Gold Gilding and Pigment Identification on a Post-Byzantine Icon from Kastoria, Northern Greece

Iordanidis, Andreas; García-Guinea, Javier; Strati, Aggeliki; Gkimourtzina, Amalia

doi:10.1080/00032719.2012.739228

Cited by 16 publications

(13 citation statements)

References 22 publications

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“…Indeed, there are similarities in the raw materials used for pigments in the Byzantine churches. These findings correspond well with our previous studies in the murals of several Byzantine churches from Kastoria (Iordanidis et al 2011a(Iordanidis et al , 2011b(Iordanidis et al , 2013 and with the study of Sotiropoulou et al (2008) on the pigments used by Onoufrios iconographer in Albania's Byzantine churches. However, the presence of a modern pigment (lithopone) in one sample implies an overpainting or a restoration process and discards the utilization of this specific sample in any possible correlation.…”

Section: Deterioration Products Trace Elements and Overpaintingsupporting

confidence: 93%

“…Both destructive and nondestructive interdisciplinary analytical techniques are employed for these analyses (Ortega-Aviles et al 2005;Daniilia, Andrikopoulos, et al 2008;Ostrooumov 2009). Although several studies have been published regarding the characterization of Greek Byzantine murals and icons (Daniilia, Minopoulou et al 2008;Sotiropoulou et al 2008;Hein, Karatasios, and Mourelatos 2009), the Byzantine wall paintings from Kastoria have only recently been investigated and mainly through the ongoing archaeometrical research of our team on the Kastoria's Byzantine artefacts (Pavlidou et al 2006;Iordanidis et al 2011aIordanidis et al , 2011bIordanidis et al , 2013.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

A Comparative Study of Pigments from the Wall Paintings of Two Greek Byzantine Churches

Iordanidis

García-Guinea

Strati³

et al. 2014

Analytical Letters

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The goal of this study was to characterize pigments used in the murals of two Byzantine churches, from Kastoria, northern Greece. The identification of the iconographer was also investigated by comparing the pigments applied in the wall paintings of the churches. Pigment microsamples of various colors were collected and analyzed by environmental scanning electron microscopy coupled with an energy dispersive system to characterize the elemental composition. Raman spectroscopy was employed to collect molecular spectra for characterization of mineralogical phases. Hematite, cinnabar, and minium were identified in red surfaces. Brown and yellow colors were assigned to mixtures of iron oxides, iron hydroxides, and calcite. Mixtures of iron, lead, and mercury compounds were used to produce different hues in the murals. Black tones were prepared primarily using charcoal and bone black. Grey colors were produced by a mixture of black carbon with calcite; blue hues, by a mixture of iron oxides, calcite, and black carbon. The minerals used were similar for both churches. However, the green color was prepared either by green earth or mixtures of iron oxides and calcite. A modern pigment, lithopone, was also determined, demonstrating restoration or overpainting and thus complicating possible correlations. Based on these preliminary results, the wall paintings could not be ascribed to a specific iconographer.

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Section: Deterioration Products Trace Elements and Overpaintingsupporting

confidence: 93%

Section: Introductionmentioning

confidence: 99%

A Comparative Study of Pigments from the Wall Paintings of Two Greek Byzantine Churches

Iordanidis

García-Guinea

Strati³

et al. 2014

Analytical Letters

Self Cite

View full text Add to dashboard Cite

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“…As concerns for the icons, several investigations appeared on Byzantine or post‐Byzantine icons (Andrikopoulos et al; Kouloumpi et al), coptic (Abdel‐Ghani et al; Abdel‐Ghani et al; Iordanidis et al), greek (Sotiropoulou and Daniilia; Karapanagiotis and Dimitrios), Melkite (Lahlil and Martin). Abdel‐Ghani et al examined a Coptic–Byzantine icon dated to the 13th century from St Mercurius Church, Old Cairo.…”

Section: Introductionmentioning

confidence: 99%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

144

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Minerals, as raw structural materials or pigments, play a fundamental role in archaeometry, for the understanding of nature, structure and status of an artefact or object of interest for cultural heritage. A detailed knowledge of the mineral phases is crucial to solve archaeological problems: Raman spectroscopy is a powerful investigation technique and has been applied extensively in the last 30 years on mineral identification and on pigment degradation. Here we report an updated review, covering the last decade, of the applications of Raman techniques to issues in which raw minerals, including mineral pigments, are involved. Particular attention is devoted to cases where the Raman analysis of minerals is deeper than a simple identification of the phases present in an archaeological or artistic object. Copyright © 2016 John Wiley & Sons, Ltd.

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“…FESEM micrograph shows cracking of the paint film that attributes to presence of iron oxide and calcium salts, which promote light-induced oxidation [6,40e42]. 7 Gold color EDS microanalysis (Table 3) detects a high gold content alloy (Au 24.55 wt%) with trace amounts of copper (Cu 1.05 wt%) [12,46,47]. Gold color has no characteristic infrared bands (Fig.…”

Section: Gray Colormentioning

confidence: 99%