Reconversion of altered lead pigments in alpine mural paintings

Köller, Manfred; Leitner, H.; Paschinger, Hubert

doi:10.1179/sic.1990.35.1.15

Cited by 13 publications

(5 citation statements)

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“…Black discolouration is observed on frescoes and watercolours [20], and it is reported for manuscripts as well [60,231]. The blackening is attributed to the formation of either PbO 2 , as a result of exposure to oxidizing agents or from microbiological activity, or PbS [9,20,98,200,[211][212][213]232]. The role of S-containing pigments on the blackening of leadwhite is not fully understood [191,229], while atmospheric and biological sources of H 2 S strongly affect watercolours [20,191,231] and manuscripts [60,190,191,204].…”

Section: Leadwhite (2pbco 3 ·Pb(oh) 2 )mentioning

confidence: 99%

“…All lead pigments turned black after exposure to H 2 S vapours (formation of galena, PbS), with increasing reactivity for basic moieties, such as Pb(OH) 2 units in leadwhite [124]. It is reported that biological colonization on wall paintings can selectively affect lead (II) compounds, causing brown discolourations identified as PbO 2 or PbS [211,217], while copper pigments act as biocides [124,212]. Lead dioxide formation is favoured in humid alkaline conditions, such as in frescoes, when peroxides are produces, either by microorganisms or by photo-oxidation of organic materials [213].…”

Section: Lead (Z = 82)mentioning

confidence: 99%

“…Lead pigments are not suitable for use in fresco, but they were still used due to their good hiding properties and to the low prices compared to other pigments [5,123,200,[211][212][213]. The degradation processes of the various Pb pigments yield a range of compounds which cause discolouration, strongly affecting the readability of the polychromy [200].…”

Section: Lead (Z = 82)mentioning

confidence: 99%

“…If PbS is formed, a reconversion treatment (oxidation) can be applied to restore the white shades of degraded polichromy. However, the formed lead sulphate (PbSO 4 ) is not sufficiently stable to make the treatment recommended [139,212]. Humidity seems to be involved in many degradation processes, especially in synergy with atmospheric pollutants such as SO 2 and NO x [9,64,166].…”

Section: Leadwhite (2pbco 3 ·Pb(oh) 2 )mentioning

confidence: 99%

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On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

2017

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This review is to be considered part of the development of the MEMORI dosimeter, to evaluate the impact of climate (relative humidity, temperature, illumination, etc., including volatile organic compounds) on moveable objects. In the framework of the MEMORI project, Ghent University was given the task to assess pigment degradation upon acetic acid exposure, and to collect information on pigments' stability. Moreover, to obtain a wider knowledge on the stability of common pigments, the effect of a variety of parameters was reviewed from literature. Discolouration and degradation of pigments significantly alter the legibility of polychrome works of art, so that the development of monitoring methods to ensure the preservation of cultural heritage objects is of primary importance.

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Section: Leadwhite (2pbco 3 ·Pb(oh) 2 )mentioning

confidence: 99%

Section: Lead (Z = 82)mentioning

confidence: 99%

Section: Lead (Z = 82)mentioning

confidence: 99%

Section: Leadwhite (2pbco 3 ·Pb(oh) 2 )mentioning

confidence: 99%

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On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

2017

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“…These materials tend to be blacked with time due to the oxidation to plattnerite (PbO 2 ). The proposal of scraping away the darkened part and repainting is not acceptable because it would destruct many original materials [ 133 ]. Chemical reagents can be used for the reconversion of these pigments, but these methods may put pictorial layers at risk [ 134 ].…”

Section: Measures For Mural Restoration and Protectionmentioning

confidence: 99%

Current progress on murals: distribution, conservation and utilization

Wang

2023

Herit Sci

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As non-renewable cultural heritages, murals have important implications in historical customs, religions, and philosophy as well as their aesthetic values. Recently, many murals are threatened by natural factors and human activities. During the past decades, there are increasing interest in the investigation of murals. Here we review the current status of murals and provide an up-to-date summary of achievements related to murals. The murals that draw the most attention are distributed in Mexico, Ireland, China, and Spain. The aesthetics, history, cultural, educational, and economic values of murals are comprehensively analyzed. The main research technologies used to detect the chemical compositions and physical structures of murals are also summarized. The restoration of murals includes several procedures such as stabilization, repair, surface cleaning, and pigment reconversion. Emerging technologies such as computer science benefit the research and conservation of murals. We also propose that tourism management and climate change should be incorporated into the conservation of murals in the future.

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Raman microspectroscopic analysis of pigments of the Gothic wall painting from the Dominican Monastery in Ptuj (Slovenia)

Gutman

Lesar-Kikelj

Mladenović

et al. 2014

J Raman Spectroscopy

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The study deals with the characterization of pigments from the newly discovered wall painting at the Dominican Monastery in Ptuj (Slovenia) in order to acquire detailed information about the technology used, as well as to identify the deterioration products. The uncovered wall painting, depicting a vivid procession of riders, is dated to the late 14th century. Painting techniques and pigments were analysed by optical microscopy and Raman microspectroscopy. The optical microscope revealed that the wall painting was executed in a lime technique characteristic of the Central‐European artistic expression. Several natural and synthetic inorganic pigments, such as azurite, red and yellow ochres, cinnabar, red lead, lead white, lime white, lead–tin yellow type I and carbon black were identified. Surprising identification of the type I of lead–tin yellow used already in the 14th century is of high importance, since, until now, it was considered that it appeared on the market only in the first half of the 15th century. Plattnerite was observed as a result of degradation of lead pigments. The use of expensive azurite and cinnabar could indicate a wealthy client. Copyright © 2014 John Wiley & Sons, Ltd.

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Reconversion of altered lead pigments in alpine mural paintings

Cited by 13 publications

References 1 publication

On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

Current progress on murals: distribution, conservation and utilization

Raman microspectroscopic analysis of pigments of the Gothic wall painting from the Dominican Monastery in Ptuj (Slovenia)

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