The infrared microspectroscopic and energy dispersive X-ray analysis of paints removed from a painted, medieval sculpture of Saint Wolfgang

A spectroscopic study of paints removed from a 15th century sculpture depicting Saint Wolfgang, which is housed in the Ball State Museum of Art, was performed. Infrared spectra on the minute paint samples were obtained using a microscope accessory in the transmission mode, and the spectra were compared to reference spectra of known art pigments and materials. In addition, energy dispersive X-ray spectra were obtained using a scanning electron microscope source. Although many of the pigments found are relatively modern pigments, the first application of paint is composed of materials consistent with the sculpture's medieval date. Pigments identified include brass gilding, calcium carbonate, China clay, lac dye, orpiment, Prussian blue, satin ochre, ultramarine blue and red, and zinc chromate. A zinc tungate finish was also identified.     

Characterization of Japanese color sticks by energy dispersive X-ray fluorescence,X-ray diffraction and Fourier transform infrared analysis

This work comprises the use of energy dispersive X-ray fluorescence (EDXRF), X-ray diffraction (XRD) and Fourier transformed infrared (FTIR) techniques for the study of the composition of twentieth century traditional Japanese color sticks. By using the combination of analytical techniques it was possible to obtain information on inorganic and organic pigments, binders and fillers present in the sticks. The colorant materials identified in the sticks were zinc and titanium white, chrome yellow, yellow and red ochre, vermillion, alizarin, indigo, Prussian and synthetic ultramarine blue. The results also showed that calcite and barite were used as inorganic mineral fillers while Arabic gum was the medium used. EDXRF offered great potential for such investigations since it allowed the identification of the elements present in the sample preserving its integrity. However, this information alone was not enough to clearly identify some of the materials in study and therefore it was necessary to use XRD and FTIR techniques.     

Ochre-differentiation through micro-Raman and micro-FTIR spectroscopies: application on wall paintings at Meteora and Mount Athos, Greece

The most widely-used inorganic pigments of Byzantine and post-Byzantine hagiography are earth pigments called ochres such as, red and yellow ochres, limonite, goethite, raw and burnt sienna, caput mortuum and hematite. The present experimental work proposes a technique of differentiation that allows one to distinguish among all the different kinds of iron oxides, thereby providing a better understanding of the painting technique used on portable icons and wall paintings. The ratios between the main spectroscopic peaks, attributable to the major components usually present in ochres, were calculated and compared, one against the another, from the spectra obtained through micro-Raman spectroscopy. Elementary composition is also revealed through a scanning electron microscopy (SEM) analysis. The possibility for detailed study on a particular Byzantine ochre palette can thus be performed based on the small differences in its nature and composition. These differences can first be observed and then measured among all of the natural earth pigments, through microRaman and microFTIR spectroscopies.     

Characterization of slate ornaments from Teotihuacan by nuclear and conventional techniques

Several ornaments named tezcacuitlapilli (coccyx-mirrors) are described and chemical analyses of raw materials (slate and pigments) were carried out by neutron activation, X-ray diffraction, scanning electron microscopy and radiography. Elemental and statistical analyses revealed that three different kinds of slate were used in their manufacture. The white pigment contains gypsum while ochre, yellow and red pigments contain iron oxide. These ornaments were identified as coming from the Cave of the Sun Pyramid of Teotihuacan. An attempt was undertaken to reconstruct the contexts of their manufacture and symbolic interpretation.     

Improvements in the wallpaper industry during the second half of the 19th century: micro-Raman spectroscopy analysis of pigmented wallpapers

Scientific studies of the pigments used in the manufacturing process of some pigmented wallpapers are presented in this work. Non-destructive micro-Raman spectroscopy was selected for this purpose, and provides important information about how the 19th century wallpaper industry incorporated new materials in their works and designs. At the same time, analysis can help to date the samples of uncatalogued wallpapers. Chrome yellow, burnt Sienna, Prussian blue, ultramarine blue, red lead, carbon black, calcium carbonate, red iron oxide and a red organic pigment were identified. According to the palette used, as well as to the manufacturing process, the wallpapers in this study can be dated to the second half of the 19th century.     

FT-Raman spectroscopic analysis of pigments from an Augustinian friary

The Raman spectroscopic analysis of several stone samples with applied red pigments obtained from an archaeological excavation of an Augustinian friary discovered during the construction of an extension to Hull Magistrates Court in 1994 has revealed a surprising diversity of composition. Cinnabar, red lead and haematite have all been identified alone or in admixture; the cinnabar is exceptional in that it has only been found heavily adulterated with red ochre and red lead, as the other two pigments are found alone. There are signatures of limewash putty, which has been applied to the stone substrate prior to the painting, which is characteristic of the Roman method of wall painting, and there are no traces of gypsum found in the specimens studied. This evidence indicates an early mediaeval method of stone decoration.     

Use of different spectroscopic techniques in the analysis of Roman age wall paintings

In this paper the analysis of samples of Roman age wall paintings coming from: Pordenone, Vicenza and Verona is carried out by using three different techniques: energy dispersive x-rays spectroscopy (EDS), x-rays fluorescence (XRF) and proton induced x-rays emission (PIXE). The features of the three spectroscopic techniques in the analysis of samples of archaeological interest are discussed. The studied pigments were: cinnabar, yellow ochre, green earth, Egyptian blue and carbon black.     

Micro-Raman analysis of coloured lithographs

Raman micro-spectroscopy was chosen for analysis and identification of the pigments present in four nineteenth-century hand-coloured lithographs, as this technique has several advantages over others for this purpose. The possibility of performing completely non-destructive analysis without any sampling is probably one of its most favourable qualities for art analysis. Raman spectroscopy can also be used to determine some pigments that cannot be detected using FTIR, such as vermilion, carbon blacks, cadmium pigments, etc. Among others, Prussian blue, ultramarine blue, carbon black, chrome yellow, yellow ochre, red lead, red iron oxide, burnt Sienna, indigo blue, chrome orange, phthalocyanine green, and some other organic pigments, were determined in the specimens. The results obtained have led to doubts about the age of the lithographs.     

Non-destructive in situ determination of pigments in 15th century wall paintings by Raman microscopy

Raman microscopy has been applied to the study of 15th century wall paintings in a chapel of St. Orso Priory palace (Aosta, Italy) in view of their restoration. The use of a transportable instrument has made it possible to work non-destructively in situ without sampling. The main inorganic pigments used by the unknown artist, namely mercury sulphide, azurite, white lead, red and yellow ochre, carbon black and lead tin yellow type I have been identified, and the presence of organic substances and of some decay products (calcium sulphate and oxalate) has been observed.     

Argentinean prehistoric pigments’ study by combined SEM/EDX and molecular spectroscopy

Composition of the prehistoric pigments’ (from Carriqueo rock shelter, Rio Negro province, Argentina) has been analysed by means of molecular spectroscopy (Fourier transform infrared (FTIR) and micro-Raman) and scanning electron microscopy (SEM) coupled to an energy-dispersive X-ray spectrometer (EDS). Red and yellow pigments were recognized as red and yellow ochre. The matrix of the pigments is composed of one or more substances. According to the matrix composition yellow and red pigments were also divided into two groups—i.e. those containing kaolinite or sulphates. Green pigment was detected as green earth, made up of celadonite as a chromophore.     

Analysis of pigments from Roman wall paintings found in Vicenza

The analysis of about 60 samples of wall paintings was carried out using different chemicophysical techniques: optical microscopy, scanning electron microscopy (SEM) equipped with an EDS microanalysis detector, X-ray powder diffraction (XRD) and Fourier transform infrared spectroscopy (FTIR). The identified pigments were cinnabar, hematite, red ochre, celadonite, cuprorivaite (Egyptian blue), yellow ochre, goethite and carbon. Only in one case some lead white was found instead. In general, the mortar preparation did not correspond to the complex structure suggested by Vitruvius (De Architectura), but it generally showed a porous layer, with crushed grains under the pigment layer. In certain cases two superposed pigment layers were found: yellow superimposed on both red and pink, black on pink, green on black.     

In situ investigations of vault paintings in the Antwerp cathedral

X-ray fluorescence spectroscopy (XRF) and Raman spectroscopy have been used to examine 15th century mediaeval and 16th century renaissance vault paintings in the Our Lady's Cathedral (Antwerp, Belgium) in view of their restoration. The use of mobile instruments made it possible to work totally non-destructively. This complementary approach yields information on the elemental (XRF) and on the molecular composition (Raman) of the pigments. For the 15th century vault painting the pigments lead–tin yellow (Pb₂SnO₄), lead white (2PbCO₃·Pb(OH)₂), vermilion (HgS), massicot (PbO) and azurite (2CuCO₃·Cu(OH)₂) could be identified. The pigments used for the 16th century vault painting could be identified as red lead (Pb₃O₄), hematite (Fe₂O₃), lead white (2PbCO₃·Pb(OH)₂) and azurite (2CuCO₃·Cu(OH)₂). For both paintings the presence of the strong Raman scatterer calcite (CaCO₃) resulted in a difficult identification of the pigments by Raman spectroscopy. The presence of gypsum (CaSO₄·2H₂O) on the mediaeval vault painting probably indicates that degradation took place.     

Spectroscopic Characterization of the Architectural Painting from the Cizhong Catholic Church of Yunnan Province,China

The Cizhong Catholic Church, which incorporates local Chinese architectural styles and artistic motifs, witnessed the transmission of Catholicism in Yunnan Province in the late Qing Dynasty. The pigments of the paintings from the church were identified by micro-Raman Spectroscopy, micro X-ray fluorescence spectroscopy, X-ray photoelectron spectroscopy, and X-ray diffraction. The analyses indicated that chromogenic substances of the white pigment was calcite, that of the black pigment was carbon black, that of the red pigment was hematite, that of the blue pigment was artificial ultramarine, and that of the green pigment was emerald green. The study also revealed that artificial ultramarine and emerald green were probably imported or brought by French missionaries from Europe. In addition, emerald green was identified to have partially degraded into cornwallite.     

Byzantine wall paintings from Mani (Greece): microanalytical investigation of pigments and plasters

The present case study concerns the technology of Byzantine wall paintings from the Mani Peninsula, Greece. An assemblage of 12 Byzantine churches, constructed in the tenth to fifteenth century, was included in an initial analytical survey. Two random samples of wall paintings were taken in each monument in order to study their micro stratigraphy and the composition of pigment and plaster layers. Polished sections were fabricated for examination with optical microscopy and scanning electron microscopy (SEM). Furthermore, selected samples were powdered and analysed with Fourier-transformed infrared spectroscopy (FTIR) and X-ray diffraction (XRD). The analytical results achieved in this case study provided general conclusions concerning painting techniques for wall paintings in a rather provincial area of the Byzantine Empire. The palette comprised mainly earthen pigments like ochres and carbon black but occasionally also other pigments like cinnabar, minium and ultramarine. In view of future studies, a portable X-ray fluorescence analysis (XRF) set-up was tested.     

Non-invasive and non-destructive micro-XRF and micro-Raman analysis of a decorative wallpaper from the beginning of the 19th century

Non-destructive and non-invasive micro-Raman fibre optic and micro-XRF analyses were performed to study a wallpaper from the beginning of the 19th century. The complementarity of these two non-destructive techniques is shown in this work. The analysed artwork is considered one of the most beautiful wallpapers ever manufactured according to the catalogues and books; it is known as Chasse de Compiègne, manufactured by Jacquemart, Paris, in 1812. During the analysis, an unexpected pigment was detected by both analytical techniques: lead-tin yellow type II. This pigment was used until ca. 1750, when other yellow pigments replaced it, thus it is very difficult to find it in paintings afterwards. Together with this pigment, red lead, Prussian blue, brochantite, yellow iron oxide, calcium carbonate, vermilion, carbon black of animal origin (bone black), lead white, and raw and burnt sienna were also determined by combining the analytical information provided by both techniques. A possible degradation of brochantite to antlerite is also discussed.     

The state of conservation of painted surfaces in the presence of accelerated ageing processes monitored by use of FT-Raman spectroscopy and multivariate control charts

A new method has been developed for monitoring the degradation of paintings. Two inorganic pigments (ultramarine blue and red ochre) were blended with linseed oil and spread on canvas. Each canvas was subjected to simulated accelerated ageing in the presence of typical degradation agents (UV radiation and acidic solution). Periodically the painted surfaces were analysed by FT-Raman, to investigate the status of the surface. The data obtained were analysed by principal component analysis (PCA). Finally the Shewhart and cumulative sum control charts based on the relevant principal components (PC) and the so called scores monitoring and residuals tracking (SMART) charts were built. The method based on the use of PC to describe the process was found to enable identification of the presence of relevant modification occurring on the surface of the samples studied.Electronic supplementary material Supplementary material is available for this article at     

Use of Raman microspectroscopy to characterize wallpaintings in Cerro de las Cabezas and the Roman villa of Priego de Cordoba (Spain)

The analysis by Raman microscopy of several wallpainting fragments found at an archaeological site in Fuente Tojar and in the Roman villa of Priego de Cordoba, both in southern Spain, revealed that the most abundant colours in them were obtained from the usual pigments of the time. Thus, red corresponded to red ochre, which consisted of hematite mainly. Also, yellow came from yellow ochre (goethite), blue from Egyptian blue, and grey hues were obtained from mixtures of coal and calcite occasionally also containing gypsum. The components of some pigments were confirmed by X-ray diffraction spectroscopy. The two spectroscopic techniques were additionally used to examine the mortars and the preparatory layer present in the fragments.     

Raman microscopy of Greek icons: identification of unusual pigments

Five Greek icons, made between the 15th and 18th centuries and now belonging to the Victoria and Albert Museum collections, were analysed by energy-dispersive X-ray fluorescence (EDXRF), optical microscopy and Raman microscopy in order to determine the stratigraphy of the artworks and the identity of the pigments used. Together with common pigments, such as red lake, vermilion, red lead, red iron oxide, orpiment, yellow ochre, lead white, chalk, gypsum, anhydrite, Prussian blue, indigo and a copper-containing green, a few unusual materials were identified, specifically pararealgar (a yellow arsenic sulphide, As4S4), its precursor the chi-phase, and lead tin yellow type II (PbSn(1-x)SixO3). Attention is drawn to the complementarity of the techniques used for the pigment identifications.     

Identification of lead pigments in nanosamples from ancient paintings and polychromed sculptures using voltammetry of nanoparticles/atomic force microscopy

Voltammetry of nanoparticles coupled with atomic force microscopy was used to identify lead pigments in nanosamples proceeding from works of art. Upon mechanical attachment of few nanograms of sample to a graphite plate, well-defined voltammetric responses were obtained for lead orange, lead yellow, lead white, litharge, minium, Naples yellow, and tin-lead yellow, allowing for an unambiguous identification of such pigments. Atomic force images provide evidence for the occurrence of pigment-characteristic reduction processes accompanied by metal deposition on the graphite substrate. Electrochemical parameters are used for pigment identification. Application to the method for identifying lead pigments in different model binder + pigment specimens and pictorial samples from the canvas painting collection (anonymous, 17th century) of the Saint Joseph Church in Taormina (Italy), the frescoes painted by Antonio Acisclo Palomino y Velasco (1698) in the vault of the Sant Joan del Mercat church in València (Spain) and an anonymous polychromed sculpture (16th century) representing a Martyr Saint from Alacant (Spain) is described.