Purple Fluorite: A Little Known Artists' Pigment and its Use in Late Gothic and Early Renaissance Painting in Northern Europe

Richter, Mark M.; Hahn, Oliver; Fuchs, Robert

doi:10.1179/sic.2001.46.1.1

Cited by 7 publications

(3 citation statements)

References 3 publications

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“…The irradiation is caused by uranium or thorium‐rich minerals coexisting with fluorite in certain geological settings. Purple–violet fluorite has been identified on a small number of panel paintings, polychrome wooden sculptures, wall paintings and architectural polychromy of the 1450 to 1520 period in central Europe (Richter et al; Srein; Chlumska et al). The fluorite was probably mined from the area of Wölsendorf in Bavaria.…”

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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Section: Introductionmentioning

confidence: 99%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

144

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“…These intensely coloured fluorites are often banded with less‐saturated or almost colourless parts. Still, the radioactively damaged violet–black fluorite is the only one that has sufficient colouring power even in the form of small particles suitable for the usage as a painting pigment, as proved, e. g. by Richter et al (2001) …”

Section: Introductionmentioning

confidence: 99%

Naturally irradiated fluorite as a historic violet pigment: Raman spectroscopic and X‐ray diffraction study

Čermáková

Bezdička

Němec

et al. 2015

J Raman Spectroscopy

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Naturally irradiated violet fluorite, a cubic CaF2 mineral, is a rare historic pigment. Its documented usage in Europe stretches from ca. 1450 to ca. 1550. The intensely coloured violetish black naturally irradiated fluorite is commonly called antozonite, which is only vaguely defined based on its dark colour and specific odour emanated during grinding. In the published literature, there have been some discrepancies about its Raman spectrum. Therefore, sixteen samples of antozonite were analysed by Raman (micro‐)spectroscopy using five different excitation laser wavelengths (445, 532, 633, 780 and 1064 nm), which revealed specific bands located below 500 cm−1 probably related to radiation‐caused defects. Their intensity increased with increasing violet colour saturation, thus providing a specification for antozonite's definition. Spectra excited at 445 and 780 nm contained also numerous broad bands above 500 cm−1, which seem to be caused by the presence of rare earth elements. The structural damage of antozonite samples has been assessed by X‐ray diffraction and related to their lightness using analysis of image histograms. The obtained results have been applied in the analysis of micro‐samples of a Late Gothic altarpiece located in an Italian Court in UNESCO city Kutná Hora, Czech Republic, which contained exceptionally large grains of deep violet fluorite identified as antozonite. Copyright © 2015 John Wiley & Sons, Ltd.

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“…Of particular relevance, naturally occuring mulberry hematite (death's head— caput mortuum , also referred to as usta , ostrum and usta purpurissimum ) and purple calcium fluoride (called murra , murrha , murrina and myrrhina ) were reportedly used by fresco artists, including a process of synthesizing a ‘violet’ hue from red ochre by heating it with vinegar ( ostrum ) (Richter et al . , 1–2; de Oliveira et al . , 536).…”

Section: Introductionmentioning

confidence: 99%

One Colour, (at Least) Two Minerals: A Study of Mulberry Rock Art Pigment and a Mulberry Pigment ‘Quarry’ from the Kimberley, Northern Australia

et al. 2013

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Distinctive mulberry paintings found in northern Australia, particularly those of the Kimberley region, have been argued to represent some of the oldest surviving rock art on the continent. Significant research efforts continue to focus on resolving the age of these motifs, but comparatively little attention has been given to understanding their physical composition and potential source(s). In a pilot investigation, we conclude that (at least) two mineralogically distinct mulberry pigments occur in Gwion motifs and demonstrate that their major components can be indicatively chemically differentiated, non‐invasively. Characterization of a ‘quarried’ mulberry ochre source demonstrates that these pigments occur locally as natural minerals.

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Purple Fluorite: A Little Known Artists' Pigment and its Use in Late Gothic and Early Renaissance Painting in Northern Europe

Cited by 7 publications

References 3 publications

Raman spectroscopy of minerals and mineral pigments in archaeometry

Raman spectroscopy of minerals and mineral pigments in archaeometry

Naturally irradiated fluorite as a historic violet pigment: Raman spectroscopic and X‐ray diffraction study

One Colour, (at Least) Two Minerals: A Study of Mulberry Rock Art Pigment and a Mulberry Pigment ‘Quarry’ from the Kimberley, Northern Australia

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