Study of the Materials and Techniques of a Rare Papier-Mâché Mushroom Model Crafted in H. Arnoldi Factory

Abstract

The Natural History and Science Museum of the University of Porto houses a collection of 45 models of fungi in papier-mâché from the 19th-century, which were used at the university until 2015 as didactic models. For the first time, the materials and techniques used in the production of a Boletus edulis model were studied (vernacular name: cep, porcini). These sculptures, made to life-size scale, are painted in colors similar to those of the represented species (white, brown, and light brown). They are fixed to a rectangular base, which is painted black, and to which moss has been pasted. To fully characterize each color, at the molecular level, a multi-analytical approach was used, combining energy-dispersive x-ray fluorescence spectroscopy (micro-XRF) with fingerprinting techniques of Raman microscopy (microRaman and handheld Raman) spectroscopy and microFourier transform infrared spectroscopy (microFTIR). The papier-mâché was prepared with a groundwood paper to which kaolin and a quartz-based material have been added to reinforce the structure. Raman microscopy also identified carbon black in it, which is possibly responsible for its grey color. The white color was unequivocally identified as lithopone by microRaman. This white paint was prepared in a proteinaceous tempera, with calcium carbonate having been identified as filler (by microFTIR). In the brown color, iron was identified by microXRF, pointing to the use of ocher, which was not possible to identify by microRaman and microFTIR. Regarding the black rectangular base, the moss was fixed using a collagen-based glue. The binding medium in this black is possibly a mixture of drying oil and protein. Again, XRF detected iron as the main element, but it was not possible to acquire a Raman spectrum due to the high fluorescence of the binder/varnish. Others, such as the writing inks, will also be discussed. The colors identified are in line with the best materials available for use by artists of that time. This new knowledge is fundamental to informing the choice of the best conservation strategies for the preservation of these extraordinary models.