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Aztec and Colonial Archeological Potteries: A Study on Fired Techniques

“…For the case of Aztec IV pottery (see Fig. 4), a mixture of maghemite Fe 2 O 3 , barium hydroxide Ba(OH) 2 *3H 2 O, scorzalite (Fe, Mg)(Al 2 (PO 4 ), and frondelite MnFe 4 (PO 4 )3(OH) was found, which are classified in the plagioclase mineral group [9]. These results revealed the same elements that were previously detected from EDS spectra.…”

“…For all the samples the first absorption center, around 460 nm, could correspond to a ion of Fe 3 + [10], the other peak around 750 nm corresponds to some Fe oxides [10]. Ortega et al [9] found that Aztec III ceramics contain less Fe and more oxygen than Aztec IV. They associated Na, Mg, Ca, and K with feldspars such as albite and anorthite and Mg and Ca with carbonates such as dolomite and calcite.…”

Spectroscopic investigation of a ‘Virgin of Sorrows’ canvas painting: A multi-method approach

“…Today, several methods of experimental physics and analytical chemistry are applied to the identification of pigments in paintings, painted artefacts and antiquities, among them, neutron activation analysis (NAA) [4,5], X-ray diffraction (XRD) [6,7] and X-ray fluorescence (XRF) [8,9]. Analysis by proton induced X-ray emission (PIXE) [10,11], low vacuum-scanning electron microscopy (LV-SEM) [6,7] and micro-Raman spectroscopy (MRS) [8,9,12,13] have been applied for the analysis of paintings.…”

“…Analysis by proton induced X-ray emission (PIXE) [10,11], low vacuum-scanning electron microscopy (LV-SEM) [6,7] and micro-Raman spectroscopy (MRS) [8,9,12,13] have been applied for the analysis of paintings. Pigments [4][5][6]12], binding media and varnishes [13,14] were identified with different aims: to reconstruct the palette of a particular artist or to obtain historical information on the relationship between populations, trade and migration of cultural groups. Other reasons are to understand the mineralogical background, to provide knowledge on technological evolution, the study of degradation processes of pigments and binding media to help in the preservation and restoration of the objects and to check the authenticity or provenance [1,2,6,8,9,11].…”

“…Pigments [4][5][6]12], binding media and varnishes [13,14] were identified with different aims: to reconstruct the palette of a particular artist or to obtain historical information on the relationship between populations, trade and migration of cultural groups. Other reasons are to understand the mineralogical background, to provide knowledge on technological evolution, the study of degradation processes of pigments and binding media to help in the preservation and restoration of the objects and to check the authenticity or provenance [1,2,6,8,9,11]. All these studies are based on the analysis of artists' materials, pictorial techniques, manufacture process, etc.…”