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.     

Raman microspectrometric investigation of wall paintings in S. Giovanni Evangelista Abbey in Parma: a comparison between two artists of the 16th century

Micro-Raman spectroscopy, combined with gas chromatography and ultra-violet fluorescence photography, was used to study some wall paintings in the S. Giovanni Evangelista Abbey in Parma, Italy. The restoration of some painted chapels enabled a comparison between two painters of the 16th century: Parmigianino (Girolamo Francesco Maria Mazzola, 1503-1540) and Michelangelo Anselmi (1492?-1556?). Micro-Raman spectroscopy determined the palette used by the artists, leading to the identification of different white, yellow, red, brown, green, blue and black pigments. Some pigments are evidence of later restorations. Gas chromatography combined with mass spectroscopy revealed the presence of organic binding media and enabled to distinguish between fresco and secco paintings.     

Aging of the paint palette of Valerio Castello (1624–1659) in different paintings of the same age (1650–1655)

It is well known, from ancient Egypt, that some pigments and colourants can change with time for light effect or chemical attack. Cennino Cennini in the fifteenth century in his book “Il libro dell’arte o trattato della pittura” describes the use of many pigments and their degradation. He was aware of the problems and was able to suggest the answers in the use of pigments on several supports, but he could not understand the physical–chemical reason of the alteration processes. In this study, we point out the aging effects in seven paintings, practically of the same period (1650–1655). We considered in particular green, white and blue pigments of the palette of Valerio Castello. About 150 spots were selected on works painted on four different supports, canvas, wood panel, copper and slate. For each point, several determinations were carried on the pigments and decomposition products, aiming to determine the state of conservation of the paintings, the nature of the pigments, their alteration and if the support can affect the kinetics of degradation.     

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.     

Anatase—a pigment in ancient artwork or a modern usurper?

Fragments of wall-paintings from Roman villas in Easton Maudit, which date from ca 150 AD have been studied by Raman spectroscopy. An intact ancient Roman paint pot discovered in the remains of a villa in Castor, Cambridgeshire, still containing a mixture of white and red pigment was also analysed and the pigments identified as haematite and anatase. The discovery of anatase in the intact artist’s paint pot, particularly, and also on fragments of broken paint pots from the Easton Maudit villa site, is a unique contribution to current knowledge of ancient European pigment history, because the presence of this mineral has not hitherto been recognised fully in an ancient artist’s palette. The relative spectral response of anatase and haematite in the Raman data is compared with that of anatase and other red pigments such as minium, cinnabar, and litharge.     

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.     

Romano-British wall-paintings II: Raman spectroscopic analysis of two villa sites at Nether Heyford, Northants

We report the analysis of 31 fragments of Roman wall-paintings from two adjacent villa sites near Northampton, which date from about 1800 years b.p. The specimens comprise pigments which are still attached to their substrate, affording an opportunity for the examination of interaction. The palette is rather restricted to a predominance of red (with shades varying from pink through to deep red), white and grey colours, with yellow, blue, brown and green being only rarely observed. This contrasts with Romano-British villa specimens from other sites where a more extensive palette has been recognised.     

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.     

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.     

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.     

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.     

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.     

Analysis of Roman age wall paintings found in Pordenone, Trieste and Montegrotto

The aim of the present work is the study of many fragments of wall painting from archaeological excavations in three different Roman age sites dating back to the I Century before Common Era: Pordenone (località Torre); Trieste (Crosada) and Padova (Montegrotto). The techniques used were optical microscopy, scanning electron microscopy (SEM), equipped with a EDS microanalysis detector, X-rays powder diffraction (XRD), Fourier transform infrared spectroscopy (FT-IR), Fourier transform Raman spectroscopy (FT-Raman) and electron paramagnetic resonance (EPR) spectroscopy. The identified pigments were: cinnabar, hematite, celadonite, glauconite, cuprorivaite (Egyptian blue), yellow and red ochre, calcite, limonite, coal black.In general, the mortar preparation did not correspond to the complex procedure suggested by Vitruvius (De Architectura), but generally showed a porous layer, with crushed grains under the pigment layer. In some cases, two superimposed pigment layers were found: yellow superimposed on both red and pink, black on pink, green on black.The slight differences we found in the use of the pigments in the three studied sites might show that the same technology, culture and taste spread all over the Roman Empire in North Eastern Italy (X^a Regio Venetia et Histria).     

Application of emission spectrometer with laser sampler to microanalysis of pigments from Hubert Robert’s canvas painting

Laser-induced breakdown spectroscopy has been applied to layer-by-layer pigment material microanalysis from the different sections of Hubert Robert’s (1733–1808) painting “Landscape of a Pool with an Obelisk and Ruins of an Aqueduct”. This painting consists of two sections and, therefore, requires thorough examination of the pigments from both sections in order to identify their authenticity. The data obtained on the elemental composition of the paint layers including the ground layer alongside with art examination have formed the basis for the identification, attribution and restoration of both investigated sections of the painting.     

Investigation of roman age pigments found on pottery fragments

This work deals with the study of the physico-chemical characteristics of pigments found on pottery fragments from an excavation in Vicenza (Contrà Pedemuro S. Biagio). The examined pigments were: a blue colour on a terracotta fragment; an olive green on a black pot bottom; yellow traces on a red depurated terracotta; an olive green plate bottom with an amaranth “a fresco” test; a deep red on a depurated terracotta; a white trace, again on a depurated terracotta. The techniques used were optical microscopy, scanning electron microscopy (SEM), equipped with an energy dispresive (EDS) microanalysis detector, X-ray powder diffraction (XRD) and Fourier transform infrared (FTIR) spectroscopy. Most of those techniques were non-destructive and able to provide the required results. All the pigments belonged to the group of basic colours, we did not find “precious” pigments. They have many similarities to those discovered in other European sites in France and Switzerland, witnessing the active trading exchange in which X^a Regio, Venetia et Histria played an important role.     

Analytical characterization of paintings on pre-Roman pottery by means of spectroscopic techniques. Part II: Red, brown and black colored shards

As a part of a systematic study aimed at assessing the chemical composition of ancient pigments as well as at collecting information useful for the understanding of the technical aspects related to pottery preservation and decoration, the results of analysis performed on red, brown and black pigments decorating pre-Roman pottery excavated in thirteen different tombs unearthed in the archaeological zone of Canosa (Puglia, Italy) are presented. Both surface (XPS) and bulk (FT-IR) spectroscopies were used which gave complementary information and XRD was used in some cases to further support the spectral assignments. Results suggested that the shards characterized by “nominally” the same color could be differentiated by the chemical composition of the pigmented layers; in particular, the shards exhibiting the red pigment could be divided into three groups containing, respectively, either hematite or ochre plus other substances not related to the color but of great concern for the understanding of ancient techniques used for color preparation. Manganese oxides were found to be the basis of the brown pigments, which could be divided into three groups on the basis of Mn and Fe contents. Either magnetite or carbon of vegetable origin was found in the black-pigmented layers. Furthermore, an attempt was made to find a possible correlation between this classification and the results of a provenance study carried out on the same pool of shards analyzed in the present investigation. Received: 28 May 1999 / Revised: 6 August 1999 / Accepted: 21 August 1999     

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.     

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.     

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.