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.

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

A multi-analytical approach for the characterization of wall painting materials on contemporary buildings

2017 ◽  
Vol 173 ◽  
pp. 39-45 ◽  
Author(s):  
Donata Magrini ◽  
Susanna Bracci ◽  
Emma Cantisani ◽  
Claudia Conti ◽  
Antonio Rava ◽  
...  
Keyword(s):  
Analytical Approach ◽  
Wall Painting ◽  
Painting Materials

Characterizing the Intrinsic Fluorescence Properties of Historical Painting Materials: The Case Study of a Sixteenth-Century Mesoamerican Manuscript

2017 ◽  
Vol 72 (4) ◽  
pp. 573-583 ◽  
Author(s):  
Fabien Pottier ◽  
Anne Michelin ◽  
Christine Andraud ◽  
Fabrice Goubard ◽  
Bertrand Lavédrine
Keyword(s):  
Sixteenth Century ◽  
Fluorescence Spectroscopy ◽  
Paint Layer ◽  
Intrinsic Fluorescence ◽  
16Th Century ◽  
Fluorescent Properties ◽  
Painting Materials ◽  
Intrinsic Emission

Ultraviolet visible (UV–Vis) fluorescence spectroscopy is widely used to study polychrome objects and can help to identify the nature of certain materials when they present specific fluorescent properties. However, given the complexity of the stratified and heterogeneous materials under study, the characterization of an intrinsic fluorescence related to a given constituent (a pigment or a binder composing a paint layer for example) is not straightforward, and the recorded raw data need to be corrected for a number of effects that can influence the detected spectral distribution. The application of standard correction procedures to experimental fluorescence data gathered on the polychromatic surface of the Codex Borbonicus, a 16th-century Aztec manuscript, is described. The results are confronted to an alternate new methodology that is based on the hypothesis of transparent non-scattering paint layers. This second approach allows to establish more clearly the material origin of the detected emission and to discriminate apparent fluorescence (emitted by the substrate and transmitted through the paint layers) from actual intrinsic emission generated by the coloring materials under study. The results show that most of the various emission profiles detected in the paint layers of the manuscript actually originate from a unique fluorophore (composing the substrate) and should not be used to characterize the coloring materials.

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 Ageing of Some Painting Materials Subjected to Thermal Treatment in Natural Esters

2018 ◽  
Vol 55 (1) ◽  
pp. 28-32
Author(s):  
Traian Rus ◽  
Alina Ruxana Caramitu ◽  
Livia Carmen Ungureanu ◽  
Virgil Marinescu ◽  
Adriana Mariana Bors ◽  
...  
Keyword(s):  
Thermal Treatment ◽  
Copper Foil ◽  
Aging Process ◽  
Paint Layer ◽  
Working Environment ◽  
Heavy Duty ◽  
Painting Materials ◽  
Insulating Paper ◽  
Practical Research ◽  
Materials Used

This paper describes the evaluation of the aging process of some polymeric painting materials subjected to a thermal treatment in electro insulating fluids, based on natural esters (vegetable oils). The paint layers surface morphology was comparatively characterized by FESEM technique, prior to the exposure, and after 1000 h of exposure to vegetable oil, heated at 130oC. The results show a substantial increase in the pulling resistances for all the painting materials subjected to this investigation, especially in the presence of the Kraft insulating paper and copper foil (inserted compulsory to emulate the actual working environment), due to an increase in the painting material adhesion, as well as an increase of the tensile strength of the paint layer. These findings may open new theoretical and practical research prospects, particularly in the field of preliminary treatments for materials used for heavy duty industrial transformers.

scholarly journals Chemical Composition and Micro Morphology of Golden Laminae in the Wall Painting “La Maestà” by Simone Martini: A Study by Optical Microscopy, XRD, FESEM-EDS and ToF-SIMS

2019 ◽  
Vol 9 (17) ◽  
pp. 3452 ◽  
Author(s):  
Andrea Atrei ◽  
Andrea Scala ◽  
Marco Giamello ◽  
Marianna Uva ◽  
Riccardo Maria Pulselli ◽  
...  
Keyword(s):  
Secondary Ion Mass Spectrometry ◽  
Chemical Characterization ◽  
High Sensitivity ◽  
Wall Painting ◽  
Tof Sims ◽  
Materials Used ◽  
Micro Morphology ◽  
Secondary Ion ◽  
Adhesive Materials

The chemical characterization of gilding decorations in works of art is fundamental in order to elucidate the techniques and materials used by the artists. In the present work we investigated by a combination of bulk and surface sensitive methods the composition and micro stratigraphy of the gilding laminae in the wall painting of the 14th century “La Maestà”, the masterpiece of Simone Martini. The aim of this study was to determine the composition of the gilding leaves and of the adhesive organic materials used to glue the metallic decorations to the wall painting. Due to the altered state of the samples we could not univocally identify the nature of the adhesive materials. Time of flight secondary ion mass spectrometry measurements showed that the gilding layers consisted of a gold leaf which was laid either directly on a preparation layer or on a tin lamina. The high sensitivity of ToF-SIMS and its spatial resolution allowed us to find traces of silver in the gold leaves and in the tin laminae which were not revealed by energy dispersive X-ray analysis.

scholarly journals A Study of the Pigments and Cohesive Colour Layers of the Paintings in a Church from the Tenth to Thirteenth Centuries on the Plateau of Eski-Kermen

2021 ◽  
pp. 156-174
Author(s):  
Anastasia Yu. Loboda ◽  
Igor N. Trunkin ◽  
Roman D. Svetogorov ◽  
Victor M. Pojidaev ◽  
Andrey V. Kamaev ◽  
...  
Keyword(s):  
Elemental Composition ◽  
Significant Degree ◽  
Wall Painting ◽  
Wall Paintings ◽  
Red Pigment ◽  
Phase Constitution ◽  
Yellow Colour ◽  
X Ray ◽  
Painting Technique ◽  
Yellow Ochre

In 2018–2019, the excavations of an aisleless church dated from the tenth to thirteenth centuries and located in quarter II on the territory of a provincial Byzantine town atop of the plateau of Eski-Kermen discovered fragments of wall-plaster with polychrome painting. There are several shades of green, two shades of red, white (beige), yellow (ochre), and grey-brown colours. This paper presents the results of studies of the colour layer, determines pigments and cohesive colour components, and uncovers the features of the painting technique applied to the walls of the church. Four groups of samples were selected for the study featuring: 1 – white, 2 – yellow, 3 – red, and 4 – green colours. The elemental composition of the colour layer was studied by scanning electron microscopy combined with energy-dispersive X-ray microanalysis (SEM/EDX). The phase constitution of the samples was investigated by X-ray powder diffraction (XRD) method with the use of diffractometers operated in a transmission mode at the Kurchatov synchrotron radiation source. The chemical composition of colour layers was studied by infrared spectroscopy, and the study of cohesive colour materials was carried out by gas chromatography with mass spectrometry (GC/MS). The elemental composition and phase constitution of the white colour indicated the use of lime whitewash. Yellow ochre (goethite) was used as yellow colour. Red colour features the presence of hematite typical for the group of pigments united under the name of red soils. However, the discovery of 1% goethite typical for yellow ochres in the phase constitution of one sample allows the possibility that burnt yellow ochre was used as a red pigment. The green colour was green soil (glauconite and celadonite). It should be noted that none of the examined samples of red pigment contained traces of vermilion, which occurred in ancient paintings in the Crimea and was typical for Byzantine wall-paintings. In all the samples of pigments contained a significant degree of calcite (36-98%), possibly due to the presence of particles of undercolour in the measured samples of wall paintings, or diluting the pigment with lime water for the making of wall-painting featuring fresco technique. The use of the latter technique is also indicated by the presence of white lime colour. The traces of cohesive component in the form of fish glue and protein products from chicken eggs found in the red and green paint samples also suggests the use of the dry painting technique. Therefore, there are reasons to suppose that the painting of the quarter church of Eski-Kermen used two techniques, fresco and dry plaster paintings.

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.

scholarly journals Integrated analytical approach to unveil the secrets of the recently discovered “Sphinx Room”: a new piece of Domus Aurea puzzle.

2020 ◽  
Author(s):  
Maria Cristina Caggiani ◽  
Alessia Coccato ◽  
Paolo Mazzoleni ◽  
Alessandro D’Alessio ◽  
Alfonsina Russo ◽  
...  
Keyword(s):  
Diffuse Reflectance ◽  
Complete Characterization ◽  
Attenuated Total Reflectance ◽  
Wall Paintings ◽  
X Ray ◽  
Painting Materials ◽  
Non Destructive ◽  
Methodological Strategy

Abstract The recent discovery of the Sphynx Room, belonging to the Domus Aurea Esquiline wing, thanks to the framework given by the project “Non-destructive analytical studies at Parco Archeologico del Colosseo (Rome, Italy)”, allowed to perform an analytical campaign, both in situ and on micro-fragments. The first aim was to contribute to the overall comprehension of the Domus Aurea complex and to contextualize the newly-discovered room inside this extraordinary imperial architecture by means of an archaeometrical characterisation of the painting materials. The palette, composed of Egyptian blue, green earths, iron- and lead-based red, orange and yellow, calcite, carbon-based black, allowed to compare the Sphynx Room to Corridor 92 and Room 114 of Domus Aurea and to other sites in Rome. Furthermore, the employ of an organic binder in some spots can be put forward based on spectroscopic results, which does not exclude a wider use of the a fresco.Furthermore, a complementary methodological strategy was designed, in order to achieve a complete characterization of the materials. In addition to the well-known combination of portable X-ray fluorescence and portable/laboratory Raman analyses, Infrared Fourier Transform Spectroscopy was used, both in situ (Diffuse Reflectance) and in the lab (Attenuated Total Reflectance). The results confirm the suitability of this approach for the characterization of Roman wall paintings, where both inorganic and organic materials are simultaneously present.

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