Synchrotron X-ray diffraction of bole layers from Portuguese gilded baroque retables

Barata, Carolina; Rocha, Fernando; Cruz, António João; Andrejkovičová, S.; Réguer, Solenn

doi:10.1016/j.clay.2015.08.012

Cited by 7 publications

(2 citation statements)

References 17 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…40 µm and it is composed of O (34%), Si (23%), Fe (17%), Al (16%) and Ca (10%). The obtained composition is consistent with red bole clay [44]. The use of clay in the preparation layer to paste a gold leaf was largely used by Italian artists and it is also reported for gilded wooden artworks from Giotto [43].…”

Section: Identification Of the Wood Species And Microscopy Analysissupporting

confidence: 80%

Restoration of a XVII Century’s predella reliquary: From Physico-Chemical Characterization to the Conservation Process

Bettina

Giambra

Cavallaro

et al. 2021

Forests

View full text Add to dashboard Cite

We report on the restoration of a XVII century’s predella reliquary, which is a part of a larger setup that includes a wall reliquary and a wooden crucified Christ, both belonging to the church of “Madre Maria SS. Assunta”, in Polizzi Generosa, Sicily, Italy. The historical/artistic and paleographic research was flanked successfully by the scientific objective characterization of the materials. The scientific approach was relevant in the definition of the steps for the restoration of the artefact. The optical microscopy was used for the identification of the wood species. Electron microscopy and elemental mapping by energy-dispersive X-ray (EDX) was successful in the identification of the layered structure for the gilded surface. The hyperspectral imaging method was successfully employed for an objective chemical mapping of the surface composition. We proved that the scientific approach is necessary for a critical and objective evaluation of the conservation state and it is a necessary step toward awareness of the historical, liturgical, spiritual and artistic value. In the second part of this work, we briefly describe the conservation protocol and the use of a weak nanocomposite glue. In particular, a sustainable approach was considered and therefore mixtures of a biopolymer from natural resources, such as funori from algae, and naturally occurring halloysite nanotubes were considered. Tensile tests provided the best composition for this green nanocomposite glue.

show abstract

Section: Identification Of the Wood Species And Microscopy Analysissupporting

confidence: 80%

Restoration of a XVII Century’s predella reliquary: From Physico-Chemical Characterization to the Conservation Process

Bettina

Giambra

Cavallaro

et al. 2021

Forests

View full text Add to dashboard Cite

show abstract

“…It should be also mentioned that even earlier in the Middle Ages the composition of clay poliments varied significantly, which indicates different sources of import. Later in the Baroque period (e.g., [39]), it can be suggested that local/regional raw material sources start to prevail as the number of economically important mining sites of coloured clays in Europe was growing. In his famous book "Natural History of Fossils" from 1757, Emanuel Mendes da Costa [40] provides a list of boles of various origins (Bohemian, Hungarian, Silesian, French, English, German).…”

Section: The Story Of Armenian Bolementioning

confidence: 99%

Clay Minerals in European Painting of the Mediaeval and Baroque Periods

2020

View full text Add to dashboard Cite

Clay-based pigments are among the most traditional. Unlike other mineral pigments, they have never been fully replaced by synthetic analogues and are still used in painting today. Since their analysis requires a specific approach, detailed distinction of clay pigments has never been a part of routine chemical-technological research in fine arts—regardless of a great potential of clay minerals for determining regional provenance of the material. This review article maps and summarizes research on clay pigments in historical paintings that has been systematically pursued by authors since the beginning of this millennium. This rallying and interconnection of knowledge was an opportunity for a new reflection on the common aspects of these research projects, either methodological or interdisciplinary, since these findings are closely related to art-historical evaluation of artworks. It offers a comprehensive insight into the microanalysis of clay pigments with using powder X-ray micro-diffraction and complementary methods. Significant new findings come, for example, from research on the Italian Baroque. It becomes clear that cheap availability of raw material, pottery clays, could have played an important role in the change in painting technology at the turn of the 16th and 17th centuries.

show abstract

Pigments—Iron-based red, yellow, and brown ochres

Mastrotheodoros

Beltsios

2022

Archaeol Anthropol Sci

View full text Add to dashboard Cite

Synchrotron X-ray diffraction of bole layers from Portuguese gilded baroque retables

Cited by 7 publications

References 17 publications

Restoration of a XVII Century’s predella reliquary: From Physico-Chemical Characterization to the Conservation Process

Restoration of a XVII Century’s predella reliquary: From Physico-Chemical Characterization to the Conservation Process

Clay Minerals in European Painting of the Mediaeval and Baroque Periods

Pigments—Iron-based red, yellow, and brown ochres

Contact Info

Product

Resources

About