A Multi‐Analytical Approach to the Study of the Mural Paintings in the Presbytery of Santa Maria Antiqua Al Foro Romano in Rome

Amato, Silvia Rita; Bersani, Danilo; Lottici, Pier Paolo; Pogliani, Paola; Pelosi, Claudia

doi:10.1111/arcm.12296

Cited by 30 publications

(11 citation statements)

References 8 publications

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“…To infer the cause of blue hues is relatively difficult. There are few blue substances, among which are Egyptian blue, azurite, and lapis lazuli [43] or carbon black [61] giving blue pigments. Sodium cannot be detected by pXRF; thus, the presence of lapis lazuli is uncertain.…”

Section: Blue Paintmentioning

confidence: 99%

“…The pigment palette depended on local sources and the trade network. The pigments used in the Medieval Ages in Western [61,69] and Eastern-Southeastern Europe, including Byzantine churches [16,46,[70][71][72][73], were slaked lime, calcite, Fe-ochres, azurite, Cu-minerals, white lead, red lead, green earth, carbon black, cinnabar, and lapis lazuli. Blue vivianite was "a specialty of the European medieval times" [48].…”

Section: General Remarks On Pigmentsmentioning

confidence: 99%

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A pXRF In Situ Study of 16th–17th Century Fresco Paints from Sviyazhsk (Tatarstan Republic, Russian Federation)

et al. 2019

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Twenty frescoes from “The Assumption” Cathedral located in the island town of Sviyazhsk (Tatarstan Republic, Russian Federation)—dated back to the times of Tsar Ivan IV “the Terrible”—were chemically analyzed in situ with a portable X-ray fluorescence (pXRF) spectrometer. The investigation focused on identifying the pigments and their combinations in the paint recipes. One hundred ninety-three micropoints randomly chosen from the white, yellow, orange, pink, brown, red, grey, black, green, and blue areas were measured for major and minor elements. The compositional types separated within each color indicate different recipes. The statistical processing of the data unveiled the most important oxides (CaO, MgO, Fe2O3, PbO, SO3, Sb2O3, Al2O3, SiO2, and P2O5) and their relationships. The results allowed to infer the mineral composition of the paints, and, hence, the recipes used by the Russian artisans. Slaked lime and slaked dolomitic lime mixed with variable amounts of “antimony white” and “bone white” were used for white, pink, yellow, and orange paints and for preparing a basic batch for all other colors. Mostly yellow ochre, red ochre, and lead minerals, and occasionally blue ochre, green earth, realgar, orpiment, bone black, galena, stibnite, and magnetite were the pigments involved in various amounts in preparing the paints.

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Section: Blue Paintmentioning

confidence: 99%

Section: General Remarks On Pigmentsmentioning

confidence: 99%

A pXRF In Situ Study of 16th–17th Century Fresco Paints from Sviyazhsk (Tatarstan Republic, Russian Federation)

et al. 2019

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“…This is why we set out to acquire the specific physical and chemical characteristics of the colours by combining them with the characteristics of the constituent materials and the manner of execution. From a methodological point of view, together with the autoptic investigation and the analytical-scientific characterization of the pigments performed in previous work [4] aimed at recomposing the palette used by the painters who worked in Santa Maria Antiqua, multispectral and colorimetric investigations were prepared to implement knowledge of the color characteristics of paintings as they appear today.…”

Section: Introductionmentioning

confidence: 99%

Imaging Based Techniques Combined with Color Measurements for the Enhancement of Medieval Wall Paintings in the Framework of EHEM Project

Pogliani,

Pelosi,

Lanteri

et al. 2024

Preprint

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(1) Background: This paper illustrates an innovative methodological approach chosen to study and map the colors of the Medieval wall painting of Santa Maria Antiqua in the Roman forum, one of the pilot sites of the EHEM project (Enhancement of Heritage Experiences: The Middle Ages. Digital Layered Models of Architecture and Mural Paintings over Time); (2) Methods: We chose to use two methods for gathering information about colors and mapping, specifically colorimetry by spot measurements and hypercolorimetric multispectral imaging (HMI) to map those same colors sampled through colorimetry; (3) Results: Chromatic data of all colors in the wall paintings were obtained in the CIELAB color space. In those same points, chromatic similarity maps were performed by the innovative HMI system, a multispectral imaging technique able to obtain also color data information by means of the advanced calibration software named SpectraPick®: this allowed to have a complete knowledge of the color characteristics and distribution; (4) Conclusion: The color measurements and mapping was an important result to improve the reading of Medieval wall paintings, fragmentary and stratigraphically complex, giving a new light in the knowledge of the colors and allowing to better understand the original appearance of the iconographic patterns, reconstructed with colors as faithfully as possible similar to the originals.

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“…These results reveal the traditional painting techniques used during the Brancovan period and provide art historians and restorers with important information to help preserve precious artifacts. The literature A study on the principles of Chinese painting line drawing figure sketching techniques based on cognitive mapping constructs 3 [14] illustrates that the layered frescoes in Roman churches were painted in the 9th century of the Imperial period. These frescoes provide a unique painting style and technique for patrons and master painters between the Late Antique and Medieval periods.…”

Section: Introductionmentioning

confidence: 99%

A study on the principles of Chinese painting line drawing figure sketching techniques based on cognitive mapping constructs

Luo

2023

Applied Mathematics and Nonlinear Sciences

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It is the basic requirement of Chinese painting line drawing figure sketching to express its unique divine mood and spiritual quality by shaping the figure through lines. This paper constructs a figure sketching technique model based on cognitive mapping, and the constituent elements of line drawing figures are used as individuals of the genetic algorithm population. Multiple constituent elements are trained with data using a genetic algorithm, and the selection and crossover operations are continuously performed according to the fitness threshold; a particle swarm optimization strategy is added, and the principle of the line drawing technique is derived after several iterations of calculation. The performance test of line drawing and figure sketching was conducted for the research class and the control class. The experimental results showed that the control class scored 60.35 and 65.32 in the two tests, the research class scored 72.59 and 79.15, and the research class outperformed the control class in the overall average score and the average score of the six grades. It shows that the cognitive mapping construction based on which the form of line drawing is continuously enhanced and developed has strengthened the importance of line drawing and made Chinese painting line drawing figure sketching more attractive and relatively independent.

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A Multi‐Analytical Approach to the Study of the Mural Paintings in the Presbytery of Santa Maria Antiqua Al Foro Romano in Rome

Cited by 30 publications

References 8 publications

A pXRF In Situ Study of 16th–17th Century Fresco Paints from Sviyazhsk (Tatarstan Republic, Russian Federation)

A pXRF In Situ Study of 16th–17th Century Fresco Paints from Sviyazhsk (Tatarstan Republic, Russian Federation)

Imaging Based Techniques Combined with Color Measurements for the Enhancement of Medieval Wall Paintings in the Framework of EHEM Project

A study on the principles of Chinese painting line drawing figure sketching techniques based on cognitive mapping constructs

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