scholarly journals Unexpected Findings in 16th Century Wall Paintings: Identification of Aragonite and Unusual Pigments

Heritage ◽  
2021 ◽  
Vol 4 (3) ◽  
pp. 2431-2448
Author(s):  
Laura Rampazzi ◽  
Cristina Corti ◽  
Ludovico Geminiani ◽  
Sandro Recchia
Keyword(s):  
18Th Century ◽  
Central Italy ◽  
Wall Painting ◽  
16Th Century ◽  
Wall Paintings ◽  
X Ray Diffraction ◽  
Ligurian Sea ◽  
Po Valley ◽  
Ultramarine Blue ◽  
Unexpected Findings

Sixteenth century wall paintings were analyzed from a church in an advanced state of decay in the Apennines of central Italy, now a remote area but once located along the salt routes from the Po Valley to the Ligurian Sea. Infrared spectroscopy (FTIR-ATR), X-ray diffraction (XRD) and scanning electron microscopy (SEM) with a microprobe were used to identify the painting materials, as input for possible future restoration. Together with the pigments traditionally used for wall painting, such as ochre, ultramarine blue, bianco di Sangiovanni, cinnabar/vermilion, azurite, some colors were also found to have only been used since the 18th century. This thus suggests that a series of decorative cycles occurred after the church was built, confirmed by the multilayer stratigraphy of the fragments. Some of these colors were also unusual, such as clinochlore, Brunswick green, and ultramarine yellow. The most notable result of the analytical campaign however, was the ubiquitous determination of aragonite, the mineralogical form of calcium carbonate, mainly of biogenic origin. Sources report its use in Roman times as an aggregate in mortars, and in the literature it has only been shown in Roman wall paintings. Its use in 16th century wall paintings is thus surprising.

scholarly journals Study The Severe Effects of Iron Compounds Presenting in Sandstone on the Deterioration of Wall Paintings of Archaeological Tombs in Bahariya Oasis - Egypt

2019 ◽  
Vol 1 (3) ◽  
pp. 5-13
Author(s):  
RabeaRadi Abdel Kader ◽  
ShaimaaSayed Mohamed El –Sayed ◽  
Ahmed Abo-El Yamin
Keyword(s):  
Iron Oxides ◽  
Wall Painting ◽  
Wall Paintings ◽  
X Ray Diffraction ◽  
Iron Compounds ◽  
X Ray ◽  
Black Spots ◽  
Geological Formation ◽  
Bahariya Formation ◽  
Bahariya Oasis

The Wall paintings in Bahariya oasis expose to various deterioration factors, especially the resulted deterioration from the geological nature of sandstones' supports; sandstone of Bahariya formation is considered the weakest sandstone type in Egypt because of its geological formation which contains a very big percentage of iron oxides. Sandstone samples were taken, analyzed and examined by x-ray diffraction and scanning electron microscope, the iron oxides are thecement material in sandstone which affect negatively on the wall paintings in the selected tombs (Badi –Ishtarand Bannantiu tombs),they caused a lot of deterioration phenomena to the wall painting layers like: layers loss,black spots, cracking through all the layers and sandstone support weakness that threatens the remaining wall paintings and the safety of the tombs. Iron oxides percentage in Badi – Ishtartomb is more than Bannantiu tomb and this is reflected on the wall paintings case in Badi – Eshtar. This research sheds the light on this phenomenon and its effect on the wall painting's deterioration.

scholarly journals Study of Pigments from the Colonial Convent of Actopan, Hidalgo, Mexico

Minerals ◽  
2021 ◽  
Vol 11 (8) ◽  
pp. 852
Author(s):  
Jesús Benjamín Ortega-Lazcano ◽  
Demetrio Mendoza-Anaya ◽  
Eleazar Salinas-Rodríguez ◽  
Juan Hernández-Ávila ◽  
Otilio Arturo Acevedo-Sandoval ◽  
...  
Keyword(s):  
16Th Century ◽  
Wall Paintings ◽  
Ftir Analysis ◽  
X Ray Diffraction ◽  
X Ray ◽  
Color Palette ◽  
Red Color ◽  
Palygorskite Clay ◽  
Complementary Analysis ◽  
Scanning Electron

In this work, scanning electron microscopy (SEM), X-ray diffraction (XRD), and infrared spectroscopy (FTIR) techniques were used to study blue, red, and ochre pigments from wall paintings of the 16th century colonial convent of San Nicolás de Tolentino in Actopan, Hidalgo, Mexico. In the blue pigments, nanometric fibers with a chemical composition of mostly O, Si, Al, and Mg were identified. XRD and FTIR analysis indicated the presence of palygorskite clay, which suggests that these analyzed blue pigments are similar to Mayan blue. In the red pigment, structures with different morphologies (spines and flake shapes, for instance), with a composition of C, O, Al, Si, S, Ca, Na, Mg, and K and a higher concentration of Fe and Pb, were observed. Complementary analysis showed that the red color originates from hematite and lead. Finally, the ochre pigment showed a significant presence of O and Fe, which was associated with the goethite mineral, while calcite was a crystalline phase identified in all analyzed pigments; these show that these pigments are characteristic of the known Mexican Colonial color palette.

Die Büste eines Afrikaners aus der Sammlung Piranesi in Stockholm

2008 ◽  
Vol 1 ◽  
pp. 167-178
Author(s):  
Carmen Marcks
Keyword(s):  
18Th Century ◽  
16Th Century

A portrait bust of an African placed among the antiquities in the Royal Museum at Stockholm once belonged to the Roman artist Giovanni Battista Piranesi. It was brought to Sweden at the end of the 18th century at the instance of King Gustav III. The head is a work of the middle or second half of the 16th century. It belongs to a specific, local, Roman form of Mannerist portraits, which have in common a remarkable affinity to antique imperial portrait busts. While the head is an eclectic work combining an idealized countenance—a contemporary peculiarity of portrait art—with antique usages of portrayal, the bust itself seems to be a work that stands directly in the tradition of cinquecentesque Venetian busts. Obviously head and bust were not originally created as an ensemble.

A spectroscopic analysis of late 16th century domestic wall paintings in the Saracens Head Inn, Nottinghamshire, UK

2021 ◽  
Author(s):  
Christopher Brooke ◽  
Howell Edwards ◽  
Luiz F. C. Oliveira ◽  
Richard Telford ◽  
Alex Surtees
Keyword(s):  
Spectroscopic Analysis ◽  
16Th Century ◽  
Wall Paintings

Study of Painting Materials and Techniques in the 18th Century St.Athanasius Church in Moschopolis, Albania

2007 ◽  
Vol 1047 ◽  
Author(s):  
Eleni Pavlidou ◽  
N. Civici ◽  
E. Caushi ◽  
L. Anastasiou ◽  
T. Zorba ◽  
...  
Keyword(s):  
18Th Century ◽  
Orthodox Church ◽  
Wall Paintings ◽  
Cultural Center ◽  
Green Earth ◽  
Almost All ◽  
The City ◽  
The Church ◽  
Compositional Characterization

AbstractIn this paper are presented the studies of the paint materials and the technique used in 18th century wall paintings, originated from the orthodox church of St Athanasius, in the city of Maschopolis, a flourishing economical and cultural center, in Albania. The church was painted in 1745 by Konstantinos and Athanasios Zografi, and during the last years, restoration activities are being performed at the church. Samples that included plasters and pigments of different colors were collected from important points of the wall paintings. Additionally, as some parts of the wall-paintings were over-painted, the analysis was extended to the compositional characterization of these areas. The identification of the used materials was done by using complementary analytical methods such as Optical Microscopy, Fourier Transform Infrared spectroscopy (FTIR), Scanning Electron Microscopy (SEM-EDS) and X-ray fluorescence (TXRF).The presence of calcite in almost all the pigments is indicative for the use of the fresco technique at the studied areas, while the detection of gypsum and calcium oxalate, indicates an environmental degradation along with a biodegradation. Common pigments used in this area at 15-16th centuries, such as cinnabar, green earth, manganese oxide, carbon black and calcite were identified.

Origine et diffusion des expressions romanes du type jaune paille

2021 ◽  
Vol 133 (1) ◽  
pp. 3-27
Author(s):  
Sara Matrisciano ◽  
Franz Rainer
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Romance Languages ◽  
Short Discussion ◽  
Colour Term ◽  
The 19Th Century ◽  
And Diffusion

All major Romance languages have patterns of the type jaune paille for expressing shades of colour represented by some prototypical object. The first constituent of this pattern is a colour term, while the second one designates a prototypical representative of the colour shade. The present paper starts with a short discussion of the controversial grammatical status of this pattern and its constituents. Its main aim, however, concerns the origin and diffusion of this pattern. We have not found hard and fast evidence that Medieval Italian pigment compounds of the type verderame influenced the rise of the jaune paille pattern, which first appears in French in the 16th century. This pattern continued to be a minority solution during the 17th century, but established itself during the 18th century. In the 19th century, Italian, Spanish and Portuguese adopted the pattern jaune paille, while it did not reach Catalan and Romanian before the 20th century.

Wall paintings – diagnostic and archaeometric studies

2018 ◽  
Vol 4 (4) ◽  
Author(s):  
Susanna Bracci ◽  
Giovanni Bartolozzi
Keyword(s):  
Case Studies ◽  
Recent Literature ◽  
Wall Painting ◽  
Wall Paintings

Abstract The paper deals with the techniques and protocols used for studying wall paintings. A brief introduction about the more recent literature dealing with archaeometric and diagnostic analyses of wall paintings is reported. After that, the illustration of three case studies, spanning from Roman to contemporary wall painting are described.

scholarly journals Stratigraphy of the wall paintings in the main church of the Praskvica Monastery

Zograf ◽  
2014 ◽  
pp. 153-163
Author(s):  
Dragan Vojvodic
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Wall Painting ◽  
The Other ◽  
Stylistic Analysis ◽  
Wall Paintings ◽  
The West ◽  
The Third ◽  
Technical Features ◽  
The Church

In the katholikon of the monastery of Praskvica there are remains of two layers of post-Byzantine wall-painting: the earlier, from the third quarter of the sixteenth century, and later, from the first half of the seventeenth century, which is the conclusion based on stylistic analysis and technical features. The portions of frescoes belonging to one or the other layer can be clearly distinguished from one another and the content of the surviving representations read more thoroughly than before. It seems that the remains of wall-painting on what originally was the west facade of the church also belong to the earlier layer. It is possible that the church was not frescoed in the lifetime of its ktetor, Balsa III Balsic.

scholarly journals PERANG BUBAT, REPRESENTASI SEJARAH ABAD 14 DAN RESEPSI SASTRANYA

2018 ◽  
Vol 10 (1) ◽  
pp. 51
Author(s):  
Yeni Mulyani Supriatin
Keyword(s):  
Data Collection ◽  
20Th Century ◽  
18Th Century ◽  
The Other ◽  
16Th Century ◽  
Historical Aspect ◽  
14Th Century ◽  
Literary Structure ◽  
The Will ◽  
The Difference

Penelitian ini bertujuan mengungkap peristiwa Perang Bubat yang terjadi pada abad ke-14 atau tahun 1357 M dan resepsi sastranya. Masalah yang dibahas adalah bagaimana latar belakang terjadinya Perang Bubat, reaksi, dan tanggapannya. Teori yang digunakan adalah resepsi sastra. Metode untuk pengumpulan data adalah kualitatif dengan menerapkan prinsip resepsi sastra. Hasil penelitian menggambarkan bahwa terjadinya Perang Bubat adalah Raja Sunda tidak tunduk pada kehendak Gajah Mada dan Gajah Mada ingin menyatukan Nusantara. Resepsi sastra terhadap Perang Bubat dapat dikelompokkan menjadi 3, yaitu resepsi dari aspek kesejarahannya, resepsi pengaruhnya terhadap penciptaan karya baru, dan resepsi terhadap struktur sastra.  Simpulan penelitian ini adalah peristiwa Bubat diresepsi setelah dua abad berlalu, yaitu pada abad ke-16  dan peristiwa tersebut diresepsi ulang pada abad ke-20-an. Hasil resepsi sastra  dari abad ke-18 sampai dengan abad ke-20 cukup beragam. Keberagaman resepsi itu menunjukkan bahwa terdapat perbedaan horizon harapan pembaca.  This study aims to reveal the events of the Bubat War that occurred in the 14th century or the year 1357 AD and literary receptions that emerged after the incident occurred. The issue discussed is how the background of the Bubat War and the reactions and responses to the event through literary receptions. The theory used in analyzing data is literary receptions. The method used for data collection is qualitative by applying the principle of literary receptions. The results of this study illustrate that the background of the Bubat War have two versions and both controversial, the first version because the King of Sunda entourage do not obey to the will of Gajah Mada, on the other hand, the second version is that Gajah Mada tactics in unifying the archipelago while the Kingdom of Sunda is a state that has not been submitted. Literary receptions to the War of Bubat can be grouped into three, they are the reception of its historical aspect, the reception of its influence on the creation of new works, and the reception of the literary structure. The conclusion of this research is  Bubat event was perceived after two centuries passed, in the 16th century and the event was redrawn in the 20th century. Results of literary receptions in the 18th century until the 20th century quite diverse. The diversity of the receptions shows the difference in the horizon of readers' expectations.    

scholarly journals The Books of Sigismund II Augustus in Vilnius University Library: Decorations of Book Covers and New Data about Provenances

Knygotyra ◽  
2020 ◽  
Vol 74 ◽  
pp. 35-95
Author(s):  
Sondra Rankelienė
Keyword(s):  
18Th Century ◽  
16Th Century ◽  
University Library ◽  
The World ◽  
Manufacturing Location ◽  
Book Covers ◽  
Vilnius University ◽  
Personal Library ◽  
Made In ◽  
Lack Of Knowledge

In this article, the latest data about the personal book collection items of King of Poland and Grand Duke of Lithuania Sigismund II Augustus in Vilnius University (VU) Library are presented. The authors that have been doing research on these books have not ascertained all of the embossed images that were used for cover decoration and have not identified the locations of where these books were bound and have not disclosed all of the provenances. In order to amend the lack of knowledge about the books of Sigismund II Augustus in VU library, the book covers of the King’s personal library were reviewed de visu and decorative ornaments were described. The ownership signs of the books were registered once again. While describing and comparing these books with the copies in various libraries of the world, the number of physical books (14) and publications in composite volumes (21) kept in VU library was assessed. The name of one book and a publisher’s imprint of two books were specified, eight provenances that were not mentioned by previous authors were registered. While describing book covers, the embossed images were given provisory names. Connections between the supralibros, dates of binding, decorative wheels, single embossed images, and other decorative elements were detected and lead to a reasonable conclusion that eight out of fourteen books from the Sigismund II Augustus collection were bound in Kraków, five were bound by bookbinders in Vilnius, while one was rebound in the 18th century. The identification of tools used by craftsmen that worked in Kraków and Vilnius will allow to ascertain the manufacturing location of similar book covers made in the middle of the 16th century.

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