Asbestos in cultural heritage artefacts: guidelines for risk assessment and management of antique and modern artefacts in view of restoration, preservation, and exhibition

Asbestos fibres have been a key component of man-made artefacts and industrial products, collectively known as Asbestos-Containing Materials (ACMs), due to their exceptional technological properties, recognized since ancient times. These properties, including non-flammability, chemical resistance, remarkable flexibility, and binder property made asbestos a widely used material in cultural and artistic objects worldwide.

The earliest evidence of asbestos-containing artefacts dates back to the Neolithic period, when asbestos was added in pottery production across a vast region of Eurasia, including Scandinavia, Corsica, Greece, and the Japanese Archipelago. The ancient Greeks and Romans employed asbestos for weaving fabrics, cremation shrouds, and candlewicks, as documented by archaeological findings. In some areas, these traditions persisted into the Middle Ages.

The large-scale industrial use of asbestos intensified in the modern era, particularly during the Second World War, and peaked between the 1960s and 1980s, driven by rapid economic development. Notably, asbestos cement roofing (e.g., manufactured by Eternit^®) and panels became ubiquitous worldwide. However, during this time, medical evidence and scientific studies began to reveal the carcinogenic effects of asbestos fibres, especially when inhaled. Classified as a carcinogen (IARC, 1977), asbestos was subsequently banned in many countries to protect public health and workers.

In this complex scenario, the assessment of asbestos-related risks extends beyond the presence of ACMs in buildings, which are typically addressed by existing EU regulations. Heritage sites, including museums, face a unique dual challenge: preserving cultural and historical artefacts while safeguarding the health and safety of workers and visitors.

Currently, asbestos monitoring focuses on assessing the potential release of fibres into the air following ACM mobilization. However, a less-explored issue is the handling, restoration, preservation, and exhibition of movable and immovable artefacts containing asbestos, where it serves as a primary material or a secondary component. Beyond well-known art objects such as frescos, murals, wall paintings, oil paintings, and artistic installations, modern asbestos-containing artefacts include musical instruments, radio and film equipment, decorative ceiling panels, theatre curtains, furniture, garden vases, lamps, interior bookcases, advertising flyers, and pinball machines.

This study aims to provide a comprehensive overview of cultural heritage objects that may contain asbestos as a primary, secondary, or trace component and to propose guidelines for their safe handling during restoration (e.g., cleaning), transportation, and exhibition to minimize the risk of asbestos exposure.