Wall paintings spanning two millennia of Cretan painting history and technology were analysed in an effort to determine similarities and evolutions of painting materials and technology. A multi-technique approach was employed that combined the use of a) laser-induced breakdown spectroscopy (LIBS) and Raman microspectroscopy, based on mobile instrumentation, appropriate for rapid, routine-level object characterization, and b) non-destructive x-ray diffractometry (XRD), performed directly on the wall painting fragment, that provides detailed information on the minerals constituting the paint. Elemental analysis data obtained through LIBS were compared to molecular and crystal structure information featured by Raman spectroscopy and XRD. Cross-sections from selected samples were also investigated by means of optical microscopy and scanning electron microscopy coupled to microprobe analysis and x-ray mapping that enabled identification of several mineral components of the paint confirming the results of the XRD analysis. In parallel, replica wall paintings, created with known pigments and binding media, for reference purposes; were examined with optical microscopy and stain tested for organic materials. The overall study shows that the LIBS and Raman techniques offer key advantages, such as instrument mobility and speed of data collection and interpretation that are particularly important when dealing with on site investigations. Thus they are capable of providing important compositional information in an effective manner that enables quick surveying of wall paintings and permit targeted sample selection for further analysis by advanced laboratory techniques. The present multi-analytical technique study is part of a broader project that aims to explore the wall painting pigments used on the island of Crete from the Bronze Age to the Roman and Byzantine periods. A fairly large body of work exists on the analysis of pigments used in Bronze Age wall paintings from Crete [9,10,11] in relation to issues concerning on the one hand painting materials and technology and on the other painting style and thematic content. In contrast, information regarding wall paintings from later periods is scarce. The current project begins to redress the balance, and to augment our understanding of the whole palette of Cretan wall painting pigments. Keywords: archaeological pigments, wall paintings, analysis, LIBS, Raman, XRD, SEM-EDXThe principal materials and methods of constructing a wall painting remained almost unchanged onCrete from the Bronze Age until (and in many cases including) the 20 th century. Levelling layers of plaster, usually a combination of hydrated lime (calcium hydroxide) with various inorganic and organic filler materials such as calcitic or quartzitic sand, crushed ceramics, or straw, were applied to the wall, prior to the application of a thin, fine layer of almost pure slaked lime. In most cases, pigments were ground to powder, mixed with water, and applied to the still wet uppermost plaster
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Je tiens à remercier A. Farnoux et J. Driessen qui m'ont généreusement offert d'étudier ce matériel et m'ont fourni de précieux conseils lors de la rédaction de cet article, Ch. Langohr et M. E. Alberti qui m'ont fait bénéficier de leurs connaissances du matériel céramique du Bâtiment Pi, M. Pomadère qui a mis à ma disposition les résultats encore non publiés de ses recherches à Malia, et A. Van de Moortel pour ses critiques et commentaires en regard du matériel provenant des Abords Nord-Est du palais. Je remercie également R. Fitzsimons, O. Pelon †, J.-Cl. Poursat et V. Stürmer †, ainsi que Chr. Sofianou et V. Zographaki de la XXIV e éphorie des Antiquités préhistoriques et classiques. ** Chargée de recherches au F.R.S.-FNRS (UCLouvain-INCAL/CEMA/AEGIS) et membre belge de l'EFA. Recherche effectuée dans le cadre des travaux de l'École française d'Athènes à Malia.
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