Leseprobe

53 Davidowitz To do this in a systematic and standardized way, a ‘universal’ silver coupon was designed for experimentation, also allowing for future comparison of datasets. It was important to examine a historically representative surface, with a composition and surface morphology similar to the objects being studied. A generic “pre-1800” historical alloy was chosen, cast into coupons, and subsequently worked according to a set protocol to achieve representative metallographic structures and surface finishes (figs. 4– 6). 2 A flexible quad- rant design featuring a polished, engraved, matted, and embossed surface was chosen in order to determine in how far these electrochemical techniques could analyse surfaces with irregularities in height, texture, and chemical composition. While these experiments are still underway, this has already proven to be a complex area of research. 3 The study of these surfaces will undoubtedly help scholars and conser- vators to gain insight into the production of life-casts, what their intended appearance was, and develop appropriate approaches towards their preservation. 1  Tamar Davidowitz, Tonny Beentjes, Joosje van Bennekom, Identifying 16th-century Paints on Silver using a Contemporary Manuscript, in: Sigrid Eyb-Green (Ed.), The Artist’s Process. Technology and Interpretation, London 2012, pp. 72 –78.  2  Composition: 92.4 % Ag, 7 % Cu, 0.4 % Pb, 0.1 % Au, 0.05 % Bi, 0.05 % Zn.  3  Prelim- inary results have been presented as a lecture and poster within the Netherlands Institute for Conservation, Art and Science (NICAS), and can be shared upon request.