“…The conclusion is that the decoration was made with pigments with a common base, where the amount of Sr was significant. This may be because strontianite (SrCO 3 ) was used alongside calcite (CaCO 2 ) for some pigments 14 , 32 , 33 . Figure 3 µEDXRF mappings of strontium (Sr) in fragments 1, 4, 6, 8, 9, 10 and 11.…”
Section: Resultsmentioning
confidence: 99%
“…Albeit in limited cases, elemental mapping technique for research on wall paintings is attested in the specialized literature. Examples are the paintings of the Roman villae of Mülheim-Kärlich and Wössingen (Germany) (using a synchrotron source of X-rays) 13 , of the Roman town Ulpia Traiana Sarmizegetusa (Romania) (by scanning electron microscopy with energy dispersive X-ray spectroscopy) 14 , and of the Villa dei Quintili (Rome), for which handheld equipment was used 15 . Moreover, XRF mapping in its different modalities has also been implemented in different types of archaeological materials such as the ink of a papyrus of Herculaneum 16 and on the Fayum painting ‘Portrait of a woman’, of the 2nd ct. a.D., from the collection of the National Gallery of Art in Washington DC 17 .…”
Wall paintings have become one of the most relevant, complex and challenging research subjects in Archaeometry. Minimally-or non-invasive, accurate and multidisciplinary methods are needed to successfully address the problems posed by their physical and chemical properties and by their analysis techniques. Specifically, the analytical method implemented for the study of this type of samples must enable a precise separation of the chemical information from backgrounds and scenes, allowing the identification of pigment's components in overlapping layers, the detection of minority components and the elucidation of pigment mixtures. thus, this paper puts forward a multidisciplinary approach towards these goals by means of the combined use of micro energy Dispersive X-ray fluorescence (µeDXRf) surface mapping and single-spot micro-Raman spectroscopy and µeDXRf analysis. the samples under research come from the site of cástulo (Linares, Spain), one of the most important Roman cities in the iberian peninsula. it must be emphasized the uniqueness of the walls of Cástulo, their optimal conservation state and the richness and variety of the colour's palette used in their decoration, which make them an excellent and representative example of Roman wall paintings. The Roman immovable and movable heritage of Europe is outstanding not only in terms of quantity but also of quality. As a research subject, it pursues both historical reconstruction and the design of preservation and restoration strategies and diagnostic procedures. It is, thus, a major area of development for archaeometric analysis, especially as regards spectroscopy. Wall paintings are particularly remarkable in this regard. A major component in the decoration of public and private buildings, it is one of the most attractive heritage goods of museums and sites. Research on wall paintings and on their preservation is a source of archaeometric projects intended to retrieve as much information as possible with the least possible alteration or damage to such rich and invaluable decoration. Wall paintings have typically been researched based on simple decorative patterns or on single-spot analysis of samples, sometimes amounting to just a few. In most cases, the aim was the identification of the pigments and the binders used 1-4 , a better knowledge of how the paintings were made 5-7 , and proper understanding of the processes that may damage the painted surfaces 8-11. The results obtained are often under the influence of the specific properties of the paint layers, of the raw materials used and of the limitations of the analytical techniques used. This paper therefore sets out to put forward and test a chemical analysis procedure for general use in research on wall paintings. The paper relies on research on a wide gamut of colours, on a significant number of samples, and on the experience gained from addressing a range of difficulties found for the use of certain techniques and posed by the properties of the pigments under research. Methodological improvements are ma...
“…The conclusion is that the decoration was made with pigments with a common base, where the amount of Sr was significant. This may be because strontianite (SrCO 3 ) was used alongside calcite (CaCO 2 ) for some pigments 14 , 32 , 33 . Figure 3 µEDXRF mappings of strontium (Sr) in fragments 1, 4, 6, 8, 9, 10 and 11.…”
Section: Resultsmentioning
confidence: 99%
“…Albeit in limited cases, elemental mapping technique for research on wall paintings is attested in the specialized literature. Examples are the paintings of the Roman villae of Mülheim-Kärlich and Wössingen (Germany) (using a synchrotron source of X-rays) 13 , of the Roman town Ulpia Traiana Sarmizegetusa (Romania) (by scanning electron microscopy with energy dispersive X-ray spectroscopy) 14 , and of the Villa dei Quintili (Rome), for which handheld equipment was used 15 . Moreover, XRF mapping in its different modalities has also been implemented in different types of archaeological materials such as the ink of a papyrus of Herculaneum 16 and on the Fayum painting ‘Portrait of a woman’, of the 2nd ct. a.D., from the collection of the National Gallery of Art in Washington DC 17 .…”
Wall paintings have become one of the most relevant, complex and challenging research subjects in Archaeometry. Minimally-or non-invasive, accurate and multidisciplinary methods are needed to successfully address the problems posed by their physical and chemical properties and by their analysis techniques. Specifically, the analytical method implemented for the study of this type of samples must enable a precise separation of the chemical information from backgrounds and scenes, allowing the identification of pigment's components in overlapping layers, the detection of minority components and the elucidation of pigment mixtures. thus, this paper puts forward a multidisciplinary approach towards these goals by means of the combined use of micro energy Dispersive X-ray fluorescence (µeDXRf) surface mapping and single-spot micro-Raman spectroscopy and µeDXRf analysis. the samples under research come from the site of cástulo (Linares, Spain), one of the most important Roman cities in the iberian peninsula. it must be emphasized the uniqueness of the walls of Cástulo, their optimal conservation state and the richness and variety of the colour's palette used in their decoration, which make them an excellent and representative example of Roman wall paintings. The Roman immovable and movable heritage of Europe is outstanding not only in terms of quantity but also of quality. As a research subject, it pursues both historical reconstruction and the design of preservation and restoration strategies and diagnostic procedures. It is, thus, a major area of development for archaeometric analysis, especially as regards spectroscopy. Wall paintings are particularly remarkable in this regard. A major component in the decoration of public and private buildings, it is one of the most attractive heritage goods of museums and sites. Research on wall paintings and on their preservation is a source of archaeometric projects intended to retrieve as much information as possible with the least possible alteration or damage to such rich and invaluable decoration. Wall paintings have typically been researched based on simple decorative patterns or on single-spot analysis of samples, sometimes amounting to just a few. In most cases, the aim was the identification of the pigments and the binders used 1-4 , a better knowledge of how the paintings were made 5-7 , and proper understanding of the processes that may damage the painted surfaces 8-11. The results obtained are often under the influence of the specific properties of the paint layers, of the raw materials used and of the limitations of the analytical techniques used. This paper therefore sets out to put forward and test a chemical analysis procedure for general use in research on wall paintings. The paper relies on research on a wide gamut of colours, on a significant number of samples, and on the experience gained from addressing a range of difficulties found for the use of certain techniques and posed by the properties of the pigments under research. Methodological improvements are ma...
“…In order to have a better understanding of the pigments used, plaster and paint samples were collected and sent to analysis. The results have been published in a recent article (Cortea et al 2019) which offered more details on the matter. The colours mostly used were: white, green, red, yellow and black.…”
Section: Decorating a Domus And A Templementioning
“…Dated from the beginning of the second century AD, these rare findings stand among the oldest examples of preserved decorative polychrome paintings on plaster excavated thus far in the former territory of the Roman province of Dacia. Due to the small number of scientific studies carried out thus far on Roman mural paintings coming from this region [6], this study is considered important as it can offer valuable information not only in terms of materials and painting technique but also in terms of archeological insights.…”
In this study, several wall painting fragments discovered in the Roman baths from the archeological site Alburnus Maior (Roşia Montană, Romania) were analyzed with the aim to investigate the material composition of both plasters and pictorial layers. Dated from the beginning of the second century AD, these rare findings stand among the oldest examples of preserved decorative polychrome paintings on plaster excavated thus far in the former territory of the Roman province of Dacia. A non-destructive multi-analytical approach based on complementary techniques was considered: Fourier transform infrared (FTIR) spectroscopy, X-ray fluorescence (XRF), X-ray diffraction (XRD), UV fluorescence, and hyperspectral imaging (HSI). The obtained results highlight a common Roman color palette mainly based on naturally occurring earth pigments. Red ochre, yellow ochre, manganese-rich ochres/wads, carbon black, and calcite were identified. A traditional two-layer sequence of plasters was found—arriccio (based on lime and siliceous sands), and intonaco (pure lime). The presence of an organic protein binder, identified via FTIR analysis, and sustained by combined imaging documentation, indicates that the pigments were applied a secco. The obtained results are discussed in relation to previous published data, and they can be considered as valuable archeological indicators that contribute to the understanding of the painting techniques and the materials used in the Roman provinces.
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