INTERNATIONAL JOURNAL

OF

CONSERVATION SCIENCE
ISSN: 2067-533X Volume 13, Issue 4, October-December 2022: 1187-1208 www.ijcs.ro

MODERN ASPECTS REGARDING THE CONSERVATION OF

CULTURAL HERITAGE ARTIFACTS

Ion SANDU1,2,3,*
1
Academy of Romanian Scientists AOSR, 54 Splaiul Independentei St., Sect 5, Bucharest 050094, Romania;
2
National Institute for Research and Development in Environmental Protection, 294 Splaiul Independentei,
Sector 6, Bucharest 060031, Romania
3
Romanian Inventors Forum, Sf. Petru Movila St., L11, 3-3, Iasi 700089, Romania

Abstract

Based on the over 30-year experience of the team that laid the foundations and developed the
first academic specialization in the Science of Cultural Heritage Conservation in Romania, a
series of modern aspects regarding the role of exact sciences and engineering were
highlighted. These are represented by eight lucrative subdomains with their liberating
professions, harmonizing the nomenclature in the field, substantiating the conservation levels
with their priorities and the two groups of heritage elements and functions, the development
of new archeometric and chemometric dating methods, new preservation-restoration
materials and technologies and the development of criteria with quantification grids used in
the evaluation of the stock market share or catalog. Related to these aspects, the reaserch
briefly presents in a systemic form the results of the collective of the ARHEOINVEST Center
of the Institute of Interdisciplinary Research of ”Alexandru Ioan Cuza” University of Iași,
obtained in the activity of scientific and technological research, with a degree of innovation.

Keyword: Cultural and historical assets; conservation status; archaeometric and chemometric
characteristics; authentication attributes; preservation; restoration; valorization

Introduction

Currently there is more and more talk about Conservation Science, as a very attractive
interdisciplinary field of Environmental Science and Engineering, which was developed from
practical needs regarding the unaltered preservation of cultural heritage, natural assets and
biodiversity [1-6].
The cultural heritage that we must know, appreciate and take care of is called Historical
Heritage, which together with those of nature and biodiversity represents the identity card of a
nation. It is known that the heritage represents the totality of the goods that the ancestors kept
and left as a legacy to the descendants, sometimes to remember them and their life, other times
by accident or chance. These goods represent accumulations of knowledge and experiences that
have become launching platforms for new experiments that, in turn, lead to an increase in the
quality of life [7-11].
Cultural, natural and biodiversity assets are a legacy passed down from one generation to
another, and we all participate in this ongoing process because they provide both intrinsic and
extrinsic value at the individual and community level. The three elements of heritage (cultural,
natural and biodiversity) play an important role in shaping the future. They are areas/landscapes
continuously transformed by human activity, either through preservation, restoration and

*
Corresponding author: ion.sandu@uaic.ro
I. SANDU

valorization in the sense of preservation and ennobling, or through the deterioration of

structural-functional elements and respectively the degradation of the component materials in
the sense of their transformation to the state of collapse, of irreversible loss [12-23].
In the case of cultural artefacts, the main factors that determine the belonging of an
object to the cultural heritage by establishing its value are the age of the artefact, its intrinsic
qualities and its importance that allows the understanding of history [24-30].
From a patrimonial point of view, the artifact represents any object with artistic and/or
historical value, starting from mobile or static works of art, up to monuments, including simple
collectibles (coins, stamps, trinkets, minerals, old books etc.), to the old ethnographic or
industrial ones [6, 31].
The science of historical artifacts conservation, improperly called scientific
conservation, has become the generic term for the preservation of cultural heritage, measured
by the state or degree of conservation or the rate of conservability (expressed as a
percentage, %) [25-30, 32-34].
Based on the deepening of all aspects related to this field from the current specialized
literature, regarding the evolution of some concepts, terms, definitions and lucrative approaches
taken from related disciplines, which led to their harmonization and adaptation through new
formulations, developed in the form of a modern nomenclature [32-34].
Personal experiences played an important role by developing a series of modern aspects
regarding the role of exact sciences and engineering in the eight lucrative subdomains of
Conservation Science, with their liberating professions, the foundation of conservation levels
with their priorities and the two groups of heritage elements and functions, then the
development of new archaeometric and chemometric dating methods, new materials and
preservation-restoration technologies, culminating in the premiere with the development of the
quantification grids criteria used in the evaluation of the stock market shares or catalog [18, 33,
34].
Related to these aspects, the research briefly presents in a systemic form the innovative
results achieved within the collective of the Laboratory of Scientific Investigation and Cultural
Heritage Conservation, ARHEOINVEST Center of the Institute of Interdisciplinary Research
of ”Alexandru Ioan Cuza” University of Iași.

Lucrative Subdomain of Cultural Heritage Conservation Science

The Conservation Science of ancient heritage artifacts includes eight lucrative

subdomains, in which certain disciplines are differentially involved, namely [32-34]:
✓ Discovery (Archaeology, Geomorphology, Geotechnics, Geophysics etc.),
acquisition/transfer/itinerary (Museology, Marketing, Trade, Tourism etc.);
✓ Heritage decommissioning, classification and evaluation, standards or evaluation
criteria, cultural property (History and Theory of Art, Aesthetics, Materials Science and
Engineering, Marketing, Business, General Theory of Conservation etc.);
✓ Scientific investigation regarding authentication, the establishment of the value through
grids/credits, determining the state of conservation, compatibility studies of preservation
and restoration interventions, monitoring for a given period the behavior of the
interventions and permanent monitoring of the evolution of the conservation state
(Chemistry, Physics, Biology, Geology, Archaeometry or Artefactometry, Art History,
Museography, Environmental Science and Engineering etc.);
✓ Passive or preventive preservation through action on the environment, climate and the
use of protection systems (Environmental Science and Engineering, Thermophysics,
Cryogenics, Climatology, Ecology etc.);
✓ Active or prophylactic preservation applied directly to the artifact, involving treatments
to stop the evolutionary effects of deterioration and degradation (Materials Science and
Engineering, Chemistry, Biology etc.);
✓ Restoration through structural consolidation and reintegration, cleaning, chromatic,
environmental and cultural reintegration (Materials Science and Engineering,

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Chemistry, Biology, Art Theory, Aesthetics, Colorimetry, Profilometry, Architecture,

Landscaping, Climatology, Ecology etc.);
✓ The valorization, which includes displaing or presentation in museums and collections,
valorization through publications, web pages, films, workshops, open lessons and
hoarding through new archival research or archaeological excavations (Museography,
Archaeology, Archival Studies, Bibliography, Artefactometry, Marketing, IT, Design
etc.);
✓ Protection, maintenance and presentation (Museology, Tourism, Security and Protection
Regulations, Ecology, Environmental Science and Engineering etc.).

Liberal Professions in the Field of Valorization of Old Artifacts of Cultural Heritage

At the European level, depending on the degree of training, as certified specialist or

certified expert, and depending on the field of activity on certain types of artefacts (grouped by
materials, collections or states of conservation) and operations or interventions for valorization
at the level of the eight subdomains of Conservation Science, eight liberal professions with
specific specializations are accepted, as follows [33, 34]:
The conservation scientist, who professionally has the title of Doctor of Sciences, can
cover any of the activities of Scientific Conservation (classification, investigation, preservation,
restoration, display, hoarding etc.), having the highest level of expert, can occupy positions of
cultural manager, advisor or administrator of cultural institutions;
The scientific investigator, who takes into account the five groups of expertises
(authentication, patrimonial assessment, determination of the conservation state, compatibility
of interventions, monitoring their behavior for a determined period and monitoring the state of
conservation for the entire period of display or storage in warehouse), with two levels of
specialization, the basic one as a specialist promoted through the Master's degree and the
superior one as an expert, obtained by attestation after the Doctorate;
The art historian is the job occupied by the graduates of the History and Theory of Art
and History universities, who can occupy the positions of museographer or guide, and after a
post-university specialization in the profile and that of curator or above, art expert;
The archaeologist is a graduate of History university, with the two professional levels
of specialist or expert, who has responsible for the identification, investigation/research and
discharge of the archaeological burden of the sites, as well as the valorization and hoarding of
the discovered artifacts;
The preservative curator, who takes into account the protection and preservation
activities (passive or preventive and active climate or prophylactic treatments to stop the effects
of deterioration or evolutionary degradation), also with two levels of specialization, the basic
one as a specialist promoted through the Master degree and the superior expert, obtained by
attestation after the Doctorate;
The preservative restorer, who is responsible for the restoration activities through
consolidation, stabilization and structural reintegration (completions/additions), chromatic or
ambient, also with two levels of specialization, the basic one as a specialist, promoted through
the Master degree and the superior one as an expert, obtained by attestation after the Doctorate;
The museographer is the complementary job of the preservative curator, who, in
addition to his basic activity - display, can also cover the fields of activity of the curator and
even the guide, being able to have the two levels of specialization, the basic one as a specialist,
promoted through the Master degree and the superior expert, obtained by attestation after
Doctorate;
The guide is the job occupied by the graduates of the faculties of History and Theory of
Art, History or Tourism, having the role of leading and explaining to the public new data about
the patrimonial goods exhibited in museums, usually. This profession only has the specialist
level, with or without a Master’s degree.
From these, the scientific investigator, together with the traditional expert - the art
historian and archaeologist, can occupy the positions of art expert, who can serve evaluations in

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galleries, antique shops and consignment shops that sell or organize auctions with works of art
or can occupy positions of senior advisors in cultural institutions.

Harmonization of Nomenclatures by Taking over from Related Systems

Between 1993 - 2004, a series of ideas and terms that were used in current practice as
synonyms, having different meanings and attributions, have been reformulated, moreover new
definitions, typologies, criterias, classifications and characteristics were substantiated in the
eight subdomains of activity. Since the beginning of 2004 new meanings and definitions have
been given for the terms: conservation/preservation, restoration/rehabilitation, deterioration/
degradation etc. which have been accepted more easily or more difficult by the academic field
world [32-34].
The experience accumulated during the first Transnational European School EPISCON
(European PhD in Science Conservation) from the University of Bologna (2005-2010), then the
one related to the participation in international events (1993-2022) and the development of the
International Journal of Conservation Science (2010-2022), together with other highly
appreciated scientific journals, such as: Studies in Conservation, Journal of Architectural
Conservation, Journal of Conservation and Museum Studies, Journal of the American Institute
for Conservation, International Biodeterioration & Biodegradation, Conservation Science in
Cultural Heritage, ENCATC Journal of Cultural Management and Policy, European Journal of
Cultural Management and Policy, European Journal of Cultural Studies, Journal of the Institute
for Conservation, led to the acceptance of both the Norms and Principles of Ethics in
Conservation Science, unanimously accepted at the international level, as well as the new
Nomenclature in the domain.
Thus, conservation has the meaning of keeping in its original state, to protect,
respectively to guard, becoming a generic term for the Science of Conservation. Instead of this,
preservation is the lucrative approach with a preventive role of conditioning and protection or
the prophylactic one of stopping the evolutionary effects of deterioration and degradation.
Conservation, as a science, includes a set of measures, tools and actions, which aim to preserve
unaltered the physical integrity, the appearance and the message that the artefact conveys, as
close as possible to the original one, making an integrative-participatory valorization
(displaying, capitalization and/or hoarding) continues with the preservation of the historical
stratification (the traces left over time by certain significant events), having as a subsidiary the
steps of investigation, preservation, restoration and display [31-34].
Restoration means the process of putting something back into its original condition by
reintegration (structural, chromatic, environmental and cultural) of a work. In construction
engineering, the concept of rehabilitation is often used instead of restoration, which actually
defines the restoration of a functional or technological system – e.g. rehabilitation of the
heating or air conditioning system [32].
The terms: deterioration and degradation were introduced because was a need to define
differentially the change in the physical or functional state of the elements in the structure of
artifacts through mechanical, dynamic actions/assisted or not by climatic factors and the nature
of the materials under the action of chemical, electrochemical, biochemical factors,
radiative/thermal etc. The damage will always relate to a structural or functional element and
has a single or several actions, starting from inside the structural phases (active centers of
minimum resistance) or from the external structures (under the influence of climatic and/or
anthropic factors) [12, 21].
The term monument, differentiated as being art, architectural, or natural (landscape,
faunistic, lacustrine, speleological/karst, geological/petrographic, dendrological), while the
artwork is regarded as a creation of nature or anthropic when we attribute to it the activity of
conception.
Two other associated terms, used only in scientific investigation, is that of method and
technique of analysis, testing, study or proof, they must be rigorously differentiated from

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procedure/methodology and application technology, for example: it will be called analysis

method and mixing or extracting process and not extracting method [19, 20].
In the didactic activity, the names of technique and artistic technologies are often
misused, in fact only the techniques are artistic (which define the typology of the artefact),
instead the technologies or procedures are for implementation.
In the same way, when a working parameter is described, it will be differentiated from
the unit of measure or the commensuration mode. The parameter should never ever be replaced
by the measure unit, as in next example: instead of the humidity of the gaseous medium (as a
monitored variation parameter) the relative humidity, UR(%) or the absolute humidity,
UA(mg/mc) will not be used, although in chemistry the expression "depending on the molarity,
normality etc.", the correct one is "depending on the concentration" [19].
There are also a number of terms that must be used differently: native
(primordial)/original (the mark of time), compounds (chemical)/components (structural),
viability (for living systems)/reliability (for material and technological systems or for processes
in vitro), adsorption (surface physical process achieved through physical bonds) and absorption
(dispersion (physical)/dissolution (physical and chemical)/solubilization (chemical) process at
the molecular level, in the volume phase, of a system/material). For the last example, it is
accepted: spectral absorption, absorption of vibrations or sound in a material/body, biological
absorption (the passage of a substance through a biological barrier/membrane or cell) [19, 20].
As for the terms: cohesion and adhesion, used in the valorization of old paintings, they
have different meanings. Cohesion refers to the binding of particles to each other by
monolithization with the help of a binder, which plays the role of a dispersion medium. For
example, for oil painting, fine pigment powders are dispersed in the oil-based drying binder,
which, by hardening, fixes the respective color on the surface of the painting. In contrast,
adhesion is the process of bonding surfaces in contact, for structural reintegration by
strengthening, completing and fixing mobile/dynamic or missing components [20-24].
Regarding the presentation of the factors affecting an artifact, it is distinguishing the
calamity/cataclysm which is caused by natural factors as catastrophe/disaster– caused by
anthropogenic factors.
When the term trace is used, it is taken into account: form trace – imprint or impression
(the touch of the brush, spatula, knife, finger used to develop the pictorial layer, or the chisel for
sculptures, traces of burglary, textile or brush impressions etc.) and the material trace –
film/film/dust powder, textiles, hair, skin, pollen, color/paint, fat/exudate/secretion, dirt deposit
etc. The two terms are often used also in Forensic Sciences, as different term for forgery
(replica or copy with illicit purpose) and counterfeit (partial forgery, by changing or inserting a
graphic, applying a brand/stamp, copy by peddling etc.) [24, 25].
Another wrong use is that of the term expertise, as an
investigation/analysis/study/examination/test/completed by a finding report document instead of
experience (commensuration of knowledge/capacity/ability) comprehension power. It is not
correct to use the expression "a person has an expertise in the field", when in fact the correct
terminology is "a person is certified or he has deep professional knowledge in the field" [13, 25,
30, 32].
Likewise, the expression scientific investigation (expertise, analysis, test, exam etc.) will
be differentiated from that of study (case analysis or documentary analysis and synthesis,
historiographical analysis), respectively that of research (differentiated by fields, e.g. forensic
research, scientific research, technological research, on-site research etc.). The wording "studies
and research on..." is allowed to cover a wider range of theoretical or experimental activities.
There are many more aspects related to nomenclature, respectively terminology/definitions,
norms, rules, activities and others, which as in any science must be representative and provide a
clear/coherent understanding and commensuration of all aspects related to Conservation
Science [24, 25].

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Heritage Elements and Functions

In the valorization of artifacts and in the discussion of authentication attributes, a series

of characteristics are used in an artifact related to the heritage elements, which can come from
the commissioning, but can also be acquired and, respectively, the heritage functions, which are
usually acquired over time [32 -34].
The first group includes:
• the conception (material, artistic technique, installation technology,
size/gauge/complexity, finesse/degree of elaboration/detailing);
• the age/patina of time (archaeometric and chemometric characteristics/structures of
the three patinas: noble or primary, poor or secondary, contamination or tertiary);
• dating (year/period);
• the author (school, workshop, disciple);
• the geographical area (of commissioning and use);
• the unique attribute (uniqueness), copy/replica, series/position;
• the originator/original attribute and the authentic attribute.
Related to the patrimonial functions, they are grouped into:
• aesthetico-artistic (the function that allows inclusion in a collection or display in a
museum);
• historical documentary (provides information about the era and its society);
• technical-scientific (information about the cultural and technological level);
• socio-economic, administrative/building (other uses and implications throughout
history until now);
• spiritual (the highest function, related to the primacy of the work, the degree of
novelty of artistic techniques, style etc.)

Artifact Trails

Cultural and historical goods follow different routes from the commissioning to the
museum, with well-defined historical contexts, such as phenomenon, form - aspect etc. Among
the routes traveled by an artifact, it can be mentioned [32-34]:
• the normal one, common to many works of art or monuments;
• by abandon, when the functions of use are lost;
• by theft and discovery;
• by hiding and forgetting (treasures, jewelry, money etc.);
• by loss (jewellery or small artifacts);
• through bad weather or natural calamities (floods, landslides, earthquakes with debris,
volcanic eruptions, explosions etc.);
• through catastrophes or anthropogenic disasters (explosions, wars, revolutions, collapses,
diving etc.);
• through plagues – cities and long-abandoned monuments (the pyramids and temples of
the Mesoamerican civilization, for which there is no universally accepted theory to explain
this collapse (overpopulation, foreign invasions, popular uprisings, as well as the collapse
of key trade routes, the ecological hypotheses that include environmental disasters/drought,
epidemics and climate change etc.);
• causal series;

Typology of Historical Contexts

An artefact crosses a series of historical contexts, which remain on display imprinted in

its form and appearance, respectively in the conservability and the message conveyed by it.
Thus, the following causal series can be gradually realized: the context of the creation (the
conception/primary form of creation), the manufacture or commissioning, the use/exhibition,

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and for some the abandonment and the discovery, as finally for the majority we have the
preservation, restoration and reintroduction into the circuit of values [32-35].
The context of the discovery includes:
• Discovery mode (through systematic archaeological excavations, by chance after
agricultural operations, construction excavations, landslides, in alluvium or after floods, in old
galleries or in those carried out by wild animals etc. and following poaching traces without
exhausting the site);
• Photofixing and making the stratigraphic relief on treading levels (stratigraphic
positioning and relief);
• Determination of the physico-chemical and microbiological level of the soil, along
with the determination of the chemical compositions and archeometric characteristics of the
internal structures (crevasses, patches, crackles, interfacial defects, diffusion and penetration
zones etc.) and of the surface (products of the three age patinas, well highlighted in superficially
corroded metal artifacts, with or without a metal core, for example: noble or primary, poor or
secondary, contamination or tertiary patina, which can be in the form of zonally, continuous
layer, thin layers sound crust form, dirt deposits etc.;
• Evaluation of structural or compositional transformations/processes/effects, with the
determination of the evolution between abandonment and discovery (pedological effects), the
identification and evaluation of archaeometric characteristics for the establishment of heritage
elements and functions prior to abandonment.

Conservation Levels and Priorities

Due to the very intensive handling, which leads to various degrees of deterioration and
degradation (such as wear and tear due to use or deterioration due to storage and supervision
conditions), in most national archives and large libraries the book holdings, documents,
manuscripts etc., are grouped together on conservation states, in correlation with intervention
priorities through preservation and restoration operations. Starting from this aspect, five
conservation levels were introduced for old cultural heritage artifacts, with their valorization
priorities [32-34].
Level I, which includes goods of special patrimonial value that present a precarious state
of conservation, which include unique items, treasured goods or very valuable goods that do not
allow display due to certain historical, political, ideological, religious etc. considerations. or
value-related, as strict safeguards. This level includes two subgroups: IA or the closed level, to
which only scientific conservators have access, because they require urgent active conservation
and restoration interventions, and IB or the open level, to which experts in art, historians or
documentarians have access, along with scientific conservators and curators, with special
approval.
Level II, which includes heritage assets of great value, but with a relatively better state
of conservation, to which they have access, together with curators and various specialists for
documentation. The goods can be included in the museum circuit through scientific replicas or
under special protection and after a prior preventive or prophylactic consolidation and an
appropriate active preservation intervention.
Level III, which includes well-preserved heritage goods that can be displayed in
museums and that can participate in traveling exhibitions. The goods can be handled, packed
and transported, moreover, visitors can have direct access to them.
Level IV refers to heritage goods existing in several versions or replicas, in the form of a
surplus stock, which can participate in the exchange of values between collections.
Level V represents the gray fund, which includes heritage assets with damage and
irreversible degradation, in collapse, with a state of conservation between 0.5 and 10%
(depending on the type of asset), due to which no longer they can be exposed/displayed. These
goods are kept for use as teaching material and in experiments. It is recommended that they be
kept in special warehouses, in air-conditioned conditions, so as not to be damaged or degraded
further. Under no circumstances will they be destroyed or removed.

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Factors that Influence the State of Conservation of Heritage Assets

Factors that leave their mark over time on the state of conservation and the value of an
artifact are grouped in [12, 13, 26-31]:
- endogenous related to the nature of the material, installation technology and defects
and
- exogenous which can be climatic (temperature, humidity, precipitation, pressure, air
currents, light and cosmic radiation), biological, anthropogenic and pollution (natural or from
anthropogenic activities).
Exogenous factors can be normal or monitorable and risk factors:
• natural calamities or cataclysms (earthquakes, landslides, floods, fires, lightning,
volcanic eruptions, explosions, storms, typhoons, tornadoes, tsunamis, hail, drought, frost etc.);
• human disasters or catastrophes caused by wars, revolutions, accidents of all kinds
(explosions, fires, vibrations, collisions, collapses, diving, subsidence, floods, accidental
irradiation or nuclear accidents, induced earthquakes etc.), vandalism, uncontrolled
deforestation and others which lead to damages, collapses, demolitions etc., up to total
destruction.
For archaeological pieces, factors from the deposition environment are taken into
account, related to the chemical loading/aggressiveness of the soil, water dynamics, soil
porosity, pedological and biological processes, soil movements etc.
These factors lead to a series of deterioration and degradation phenomena of artifacts
produced by natural or anthropic processes of micro- or macrostructural destruction of the
constructive and functional elements, respectively of alteration of the component materials.
Anthropogenic factors can have as a cause: the functions of the object, the successive
interventions of putting into operation and those of inadequate preservation-restoration, poor
maintenance/inadequate display and storage, vandalism and other anthropogenic destructions
(political reasons; religious manifestations; economic purposes; changes in taste; negligence or
lack of means of maintenance, degradation of notoriety).
Regarding vandalism, during the time the notion has evolved a lot. The meaning of the
word has been extended far beyond a simple attack on patrimony to denote the indiscriminate,
harmful and gratuitous destruction of movable or immovable property, public or private. With
the development of information and communication technologies, there is now so-called
electronic vandalism, which involves intentionally damaging programs and data on a computer,
through viruses or other programs that can interfere with access to data or the proper
functioning of the system informatics. There is also a kind of vandalism caused by time, but
also one caused by poverty and ignorance; for example, when a state cannot maintain its
monuments and historical sites as they are or when it has to sacrifice them to development
imperatives.
If cultural heritage is considered "identity heritage", then acts of vandalism can be
considered "crimes against humanity". In the last two centuries, vandalism has manifested itself
mainly in connection with totalitarian ideologies eager to make a "total cleansing" of the past.

The Role of Scientific Investigation in the Valorization of Cultural Heritage Assets

The scientific investigation of newly discovered or acquired/transferred artifacts takes

into account three aspects with different practical implications [24, 25]:
a. obtaining new historiographical, archaeometric data and respectively for the
technological and scientific field related to the artifact (gemology, ceramology,
archaeometallurgy, archaeodendrology etc.);
b. museum display/protection, introduction to the tourist circuit, presentation, valorization
and hoarding of the artefact;
c. the trade in antiquities, with its two forms, the licit trade and the illicit trade
respectively.

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Elucidation of some Processes and their Formation Mechanisms

Based on the mechanism of electrochemical corrosion processes with electrodes of the

same nature, with a single electrode (based on adjacent structures or in contact with different
electrochemical potentials) or with two electrodes (encountered in anodic and cathodic
protection) and those of selective corrosion, elucidated the processes of changing the basic
structure by reformulating the composition of alumino-silicates from ancient ceramics,
following alkaline dissolution through the diffusion of hydrocarbonate ions during the period of
rest, with the formation of substitution meshes with aragonite [24, 25], the formation of
mineralization structures of structural elements of an organic nature (wood, leather, cellulosic or
collagenous textile fibers etc.) through the monolithicization with corrosion products of ancient
bronze or iron parts and of substitution ones with differentiated morphologies and distributions
in the volume phase of metal parts without a core metallic, the formation mechanism of
Liesegang rings from the corrosion structure of ancient bronzes, by the presence of fluoro or
hydroxoapatite pelliculogenic hydrogels and Sn(II), Zn(II) and Pb(II) oxohydroxides [36-48].
Regarding the Liesegang effect, the stratification differentiated by types of compounds
(congruent) of the corrosion bulk resulting from deposition period in the archaeological site, is
due to the oxyhydroxo compounds of Sn(IV), Pb(II) and Zn(II), which in certain hydrothermal
conditions give pelliculogenic nano-structures formed by continuous and uniform hydrogels on
the surface on adhesive supports, with osmotic membrane properties. These, following some
acid-base, aqueous dissolution and complexation processes under the membrane, lead in drying
conditions to the outside of the membrane, to the differentiated stratification of a certain
compound, previously formed from the primary or secondary structure. Thus, the tertiary layer
of contamination is formed, through processes of osmosis or in certain cases of electroosmosis
during homo-precipitations or recrystallization of new congruent structures. A main role in
these processes is played by the chloride anion, which together with the hydroxide anion and
the hydronium cation creates conditions for the precipitation or crystallization of certain salts of
Cu(I and II) ions in the form of successive layers. The chloride anion, together with the
hydroxide anion and the hydronium cation, generate compounds from the secondary structures,
which emerge from under the primary patina in the form of bumps, concretions, vesications etc.
with evolution over time, until the total destruction of the primary patina [36-48].
Studying a series of ancient bronzes, three types of structures were highlighted in their
corrosion crust [41-51]:
- primary - formed during the period of commissioning and use of the object, through
redox processes of a chemical nature (oxides, sulphides etc.), some in the form of continuous
and uniform films, forming the noble patina;
- secondary - results, starting from the final phase of the period of use and continuing
with the initial phase after abandonment, following electrochemical redox processes, assisted by
acid-base, ion exchange, hydrolysis (oxyhydroxides, oxy- or hydroxysalts, halogens,
carbonates, sulfates, phosphates etc.) and sometimes thermal ones (calcinations,
recrystallizations etc.) following incineration and anthropogenic or natural fires, which form
poor patina;
- tertiary or contamination patina, formed in the archaeological site, under the
influence of pedological, chemical and microbiological processes (segregation, diffusion,
osmosis, monolithization, fossilization, hydration/dehydration mineralization, structural
reformation etc.).
The three types of structures are identified, both in the pieces from disturbed sites and
in the undisturbed ones.

Dating Methods and New Archaeometric and Chemometric Features

A series of methods are used in the dating of an old, recently discovered or less studied
artefact, with instrumental techniques in a coexistence or interdisciplinary corroboration system.
They take into account the nature and the preservation state of the component materials, form,

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style, complexity and other structural features. Archaeometry, as a science is related to the
study of evolution in time and space, uses a series of characteristics in dating, for which there
are reference standards [24, 25].
Among the new methods carried out within our collective we mention [52-75]:
- The use of the two chemometric characteristics of the normal range of variation of the
water balance: the maximum or minimum limits (of the absorption curve through hydration and
of the desorption curve through dehydration or desiccation) and the point of intersection of the
two curves. The latter being a characteristic specific to the essence of wood, the age of the tree,
the age of the wood, the place of cutting from the trunk and the period or area of harvesting, has
multiple practical implications: in dating and in evaluating the impact of preventive
preservation interventions. The normal range of variation of the water balance varies with the
reversible hygroscopicity of a material in relation to the humidity of the environment and which
does not affect the chemical, physical-structural, mechanical and dimensional characteristics of
the object of which it is a part. The critical correlation point of the water balance (the
intersection of the adsorption and desorption curves of hygroscopic water is determined from
the graphical representation RMC = f(t), with the limits of the domain between the maximum
value RMC = ΔEMC and the hypothetical minimum RMC = 0 [52-60].
- For old wooden supports (panels, chassis, frames and frames or casings), a series of
archaeometric characteristics related to the degree of penetration of dirt deposits and patina,
porosity, crystalline cellulose concentration and residual weight were used in dating of ash,
along with the dendrochronological method, with the corrections of the scales for the thickness
of the annual rings, and among the chemometric ones were: the wood shrinkage ratios in the
three directions: L (longitudinal), R (radial) and T (tangential), respectively ΔT/ΔL , ΔR/ΔT and
ΔR/ΔT; concentration remaining in crystalline cellulose; the remaining concentration in volatile
components; ash concentration and others [61-75].
- For cellulosic textile supports white matter, glycolysis rate, ratio of carbon/oxygen
content (C/O), carbon/hydrogen (C/H), organic carbon/nitrogen (C/Norganic), pH/Humidity,
Nmineral /Ash, ratio between extractive components and hygroscopic moisture etc. [61, 62];
- For the pictorial material supports: protein, lipid and carbohydrate markers, the type of
cracks, the stratigraphic distribution of the pictorial materials, the penetration degree of dirt
deposits and patina, the degree of diffusion between layers, the porosity gradient regarding the
penetration from the surface into the volume phase of colors, touch, age patina, chromatic
displacement (ΔEab*), archeometric ratios between the chemical elements of the pigments
(Pb/C, Zn/C, C/S etc.) [63-69];
- For varnishes: rate of encrustation or cornification of deposits and organic markers of
degradation, type of cracks, stratigraphic distribution, degree of blackening or chromatic
deviation (ΔEab*) [63-76];
- For primers or preparations: rate of embrittlement and sponginess, binder degradation
markers, stratigraphic distribution etc. [69-76];
- For ancient ceramics: nature of chemical components, granulometry and stratigraphic
arrangement, porosity, specific gravity, ratio between Si/Al, Ca/Mg and Na/K.
Among these methods, two applied to old cellulosic supports, have been patented and
homologated: the determination of the degree of whiteness, which involves the leukometric or
spectrophotometric technique by reflection CIE L*a*b* for the determination of the degree of
whiteness by extrapolation using specific graphs of various cellulosic supports papers obtained
by artificial aging and, respectively, the rate of glycolysis, with the help of intrinsic viscometry,
when the degree of polymerization of the cellulosic or protein fiber is determined, and based on
this, the rate of glycolysis is evaluated, which varies proportionally with the age. The standard
curves were obtained by artificial aging [77-79].

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Heritage Evaluation Criteria of Old Paintings and Other Artefacts

Starting with the year 1993 and until 1998, an important research direction of our group
was related to the establishment of evaluation criteria through the share of the stock exchange
or catalog [24, 25].
For paintings, sculptures and other works of art, taking into account the unanimously
accepted criteria in numismatics, philately and cartophily, three groups of systems have been
proposed (Tables 1, 2 and 3).

Table 1. The patrimonial grouping system a historical artifacts and art objects
(Method of aesthetic-artistic and technical-scientific assessment)

Class Level Quota Value group

106 Thesaurus
A Worldwide 105 Inestimable
104 Very valuable
103 Valuable
B National
102 Common
- 0 10 Kitsch

Table 2. The patrimonial classification system by evaluation of the unique qualification a

historical artifacts and art objects (Uniqueness Method)

Class Level Quota Qualification Value group

106 Unique (U)
A Worldwide 105 Extremely rare (I)
104 Very rare (FR)
103 Great rarities (RR)
B National
102 Rare (R)
10 Frequent or high (C)
- 0
series/ussual

Table 3. The patrimonial classification system by assessment of the conservation status a

historical artifacts and art objects (Conservation state method)

Quota
Class Level Qualification Value group
(procent, %)
Uncirculated/immaculate
100 (N)
(proof)
Very beautiful
A Worldwide 90 (X)
(Exelent)
Beautiful
80 (FR)
(Extremely fine)
Very well preserved
70 (F)
(Fine)
B National
60 Well preserved (U)
50 Medium preserved (M)
40 Poor state of conservation (P)
- 0
≤30

Moreover, in the patrimonial classification, for banknotes, cartophile and philately:

unobliterated/obliterated, unveiled/veiled, fragment, on support (envelope, document etc.), the
so-called Michel Quotas are used.

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The aesthetic-artistic evaluation criteria and the method of calculation through the
qualification grid

In the heritage assessment for paintings, sculptures and other works of art, the criteria are
quantified by points (credits or impact index), specific to each one, which according to the
complexity, importance in the fundamental analysis, content, hermeneutic, intrinsic value and
the exhaustive (the evolution of the indicators), they are grouped into six scales:
a) from 1 to 10 points;
b) from 10 to 100 points,
c) from 100 to 1.000 points,
d) from 1.000 to 10.000 points,
e) from 10.000 to 100.000 and
f) from 100.000 to 1.000.000.
Seven criteria are used in the analysis, as follows:
- The aesthetic-artistic value, which includes 30 grids, quantified by specific credits
(Table 4);

Table 4. The aesthetic-artistic assessment criteria

1. Chromatic complexity in primary, secondary and 16. Internal resonance of lines, dots and color spots, as a
tertiary colors (C scale) Kandinski effect (Scale C)
2. The equation of color surface volume (scale B) 17. Involvement of plastic language elements (Scale C)
3. Resistance of the color and vivacity of the varnish, 18. The concordance/discordance ratio (Scale B)
polishes or ornaments (scale A)
4. Refinement of chromatic chords and discords (Scale B) 19. The relationship between linear and chromatic in the
iconographic pictorial context (Scale C)
5. The choice of chromatic dominants 20. Closed/open form of compassion (Scale A)
6. Equation of complementary and intermediate shades 21. Simplicity/complexity of compositional schemes
(Scale C) (Scale B)
7. Expressiveness of colors and their symbolic values 22. Placement of singular elements within the
(Scale C) compositional scheme (Scale B)
8. How to use background colors close to neutral and 23. How to achieve the reverse perspective, rendering the
decorative virtues (Scale B) space and content elements (Scale C)
9. The sobriety/vivaciousness of colors, how to develop 24. The involvement of declarative motifs and clothing,
gradients (Scale A) with the degree of their reproduction/reproduction (Scale
C)
10. The juxtaposition of the tonal steps for the same 25. The absence/presence of drawing elements and the
shade, in the sense of their increase-decrease (Scale C) highlighting or not of the sketch sequences (their
aesthetic-artistic value) (Scale B)
11. Elaboration by equal, homogeneous stretching and 26. Presentation of miniatures, watermarks and elements
step amplification (Scale B) of graphic and chromatic symbolism (Scale C)
12. Light-dark alternation (Scale A) 27. How to achieve the elements of compositional rhythm,
plastic rhyme and overall harmony of the work (Scale C)
13. Correlation between lights and shadows (Scale A) 28. Number of iconographic registers and
characters/architectural and landscape elements (Scale C)
14. The purity or conciseness of the lines of force or of 29. Number of iconographic registers and
those of the contour (Scale B) characters/architectural and landscape elements (Scale C)
15. Disposition of the force or active center (Scale C) 30. The depth and delicacy of the details, with the framing
of the plastic/drawing combination elements and the
rendering of light, volumes and space (Scale C)

- The primacy or original spiritual value (this also includes the theological-dogmatic
value of ecclesiastical artifacts), given by the value as a treasure asset, primacy as a
fundamental work for a style or effect, then for liturgical ones: liturgical role and importance,
meaning spiritual and scriptural foundation and its implications. For example, when evaluating
the spiritual function for ecclesiastical artifacts, the miracle-working goods and the credibility
of the masses are taken into account. Multiple assessment using scales from d to f is used.
- The value of the artistic and technological technique of putting the artwork into
practice, takes into consideration the style, the invoice and the originality of the creation, the
author's demands and the artistic level acquired, the spiritual function - the degree of artistic

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 MODERN ASPECTS REGARDING CONSERVATION OF CULTURAL HERITAGE ARTIFACTS

novelty (opener of new concepts), then the technical-scientific function and the historical one -
documentary, in order to finally evaluate the primacy in the achievement and development of
style - multiple evaluation by scale c.
- The value of the materials and the cost of the operations involved in the commissioning
- multiple evaluation through the scales a and b.
- Authenticity, uniqueness and the degree of rarity/multiplication (copies, variants etc.)
and that of novelty, the way and frequency of approaching the iconographic motif, the
arrangement of colors and systems used in climatic and mechanical protection, the value of
ornaments and frames - multiple evaluation by scales c and f.
- The age of the artwork always provides an impact figure that amplifies the value of the
work with a ranking/qualification coefficient, called the age or seniority coefficient (cv), given
by the relationship:
cv = v/10(1,2v/100),

where: v represents the age or age of the icon - it applies to the final value summed up to this
criterion;
- The integrity and state of conservation achieves a decrease in the value share (CV),
given by the relationship:

CV = Summated Final Value x (100- conservability).

- This criterion also includes cleaning, varnishing/devarnishing, preventive

consolidation, preservation and restoration etc. The conservability of the patina of time, dirt
deposits, inappropriate repainting/falsification interventions, polishing and subsequent framing
with ornamental elements are also taken into account.

New Materials and Preservation-restoration Technologies

Another important direction of research within our collective was related to the
synthesis and characterization of new materials, as well as the development of modern
technologies compatible with operating systems in the preservation and restoration of ancient
heritage artifacts.
Among these we mention:
- New ecological physico-chemical systems, based on plant and vegetable supernatants,
used in the cleaning of old paintings, which do not affect the old patina, washes and varnishes
[80-87];
- New procedures for repatination of restored metal artifacts [88-92];
- New manufacturing processes of ceramic pigments, polychrome mosaics, frescoes etc.
[93-108];
- New procedures for chromatic integration of old paintings with lacunar areas, using
CIE L*a*b* reflection colorimetry and the virtual stitching system by photofixation, followed
by reintegration by printing with water colors, using specialized software [109-112];
- New systems and processes of prophylactic preservation, for example for artefacts on
wooden support: mechanical consolidation (with ennobling the fiber), insecto-fungicide, water
stabilization (hydrophobization) and fireproofing [113-141].

Conclusions

During the 30 years of activity, the collective's scientific and technological results have
allowed, on the one hand, a good development of academic specialization regarding the training
of new specialists through the Master's degree (24 series) and certified experts after the
completion of the Doctorate thesis (24 young people from Romania and 10 from abroad), and
on the other hand to the interdisciplinary foundation of Conservation Science as a field of
Environmental Science and Engineering. Particular attention was paid to the development of

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course materials (32 mographies and 2 treatises), the development of research infrastructure
(eight modern analysis techniques), participation in scientific events and international
inventions salons (where 665 medals and 230 order), the publication of articles (over 400) in
journals with a high impact factor and the patenting of over 60 inventions in Romania and the
Republic of Moldova. These include the organization of 10 editions of the International
Symposium on the Art and Science of the Conservation of Artifacts and 14 editions of the
European Exhibition of Creativity and Innovation - EUROINVENT (which has become a world
brand for Romania in recent years, attended by specialists from over 40 countries). Not without
importance are the participation in excavations in archaeological sites in the country and in the
restoration of very old ecclesiastical sites, one of which is included in the UNESCO list of
Cultural Heritage. We also mention the development as a guest editor of special issues within
the journal Applied Science-Basel and the periodical International Journal of Conservation
Science.

References

[1] I.C.A. Sandu, I. Sandu, P. Popoiu, A. Van Saanen, Methodological Aspects Concerning
Scientific Conservation of the Cultural Heritage, Ed. Corson, Iaşi, 2001, 686p.
[2] I. Sandu, V. Vasilache, F.A. Tencariu, V. Cotiugă, Scientific Conservation of the Ceramic
Artefacts, „Al.I. Cuza” University Publishing House, Iaşi, 2010, 455p.
[3] I. Sandu, M. Brânzilă, I.G. Sandu, Scientific Conservation of the Stone Monuments,
„Al.I. Cuza” University Publishing House, Iaşi, 2009, 314p.
[4] V. Vasilache, I. Sandu C. Luca, I.C.A. Sandu, News Concerning Scientific Conservation
of the Old Polychrome Wood, „Al.I. Cuza” University Publishing House, Iaşi, 2009,
282p.
[5] I. Sandu, M. Orlenko, M. Dyomin, O. Ivashko, Y. Ivashko, C.G. Lăzăreanu, K. Paprzyca,
I.G. Sandu, P. Sztabińska-Kałowska, Scientific Conservation of the Outstanding
Theaters of the 19th Century and Their influence on the Creation of Modern Art-Space,
International Journal of Conservation Science, 12(2), 2021, pp. 361-390.
[6] O. Florescu, I.C.A. Sandu, P. Spiridon-Ursu, I. Sandu, Integrative participatory
conservation of museum artefacts. Theoretical and practical aspects, International
Journal of Conservation Science, 11(1), 2020, pp. 109-116.
[7] L. Nica, V. Vasilache, A. Drob, S. Pruteanu, I. Sandu, Preservation and Restoration of An
Old Wooden Icon with Complex Carved Ornaments, in a Conservation State of
Precollapse, Applied Sciences-Basel, 12(10), 2022, Article Number: 5073, 5073.
https://Doi.Org/10.3390/App12105073.
[8] O. Florescu, P. Ichim, L. Sfîcă, A.-L. Kadhim‐abid, I. Sandu, M. Nanescu, Risk Assessment
of Artifact’ Degradation in a Museum, Based on indoor Climate Monitoring. Case Study
of “Poni‐cernătescu” Museum from Iași City, Applied Sciences-Basel, 12(7), 2022,
Article Number: 3313, https://Doi.Org/10.3390/App12073313.
[9] Y. Ivashko, K. Kuśnierz, M. Krupa, P. Gryglewski, A. Dmytrenko, I. Sandu, Ways of
Performance and Preservation of Monumental Art Works on The Facades of
Architectural Monuments of the 19th – Early 20th Century, International Journal of
Conservation Science, 12(4), 2021, pp. 1209-1230.
[10] I. Sandu, G. Deak, Y. Ding, Y. Ivashko, A.V. Sandu, A. Moncea, I.G. Sandu, New
Materials for Finishing of Ancient Monuments and Process of Obtaining and Applying,
International Journal of Conservation Science, 12(4), 2021, pp. 1249-1258.
[11] G. Deák, M.-A. Moncea, I. Sandu, M. Boboc, F.-D. Dumitru, G. Ghiță, I.G. Sandu,
Synthesis and Characterization of an Eco-friendly Material for Stone Monuments
Prezervation Starting from the Eggshells, International Journal of Conservation
Science, 12(4), 2021, pp. 1289-1296.
[12] I. Sandu, Degradation and Deterioration of the Cultural Heritage, Vol. I and II, „Al.I.
Cuza” University Publishing House, Iaşi, 2008, 462p. and 780p.

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[13] I.C.A. Sandu, P. Spiridon, I. Sandu, Current Studies and Approaches in the Field of
Cultural Heritage Conservation Science. Harmonizing the Terminology in an
interdisciplinary Context, International Journal of Conservation Science, 7(3), 2016,
pp. 591-606.
[14] V. Vasilache, O. Mircea. I.G. Sandu, A.M. Vlad, I. Sandu, Assesment of the conservation
state for the preservation and restoration of an archaeological iron artifact, Rev. Chim.
(Bucharest), 64(3), 2013, pp. 294-297.
[15] V. Vasilache, D. Boghian, A.I. Chirculescu, S.-C. Enea, I. Sandu, Conservation state
assessment and the determination of certain archaeometric characteristics for two
bronze items from the early hallstatt period, Rev. Chim. (Bucharest), 64(2), 2013,
pp.152-157.
[16] O. Florescu, R. Hritac, M. Haulica, I. Sandu, I. Stanculescu, V. Vasilache, Determination
of the Conservation State of Some Documents Written on Cellulosic Support in the Poni-
cernatescu Museum, Ias, I City in Romania, Applied Sciences-basel, 11(18), 2021,
Article Number: 8726, https://Doi.Org/10.3390/App11188726; (ISSN 2076-3417).
[17] M. Munteanu, I. Sandu, The implications of free 3D scanning in the conservation state
assessment of old wood painted icon, International Conference on Innovative
Research 2016 - ICIR Euroinvent 2016 IOP Publishing IOP Conf. Series: Materials
Science and Engineering, 133, 2016, Article Number: 012060 doi:10.1088/1757-
899X/133/1/012060.
[18] M. Munteanu, I. Sandu, V. Vasilache, A.V. Sandu, M.M. Al Bakri Abdullah, I.C.A. Sandu,
Study of a XVIII-th century triptych: Materials and technologies used and conservation
state, Applied Mechanics and Materials, 754-755, 2015, pp. 644-648, doi:
10.4028/www.scientific.net/AMM.754-755.644.
[19] I. Sandu, I.C.A. Sandu, Conservation and Restauration Chemistry, Vol. I and II, Ed.
Corson, Iaşi, 2002, 1058p. And 668p.
[20] I. Sandu, I.C.A. Sandu, Conservation and Restauration Chemistry of the Old Book,
Vol. I, „Al.I. Cuza” University Publishing House, Iasi, 1998, 610p.
[21] P. Spiridon, I. Sandu, L. Stratulat, The conscious deterioration and degradation of the
cultural heritage, International Journal of Conservation Science, 8(1), 2017, pp. 81-
88.
[22] M. Quaranta, I. Sandu, On the Degradation Mechanisms Under infuence of Pedological
Factors Through the Study of Archaeological Bronze Patina, „Al.I. Cuza” University
Publishing House, Iaşi, 2010, 191p.
[23] M. Hayashi, I. Sandu, P. Tiano, N. Macchioni, The Effect of Preservative intervention
on The Chemical-physical and Structural Chracteristics of Panel Painting, „Al.I.
Cuza” University Publishing House, Iaşi, 2010, 130p.
[24] I. Sandu, I.C.A. Sandu, I.G. Sandu, Colorimetry in Art, Ed. Corson, Iaşi, 2002, 430p.
[25] I. Sandu, I.C.A. Sandu, A. Van Saanen, Scientific Expertize of the Art Works, Vol.
I,."Al.I.Cuza" University Publishing House Iaşi, 1998, 560p.
[26] I. Sandu, Modern Aspects Concerning the Conservation of Cultural Heritage, Vol. V.
Identification of Painting Materials, Ed. Performantica, Iaşi, 2007, 780p.
[27] I. Sandu, I.C.A. Sandu, V. Vasilache, M.L. Geaman, Modern Aspects Concerning the
Conservation of Cultural Heritage, Vol. IV. Determination of the Conservation State
and Restauration of the Easel Paintings, Ed. Performantica, Iaşi, 2006, 432p.
[28] I.G. Sandu, I. Sandu, A. Dima, Modern Aspects Concerning the Conservation of
Cultural Heritage, Vol. III. Autentication and Restauration of the Inorganic Material
Artefacts, Ed. Performantica, Iaşi, 2006, 502p.
[29] I.C.A. Sandu, I. Sandu, C. Luca, Modern Aspects Concerning the Conservation of
Cultural Heritage, Vol. II. Autentication and Determination of the Old Paintings
Conservation State, Ed. Performantica, Iaşi, 2005, 537p.
[30] I. Sandu, I.G. Sandu, Modern Aspects Concerning the Conservation of Cultural
Heritage, Vol. I. Nomenclature, Typologies and Casuistries, Ed. Performantica, Iaşi,
2005, 473p.

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[31] I. Sandu, A. Dima, I.G. Sandu, Restauration and Conservation of Metallic Artefacts,
Ed. Corson, Iaşi, 2002, 666p.
[32] I. Sandu, Nomenclature of the Conservation Cultural Heritage, Ed. Performantica, Iaşi,
2004, 164p.
[33] I.C.A. Sandu, I. Sandu, New Interdisciplinary Aspects on Science for Conservation of
Cultural Heritage (I), Egyptean Journal of Archaeologycal and Restoration Studies,
3(1), 2013, pp. 1-12;
[34] I. Sandu, I.C.A. Sandu, New Interdisciplinary Aspects on Science for Conservation of
Cultural Heritage (II), Egyptean Journal of Archaeologycal and Restoration Studies,
3(2), 2013, pp. 73-83; DOI: 10.21608/EJARS.2013.7277.
[35] I. Sandu, C.T. Iurcovschi, I.G. Sandu, V. Vasilache, I.C. Negru, M. Brebu, P. Spiridon
Ursu, V. Pelin, Multianalytical Study for Establishing the Historical Contexts of the
Church of the Holy Archangels from Cicau, Alba County, Romania, for its Promotion as
a World Heritage Good. I. Assessing the preservation-restoration works from the 18th
century, Rev. Chim. Bucharest, 70(7), 2019, pp. 2538-2544.
[36] I.G. Sandu, V. Vasilache, I. Sandu, F.A. Tencariu, A.V. Sandu, Study on the Middle
Bronze Age Disc‐butted Axe Ornament from Archaeometallurgical Point of View,
Applied Sciences-basel, 11(21), 2021, Article Number: 9814,
https://Doi.Org/10.3390/App11219814.
[37] V. Vasilache, V. Diaconu, O. Mircea, A. Drob, I. Sandu, The Archaeometallurgical
Evaluation of Three Bronze Socketed Axes, Discovered in Eastern Romania, Applied
Sciences-Basel, 11(04), 2021, Article Number: 41811.
https://doi.org/10.3390/app11041811.
[38] V. Vasilache, I. Sandu, C.C. Lazanu, I.G. Sandu, Archaeometalurgical evaluation of two
spearheads from the bronze age, International Journal of Conservation Science, 6(4),
2015, pp. 633-642.
[39] I.G. Sandu, F.A. Tencariu, D.M. Vornicu, A.V. Sandu, A. Vornicu, V. Vasilache, I. Sandu,
Establishing the archaeo-metallurgic ornamentation process of an axe from the bronze
age by OM, SEM-EDX and micro-FTIR, Microscopy, Research and Technique,
77(11), 2014, pp. 918-927, https://doi.org/10.1002/jemt.23451.
[40] I. Sandu, O. Mircea, I.G. Sandu, V. Vasilache, A.V. Sandu, Liesegang Effect Typology on
Ancient Bronzes Discovered in Romania, Rev. Chim. (Bucharest), 65(3), 2014, pp.
311-319.
[41] I.G. Sandu, O. Mircea, V. Vasilache, I. Sandu, Influence of archaeological environment
factors in alteration processes of copper alloy artifacts, Microscopy, Research and
Technique, 75(12), 2012, pp. 1646-1652, https://doi.org/10.1002/jemt.22110.
[42] O. Mircea, I. Sandu, V. Vasilache, A.V. Sandu, Study of the Atypical Formations in the
Corrosion Bulks of an Ancient Bronze Shield, by Optical and Electron Microscopy,
Microscopy, Research and Technique, 75(11), 2012, pp. 1467-1474,
https://doi.org/10.1002/jemt.22090.
[43] O. Mircea, I. Sarghie, I. Sandu, V. Ursachi, M. Quaranta, A.V. Sandu, The study of some
atypical degradation processes of an iron archaeological piece, Rev. Chim.
(Bucharest), 60(4), 2009, pp. 332-336.
[44] O. Mircea, I. Sarghie, I. Sandu, M. Quaranta, A.V. Sandu, The study of some textile
impressions from the bulk of the iron artefacts by means of the complementary analytical
techiques, Rev. Chim. (Bucharest), 60(2), 2009, pp. 201-207.
[45] O. Mircea, I. Sandu, V. Vasilache, A.V. Sandu, Research on Atypical Formations from
Corrosion Bulks of an Ancient Bronze, Rev. Chim. (Bucharest), 63(9), 2012, pp. 893-
899.
[46] I. Sandu, N. Ursulescu, I.G. Sandu, O. Bounegru, I.C.A. Sandu, A. Alexandru, The
pedological stratification effect of corrosion and contamination products on byzantine
bronze artefacts, Corrosion Engineering Science and Technology, 43(3), 2008, pp.
256-266, https://doi.org/10.1179/174327807X234688.

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[47] I.G. Sandu, S., Stoleriu, I. Sandu, M. Brebu, A.V. Sandu, Authentication of ancient bronze
coins by the study of the archaeological patina. I. Composition and structure, Rev.
Chim. (Bucharest), 56(10), 2005, pp. 981-994.
[48] V. Vasilache, V. Cotiugă, I. Sandu, T.T. Plăcintă, O. Mircea, Study of an Old Coin Set
Using Nondistructive Techniques, Key Engineering Material, 660, 2015, pp. 396-401,
doi: 10.4028/www.scientific.net/KEM.660.396.
[49] I. Sandu, D. Aparaschivei, V. Vasilache, I.G. Sandu, O. Mircea, The Archaeometric
Characteristics of some Ancient Medical instruments from the Moesia inferior Roman
Province, Revealed by SEM/EDX and μ-FTIR, Rev. Chim. (Bucharest), 63(5), 2012,
pp. 495-500.
[50] I. Sandu, O. Mircea, A.V. Sandu, I. Sarghie, I.G. Sandu, V. Vasilache, Non-invasive
Techniques in the Analysis of Corrosion Crusts formed on Archaeological Metal
Objects, Rev. Chim. (Bucharest), 61(11), 2010, pp. 1054 -1058.
[51] I. Sandu, O. Mircea, I. Sarghie, A.V. Sandu, Study of Some Atypical Formations from the
Bulk of the Iron Artefacts by Means of the Complementary Analytical Techniques, Rev.
Chim. (Bucharest), 60(10), 2009, pp. 1012-1020.
[52] A. Ghavidel, M. Bak, T. Hofman, V. Vasilache, I. Sandu, Evaluation of Some Wood-Water
Relations and Chemometric Characteristics of Recent Oak and Archaeological Oak
Wood (Quercus Robur) with Archaeometric Value, Journal of Cultural Heritage, 51,
2021, Pp. 21-28, Https://Doi.Org/10.1016/J.Culher.2021.06.011.
[53] A. Ghavidel, M. Bak, T. Hofmann, R. Hosseinpourpia, V. Vasilache, I. Sandu,
Comparison of Chemical Compositions in Wood and Bark of Persian Silk Tree (Albizia
Julibrissin Durazz), Wood Material Science & Engineering, 16(4), 2021, pp.
Https://Doi.Org/10.1080/17480272.2021.1953141.
[54] A. Ghavidel; J. Gelbrich; A. Kuqo; V. Vasilache; I. Sandu, Investigation of archaeological
European white elm (Ulmus laevis) for identifying and characterizing the kind of
biological degradation, Heritage, 3(4), 2020, 2020, pp. 1083-1093.
https://doi.org/10.3390/heritage3040060.
[55] A. Ghavidel, R. Hosseinpourpia, H. Militz, V. Vasilache, I. Sandu, Characterization of
archaeological european white elm (Ulmus laevis p.) and black poplar (populus nigra
l.), Forests, 11(12), 2020, Article Number: 1329. https://doi.org/10.3390/f11121329.
[56] A. Ghavidel, T. Hofmann, M. Bak, I. Sandu, V. Vasilache, Comparative archaeometric
characterization of recent and historical oak (Quercus spp.) wood, Wood Science and
Technology, 46(1–3), 2020, pp.153–177. https://doi.org/10.1007/s00226-020-01202-4.
[57] I. Sandu, V. Vasilache, I.C.A. Sandu, M. Hayashi, New Method of Determining the Normal
Range of Hydric-Equilibrium Variation in Wood with Multiple Applications, Rev. Chim.
(Bucharest), 61(12), 2010, pp. 1212 -1218.
[58] I. Sandu, C. Luca, I.C.A. Sandu, M. Hayashi, I.G. Sandu, V. Vasilache, A.V. Sandu,
Method for determining normal range of variation of equilibrium moisture content,
Patent RO123644 (B1)/2015-08-28, Applicant: Univ Alexandru Ioan Cuza din Iasi.
[59] I. Sandu, T. Lupascu, I.C.A. Sandu, C. Luca, V. Vasilache, I.G. Sandu, M. Hayashi, A.V.
Sandu, M. Ciobanu, Method for determining the normal water equilibrium variation
domain, Patent MD3713(G2)/2009.05.31 (AGEPI File a 2008 0135/2008.05.19, Owner
the institute for Chemistry of the Academy R. Moldava of Kisinew).
[60] I.C.A. Sandu, M. Hayashi, V. Vasilache, D.G. Cozma, S. Pruteanu, M. Urma, I. Sandu,
Influence of Organic Solvents and Dispersions on Wooden Supports of Paintings, Rev.
Chim. (Bucharest), 66(4), 2015, pp. 587-595.
[61] P. Spiridon, I.C.A. Sandu, L. Nica, C.T. Iurcovschi, D.E. Colbu, I.C. Negru, V. Vasilache,
R.A. Cristache, I. Sandu, Archaeometric and chemometric studies involved in the
authentication of old heritage artefacts II. Old linden and poplar wood put into work,
Rev. Chim. (Bucharest), 68(10), 2017, pp. 2422-2430.
[62] P. Spiridon, I.C.A. Sandu, L. Nica, V. Vasilache, I. Sandu, Archaeometric and
Chemometric Studies involved in the Authentication of Old Heritage Artefacts I.

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Contributions of the Iasi school of Conservation Science, Rev. Chim. (Bucharest),

68(9), 2017, pp. 2018-2027.
[63] I.C. Negru, V. Vasilache, I. Sandu, R.I. Olariu, P.O. Tanasa, D. Potolinca, I.C.A. Sandu,
Depth Profiling of Diffraction-based Security Features in Authentic and Counterfeit
Banknotes, Materiale Plastice, 54(2), 2017, pp. 322-325.
[64] D. Potolinca, I.C. Negru, V. Vasilache, C. Arsene, T. Paduraru, I. Sandu, Forensic
expertise of the paper support of counterfeit documents, Materiale Plastice, 54(1),
2017, pp. 41-45.
[65] N. Al-Sharairi, Z. Al-saad, I. Sandu, Identification of dyes applied to ottoman textiles,
International Journal of Conservation Science, 8(2), 2017, pp. 251-258.
[66] N. Al-Sharairi, I.C.A. Sandu, V. Vasilache, I. Sandu, Recognition of natural silk fibers,
dyes and metal threads of historical Romanian textile fragments using the multi-
analytical techniques approach, Textile Research Journal, 90(4), 2020, pp. 1–18,
https://doi.org/10.1177/0040517519898827.
[67] R.A. Cristache, I.C.A. Sandu, A.E. Simionescu, V. Vasilache, A.M. Budu, I. Sandu, Multi-
analytical study of the paint layers used in authentication of icon from XIXth century,
Rev. Chim. (Bucharest), 66(7), 2015, pp. 1036-1039.
[68] P.O. Tanasa, I. Sandu, V. Vasilache, I.G. Sandu, I.C. Negru, A.V. Sandu, Authentication of
a Painting by Nicolae Grigorescu Using Modern Multi-Analytical Methods, Applied
Sciences-Basel, 10(10), 2020, Article Number: 3558.
https://doi.org/10.3390/app10103558.
[69] I. Sandu, P.O. Tanasa, I.C.A. Sandu, I.C. Negru, A.V. Sandu, V. Vasilache, Authentication
of an Old Violin by Multianalytical Methods, Applied Sciences-Basel, 10(1), 2020,
Article Number: 306. https://doi.org/10.3390/app10010306.
[70] R.A. Cristache, I.C.A. Sandu, A.M. Budu, V. Vasilache, I. Sandu, Multi-analytical study of
an ancient icon on wooden panel, Rev. Chim. (Bucharest), 66(3), 2015, pp. 348-352.
[71] I.M. Cortea, R.A. Cristache, I. Sandu, Characterization of historical violin varnishes using
ATR-FTIR spectroscopy, Romanian Reports in Physics, 68(2), 2016, pp. 615-622.
[72] I.C.A. Sandu, S. Bracci, I. Sandu, M. Loberfaro, Integrated analytical study for
authentication of five Russian icons (XVII-XVIII Century), Microscopy, Research and
Technique, 72(10), 2009, pp. 755-765. https://doi.org/10.1002/jemt.20727.
[73] I.C.A. Sandu, C. Luca, I. Sandu, V. Vasilache, M. Hayashi, Authentication of ancient
easel-paintings through materials identification from polychrome layers. III. Cross-
section and staning analysis, Rev. Chim. (Bucharest), 59(8), 2008, pp. 855-866.
[74] I.C.A. Sandu, C. Luca, I. Sandu, V. Vasilache, M. Hayashi, Authentication of ancient
easel-paintings through materials identification from polychrome layers. II. FTIR
Spectroscopy, Rev. Chim. (Bucharest), 59(4), 2008, pp. 384-387.
[75] I. Sandu, C. Luca, I.C.A. Sandu, V. Vasilache, Authentication of ancient easel-paintings
through materials identification from polychrome layers. I. Gas-chromatography
analysis, Rev. Chim. (Bucharest), 58(10), 2007, pp. 879 – 886.
[76] I.C.A. Sandu, S. Bracci, I. Sandu, Instrumental analyses used in the authentication of old
paintings I. Comparison between two Icons of XIXth Century, Rev. Chim. (Bucharest),
57(8) 2006, pp. 796 – 803.
[77] I.C.A. Sandu, I. Sandu, T. Bounegru, I.G. Sandu, A.V. Sandu, Method of dating the old
celluluse textile materials, Patent MD3325(G2)/31.05.2007.
[78] I.C.A. Sandu, I.G. Sandu, D.T. Cudelcu, S. Necula, Method for Determining the Age of
Supports Made of Cellulose Material, Patent RO116844 (B1)/29.06.2001.
[79] I.C.A. Sandu, I. Sandu, I.G. Sandu, A.V. Sandu, Method for the determination of the age of
textile cellulosed supports, Patent RO121151 (B1)/30.10.2006.
[80] T.C. Iurcovschi, V. Vasilache, I. Sandu, Z. Marius, O. Pintilie, A.V. Sandu, New
Ecological Solutions involved in the Cleaning of a 19th Century Icon, Applied Sciences-
Basel, 10(3), 2020, Article Number: 1175. https://doi.org/10.3390/app10031175.
[81] C.T. Iurcovschi, M. Munteanu, C.M. Manea (Amariei), M.M. Lupașcu, I.C.A. Sandu, V.
Vasilache, I. Sandu, Ecological Material and Technologies Used in Stoping the

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Xylophagic Attack on a XVIII-th Century Icon, Chemistry Journal of Moldova

(Chisinew), 12(1), 2017, pp. 53-60, DOI: dx.doi.org/10.19261/cjm.2017.406.
[82] V. Vasilache, I.C.A. Sandu, S. Pruteanu, A.T. Caldeira, A.E. Simionescu, I. Sandu, Testing
the Cleaning Effectiveness of New Ecological Aqueous Dispersions Applied on Old
Icons, Applied Surface Science, 367, 2016, pp. 70-79, DOI
10.1016/j.apsusc.2016.01.128.
[83] S. Pruteanu, I. Sandu, V. Vasilache, Modern Procedures Used in Cleaning Old, Illegibly
and Blackened Icons, Present Environment and Sustainable Development, 9(1),
2013, pp 219-236, DOI: 10.1515/pesd-2015-0016.
[84] S. Pruteanu, V. Vasilache, I.C.A. Sandu, A.M. Budu, I. Sandu, Assessment of Cleaning
Effectiveness for New Ecological Systems on Ancient Tempera Icon by Complementary
Microscopy Techniques, Microscopy, Research and Technique, 77(12), 2014, pp.
1060-1070. https://doi.org/10.1002/jemt.22437.
[85] S. Pruteanu, I. Sandu, M.C. Timar, M. Munteanu, V. Vasilache, I.C.A. Sandu, Ecological
systems applied for cleaning gilding in old icons, Rev. Chim. (Bucharest), 65(12),
2014, pp. 1467-1472.
[86] I.C.A. Sandu, S. Bracci, M. Loberfaro, I. Sandu, Integrated Methodology for the
Evaluation of Cleaning in Two Russian Icons (XVII-XVIII Century), Microscopy,
Research and Technique, 73(8), 2010, pp. 752-760; DOI: 10.1002/jemt.20817.
[87] C.T. Iurcovschi, I. Sandu, V. Vasilache, A.V. Sandu, I.C.A. Sandu, I.G. Sandu,
Composition and procedure of wet cleaning of paintings, polychrome artefacts and old
polishes, Patent RO134763 (A2)/26.02.2021.
[88] A.V. Sandu, A. Ciomaga, G. Nemtoi, C. Bejinariu, I. Sandu, Effect of chemical insertion of
zinc phosphate with other metallic cations on corrosion resistance of phosphated steel.
II. Evaluation of corrosion resistance, Journal of Optoelectronics and Advanced
Materials, 14(7-8), 2012, pp. 704 -708.
[89] A.V. Sandu, A. Ciomaga, G. Nemtoi, C. Bejinariu, I. Sandu, SEM-EDX and microFTIR
studies on evaluation of protection capacity of some thin phosphate layers, Microscopy,
Research and Technique, 75(12), 2012, pp. 1711-1716, DOI 10.1002/jemt.22110.
[90] I.G. Sandu, I. Sandu, I. Neacsu, S. Stoleriu, I.C.A. Sandu, A.V. Sandu, Process for the
repatination of areas restored by surface passivation of old bronze and brass pieces,
Patent RO123077 (B1)/30.09.2010.
[91] I.G. Sandu, A. Dima, I. Sandu, L. Roibu, I.C.A. Sandu, L.O. Roibu, A.V. Sandu, Process
for Obtaining Artistic Patina by Chemical Passivation of Iron Parts Surfaces, Patent
RO122303 (B1)/30.03.2009.
[92] I.G. Sandu, I. Sandu, T. Bounegru, I.C.A. Sandu, A.V. Sandu, Process for repatination of
old restored bronze and brass articles, Patent MD3008(G2)/31.03.2006.
[93] A.M. Saviuc-Paval, A.V. Sandu, I.M. Popa, I.C.A. Sandu, A.P. Bertea, I. Sandu,
Colorimetric and Microscopic Study of the Thermal Behaviour of New Ceramic
Pigments, Microscopy, Research and Technique, 76(6), 2013, pp. 564-571, DOI
10.1002/jemt.22201.
[94] A.M. Saviuc-Paval, I. Sandu, I.M. Popa, I.G. Sandu, V. Vasilache, A.V. Sandu,
Preparation and characterisation of the new ceramic pigments for artistic polychromic
elements. III. Therogravimetric Analysis, Rev. Chim. (Bucharest), 63(3), 2012, pp.
275-284.
[95] A.M. Saviuc-Paval, I. Sandu, I.M. Popa, I.C.A. Sandu, V. Vasilache, I.G. Sandu,
Preparation and characterisation of the new ceramic pigments for artistic polychromic
elements. II. Microscopic and Colourimetric Analysis, Rev. Chim. (Bucharest), 63(2),
2012, pp. 170-178.
[96] A.M. Saviuc-Paval, I. Sandu, I.M. Popa, I.G. Sandu, V. Vasilache, A.V. Sandu,
Preparation and characterisation of the new ceramic pigments for artistic polychromic
elements. I. Synthesis and SEM-ERDX and μ-FTIR Analysis, Rev. Chim. (Bucharest),
63(1), 2012, pp. 40-48.

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I. SANDU

[97] V. Pelin, I. Sandu, S. Gurlui, M. Branzila, V. Vasilache, E. Bors. I.G. Sandu, Preliminary
investigation of various old geomaterials treated with hydrophobic pellicle, Color
Research & Application, 41(3), 2016, pp. 317-320.
[98] I. Hutanu, I. Sandu, V. Vasilache, L. Nica, I.C.A. Sandu, Study Concerning the
Consolidation of Degraded Pictural Layer with Acrylic Binder, Rev. Chim.
(Bucharest), 66(6), 2015, pp. 895-900.
[99] A.-M. Budu, R. Cristache, A.V. Sandu, V. Vasilache, M.M. Al Bakri Abdullah, I. Sandu,
Study of Coloured Lakes Used for the Covering of Silver Leaf in Ecclesial Art of the
First Half of 19th Century, Applied Mechanics and Materials, 754-755, 2015, pp. 714-
718, doi: 10.4028/www.scientific.net/AMM.754-755.714.
[100] A.V. Sandu, C. Bejinariu, I.G. Sandu, P. Vizureanu, I. Sandu, C. Baciu, V. Vasilache,
Process for Corrosion-Protection of Iron Pieces by Phosphating in Aqueous System,
Patent RO128933 – B1/28.03.2014(A2)/2013.10.30.
[101] A.V. Sandu, C. Bejinariu, I.G. Sandu, I. Ionita, I. Sandu, V. Vasilache, Process for
anticorrosive phosphating of iron metal pieces, Patent RO128835 –
B1/28.03.2014(A2)/2013.09.30.
[102] V. Vasilache, A.V. Sandu, C. Filote, I. Sandu, Process for the unform electrodeposition of
nickel on copper support, Patent RO127301 (A2)/2012.30.04.
[103] V. Vasilache, A.V. Sandu, C. Filote, I. Sandu, Process for uniform bright deposition of
nickel on copper surfaces, Patent RO127202 (A2)/2012.30.03.
[104] I. Sandu, T. Bounegru, I.G. Sandu, A. Alexandru, I.C.A. Sandu, F. Diaconescu, A.V.
Sandu, Process for obtaining a green, opaque, photo- and thermoresistant pigment,
Patent MD3296(G2)/30.04.2007.
[105] V. Moraru, I. Sandu, C. Moraru, I.C.A. Sandu, I. G. Sandu, Process for Manufacturing
Polychrome Tesserae and Use Thereof for Producing Wall Mosaic, Patent
RO118415/3/155/28.03.2003.
[106] I.G. Sandu, I. Sandu, T. Bounegru, I.C.A. Sandu, A.V. Sandu, Dispersion on base of
calcium hydroxide for fixation and strengthening of frescoes, finishes and old
ornamental elements of marble, concrete and mortar, Patent MD3052(G2)/04.06.2006.
[107] I.G. Sandu, A. Dima, I. Sandu, C. Ioan, I.C.A. Sandu, M. Vasilache, A.V. Sandu, Organic
Basic Solution for Fixing and Consolidating some Frescoes and Old Ornamental
Elements and Process for Obtaining the Same, Patent RO122135 B1/30.01.
[108] I. Hutanu, I. Sandu, A.-E. Simionescu, V. Vasilache, A.-M. Budu, I.C.A. Sandu, Study
Concerning the influence of Acrylic Consolidating Agents on Gold Gilding and
Schlagmetal, Rev. Chim. (Bucharest), 66(9), 2015, pp. 1480-1484.
[109] I. Sandu, T. Lupascu, I.C.A. Sandu, V. Vasilache, A.V. Sandu, V. Botan, Method for
reproducing the picture with reconstructed image, Patent MD469Z/2012-01-31.
[110] I. Sandu, T. Lupascu, I.C.A. Sandu, V. Vasilache, A.V. Sandu, V. Botan, Process of
chromatic reintegration of lacunar areas of old paintings, Patent MD409Z/2012.03.31.
[111] I. Sandu, I.C.A. Sandu, V. Vasilache, Process of chromatic reintegration of paintings,
Patent RO127086 (A2)/2012.28.02.
[112] I. Sandu, T. Lupascu, I.C.A. Sandu, V. Vasilache, A.V. Sandu, V. Botan, Method for
reproducing the picture with reconstructed image, Patent MD469Z/2012-01-31.
[113] D.E. Colbu, I. Sandu, V. Vasilache, K. Earar, E.D. Paraschiv, I.G. Sandu, D. Iliescu
Bulgaru, A.V. Sandu, Study on The Chemical Composition of Teak Wood Extracts in
Different Organic Solvents, Iforest - Biogeosciences and Forestry, 14(4), 2021, pp.
329-336, Https://Doi.Org/10.3832/Ifor3717-014.
[114] M. Boutiuc (Haulică), V. Vasilache, O. Florescu, M. Brebu, I. Sandu, P.O. Tanasa, I.C.
Negru, Study of the effects of skin surface lipids on old cellulose-support documents,
International Journal of Conservation Science, 11(3), 2020, pp. 731-746.
[115] V. Pelin, I. Radinschi, V. Ciocan, I. Sandu, T.B. Coman, M.M. Cazacu, Preliminary
Evaluation of Coating Hydrophobization of Natural Stone from Repedea - Iasi area
(Romania), Rev. Chim. (Bucharest), 71(1), 2020, pp. 273-282,
https://doi.org/10.37358/RC.20.1.7845.

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[116] V. Pelin, O. Rusu, M.M. Cazacu, S. Gurlui, A.V. Sandu, I. Radinschi, V. Ciocan, I.
Sandu, Assessment of Hydrophobic Coating on Porous Calcareous Rocks Surface
Exposed in Urban Ambient Air Pollution, IOP Conf. Series: Materials Science and
Engineering 374, 2018, 012091 DOI 10.1088/1757-899X/374/1/012091.
[117] B. Ratoi, V. Pelin, I. Sandu, M. Branzila, I.G. Sandu, Hidden Message in Stone Masonry
of Galata Monastery - Iasi City, Romania, International Journal of Conservation
Science, 9(1), 2018, pp. 151-164.
[118] V. Pelin, O. Rusu, I. Sandu, V. Vasilache, S. Gurlui, A.V. Sandu, M.M. Cazacu, I.G.
Sandu, Approaching on Colorimetric Change of Porous Calcareous Rocks Exposed in
Urban Environmental Conditions from Iasi – Romania, International Conference on
Innovative Research 2017 - ICIR Euroinvent 2017 IOP Publishing IOP Conf.
Series: Materials Science and Engineering, 209, 2017, 012080, doi:10.1088/1757-
899X/209/1/012080.
[119] V. Pelin, I.G. Breaban, I. Sandu, S. Gurlui, The atmospheric pollution influence on the
surface structures of porous geomaterials in correlation with some natural
radionuclides, Rev. Chim. (Bucharest), 68(6), 2017, pp. 1431-1438.
[120] A. Cocean, V. Pelin, M.M. Cazacu, I. Cocean, I. Sandu, S. Gurlui, F. Iacomi, Thermal
effects induced by laser ablation in non-homogeneous limestone covered by an impurity
layer, Applied Surface Science, 424, Part 3, 2017, pp. 324-329.,
https://doi.org/10.1016/j.apsusc.2017.03.172.
[121] V. Pelin, I. Sandu, S. Gurlui, M. Branzila, V. Vasilache, I.G. Sandu, Evaluation of the
artificial aging rate through UV radiation exposure of indigenous carbonate rocks,
treated with water - solvated nano-dispersions, with the interest of consolidation and the
formation of a waterproof character, Rev. Chim. (Bucharest), 67(12), 2016, pp. 2568-
2572.
[122] V. Pelin, I. Sandu, M. Munteanu, C.T. Iurcovschi, S. Gurlui, A.V. Sandu, V. Vasilache,
M. Brȃnzilă, I.G. Sandu, Colour change evaluation on UV radiation exposure for Păun
Repedea calcareous geomaterial, International Conference on Innovative Research
2016 - ICIR Euroinvent 2016 IOP Publishing IOP Conf. Series: Materials Science
and Engineering, 133, 2016, Article Number: 012061 doi:10.1088/1757-
899X/133/1/012061.
[123] V. Pelin, I. Huţanu, E. Borş, V. Vasilache, I. Sandu, M. Brânzilă, Impact on Surface
Treatment of Hydrophobic Consolidation Terracotta Ornaments, Key Engineering
Material, 660, 2015, pp 369-376, doi: 10.4028/www.scientific.net/KEM.660.369.
[124] A.-M. Budu, I. Sandu, V. Vasilache, A.-E. Simionescu, I.C.A. Sandu, Effect of skin lipids
on painting layrs of the icons, Rev. Chim. (Bucharest), 66(8), 2015, pp. 1212-1216.
[125] A.-M. Budu, I. Sandu, K. Earar, The Effects of incenses’ Smoke on Different Types of
Varnishes, Key Engineering Material, 660, 2015, pp 377-382, doi:
10.4028/www.scientific.net/KEM.660.377.
[126] I. Huțanu, L. Nica, I. Sandu, V. Vasilache, A.V. Sandu, Acrylic Binder Used for the
Consolidation of Gilded Surfaces, Applied Mechanics and Materials, 754-755, 2015,
pp. 624-628, doi: 10.4028/www.scientific.net/AMM.754-755.624.
[127] M.C. Timar, I.C.A. Sandu, E. Beldean, I. Sandu, FTIR investigation of Paraloid B72 as
consolidant for old wooden artefacts - principle and case studies, Materiale Plastice,
51(4), 2014, pp. 382-387.
[128] A.-A. Tuduce Trăistaru, I.C.A. Sandu, M.C. Timar, G.L. Dumitrescu, I. Sandu, SEM-
EDX, water absorption and wetting capability studies on evaluation of the influence of
nano-Zinc oxide as additive to Paraloid B72 solutions used for wooden artifacts
consolidation, Microscopy, Research and Technique, 76(2), 2013, pp. 209-218, DOI
10.1002/jemt.22155.
[129] A.-A. Tuduce-Trăistaru, M.C. Timar, M. Câmpean, C. Croitoru, I. Sandu, Paraloid B72
versus Paraloid B72 with nano-ZnO additive as consolidants for wooden artefacts,
Materiale Plastice, 49(4), 2012, pp. 293-300.

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[130] I.C.A. Sandu, M. Brebu, C. Luca, I. Sandu, C. Vasile, Thermogravimetric study on the
ageing of lime wood supports of old paintings, Polymer Degradation and Stability,
80(1), 2003, pp. 83-91.
[131] D.E. Colbu, I. Sandu, V. Vasilache, I.C.A. Sandu, A. Ghavidalesfahlan, G. Colbu, I.G.
Sandu, N. Colbu, A.V. Sandu, Process for stopping insecto-fungal attacks in old wooden
artifacts, Patent RO135385 (A2)/2021-12-30.
[132] I. Sandu, G. Deak, I.C.A. Sandu, M.-A. Moncea, I.G. Sandu, F.D. Dumitru, A.V. Sandu,
M. Matei, S. Panaite, M.G. Boboc, Additive mortar composition for finishing old
monuments and method of obtaining and applying, Patent RO135116 (A0)/2021-07-30.
[133] D.E. Colbu, I. Sandu, V. Vasilache, I.C.A. Sandu, G. Colbu, I.G. Sandu, N. Colbu, A.V.
Sandu, Composition and process for treating old wood artifacts against insects, fungi
and water, Patent RO1234566 (A2)/2020-11-27.
[134] I. Sandu, T. Lupascu, C. Luca, V. Vasilache, M. Hayashi, F.D. Vlad, I.G. Sandu,
Insectofungicidal Composition as an Alcohol Solution and Process for Preparing the
Same, Patent RO123353 (B1)/2011-10-28.
[135] I.C.A. Sandu, V. Vasilache, I. Sandu, N. Vrinceanu, I.G. Sandu., A.C. Ciocan, A.V.
Sandu, Process for actively preserving old water-soaked wood, involves submerging the
wood into petroleum-based organic solutions containing specified amounts of tannin
and propolis, Patent RO126102 B1/28.08.2015.
[136] I. Sandu, T. Lupaşcu, I.C.A. Sandu, V. Vasilache, I.G. Sandu, V. Boţan, A.V. Sandu,
A.C. Ciocan, Process for insectofungicization and Fireproofing of Age-old Artworks,
Patent MD4018(G2)/2010.02.26, Dosar AGEPI a 2008 0249/2008.09.30.
[137] I. Sandu, T. Lupaşcu, I.C.A. Sandu, V. Vasilache, I.G. Sandu, V. Boţan, A.V. Sandu,
A.C. Ciocan, Process for insectofungicization and hydrophobization of age-old wood
articles of art, Patent MD3966(B1)/2009.09.30, (AGEPI File a2008
0051/2009/a20080249/30.09.2008.
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______________________________________

Received: March 22, 2022

Accepted: September 29, 2022

1208 INT J CONSERV SCI 13, 4, 2022: 1187-1208

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