In situ Raman and pXRF spectroscopic study on the wall paintings of Etruscan Tarquinia tombs

Barone, Germana; Mazzoleni, Paolo; Cecchini, A.; Russo, Alfonsina

doi:10.1016/j.dyepig.2017.12.008

Cited by 27 publications

(28 citation statements)

References 23 publications

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“…3-red). A very strong band at 253 cm −1 , arising from the stretching vibration of Hg-S bond was clearly identified [14,15]. The use of cinnabar was known since Neolithic times [16,17].…”

Section: Microscopic Observation Of Pigmentsmentioning

confidence: 99%

Characterization of a Mahamayuri Vidyarajni Sutra excavated in Lu’an, China

et al. 2019

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Historically, sutras played an important role in spreading Buddhist faith and doctrine, and today these remain important records of Buddhist thought and culture. A Mahamayuri Vidyarajni Sutra with polychrome paintings was found inside the cavity on top of the Nanmen Buddhist pagoda, built in the early Tang dynasty (618-627 CE) and located in Anhui Province, China. Textile was found on the preface which is strongly degraded and fragile. Unfortunately, the whole sutra is under severe degradation and is incomplete. Technical analysis based on scientific methods will benefits the conservation of the sutra. Optical microscopy (OM), micro-Raman spectroscopy combined with optical microscope (Raman), scanning electron microscopy in combination with energy dispersive X-ray analysis (SEM-EDS) and Fourier Transform Infrared Spectroscopy (FTIR) were used to characterize the pigment and gilded material, as well as the paper fiber and textile. Pigments such as cinnabar, minium, paratacamite, azurite, lead white were found. Gilded material was identified as gold. A five-heddle warp satin, made of silk, was found as the textile on the preface of the sutra. The sutra's preface and inner pages were made of paper comprised of bamboo and bark. As a magnificent yet recondite treasure of Buddhism, the sutra was analyzed for a better understanding of the material. A conservation project of the sutra will be scheduled accordingly.

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“…3-red). A very strong band at 253 cm −1 , arising from the stretching vibration of Hg-S bond was clearly identified [14,15]. The use of cinnabar was known since Neolithic times [16,17].…”

Section: Microscopic Observation Of Pigmentsmentioning

confidence: 99%

Characterization of a Mahamayuri Vidyarajni Sutra excavated in Lu’an, China

et al. 2019

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“…Craftsmen's skills, local availability, the patron's wishes and budget, the room's size and purpose all had an impact on the wall preparation and on the painter's palette [6][7][8][11][12][13][14][15]. A hierarchy in pigments' use among different rooms as well as inside a single space is testified not only in the Domus Aurea [7], but also in Etruscan tombs [16]. In order to identify the pigments, a multianalytical approach based on complementary techniques is often beneficial [7,[17][18][19][20][21][22][23][24], with the availability of portable instrumentation being necessary for minimizing the impact of analyses on the archaeological record.…”

Section: Introductionmentioning

confidence: 99%

Integrated analytical approach to unveil the secrets of the recently discovered “Sphinx Room”: a new piece of Domus Aurea puzzle

et al. 2020

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The recent discovery of the Sphinx Room, belonging to the Domus Aurea Esquiline wing, thanks to the framework given by the project “Non-destructive analytical studies at Parco Archeologico del Colosseo (Rome, Italy)”, allowed to perform an analytical campaign, both in situ and on micro-fragments. The first aim was to contribute to the overall comprehension of the Domus Aurea complex and to contextualize the newly-discovered room inside this extraordinary imperial architecture by means of an archaeometrical characterisation of the painting materials. The palette, composed of Egyptian blue, green earths, iron- and lead-based red, orange and yellow, calcite, carbon-based black, allowed to compare the Sphinx Room to Corridor 92 and Room 114 of Domus Aurea and to other sites in Rome. Furthermore, the employ of an organic binder in some spots can be put forward based on spectroscopic results, which does not exclude a wider use of the a fresco. Furthermore, a complementary methodological strategy was designed, in order to achieve a complete characterization of the materials. In addition to the well-known combination of portable X-ray fluorescence and portable/laboratory Raman analyses, Infrared Fourier Transform Spectroscopy was used, both in situ (Diffuse Reflectance) and in the lab (Attenuated Total Reflectance). The results confirm the suitability of this approach for the characterization of Roman wall paintings, where both inorganic and organic materials are simultaneously present.

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“…This suggests that red ochres were directly sourced, and not obtained by heating yellow ochres. The Pb-rich reds of the vault (points 20,22,24) also show an enrichment in As: this element is commonly present in lead ores and in iron-rich soils, and was ascertained in Pompeian Fe-rich red hues (75) and in Tarquinia tombs (16).…”

Section: Vault East and West Wallsmentioning

confidence: 93%

Integrated analytical approach to unveil the secrets of the recently discovered “Sphinx Room”: a new piece of Domus Aurea puzzle.

Caggiani

Coccato

Mazzoleni

et al. 2020

Preprint

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The recent discovery of the Sphynx Room, belonging to the Domus Aurea Esquiline wing, thanks to the framework given by the project “Non-destructive analytical studies at Parco Archeologico del Colosseo (Rome, Italy)”, allowed to perform an analytical campaign, both in situ and on micro-fragments. The first aim was to contribute to the overall comprehension of the Domus Aurea complex and to contextualize the newly-discovered room inside this extraordinary imperial architecture by means of an archaeometrical characterisation of the painting materials. The palette, composed of Egyptian blue, green earths, iron- and lead-based red, orange and yellow, calcite, carbon-based black, allowed to compare the Sphynx Room to Corridor 92 and Room 114 of Domus Aurea and to other sites in Rome. Furthermore, the employ of an organic binder in some spots can be put forward based on spectroscopic results, which does not exclude a wider use of the a fresco.Furthermore, a complementary methodological strategy was designed, in order to achieve a complete characterization of the materials. In addition to the well-known combination of portable X-ray fluorescence and portable/laboratory Raman analyses, Infrared Fourier Transform Spectroscopy was used, both in situ (Diffuse Reflectance) and in the lab (Attenuated Total Reflectance). The results confirm the suitability of this approach for the characterization of Roman wall paintings, where both inorganic and organic materials are simultaneously present.

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In situ Raman and pXRF spectroscopic study on the wall paintings of Etruscan Tarquinia tombs

Cited by 27 publications

References 23 publications

Characterization of a Mahamayuri Vidyarajni Sutra excavated in Lu’an, China

Characterization of a Mahamayuri Vidyarajni Sutra excavated in Lu’an, China

Integrated analytical approach to unveil the secrets of the recently discovered “Sphinx Room”: a new piece of Domus Aurea puzzle

Integrated analytical approach to unveil the secrets of the recently discovered “Sphinx Room”: a new piece of Domus Aurea puzzle.

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