Spectroscopic Investigation Leading to the Documentation of Three Post-Byzantine Wall Paintings

2016 ◽  
Vol 71 (1) ◽  
pp. 129-140 ◽  
Author(s):  
Dimitrios Lampakis ◽  
Ioannis Karapanagiotis ◽  
Olga Katsibiri
Keyword(s):  
Wall Paintings ◽  
Critical Material ◽  
Binding Media ◽  
Painting Materials ◽  
Micro Raman Spectroscopy ◽  
Mural Paintings ◽  
Combined Use ◽  
Byzantine Period ◽  
Ft Ir ◽  
Materials Used

The main churches of three monasteries in Thessalia, Central Greece, were decorated with wall paintings in the post-Byzantine period. The main goal of the present study is to characterize the inorganic and organic materials present in the paint layers of areas that have been gilded. Optical microscopic examination was carried out on samples taken from the gilded decoration of the paintings to view their layer build-up. The combined use of micro Fourier transform infrared (FT-IR) and micro-Raman spectroscopy led to the detection of the pigments and the binding media used. The results from specimens taken from different wall paintings were compared with each other to observe their differences and similarities. The three investigated churches are believed to have been painted by the same iconographer, Tzortzis, who however has only been identified in only one of them. The comparison led to the conclusion that there are many similarities in the painting materials used and the general methodology adopted and, therefore, this study offers support to the belief that the mural paintings of the three monasteries could have been painted by the same iconographer. While not authenticating the two painting as being by Tzortzis, the results provide further critical material that is consistent with this attribution. However, this statement must be carefully considered because the pigments identified have been commonly and diffusely used in historic mural paintings.

Painted Decoration Studies in a Fourth Century BC Vergina Tomb

2007 ◽  
Vol 1047 ◽  
Author(s):  
Eleni Pavlidou ◽  
A. Kyriakou ◽  
E. Mirtsou ◽  
L. Anastasiou ◽  
T. Zorba ◽  
...  
Keyword(s):  
Fourier Transform ◽  
Infrared Spectroscopy ◽  
Fourth Century ◽  
Wall Paintings ◽  
Alexander The Great ◽  
Northern Greece ◽  
Philip Ii ◽  
Painting Materials ◽  
Materials Used ◽  
Wooden Furniture

AbstractAegae, the first capital of the Macedonians, in Northern Greece, is being excavated since 1938. The most impressive finds come from the unlooted tombs of the Great Tumulus, where the grave of Philip II, father of Alexander the Great, was discovered. Not far from the Great Tumulus, in the “Tumuli cemetery”, the most ancient part of the graveyard (1000-700 B.C.), recent excavations brought to light three looted graves dated in the mid-fourth century B.C., with very interesting finds such as weapons, gilded wreaths, pieces of jewelry, remains of decoration of wooden furniture, ceramic vases broken in small pieces and wall paintings. This paper describes studies carried out on the binding and the painting materials used for the decoration of the above wall paintings and ceramic vases. The characterization was performed through Optical Microscopy, Fourier Transform Infrared Spectroscopy (FTIR) and Scanning Microscopy (SEM-EDS). It was found that the fresco technique was used, while all the pigments were identified. The results are discussed and related with other findings in that period in the Greek area

scholarly journals Characterization of Roman and Arabic Mural Paintings of the Archaeological Site of Cercadilla (Cordoba, Spain)

Scanning ◽  
2019 ◽  
Vol 2019 ◽  
pp. 1-14 ◽  
Author(s):  
Andrea Gil-Torrano ◽  
Auxiliadora Gómez-Morón ◽  
José María Martín ◽  
Rocío Ortiz ◽  
Mª del Camino Fuertes Santos ◽  
...  
Keyword(s):  
Archaeological Site ◽  
Mural Painting ◽  
X Ray Diffraction ◽  
X Ray ◽  
Mural Paintings ◽  
Thermal Zone ◽  
Chronological Sequence ◽  
Ft Ir ◽  
Materials Used

The archaeological site of Cercadilla (Cordoba, Spain) includes a complete chronological sequence from the 3rd to 12th centuries. The most relevant monument is a Roman palace dated between the end of the 3rd century and the beginning of the 4th century AD. It is believed that it was the headquarters of the Emperor Maximiano Herculeo. A bathtub with mural paintings has been found in the thermal zone of the palace. Regarding the occupation of the archaeological site in the medieval period, it should be pointed out that two houses with mural paintings were found; these belong to the Caliphal era (10th-11th centuries). During the Caliphal era, the archaeological site was mostly occupied by one of the large suburbs surrounding the walled city. Cercadilla was gradually abandoned; this process starts at the beginning of the 11th century. This study is focused on the analysis of pigments and preparatory layers of red and white mural paintings of the Roman period in the bath zone and on the analysis of pigments in mural paintings in two houses of the Caliphal era. In the thermal zone, the walls have a white mural painting with vertical and horizontal red bands, while the walls in the two Caliphal houses present the red mural painting decorated with white stripes. Techniques such as Optical Microscopy (OM), Scanning Electron Microscopy in combination with Energy Dispersive X-ray Microanalysis (SEM-EDX), X-ray Diffraction (XRD), micro X-ray Diffraction (μ-XRD), Wavelength Dispersive X-ray Fluorescence (WD-XRF), and Fourier Transform-Infrared Spectroscopy (FT-IR) have been used to study the mural paintings of this archaeological site. The results allowed to determine the composition of the materials used and to understand the differences between the technologies employed in Roman and Caliphal remains studied.

scholarly journals The Characterization of the Materials Used by Gino Severini in His 20th C Wall Paintings at Semsales in Switzerland

2021 ◽  
Vol 11 (19) ◽  
pp. 9161
Author(s):  
Patrizia Moretti ◽  
Stefan Zumbühl ◽  
Ottaviano Caruso ◽  
Nicola Gammaldi ◽  
Paola Iazurlo ◽  
...  
Keyword(s):  
Animal Glue ◽  
Wall Paintings ◽  
Archival Research ◽  
Visual Examination ◽  
Non Invasive ◽  
Ft Ir ◽  
Materials Used ◽  
Representative Samples

The modern decoration of the Saint Nicolas de Myre Church at Semsales (1924–1926), is the first by renowned Italian artist Gino Severini in Switzerland. Following archival research and visual examination, the materials and the techniques used by Severini for the wall paintings of this church were examined through a multi-technique analytical approach that included both non-invasive and invasive investigations. Archival research revealed lists of some of the materials purchased for the church and notes of the artists. In situ investigations included imaging methods and point analyses (X-ray fluorescence and reflection FT-IR spectroscopy). Based on non-invasive results, a limited number of representative samples were collected for laboratory invasive analyses (SEM-EDS, FTIR-FPA imaging, μ-Raman and GC-MS) to characterize the stratigraphy and the composition of the paintings. Results were coherent with artist’s notes and revealed protein-based binders, i.e. animal glue and casein, exclusively on the Trinity mural (in the apse) confirming the use of a secco technique. All the other wall paintings analyzed at Semsales are painted without the use of organic binders. These findings, integrated with archival researches and the visual examination by conservators, provided significant insights into the materials and techniques used by Gino Severini in his first Swiss murals.

scholarly journals Characterisation of Materials and Techniques in First Archaeological Findings of Nasca Wall Paintings

2020 ◽  
Author(s):  
Nathalie Boucherie ◽  
Witold Nowik ◽  
Nathalie Pingaud
Keyword(s):  
Paint Layer ◽  
Wall Painting ◽  
Phase Iii ◽  
Wall Paintings ◽  
Intermediate Period ◽  
Electron Microscopies ◽  
Painting Materials ◽  
Yellow Ochre ◽  
Materials Used

Abstract The pre-Colombian wall paintings in Peru were already known from north and central coast sites, but little information exists on the southern coast corresponding to the Nasca region. The recent excavations on Cahuachi site supplied fragments of plaster with paint layers found near Great Pyramide, corresponding to phases III and IV of the construction of the site, and dating back to the Early Intermediate Period (from 200 BC to 350 AD). A series of fragments from three locations from these two respective periods were transferred directly from the excavation to the laboratory and analysed. A panel of observation and analysis methods was applied in order to describe the stratigraphy and materials used for these paintings, with special attention to the paint layer. The stratigraphy was observed by optical and electron microscopies and X-ray fluorescence, Raman and infrared spectroscopies were employed for elemental and molecular characterization of the plaster and paintings. The obtained results show the large use of iron oxides and copper based pigments, as well calcium sulfate, siliceous and clay materials and graphite. Although the most of pigments could be provided by local deposits, the provenience of graphite remains undetermined. The differences of painting materials between phases III and IV are related to the palette of colours and pigments. The colors for phase III seem limited to the red and yellow ochre pigments, unidentified black and gypsum white. During phase IV, additional pigments were identified such as: paratacamite, malachite and chrysocolla for greens, hematite for purple, graphite black and siliceous white, which replaced gypsum white. The paintings were sometimes applied in several layers separated or not by white coating layer. The painting materials and techniques identified on Cahuachi site, and especially the differences between the phases observed, constitute a new insight in the knowledge of wall painting tradition in Southern Peru.

scholarly journals Characterisation of materials and techniques in first archaeological findings of Nasca wall paintings

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Nathalie Boucherie ◽  
Witold Nowik ◽  
Nathalie Pingaud
Keyword(s):  
Paint Layer ◽  
Wall Painting ◽  
Phase Iii ◽  
Wall Paintings ◽  
Intermediate Period ◽  
Electron Microscopies ◽  
Painting Materials ◽  
Great Pyramid ◽  
Yellow Ochre ◽  
Materials Used

AbstractThe pre-Colombian wall paintings in Peru were already known from north and central coast sites, but little information exists on the southern coast corresponding to the Nasca region. The recent excavations on Cahuachi site provided fragments of plaster with paint layers found near Great Pyramid, corresponding to phases III and IV of the construction of the site, and dating back to the Early Intermediate Period (from 200 BC to 350 AD). A series of fragments from three locations from these two respective periods were transferred directly from the excavation to the laboratory and analyzed. A panel of observation and analysis methods was applied in order to describe the stratigraphy and materials used for these paintings, with special attention to the paint layer. The stratigraphy was observed by optical and electron microscopies and X-ray fluorescence, Raman and infrared spectroscopies were employed for elemental and molecular characterization of the plaster and paintings. The obtained results show the large presence in painting layers of iron oxides and copper based pigments, as well as calcium sulfate, siliceous clay materials and graphite. Although most of these pigments could be provided by local deposits, the detection of graphite is probably linked to the use of charcoal. The variety of painting materials between phases III and IV are related to the palette of colours and pigments. The colours for phase III seem limited to the red and yellow ochre pigments, and unidentified black and gypsum white. During phase IV, additional pigments were identified such as: paratacamite, malachite and chrysocolla for greens, hematite for purple, charcoal and siliceous white, which replaced gypsum white. The paintings were sometimes applied in several layers and occasionally separated by a white coating layer. The painting materials and techniques identified on Cahuachi site, and especially the differences between the phases observed, constitute a new insight into the knowledge of wall painting tradition in Southern Peru.

Authentication of the Ancient Easel / Paintings Through Materials Identification from the Polychrome Layers II. Analysis by Means of the FT-IR Spectrophotometry

2008 ◽  
Vol 59 (4) ◽  
Author(s):  
Irina Crina Anca Sandu ◽  
Constantin Luca ◽  
Ion Sandu ◽  
Viorica Vasilache ◽  
Mikiko Hayashi
Keyword(s):  
Degradation Rate ◽  
Animal Glue ◽  
Painting Materials ◽  
Ageing Rate ◽  
Ir Spectrophotometry ◽  
Private And Public ◽  
Ft Ir

This is the second paper belonging to a study concerning the authentication of ancient easel-paintings, on canvas and wood support, from private and public collections, by using the FT-IR spectrophotometry technique for the analysis of the painting materials. Different pigments, egg binders, caseins and animal glue, often found in ancient easel-paintings on wood or canvas, have been used as standards for establishing the ageing rate of the paintings by correlation with the dates presented in the first note. The determination of the degradation rate of the painting materials is an important archaeometric characteristic used in authentication.

scholarly journals Analytical Approach for the Study of Teotihuacan Mural Paintings from the Techinantitla Complex

Minerals ◽  
2021 ◽  
Vol 11 (5) ◽  
pp. 508
Author(s):  
José Luis Ruvalcaba-Sil ◽  
Luis Barba ◽  
Edgar Casanova-González ◽  
Alejandro Mitrani ◽  
Margarita Muñoz ◽  
...  
Keyword(s):  
Fiber Optics ◽  
Infrared Imaging ◽  
Blue Pigment ◽  
Large Set ◽  
Non Invasive ◽  
Mural Paintings ◽  
Interdisciplinary Research Project ◽  
Manufacturing Techniques ◽  
Materials Used ◽  
The 1960S

Techinantitla building complex, in the Amanalco neighborhood of the ancient city of Teotihuacan, is famous for the iconography and quality of the mural paintings found in this site. A significant part of this heritage has been lost due to looting. In recent years, an interdisciplinary research project was developed to study the limited patrimony that was left. As part of this study, we first employed geophysical techniques to reconstruct the architectural pattern of the compound’s remaining walls, where other paintings may still be found. Then, we applied a non-invasive methodology to characterize a large set of fragments recovered in the 1980s and to gain information on their pigments and manufacturing techniques. This methodology included False Color Infrared Imaging, X-ray Fluorescence and Fiber-Optics Reflectance Spectroscopy, and led to the identification of hematite, calcite, malachite, azurite and an unidentified blue pigment. The results were compared with a previous study performed on a set of Techinantitla mural paintings looted in the 1960s. A broader comparison with contemporary mural paintings from other Teotihuacan complexes shows good agreement in the materials used. These results may suggest a standardization in the making of Teotihuacan mural painting during the Xolapan period (350 to 550 AD).

scholarly journals Improvement of the Non-Destructive Testing of Heritage Mural Paintings Using Stimulated Infrared Thermography and Frequency Image Processing

2019 ◽  
Vol 5 (9) ◽  
pp. 72
Author(s):  
Kamel Mouhoubi ◽  
Vincent Detalle ◽  
Jean-Marc Vallet ◽  
Jean-Luc Bodnar
Keyword(s):  
Infrared Thermography ◽  
Cultural Property ◽  
Wall Paintings ◽  
Non Destructive Testing ◽  
Property A ◽  
Destructive Testing ◽  
Mural Paintings ◽  
Works Of Art ◽  
Optical Effects ◽  
Non Destructive

Within the framework of conservation and assistance for the restoration of cultural property, a method of analysis assistance has been developed to help in the restoration of cultural heritage. Several collaborations have already demonstrated the possibility of defects detection (delamination, salts) in murals paintings using stimulated infrared thermography. One of the difficulties encountered with infrared thermography applied to the analysis of works of art is the remanence of the pictorial layer. This difficulty can sometimes induce detection artifacts and false positives. A method of thermograms post-processing called PPT (pulse phase thermography) is described. The possibilities offered by the PPT in terms of reducing the optical effects associated with the pictorial layer are highlighted first with a simulation, and then through experiments. This approach can significantly improve the study of painted works of art such as wall paintings.

scholarly journals Spectroscopic study of an icon painted on wooden panel

2015 ◽  
Vol 69 (4) ◽  
pp. 387-393
Author(s):  
Sofija Stojanovic ◽  
Maja Gajic-Kvascev ◽  
Ljiljana Damjanovic
Keyword(s):  
Analytical Techniques ◽  
Paint Layer ◽  
Blue Pigment ◽  
Blue Colour ◽  
X Ray ◽  
Micro Raman Spectroscopy ◽  
Green Earth ◽  
Materials Used ◽  
The 19Th Century ◽  
Wooden Panel

Russian icon painted on wooden panel analyzed in this work is interesting for art historians because there is no precise information in which workshops it was made or who the author was. Similar icons are often found in churches and monasteries in our region. In order to obtain information about materials used for creation of investigated icon two micro-analytical techniques were used: Energy-Dispersive X-Ray Fluorescence spectroscopy (EDXRF) and micro-Raman spectroscopy. Obtained results confirmed presence of following materials: lead-white, vermilion, minium, ultramarine, brown and green earth pigments and silver in combination with yellow organic varnish, which served to an iconographer for gilding. Ground layer was made of calcite. Blue pigment ultramarine was probably used for blue colour as well as for obtaining particulars hues in several parts of the paint layer. This can be important information for further research concerning particular workshop in which the icon was made. Identified materials are typical for Russian iconography of the 19th century.

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