scholarly journals Pigments on Roman Wall Painting and Stucco Fragments from the Monte d’Oro Area (Rome): A Multi-Technique Approach

2020 ◽  
Vol 10 (20) ◽  
pp. 7121
Author(s):  
Vittoria Guglielmi ◽  
Valeria Comite ◽  
Martina Andreoli ◽  
Francesco Demartin ◽  
Chiara Andrea Lombardi ◽  
...  
Keyword(s):  
Elemental Analysis ◽  
Analytical Approach ◽  
Wall Painting ◽  
Portable Instrumentation ◽  
Gold Leaf ◽  
Egyptian Blue ◽  
Green Earth ◽  
Yellow Ochre ◽  
Roman Wall Painting ◽  
Visible Reflectance

This work concerns the characterisation of a set of wall painting and stucco fragments collected during a rescue excavation carried out in 2013 by the Soprintendenza Archeologica in the Monte d’Oro area (Rome). Due to the contextless archaeological situation, analyses were performed to obtain more information about the collected materials. A multi-analytical approach has been applied including spectroscopic (FTIR, Raman and visible reflectance analyses) and elemental analysis (SEM-EDS) techniques. The chromatic palette has been in this way disclosed evidencing the use of pigments such as cinnabar, Egyptian blue, red and yellow ochre and green earth, but also the simultaneous use of them. The presence of a decoration achieved by using a gold leaf has been highlighted also, indicating the preciousness of the decorations. The convenience and advantages linked to the use of portable instrumentation have been also evidenced.

scholarly journals The combined use of SEM-EDX, Raman, ATR-FTIR and visible reflectance techniques for the characterisation of Roman wall painting pigments from Monte d’Oro area (Rome): an insight into red, yellow and pink shades

2021 ◽  
Author(s):  
Vittoria Guglielmi ◽  
Martina Andreoli ◽  
Valeria Comite ◽  
Anna Baroni ◽  
Paola Fermo
Keyword(s):  
Analytical Investigation ◽  
Wall Painting ◽  
First Century ◽  
Combined Use ◽  
Yellow Ochre ◽  
Diagnostic Capabilities ◽  
Visible Reflectance ◽  
Non Destructive ◽  
Wall Decoration ◽  
Selection Of

AbstractThe aim of this work has been the identification of the painter’s materials employed in the wall decoration of some destroyed buildings dating approximately between the first century B.C. and the first century A.D. This research originates from a previously started joined archaeological and analytical investigation concerning a varied group of findings that resulted from a rescue excavation performed by Soprintendenza Archeologica in the area of Monte d’Oro in Rome. The focus of this study progression has been directed to a numerous selection of monochrome red, pink and yellow-pigmented fragments. The analyses were performed by means of scanning electron microscopy energy dispersive X-ray spectroscopy (SEM-EDX) combined with Raman and Fourier transform infrared (FTIR) spectroscopies; visible reflectance measurements have also been carried out and the relevance of this technique in such a kind of archaeological studies has been highlighted. Most attention has been given to the assessment of the performances of non-destructive techniques achieved by portable Raman, and visible reflectance instrumentation to test their diagnostic capabilities. In addition to the expected and well-known pigments such as cinnabar, red ochre, hematite for the reds and yellow ochre for the yellows, the study highlighted a diffuse use of mixed colours and in some cases the possible presence of overlapped painted layers and confirmed the presence of gildings. Among the mixtures of pigments, the most singular outcome concerns the pink fragments revealing the possible application of bone white, which seems to be rather uncommon as a pigment in Roman wall decorations.

scholarly journals The Combined Use of SEM-EDX, Raman, ATR-FTIR and Visible Reflectance Techniques for the Characterisation of Roman Wall Painting Fragments From Monte D’Oro Area (Rome): An Insight onto Red, Yellow and Pink Shades.

2021 ◽  
Author(s):  
Vittoria Guglielmi ◽  
Martina Andreoli ◽  
Valeria Comite ◽  
Anna Baroni ◽  
Paola Fermo
Keyword(s):  
Analytical Investigation ◽  
Wall Painting ◽  
First Century ◽  
Combined Use ◽  
Yellow Ochre ◽  
Diagnostic Capabilities ◽  
Visible Reflectance ◽  
Non Destructive ◽  
Reflectance Measurements ◽  
Selection Of

Abstract The aim of this work has been the identification of the painter’s materials employed in the wall’s decoration of some destroyed building dating approximately between the first century B.C. and the first century A.D. This research originates from a previously started joined archaeological and analytical investigation concerning a really varied group of findings that resulted from an excavation performed by Soprintendenza Archeologica in the area of Monte d'Oro in Rome. The focus of this study progression has been directed to a numerous selection of monochrome red, pink, and yellow pigmented fragments. The analyses were performed by means of scanning electron microscopy energy dispersive X-ray spectroscopy (SEM-EDX) combined to Raman and Fourier transform infrared (FTIR) spectroscopies; visible reflectance measurements have also been carried out in order to evaluate its appliance in such a kind of archaeological studies. Most attention has been given to the assessment of the performances of non-destructive techniques, precisely the ones achieved by portable Raman and visible reflectance instrumentation, above all to test their diagnostic capabilities. In addition to the expected and well-known pigments such as cinnabar, red ochre, hematite for the reds and yellow ochre for the yellows, the study highlighted a diffuse use of mixed colours and/or overlapped painted layers and confirmed in some cases the presence of gildings. Among the mixtures of pigments, the most singular outcome concerns the pink fragment revealing the possible application of bone white, which, based on of the known literature, seems to be rather uncommon as pigment in Roman wall decorations.

Water and stone: the economics of wall-painting in Pompeii (A.D. 62-79)

2019 ◽  
Vol 32 ◽  
pp. 97-128
Author(s):  
Francesca Bologna
Keyword(s):  
Experimental Archaeology ◽  
Wall Painting ◽  
Industrial Building ◽  
Wall Paintings ◽  
Economic Implications ◽  
Local Markets ◽  
Working Practices ◽  
Roman Wall Painting ◽  
The Creation

This article investigates production times, workforce, and materials involved in the creation of wall-paintings, applying figures obtained from pre-industrial building manuals and through experimental archaeology. This is a crucial yet — at least with regard to Roman wall-painting – unexploited avenue for research, one that has already been successfully applied to the study of ancient construction, stone-working, and mosaic production.1 The implications of this type of study are twofold: estimating labour figures allows us to assess painters’ working practices and workforce organization, yet it can also help uncover the burden sustained by patrons in both economic and personal terms, thereby providing a more realistic notion of what it meant to have one’s house decorated. Ultimately, this can lead to a better understanding of local markets and of the socio-economic implications of the wall-painting industry

Characterisation of ancient Roman wall‐painting fragments using non‐destructive IBA and MA‐XRF techniques

2020 ◽  
Vol 49 (6) ◽  
pp. 668-678
Author(s):  
Monia Vadrucci ◽  
Anna Mazzinghi ◽  
Beatrice Sorrentino ◽  
Stella Falzone ◽  
Claudia Gioia ◽  
...  
Keyword(s):  
Wall Painting ◽  
Roman Wall Painting ◽  
Non Destructive

scholarly journals ‘Eye-Like Radiance’: The Depiction of Gemstones in Roman Wall Painting

Arts ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 60
Author(s):  
Ruth Allen
Keyword(s):  
Wall Painting ◽  
The Other ◽  
Two Dimensional ◽  
Dimensional Representation ◽  
Roman Art ◽  
Roman Wall Painting ◽  
The One ◽  
Precious Stones

The study of ornament in Greek and Roman art has been the focus of increasing scholarly interest over the last decade, with many publications shedding new light on the dynamics of ornatus in antiquity, and the discourses that shaped and situated it. Through an analysis of the depiction of gemstones in Roman wall painting, this article demonstrates the importance of ornamental details both to the mechanics of two-dimensional representation and to the interpretation of the images they adorned. I argue that by evoking the material qualities and sensual pleasures of real precious stones, painted gems served on the one hand to enhance the illusory reality of wall painting, and on the other to extol the delights of luxury and refinement—that is, of ornamentation itself.

Material characterization of the Late Roman wall painting samples from Sinop Balatlar Church Complex in the black sea region of Turkey

2016 ◽  
Vol 126 ◽  
pp. 263-273 ◽  
Author(s):  
Meriç Bakiler ◽  
Burcu Kırmızı ◽  
Özden Ormancı Öztürk ◽  
Özge Boso Hanyalı ◽  
Emine Dağ ◽  
...  
Keyword(s):  
Black Sea ◽  
Material Characterization ◽  
Wall Painting ◽  
The Black Sea ◽  
Black Sea Region ◽  
Roman Wall Painting ◽  
Late Roman

scholarly journals Non-Destructive Multi-Analytical Approach to Study the Pigments of Wall Painting Fragments Reused in Mortars from the Archaeological Site of Pompeii (Italy)

Minerals ◽  
2018 ◽  
Vol 8 (4) ◽  
pp. 134 ◽  
Author(s):  
Domenico Miriello ◽  
Andrea Bloise ◽  
Gino Crisci ◽  
Raffaella De Luca ◽  
Bruno De Nigris ◽  
...  
Keyword(s):  
Analytical Approach ◽  
Archaeological Site ◽  
Wall Painting ◽  
Non Destructive

GOLD GLASS TESSERAE SAID TO BE FROM THE ROMAN VILLA SITE AT SOUTHWICK, WEST SUSSEX

2013 ◽  
Vol 93 ◽  
pp. 93-107
Author(s):  
Liz James ◽  
G J Leigh ◽  
Nadine Schibille
Keyword(s):  
Elemental Analysis ◽  
Roman Period ◽  
The Other ◽  
Single Group ◽  
Roman Britain ◽  
Gold Leaf ◽  
Roman Villa ◽  
Roman Glass

This paper seeks to characterise through elemental analysis some unusual gold glass tesserae said to have been found at a Roman villa site in Southwick, West Sussex. The site is no longer accessible, being underneath a Methodist chapel, but it has been excavated, to some extent, on several occasions. Glass tesserae are not common in a British setting but they are by no means unusual in Roman mosaics. Gold glass tesserae, however, in which gold leaf is sandwiched between two layers of glass, are very unusual: fewer than twenty such tesserae are known from Roman Britain and the seven examples from Southwick make up the largest single group. However, the provenance of these Southwick tesserae remains doubtful and so they were analysed and compared to gold glass tesserae from Roman London to try and establish whether they are compositionally related to typical Roman glass. For comparative reasons, the handful of coloured glass tesserae from Southwick were also analysed. Our results suggest that the tesserae said to be from Southwick are anomalous in relation to the other material and cannot be assigned to the Roman period.

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