Raman spectroscopic analysis of an important Visigothic historiated manuscript

Carter, Elizabeth A.; Pérez, Fernando Rull; García, Jesús Medina; Edwards, Howell G. M.

doi:10.1098/rsta.2016.0041

Cited by 13 publications

(10 citation statements)

References 42 publications

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“…Azurite appears from the 9th Century and malachite from the 11th Century on illuminated manuscripts in the UK and western Europe, and azurite is used on 10th Century manuscripts from northern Spain [97,133] 4.2. Copper Salts: "Salt Green"…”

Section: The Copper Carbonate Hydroxides Malachite (Cu 2 [Co 3 ][Oh]mentioning

confidence: 99%

“…Pure orpiment is also used on the same manuscripts for bright yellows. It was also being used in Visigothic Spain for manuscript illumination [133].…”

Section: Orpiment Realgar and Pararealgarmentioning

confidence: 99%

“…In the European early Medieval period, cinnabar has been identified in a late 10th century CE Visigothic manuscript from northern Spain and on 11th Century Anglo-Saxon manuscripts [97,133].…”

Section: Cinnabarmentioning

confidence: 99%

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Mineral Pigments in Archaeology: Their Analysis and the Range of Available Materials

Siddall

2018

Minerals

127

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Naturally occurring minerals or their synthetic analogues have been important as pigments used in artistic and cosmetic contexts in global antiquity. The analysis and identification of mineral pigments, though routine to the petrologist or mineralogist, also requires specialist knowledge of the archaeological contexts and available technologies and trade. This paper attempts to present an analytical approach to the study of mineral pigments in archaeology and also introduces the range of mineral pigments encountered in works of art and painted objects on archaeological sites and in museums. It attempts to cover the range of mineral and synthetic inorganic pigments used in global cultures from to the early Medieval period.

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Section: The Copper Carbonate Hydroxides Malachite (Cu 2 [Co 3 ][Oh]mentioning

confidence: 99%

“…Pure orpiment is also used on the same manuscripts for bright yellows. It was also being used in Visigothic Spain for manuscript illumination [133].…”

Section: Orpiment Realgar and Pararealgarmentioning

confidence: 99%

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Mineral Pigments in Archaeology: Their Analysis and the Range of Available Materials

Siddall

2018

Minerals

127

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“…The microphotograph shows bright yellow particles of orpiment mixed with the dark blue of indigo (Figure 5c). To the best of our knowledge, vergaut is frequent in Western manuscripts of the early Middle Ages, in particular in Anglo-Saxon illuminations [37][38][39][40], but evidence is also found in a French manuscript of c.…”

Section: Vergautmentioning

confidence: 86%

Revealing Artists’ Collaboration in a 14th Century Manuscript by Non-Invasive Analyses

et al. 2021

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In the last decades, the working methods of late medieval illuminators have been widely discussed by art historians and codicologists. Non-invasive analyses are able to characterise the painting methods of illuminators as well as investigate artistic collaborations among them. The aim of this study was to characterise the painting palettes and techniques of different artists who illuminated two leaves from an early fourteenth century manuscript. The analyses were carried out with non-invasive and portable techniques such as Energy Dispersive X-ray Fluorescence (ED-XRF) spectrometry, Fiber Optics Reflectance Spectroscopy (FORS) and Raman spectroscopy. The paper highlights the differences among three rich and varied palettes and examines the pigments ultramarine, azurite, verdigris, earths, orpiment, red lead, vermillion, lead white, yellow lake, indigo, brazilwood and lac, used independently or in mixtures. We have demonstrated the effectiveness of non-invasive analyses as a tool to differentiate hands of artists who have worked on the same page. Furthermore, the comparison with analyses carried out on leaves attributed to the workshop of Pacino di Bonaguida allows to investigate in-depth the production of the main illuminators active in Florence at the dawn of the Renaissance.

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“…Orpiment, used alone or in admixture with other pigments, was recently identified on Egyptian sarcophagi (Vandenabeele et al 2007) and cartonnage (Gard et al 2020), early Irish manuscripts (Burgio et al 2013), Italian medieval and Renaissance manuscripts (Burgio et al 2010), English manuscripts (Panayotova et al 2017), Islamic manuscripts (Chaplin et al 2006, Burgio et al 2008, Persian manuscripts (Muralha et al 2012a), Byzantine manuscripts (Daniilia and Andrikopoulos 2007), Cistercian manuscripts (Muralha et al 2012b), Asian manuscripts (Nöller et al 2015), Visigothic manuscripts (Carter et al 2016), neareastern icons (Lahlil and Martin 2012), Indian palm-leaf manuscripts (Singh and Sharma 2020), Tudor portrait miniatures (Burgio et al 2012), Tibetan wall paintings (Li et al 2014b), Chilean archaeological sediments (Ogalde et al Uzon caldera in Kamchatka Orpiment, stibnite, uzonite Popova and Polyakov 1985;Popova et al 1986;Bychkov and Grichuk 1991;Migdisov and Bychkov, 1998 (Vermeulen et al 2015) and woodblock prints (Korenberg et al 2019), paintings in Ethiopian churches (Gebremariam et al 2016), Chinese reverse glass (Steger et al 2019) and chiaroscuro woodcuts (Laclavetine et al 2019).…”

Section: The Use Of Arsenic-based Pigmentsmentioning

confidence: 99%

Pigments—Arsenic-based yellows and reds

Gliozzo

Burgio

2021

Archaeol Anthropol Sci

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This review offers an update on arsenic-bearing minerals and pigments with the aim of serving as a guide for the study of Cultural Heritage materials in which these materials can be found.The different As-bearing mineral phases (realgar, pararealgar, orpiment, anorpiment, alacranite, dimorphite, bonazziite, uzonite, wakabayashilite, duranusite, arsenolite and claudetite) and some of their light-induced products are examined. The occurrence of As-sulfides and their trade, use, alteration and degradation are also reviewed. Finally, the analytical techniques commonly used for the identification of arsenic-containing pigments are discussed. The manuscript concludes with a good-practice guide and a summary of key concepts for use by those working in the field of cultural heritage.

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Raman spectroscopic analysis of an important Visigothic historiated manuscript

Abstract: One contribution of 14 to a theme issue 'Raman spectroscopy in art and archaeology'.

Cited by 13 publications

References 42 publications

Mineral Pigments in Archaeology: Their Analysis and the Range of Available Materials

Mineral Pigments in Archaeology: Their Analysis and the Range of Available Materials

Revealing Artists’ Collaboration in a 14th Century Manuscript by Non-Invasive Analyses

Pigments—Arsenic-based yellows and reds

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