On‐site Raman analysis of the earliest known Meissen porcelain and stoneware

Colomban, Philippe; Milande, Véronique

doi:10.1002/jrs.1494

Cited by 83 publications

(78 citation statements)

References 15 publications

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“…In this fashion, they can be conveniently analyzed on-site by exploiting portable micro-Raman. 36 In this regard, we have been recently engaged in a wide study on Naples yellow and its modified forms in glaze Renaissance ceramics. 37 Naples yellow is one of the oldest known synthetic pigments, since its production goes back to about 3500 years ago; in Western European art, it has been used since the 16th century in Italian majolica and later in paintings.…”

Section: In Situ Experimental Resultsmentioning

confidence: 99%

In Situ Noninvasive Study of Artworks: The MOLAB Multitechnique Approach

et al. 2010

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Driven by the need to study precious and irreplaceable artworks without compromising their integrity, researchers have undertaken numerous efforts to develop noninvasive analytical tools and methodologies that can provide a chemical description of cultural heritage materials without any contact with the object. The challenge is that artworks are made of complex mixtures, often with heterogeneous and unknown layered materials. Their components must be identified over a range of size scales, from the molecular identification of constituent compounds to the mapping of alteration phases. In this Account, we review recent research in spectroscopic techniques accessible from the mobile laboratory (MOLAB). The lab is equipped with an array of state-of-the-art, portable, and noninvasive instruments specifically tailored to tackle the different issues confronted by archaeologists, curators, and conservators. The MOLAB approach is suitable for studying a variety of objects, from ceramics to manuscripts or from historical wall paintings to contemporary canvases. We begin by discussing issues related to the acquisition and interpretation of reflectance or backscattered spectra from the surface of heterogeneous materials. Then we show how the selectivity needed for the noninvasive identification of pigments in paintings, even in mixtures or in layered matrices, can be acquired by combining elemental information from X-ray fluorescence with molecular and structural insights from electronic and vibrational spectroscopies. Discriminating between original pigments and restoration retouches is possible, even when both comprise similar chromophores, as highlighted in the study of paintings by Jordaens and Raphael. The noninvasive approach permits the examination of a very large number of artworks with a virtually limitless number of measurements. Thus, unexpected and uncommon features may be uncovered, as in the case of a lead pyroantimonate yellow doped with zinc that was discovered by micro-Raman and X-ray fluorescence on an Italian Renaissance majolica. For characterizing binding media, we discuss the strengths and limitations of using mid- and near-FTIR (Fourier transform infrared) spectroscopies supported by a multivariate statistical analysis, detailing the study of organic materials in a wall painting by Perugino and a survey of the painting technique on 18 contemporary paintings by Burri. In Michelangelo's David, we show how the noninvasive mapping of contaminants and alteration phases might inform decisions on preventive conservation plans. The multitechnique MOLAB approach overcomes the intrinsic limitation of individual spectroscopic methods. Moreover, the ability to analyze artworks without the need to move them is an invaluable asset in the study and preservation of cultural heritage.

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Section: In Situ Experimental Resultsmentioning

confidence: 99%

In Situ Noninvasive Study of Artworks: The MOLAB Multitechnique Approach

et al. 2010

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“…Bands in the spectral region of 600-700 cm −1 are assigned to A 1g in the O h 7 spectroscopic symmetry and are characteristic of vibrations involving the motion of oxygen atoms inside the octahedral unit (e.g. CoO 6 in Co 3 O 4 or CrO 6 in ZnCr 2 O 4 ). Their breadth is related to the cation-anion bond lengths and polyhedral distortion occurring in the spinel lattice.…”

Section: Resultsmentioning

confidence: 99%

Raman microscopy study of synthetic cobalt blue spinels used in the field of art

Bouchard¹,

Gambardella

2010

J Raman Spectroscopy

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This study aims to provide a better understanding of the Raman spectra of cobalt-based pigments in works of art. Systematic analyses of 21 industrial blue cobalt-based pigments were carried out by using elemental energy dispersive spectroscopy and phase analyses by X-ray diffraction (XRD) and Raman microspectroscopy, which led to the identification of 17 spinel Co-based pigments. All the minerals contained in each pigment were characterised by all three techniques and subsequently attributed to diluents, extenders, mineralisers or unreacted reagents or to the main mineral phase, whether it was pure or contained doping or lattice modifier elements. In the particular case where doping elements were in low concentration in the host mineral lattice, their distinction by XRD from non-doped spinel was impossible. On the contrary, Raman microspectroscopy turned out to be a perfect tool for detecting the presence of the doping agents in the spinel lattice. The determination of the elemental and mineralogical composition of the industrial blue cobalt-based pigments commercially available for artists and studied in this survey represents a significant increase in the amount of analytical data available for this type of pigment as well as a valuable addition in the characterisation by Raman microspectroscopy of these compounds in situ, on works of art.

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“…As polarizability changes for different kinds of bonds, Raman intensity may not be used to quantitatively determine the amounts of different phases. This limitation can sometimes be an advantage -this is true for amorphous silicates -since some secondary phases such as micro-and nanocrystals can be used to trace the process; enamel pigment or carbon inclusions can be detected in very small quantities (even traces) and their crystalline structure identified [15,[19][20][21][22][23][24]. Raman cross sections can vary by many orders of magnitude as a function of the nature of the bond and the exciting wavelength used: ionic silicates (e.g.…”

Section: The Raman Effectmentioning

confidence: 99%

“…3. The third way is to disperse an insoluble coloured crystal (a natural ore or a synthetic pigment) in the coating matrix [19,24,25,63]. Famous examples include cobalt aluminate blue, Victoria green (a chromium-doped garnet), Naples yellow (a lead-antimony oxide pyrochlore), pink (chromium-doped sphene) and zinc-iron-chromite brown.…”

Section: Pigmentsmentioning

confidence: 99%

Non–Destructive Raman Analysis of Ancient Glasses and Glazes

Colomban

2013

Modern Methods for Analysing Archaeological and Historical Glass

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Glass has been produced and used since ancient times because of its malleability at moderate temperatures and its more or less pronounced optical clarity. The latter characteristic makes optical spectroscopic methods ideally suited for its study. Glass has not only been produced to make glass artefacts, in fact the largest range of glass compositions was prepared by potters in order to coat pottery with glazes and to apply complex enamelled coatings to make porous ceramic bodies impermeable or for decorative purposes. Enamels have also been deposited on metals, mainly copper and its alloys, since the earliest times. All of these uses require the preparation of glass compositions ranging from a high silica content (typically 11 SiO 2 , ∼1 K 2 O for porcelain glazes melting at ∼1400 • C) to a low-melting lead-rich glass (PbO−SiO 2 ) with a melting temperature below 600 • C [1].All applications in the science, art and technology of glasses, glazes and enamels consist of a controlled modification of the three-dimensional Si−O network by replacement of Si 4+ covalently bonded atoms by noncovalently bonded atoms, hence decreasing the number of Si−O bridges and the connectivity of the network, that is, modifying the glass nanostructure. Consequently, the melting temperature decreases and many other physical/chemical properties related to the density and network connectivity, such as thermal expansion, chemical resistance, and so on are modified accordingly. This was performed more or less empirically by glass-makers by mixing a glass former, namely silica, with low-melting temperature compounds, such as soda-or potash-rich materials. Grinding the materials is the most difficult aspect in preparing ceramics and glass batches, and therefore ancient glassmakers and potters used natural fine silica powders (fine sand or roasted flint pebbles crumbled by dipping in water) as glass formers and some fine-grained minerals, shells Modern Methods for Analysing Archaeological and Historical Glass, First Edition. Edited by Koen Janssens.

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On‐site Raman analysis of the earliest known Meissen porcelain and stoneware

Cited by 83 publications

References 15 publications

In Situ Noninvasive Study of Artworks: The MOLAB Multitechnique Approach

In Situ Noninvasive Study of Artworks: The MOLAB Multitechnique Approach

Raman microscopy study of synthetic cobalt blue spinels used in the field of art

Non–Destructive Raman Analysis of Ancient Glasses and Glazes

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