Although medieval alabaster sculptures might appear white at present, they were colourful once, because painting and gilding the stone was an integral part of their production. This work presents the study of polychrome remnants on a selection of fourteenth century English alabasters, using multiple scientific methods (microscopy, spectroscopic and chromatographic techniques). The range of pigments identified include vermilion, red ochre, red lead, kermes, verdigris, copper resinate, azurite, lead white and carbon black. Some sophisticated decorative techniques were also observed, namely the application of translucent glazes on top of raised gilded motifs. The analysis was useful in understanding the degradation processes undergone by some materials, such as verdigris. The use of oil as binding medium for the application of the paint layers and a mordant gilding technique were determined. These findings yielded important clues towards the digital reconstruction of the original appearance of the polychrome surface, which is also presented here.
The present work aims to investigate for the first time the materials used in Ribeira Sacra's 16th century murals, as this knowledge would be valuable for research in Technical Art History and for interventions of conservation. A multi-analytical approach is proposed for the investigation of the pictorial palette and technique, and the degradation products. Technical photography (Vis-RAK, IR, UV, micro-photography) and noninvasive analysis by XRF and Vis-RS were performed on site. Micro-samples were taken carefully and studied in the laboratory by means of OM, SEM-EDX, MRS, FTIR, m-XRD, GC-MS, MALDI-TOF/TOF, and HPLC-ESI-TOF. The analytical results revealed a basic palette of natural red, yellow and brown earth pigments, calcite and several varieties of carbon black. A chromatic enrichment of the palette is observed from the second half of the 16th century, incorporating green, blue and purple colourants. The main pictorial technique is fresco. Some of the pigments, like red lead and azurite, were found altered and the degradation causes and mechanisms were investigated.
This paper presents the results of the work of the new field initiative launched by the British Museum at the Darband-i Rania pass in the Kurdistan Region of Iraq. The pass is located at the northeastern corner of Lake Dokan, where, though now subsumed into the lake, the Lower Zab flows from the Peshdar into the Rania Plain. It is a strategic location on a major route from Mesopotamia into Iran, and control of both the road and the river must always have been important. The aim of the work, which commenced in autumn of 2016, is to explore a cluster of sites that commanded the pass, with a particular focus on the first millennium b.c. Excavation is being carried out principally at two sites: Qalatga Darband, a large fortified site at the western end of the pass, and Usu Aska, a fort inside the pass itself. The occupations of these two sites are predominantly Parthian and Assyrian respectively. Smaller operations have also been carried out at Murad Rasu, a multi-period site situated on a headland across the waters on the southern shore of Lake Dokan. The results have included the discovery at Qalatga Darband of a monumental complex built of stone and roofed with terracotta roof tiles containing the smashed remains of Hellenistic statuary. Other features indicative of Hellenistic material culture are Mediterranean-type oil-presses and Corinthian column bases and capitals. At Usu Aska remains are being uncovered of an Assyrian fortification of massive proportions.
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