Raman spectroscopic analysis of the enigmatic Comper pigments

An early church decoration project carried out by Sir Ninian Comper in 1896–98, involving the rood screen and canopy in St. Mary’s, Egmanton, is currently undergoing restoration. Despite the rather prolific works of this famous ecclesiastical architect, there is little information available about the actual pigments that he used in his projects that gave rise to the special nomenclature “Comper green” and “Comper red”. Specimens of green, red, black, grey, white and blue paint from this work have been made available for Raman spectroscopic analysis, and their identification has been achieved for the first time. The characteristic red and green pigments used in Comper’s work, Comper green and Comper red, are both seen to be mixtures; in the former, Raman bands from chrome yellow (lead(II) chromate) and Prussian blue are identified, and the latter is confirmed as being a mixture of vermilion (mercury(II) sulfide) and barytes (barium sulfate). The other colours are found to represent a rich diversity of palette and include haematite, lead tin yellow (type II), lamp black, gypsum, anhydrite, hydrocerussite and calcite. The information from this first Raman spectroscopic study of Comper’s palette will assist the conservation and restoration of an important nineteenth century church decoration.     

Raman fibre optic approach to artwork dating

Raman micro-probe spectroscopy has been applied to the analysis of a non catalogued hand-crafted wallpaper during its restoration process. The analysis has been totally non-destructive without the necessity of taking any sample. The artwork showed a great chromatic palette having been detected the presence of calcium carbonate, Prussian blue, ultramarine blue, gypsum (CaSO4.2H2O), minium (Pb3O4), vermilion (HgS), chrome orange (CaCO3), chrome yellow (PbCrO4), barium sulphate and carbon black (C). From the spectroscopic analysis the date of its manufacturing has been set between 1828 and 1830, introduction of chrome yellow and orange, as well as artificial ultramarine blue, and 1840, when continuous industrial wallpapers were extensively manufactured in Europe.     

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 spectroscopic study of a post-medieval wall painting in need of conservation

Raman spectroscopic studies of four specimens from an important angel wall painting in need of conservation work in a medieval church have provided some information about the pigments and pigment compositions which will influence possible future preservation and restoration strategies. Excitation of the Raman spectra at 1,064 nm in macroscopic mode and at 785 nm in microscopic mode revealed that the white pigment on the angel's wings was a mixture of barytes with calcite and lead white in minor composition. Although the specimens provided were not directly associated with coloured regions of the painting, yellow and blue microcrystals were found and they were identified as chrome yellow and lazurite, respectively. Red and brown particles were identified as cinnabar/vermilion and haematite. Several green particles were also found but could not be identified. The green and blue crystals could be related to neighbouring coloured regions of the artwork and the yellow colour could be identified as a background to the angel figure. Particles of carbon were found to be dispersed throughout the specimens and can be ascribed to soot from candles, heating stoves or oil lamps providing lighting in the church. No evidence for biological deterioration was found from the spectra. The unusual pigment palette is strongly suggestive of a later date of painting than was originally believed but there is a possibility that an earlier rendition exists underneath. Following a review of the spectroscopic data, a more extensive sampling protocol is recommended, from which some stratigraphic evidence could identify the underlying plaster and possible artwork.     

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.     

A non-invasive XRF study supported by multivariate statistical analysis and reflectance FTIR to assess the composition of modern painting materials

The palette used in two paintings by Paul Cézanne, L'étang des soeurs dated c. 1875 and La route tournante, made in the last year of his life (1902), were analyzed using non-invasive spectroscopic methods. X-ray fluorescence combined with principal components analysis (PCA) and supported by reflectance near- and mid-FTIR was shown to be a powerful analytical tool to draw conclusions about the chemical identification of inorganic materials in paintings. Pigments and fillers such us Thénard's blue, Prussian blue, red ochre, kaolin, vermilion, lead white, zinc white and barium sulphate, were identified. Evidence for three different pigments, namely a copper arsenite pigment, chrome green (a mixture of chrome yellow and Prussian blue) and viridian has been obtained by the PCA analysis of elemental compositions of green hues.     

Raman analysis of ancient pigments on a tile from the Citadel of Algiers

A micro-Raman spectroscopy study of a multi-coloured (yellow, blue, white, redish-brown and brown-black) tile shard from the Citadel of Algiers was undertaken. XRD and EDX were used as complementary techniques. The study shows that the heterogeneous three-shade yellow pigment on the tile is composed largely of the ancient ternary (Pb-Sn-Sb) pyrochlore oxide with a dominant Pb-O vibration at 127 cm(-1) consistent with the Pb2SnSbO6.5 structure as verified by XRD. The literature assignment of this band at 132 cm(-1) probably comes from a mixture of pigments. The redish-brown and the brown-black pigments are found to be Naples yellow (Pb2Sb2O7) and lead(II) stannate (Pb2SnO4), respectively, while cobalt blue (CoAl2O4) gives the blue colour and cassiterite (SnO2) is the origin of the white colour. The bulk of the tile body is composed mainly of hematite (alpha-Fe2O3), maghemite (gamma-Fe2O3), magnetite (Fe3O4) and Quartz (alpha-SiO2) with traces of calcite (CaCO3) and amorphous carbon. Micro-Raman spectroscopy proved to be very useful in the characterization of pigments as well as the tile body. These results further establish Raman spectroscopy as a technique of choice for the analysis of pigments on archaeological artifacts. The results obtained here could be used in the restoration and preservation programme of the Citadel itself which stands today as a symbol of pre-colonial Algerian heritage.     

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.     

Analysis of bulk and inorganic degradation products of stones,mortars and wall paintings by portable Raman microprobe spectroscopy

This work reports the use of a portable Raman microprobe spectrometer for the analysis of bulk and decaying compounds in carbonaceous materials such as stones, mortars and wall paintings. The analysed stones include limestone, dolomite and carbonaceous sandstone, gypsum and calcium oxalate, both mono- and dihydrated, being the main inorganic degradation products detected. Mortars include bulk phases with pure gypsum, calcite and mixtures of both or with sand, soluble salts being the most important degradation products. The pigments detected in several wall paintings include Prussian blue, iron oxide red, iron oxide yellow, vermilion, carbon black and lead white. Three different decaying processes have been characterised in the mortars of the wall paintings: (a) a massive absorption of nitrates that reacted with calcium carbonate and promoted the unbinding of pigment grains, (b) the formation of black crusts in the vault of the presbytery and (c) the thermodecomposition of pigments due to a fire.     

Analysis of mural paintings in Istria

Fragments of wall paintings from Istria, coming from the Basilica of Guran near Vodnjan, from the cemeterial Church of Saint Simeon in Guran and from the Benedictine monastery of Santa Maria Alta near Bale were studied. The analytical instrumental techniques used were Optical Microscopy, Scanning Electron Microscopy equipped with an EDS microanalysis detector, X Ray diffraction, FTIR infrared Spectroscopy and Raman Spectroscopy. Red and yellow pigments used in Guran and Bale have bean derived from red and yellow istrian bauxites, as already demonstrated for works from 11th to 15th century. The blue pigment found in the paintings of the Bale Chapel is a lapislazzuli blue; this fact confirms the literature data referring to the period from 11th to the 16th century. The materials and pigments used at Bale and Guran fit with the Istrian tradition and history of painting going back to the first Carolingian period.     

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.     

Raman,X‐Ray Fluorescence Spectroscopies and Graphene Oxide Modified Screen Printed Electrodes to Identify the Pigments and Earth Present in Ancient Leather Samples

Micro‐Raman and X‐Ray Fluorescence combined with electrochemical techniques proved to be suitable for the unambiguous identification of the green pigment in a very deteriorated historical leather. The colouring matter resulted in a mixture of blue and yellow. Raman identified the blue indigo, whereas iron and arsenic were identified by XRF. The redox status of these two elements was investigated by Square Wave Cathodic Stripping Voltammetry (SWCSV). Results demonstrated the presence of As(III), probably As₂S₃ (orpiment), and Fe(III), characterising the red earths. The quantitative results obtained by SWCSV were also confirmed for Fe and As by ICP‐MS (Inductively Coupled Plasma Mass spectrometry). Voltammetric techniques, applied here for the identification of the redox status of the elements, contained in pigments, are useful to understand two important aspects: the chemical‐physical composition of the colors and the best strategy to be applied for the preservation of the pigments in ancient/deteriorated artwork objects.     

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.     

The identification by Raman microscopy and X-ray diffraction of iron-oxide pigments and of the red pigments found on Italian pottery fragments

The technique of Raman microscopy has been used to identify and characterise the pigments used in red shards of medieval and earlier items of pottery which have been found in various archaeological sites in the South of Italy. The research has led to the identification, on the basis of their characteristic Raman/resonance Raman spectra, of the red pigments as iron(III) oxide (e.g. Indian Red, Red Ochre or Venetian Red) and the yellow pigments as hydrated iron(III) oxyhydroxide (e.g. Yellow Ochre and Mars Yellow). X-ray powder diffraction experiments confirm the conclusions drawn above.     

A Comparative Study of Pigments from the Wall Paintings of Two Greek Byzantine Churches

The goal of this study was to characterize pigments used in the murals of two Byzantine churches, from Kastoria, northern Greece. The identification of the iconographer was also investigated by comparing the pigments applied in the wall paintings of the churches. Pigment microsamples of various colors were collected and analyzed by environmental scanning electron microscopy coupled with an energy dispersive system to characterize the elemental composition. Raman spectroscopy was employed to collect molecular spectra for characterization of mineralogical phases. Hematite, cinnabar, and minium were identified in red surfaces. Brown and yellow colors were assigned to mixtures of iron oxides, iron hydroxides, and calcite. Mixtures of iron, lead, and mercury compounds were used to produce different hues in the murals. Black tones were prepared primarily using charcoal and bone black. Grey colors were produced by a mixture of black carbon with calcite; blue hues, by a mixture of iron oxides, calcite, and black carbon. The minerals used were similar for both churches. However, the green color was prepared either by green earth or mixtures of iron oxides and calcite. A modern pigment, lithopone, was also determined, demonstrating restoration or overpainting and thus complicating possible correlations. Based on these preliminary results, the wall paintings could not be ascribed to a specific iconographer.     

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.     

Characterization of Wallpaintings from the Caliphal Baths of Cordoba (Spain) by X-Ray Diffraction and Raman Microspectroscopy

Wallpainting fragments from the Caliphal Baths of Cordoba, Spain, were studied in this work for the first time. X-ray diffraction (XRD) and Raman microspectroscopy allowed the chemical nature of the pigments used by the Arabic artists of the time to be identified. All pigments were applied over a gypsum priming layer. The white, red, and yellow colors used were obtained from gypsum, hematite, and goethite, respectively. Some pigments were prepared by mixing these materials. The analytical techniques used also allowed the mortar material to be identified. The results of this study may be useful to develop effective conservation strategies for archaeological remains.     

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.     

食品中7种常见的非食用色素检测研究进展

食用色素可以明显改善食品外观,激发食欲,在食品行业有着广泛的应用,但若向食品中添加非食用色素来代替食用色素,则会对人体存在致癌风险。食品中常见的非食用色素有以下7种:碱性嫩黄O、碱性橙Ⅱ、酸性橙Ⅱ、苏丹红、若丹明B、美术绿和孔雀石绿,而目前对这7种非食用色素检测的国家标准还未全部建立。本文综述了近3年来食品行业中针对这7种非食用色素的各种检验方法,以期为食品安全监督检测提供参考。