Pigment characterization and state of conservation of an 18th century fresco in the Convent of S. António dos Capuchos (Estremoz)

Gil, Milene; Carvalho, Luísa; Seruya, Ana Isabel; Ribeiro, Isabel; Alves, P.; Guilherme, A.; Cavaco, Afonso; Mirão, José; Candeias, António

doi:10.1002/xrs.1024

Cited by 21 publications

(13 citation statements)

References 5 publications

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“…The size of the particle should be as large as necessary but as tiny as possible. Usually, a particle with a size of 1 mm × 2 mm is absolutely sufficient, and attention should be given to the sampling procedure to collect from all the paint layers . The morphology of the pigment particle, including homogeneity, shape, size, surface character and crystal form, is among the first in the sequence of observations that should be made in an investigation and that can help to determine the source of a pigment and to decipher subtle differences between natural and synthetic versions of a pigment.…”

Section: Methodsmentioning

confidence: 99%

Analysis of mural paintings using in situ non‐invasive XRF, FTIR spectroscopy and optical microscopy

Vornicu¹,

Bibire²,

Murariu³

et al. 2013

X-Ray Spectrometry

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An analytical protocol consisting of X-ray fluorescence spectroscopy, optical microscopy and Fourier transform infrared spectroscopy was used to study the origin and the nature of the materials (pigments, binders and coating preparation) of the Fundenii Doamnei church mural paint from Bucharest. The main interest of the present study consisted in the original votive paint from narthex, painted in 1757 in a secco technique.During analysis, an unexpected pigment in the votive paint could be detected by the combined analytical techniques: ultramarine blue. Along with this pigment, the presence of gypsum binder based on egg and flax seed oil could also be evidenced. These results demonstrated a secco execution technique of the votive paint and also the presence of a restoration treatment. Moreover, during the present study, the components of the preparation layer and the constitutive pigments from both 1699 and 1757 years mural paints have been analyzed. Hence, the following pigments could be identified: vermilion, azurite, cinnabar, lead white, ochre, natural umber and gold, by using the combination of the analytical techniques.The novelty of our results consists in detecting the composition of the materials used in this church painting (fresco and a secco) during these 254 years since its first restoration.The results of these investigations pointed to the suitability of the non-destructive and semi-destructive analytical techniques in the complex characterization of the paints realized in different techniques, at different periods. Copyright

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Section: Methodsmentioning

confidence: 99%

Analysis of mural paintings using in situ non‐invasive XRF, FTIR spectroscopy and optical microscopy

Vornicu¹,

Bibire²,

Murariu³

et al. 2013

X-Ray Spectrometry

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“…On the other hand, the "lead white" darkens easily and gets a greyish nuance [80], hence its presence in the well-preserved white, pink, and blue colors (see below). This indicates the probable use of a small amount of stabilizer, such as animal glue or egg yolks [31,80], not detected by XRF. In this respect, part of the sulphur detected in the Sviyazhsk frescos could be related to an organic medium [72].…”

Section: General Remarks On Pigmentsmentioning

confidence: 99%

A pXRF In Situ Study of 16th–17th Century Fresco Paints from Sviyazhsk (Tatarstan Republic, Russian Federation)

et al. 2019

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Twenty frescoes from “The Assumption” Cathedral located in the island town of Sviyazhsk (Tatarstan Republic, Russian Federation)—dated back to the times of Tsar Ivan IV “the Terrible”—were chemically analyzed in situ with a portable X-ray fluorescence (pXRF) spectrometer. The investigation focused on identifying the pigments and their combinations in the paint recipes. One hundred ninety-three micropoints randomly chosen from the white, yellow, orange, pink, brown, red, grey, black, green, and blue areas were measured for major and minor elements. The compositional types separated within each color indicate different recipes. The statistical processing of the data unveiled the most important oxides (CaO, MgO, Fe2O3, PbO, SO3, Sb2O3, Al2O3, SiO2, and P2O5) and their relationships. The results allowed to infer the mineral composition of the paints, and, hence, the recipes used by the Russian artisans. Slaked lime and slaked dolomitic lime mixed with variable amounts of “antimony white” and “bone white” were used for white, pink, yellow, and orange paints and for preparing a basic batch for all other colors. Mostly yellow ochre, red ochre, and lead minerals, and occasionally blue ochre, green earth, realgar, orpiment, bone black, galena, stibnite, and magnetite were the pigments involved in various amounts in preparing the paints.

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“…[14][15][16][17] This is an elemental technique, based on the ionization of the atoms of the samples by an X-ray source. Nowadays, portable EDXRF spectrometers are available, enabling in situ non-destructive analysis and an unlimited number of measurements since no sampling is needed.…”

Section: Edxrf Is Also a Well-established Technique In Culturalmentioning

confidence: 99%

Challenging wax-cast figurine serial production unravelled by multi-analytical techniques

Gac

Madeira

Pereira³

et al. 2015

J. Anal. At. Spectrom.

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Eight complementary techniques were successfully applied to study a pair of very alike eighteenth-century colored wax figurines belonging to the Museu Nacional Machado de Castro, Coimbra (Portugal): examination under visible and ultraviolet light, X-ray radiography (XRR), neutron radiography and tomography (NR and NT), energy dispersive X-ray fluorescence (EDXRF), scanning electron microscopy coupled with energy dispersive X-ray spectroscopy (SEM-EDS), micro-X-ray diffraction (m-XRD), gas chromatography coupled with mass spectrometry (GC/MS) and micro-confocal Raman spectroscopy (mRaman). A careful examination of the two objects provided an insight into their manufacturing and revealed that they were cast from the same molds, although details differ. The main cast material employed was a mixture of beeswax, Venice turpentine, other diterpenoid resins and a very low amount of lipids. The wax used was certainly reclaimed from a metallurgic activity involving lost-wax casting.Each figurine consists of sixteen parts, most of which consist of solid wax. The presence of fillings within the body was unexpected. The elements which remained hollowed played a fundamental role at the assembling stage. A loose wooden tenon helped to keep the head in place and metal rods were used to fasten the base to the main body. Polychromy was carried out in wax, with different pigments and opacifiers. The fabrication of the colored wax from different inorganic/organic wastes is also discussed.Textures were achieved by adding materials. The results gathered offered the unique opportunity to verify aspects inherent to the production of multiple copies in wax casting.

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Pigment characterization and state of conservation of an 18th century fresco in the Convent of S. António dos Capuchos (Estremoz)

Cited by 21 publications

References 5 publications

Analysis of mural paintings using in situ non‐invasive XRF, FTIR spectroscopy and optical microscopy

Analysis of mural paintings using in situ non‐invasive XRF, FTIR spectroscopy and optical microscopy

A pXRF In Situ Study of 16th–17th Century Fresco Paints from Sviyazhsk (Tatarstan Republic, Russian Federation)

Challenging wax-cast figurine serial production unravelled by multi-analytical techniques

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