Near Infrared Reflectance Imaging Spectroscopy to Map Paint Binders In Situ on Illuminated Manuscripts

Abstract

In situ analysis: Near infrared imaging spectroscopy (1000–2500 nm) is used to map the use of a fat‐containing paint binder, likely egg yolk, in situ on a work of art for the first time. The identification of the use of egg tempera on a 15th century illuminated manuscript leaf (Praying Prophet by Lorenzo Monaco) sheds light on the relationship between painters and illuminators and can inform preservation decisions.

Tibetan Printing: Comparison, Continuities, and Change

“…Because of the damage, however small, that this causes to the art object, these methods are more and more often being substituted by non-invasive analytical methods, which do not require sampling and can be used in situ, often without the need to even touch the object. Such is the case of reflectance spectroscopy in the ultraviolet-visible-near infrared range (UV-vis-NIR), which has been successfully used in recent years to identify a large number of pigments, inks and paint binders on easel paintings (Bacci et al 2003;Delaney et al 2010) as well as on works of art on parchment and paper (Aceto et al 2014;Delaney et al 2014;Ricciardi et al 2012Ricciardi, Pallipurath and Rose 2013;Strlič et al 2010;Vetter and Schreiner 2014;Wouters 2008). It has the advantage of being a rapid technique (only a few seconds are required to collect each spectrum) allowing for comprehensive analysis of extensively decorated objects such as manuscripts, in which hundreds of illustrations might be present.…”

“…This allow for comparisons with contemporary artistic practice in other media and in other geographical areas. Despite major technical developments in recent years which allow reliable, non-invasive identification of many artists' materials (Bull et al 2011;Delaney et al 2010;Leona 2009;Miliani et al 2007Miliani et al , 2010Ricciardi et al 2012;Romani et al 2010;Rosi et al 2010;Vagnini et al 2009), the technical analysis of works of art on parchment and paper remains an under-developed field in comparison to the extensive analyses routinely carried out on other types of artwork, especially easel paintings (Neate et al 2011). One main reason for this is the widespread need to employ only non-invasive analytical methods to analyse works on paper, due to the general requirement to avoid sampling, i.e.…”

Raman Spectroscopy of cultural heritage Materials: Overview of Applications and New Frontiers in Instrumentation, Sampling Modalities, and Data Processing

“…The firstever reported study focused on the investigation of pigments on illuminated manuscripts [151], and ancient manuscripts have continued to be an area of intense investigation from the early days until the present, where, with XRF, fibre optic reflectance spectroscopy (FORS) [4,259,260], hyperspectral imaging and SERS [5], Raman spectroscopy has become an indispensable tool for the materials knowledge of these important objects [3,47,213,292]. Published studies have not only concerned themselves with the investigation of the palette of illuminated manuscripts and assist with attribution to specific workshops [69] but they also now comprise the characterisation of degradation phenomena including, for example, the chemical and chromatic alteration of pigments based on copper [1,2] and lead [205,285].…”

The Noninvasive Analysis of Painted Surfaces: Scientific Impact and Conservation Practice

“…Because of the quantity of information needed, we privileged the use of FORS in the UV-vis-NIR range to carry out an extensive survey of painted areas on these illuminations. 8 Reflectance spectroscopy has been successfully used in recent years to identify a large number of pigments, inks, and paint binders on easel paintings as well as on works of art on parchment and paper (Strlič et al, 2010;Ricciardi et al, 2012Ricciardi et al, , 2013aRicciardi et al, , 2013bAceto et al, 2014;Delaney et al, 2014;Vetter and Schreiner, 2014). Each spectrum can be collected within a matter of seconds, and often, the identification of the main components of the paint layer is immediate, making FORS an ideal tool for preliminary technical analysis of manuscripts (Aceto et al, 2012(Aceto et al, , 2014.…”

“…In addition, it can help explain observed degradation phenomena and inform decisions regarding the long-term preservation of manuscripts, if not their interventive conservation. Despite major technological developments in recent years that allow reliable, noninvasive identification of many artists' materials Rosi et al, 2010;Ricciardi et al, 2012), the scientific analysis of works of art on parchment and paper remains an under developed field in comparison to the extensive analyses carried out on other artifacts, especially easel paintings (Neate et al, 2011). One main reason is the widespread conservation requirement to employ only noninvasive analytical methods to examine manuscripts, avoiding sampling, which is commonly practiced on paintings.…”