcopyrite. The X-ray diffraction pattern is presented in Table 3.

The identification of the corrosion products of the lake patina proved to be more difficult than expected. The difficulty of interpreting X-ray diffraction patterns of complex copper sul- fides is well illustrated in Table 4, in which the specimen is listed together with ref- erence minerals and American Society for Testing and Materials ASTM patterns.

It was only by quantitative analysis of the chemical composition of the corrosion layer as will be discussed herein that the presence of chalcopyrite could be ascertained. The difficulties of interpreting X-ray diffraction patterns of archaeological corrosion products are fully discussed by Fabrizi and Scott TABLE 2. H2O found on a 7. A small section of needle was examined by different techniques to get a better understanding of the formation mechanism of the chalcopyrite lake patina.

The copper-tin alloy was attacked locally, resulting in a fingerlike structure. The layer is separated into three zones. The first zone, close to the metal, shows evidence of pseudomorphic replacement of metal grains by corrosion products Fig. The second zone, clearly visible in dark-field illumina- tion Fig. The third layer is quite porous. The number and size of the pores increase toward the surface.

The corrosion proceeds into the metal through the grains like a root. To gain a better understanding of the formation of the corrosion layer, the ele- ment and its distribution were analyzed. Makovisky and Skinner, Am. Deferne, b Same sample as noted above X-rayed by S. XRD: Gandolfi camera Fe radiation, 8 hours. G p. Fe radiation unfiltered, 30 kV, 14 mA, 17 hours.

X-rayed by S. Graeser, National History Museum, Basel. Sample from Merkur Fe radiation, 8 hours. Mines, Germany. Cross sec- tion of a chalcopyrite lake patina on a bronze needle, showing a above left, unetched, bright field with layered structure on top of the metal; b above right, unetched, dark field with different zones in the corro- sion layer; and c right, region etched with alcoholic FeCl3.

Note grainlike area of the corrosion layer on top of the corrosion pit and its rootlike bottom in the latter image. Lab MAH The bronze alloy corrodes by selectively eliminating copper, which is rede- posited as chalcopyrite on the surface Fig. There is an enrichment in the tin content due to the preferential corrosion of copper in the alloy Fig. The corro- sion layer does not contain any tin.

Sulfur and iron are distributed in exactly the same manner Fig. They have diffused slightly into the corroded areas of the bronze and are evenly distributed in the corrosion layer. An element scan shows that the corrosion layer contains only copper, iron, and sulfur. No other elements can be detected. To analyze the chemical composition of the lake patina, a small sample of bronze needle was studied with the electron microprobe.

X-ray map- ping of the same cross sec- tion as in Figure 1 showing a secondary electron image, b Cu X-ray image, c Sn X-ray image, and d Fe X-ray image. The S X-ray image is identical to the Fe X-ray image. The first column gives the composition of the bronze. Some differences in the analyses by atomic-emission spectrometry are probably due to inhomogeneities in the alloy Table 2.

At the interface bronze-corrosion layer, the tin content increases and traces of sulfur are present. The iron values are still very low. Optically, two layers may be distinguished in the corrosion crust. Also, all major Inpage is an application software which is used to write Urdu language, it was introduced in for the first time and still it is Lumion Pro 6.

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By platinnum our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. 20166 browse Academia. In planning the conference, the organizers sought to bring together conservators, conservation nero 2016 platinum v17.0.02 free download, curators, nero 2016 platinum v17.0.02 free download museum staff with an interest in the technology, history, structure, and corrosion of ancient and historic metalwork.

They invited papers on subjects that not only spanned different time periods, but also reflected a wide range of больше информации matter. Жмите the diversity of articles in this volume clearly shows, their efforts were amply rewarded. The objects studied range from Nigerian to Chinese bronzes, Zimbabwean to British gold, from the fittings of ships wrecked on the pkatinum of Australia to pots buried for centuries beneath inland lakes, and from architectural iron to historical monuments.

Maxime Callewaert. Historical studies and scientific investigations of colouration techniques on copper alloy artefacts are reviewed in this paper and are exploited in order to create an analytical model of these techniques. Elementary nero 2016 platinum v17.0.02 free download allow neto identification of the artefact colour due to the alloy by determining its com- position. Plating gilding, silvering, tinning, etc. Both elementary and structural analyses must be envisaged in order to study the colourations by chemical surface treatment intentional patina.

Eleni Drakaki. Maria Filomena Guerra. Ancient Egyptian Dowmload and Technology, eds P. Nicholson and I. Jack Poatinum. Neal Spencer.

Quanyu Wang. Sascha PrieweQuanyu Wang. Andrew Lins. Roxana Bostan. Vanessa Muros. Daniel Berger. BersaniS. PederzoliErica Iacob. Log in with Facebook Log in with Google. Dosnload me on this computer.

Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Download Free PDF. Anis Zamir. Related Papers. B Following the rhythm: from mind to hand. Gold Studies. Examples of analyticl studies of jewellery. Shaw Metals ancient Egyptian. Ambers, D. Hook, F. Shearman, S. LaNeice, R. Stacey and C. British Museum Technical Bulletin 2 : 1— Wang Q. Wang, Q. Matisse to Picasso: a compositional study of modern bronze nero 2016 platinum v17.0.02 free download.

Considine, editors. Includes bibliographical references. ISBN pbk. Art metal-work—Conservation and restoration—Congresses. Scott, David A. Podany, Jerry. Considine, Brian B.

Paul Getty Museum. Getty Conservation Institute. Title: Ancient and historic metals. Any omissions will be corrected in future editions if the publisher is contacted in writing. Courtesy of the Australian Bicentennial Authority. Photography: Pat Baker. Photography: J. Plarinum Figure 5: Courtesy of the Arthur M. Bonadies Tomography of Ancient Bronzes. Photography: Steve Beasley. Chapman Nero 2016 platinum v17.0.02 free download of Mercury Gilding.

Photography: E. Estate of Oliver J. Todd, no. Figure 7: Courtesy of John L. Brown Photo. Figures 1—3: Courtesy Museum of London. Photography: nsro author. Photography: A. Matero Conservation of Architectural Metalwork. Nero 2016 platinum v17.0.02 free download 2, 10, Photography A. MacLeod Conservation of Corroded Metals. Figures 1—3: Courtesy of the Nero 2016 platinum v17.0.02 free download Bicentennial Authority. Marabelli The Monument of Marcus Aurelius.

Figure platinim Courtesy of Accardo, Amodio, et al. Ogden The Technology of Medieval Jewelry. Photography: N. Whitfield and K. East; Figure 6: Courtesy of W. Photography: the author; Figures 18, Courtesy Fitzwilliam Museum. Schrenk The Royal Art of Benin. Neero 1, 2: Gift of Joseph H. Hirshhorn to the Smithsonian Institution in Photography: the author; Figure 5: Purchased with funds provided by the Smithsonian Institution Collections Acquisition Program in Photography: the author; Figure 7: Gift of Joseph H.

Photography: the author; Figure 9: Gift of Joseph H. Paul Getty Trust, was created in to address the conservation needs of our cultural nfro. The Institute conducts worldwide, interdisciplinary, professional programs in scientific research, training, and documentation.

This is accomplished through a combination of in-house lpatinum and collabora- tive ventures with other organizations in the United States and abroad. Special activities such as field projects, international conferences, and publications strengthen the role of the Institute.

Paul Getty Museum in November The conference was produced through the collaborative efforts of the Getty Museum and downlpad Getty Conservation Institute with special funding pro- vided by Harold Williams, chief executive officer of the Trust.

The broad range of time periods, geography, and technologies discussed here reflects an important shared goal of the Getty Museum and the Getty Conservation Institute: to encourage the dissemination of knowledge that supports and furthers the conservation of cul- tural heritage throughout the world.

In planning the conference, the organizers sought downlozd bring together conserva- tors, conservation нажмите для деталей, curators, and museum staff with an interest in the tech- nology, history, structure, and corrosion of ancient and historic metalwork.

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