MA-XRF study of 15th–17th century icons from the collection of the National Museum in Krakow,Poland

In 2015, the National Museum in Krakow, Poland, started a grant from the National Programme for the Development of Humanities, its goal to investigate an important collection of old Orthodox painting, including more than 50 15th to 17th century icons originating from the territory of the historical Orthodox Diocese of Przemyśl within the borders of the Polish Kingdom. The aim of researching the iconography, provenance, and technology of the artworks was to describe their specific features and destination, in detail, and to characterise their artistic milieu. Many different techniques were used during research, such as X-ray fluorescence (XRF), X-ray diffraction, reflectography, radiography, ultraviolet–visible imaging, Fourier-transform infrared spectroscopy, scanning electron microscopy with energy-dispersive X-ray spectroscopy of prepared paint layer cross sections, and dendro-chronological analysis. This paper focuses on highlighting the advantages and disadvantages of the spatially resolved macro-XRF scanning (MA-XRF) technique. Most interesting results concluded from elemental distribution maps obtained through the use of Bruker, M6 Jetstream MA-XRF scanner include the following: characterisation of the type of gold and silver foil used in the icons; determination of main pigments, including the use of lead tin yellow unusual in iconography; and the noting of an interesting distribution of blue pigments as well as the presence of orpiment. Surprisingly, a considerable amount of zinc with azurite addition was observed in brown layers. The results obtained primarily highlight all the typical features of local Carpathian icon craft.     

Pigment identification and decoration analysis of a 5th century Chinese lacquer painting screen: a micro‐Raman and FTIR study

To investigate the pigments and decoration applied to a wood‐based lacquer painting screen from the tomb of Si‐ma Jin‐long, Shanxi Province, central China, made by Chinese craftsmen in the 5th century, a combination of micro‐Raman spectroscopy, Fourier transform infrared spectroscopy (FTIR), wavelength dispersive X‐ray fluorescence (WDXRF), and microscopic examination was used. The obtained results are as follows: (1) the black, yellow, and red colors are identified as carbon black, orpiment and realgar, and cinnabar, respectively, by using micro‐Raman spectroscopy. The FTIR result shows that the white pigment filled in the leaves is not lead white, as assumed in the literature, but gypsum. Whether lead white was used at other locations remains unanswered and requires more samples for further work; (2) the thickness of each discernable pigment layer, as observed under the microscope, is approximately equal and the differences among them are small, suggesting a superfine painting skill; besides, a noticeable smooth interface between wood and the red grounding substance indicates that a polishing process might have been applied before the painting; (3) the red background was proved to contain cinnabar, but further FTIR analyses found no evidence for the presence of Chinese wood oil; and (4) the most interesting finding, rarely reported before, is that white grains of different sizes are found in both pigment layers and the grounding substance, which are perhaps an intentional addition. Further, in situ XRF and Raman analyses indicate that they are sourced from hydroxyapatite, coming probably from the intentional addition of animal bone ash to the lacquer. But how such a process could be finished and what purpose it served have not yet been answered. Copyright © 2009 John Wiley & Sons, Ltd.     

Analysis on Mural Structures and Components of the Tombs in Liao Dynasty (A.D. 907–A.D. 1125)

The compositions of plaster, pigments, and binding medium were identified using micro-Raman spectroscopy, scanning electron microscopy coupled with energy-dispersive X-ray, and gas chromatograph-mass spectrometer. The results show that the plaster was calcium carbonate; the red color was ascribed to hematite; the blue pigment was ultramarine; the black pigment was carbon; and the yellow pigment was litharge. Animal glue as the binding medium was mixed in the pigments. Dissolved salt (mirabilite) was confirmed on the tomb passage. The mural detachment was detected with portable infrared thermal imager, and this damage resulted from the soil layer. This will serve as the basis for repairing the murals and reliable methods for identifying ancient murals.     

Testing of Raman spectroscopy as a non‐invasive tool for the investigation of glass‐protected pastels

Five French pastels and a sanguine drawing dating from the 17th to the 20th century were studied by Raman spectroscopy. Different operative conditions were used: the pastels were investigated through their protective glass, and the results obtained were compared with those obtained after removing the glass and after sampling a micrometric particle of pigment. Different parameters (wavelengths, powers of excitation and objectives) were tested in order to assess the optimal procedure of analysis for this fragile work of art. The results obtained for black (carbons), yellow (chrome/cobalt yellow), red (lead oxide, vermillion, orpiment), brown (red lead and chrome yellow), blue (Prussian blue, lapis lazuli/ultramarine), green (mixture of above blue and yellow pigments) and white (calcite, lead white, anatase) pigments are presented and the consistency of the pigments' period of use with the dating proposed for each pastel is evaluated. In one of the pastels, the blackening of the carnation colour made of an unstable mixture of lead white, red lead and vermilion was studied. Copyright © 2010 John Wiley & Sons, Ltd.     

“黄蜂石”的矿物成分及谱学特征研究

近期在广州荔湾珠宝市场出现一种具黄、黑条带的玉石品种，因其花纹形如黄蜂，商家称之为“黄蜂石”。“黄蜂石”的条纹状结构与缟玛瑙的条带状纹理非常相似，容易混淆。对“黄蜂石”进行显微岩相学、X射线粉晶衍射、电子探针、红外吸收光谱及拉曼光谱等分析，旨在探求其基本物理性质、矿物组成，以及谱学特征。结果显示：“黄蜂石”以灰白、黄橙、黑色为主，莫氏硬度3~5，相对密度2.58~2.73，长波紫外光下具弱黄色荧光，与稀盐酸反应起泡。显微岩相学分析显示，“黄蜂石”基质为方解石，呈不规则粒状，粒径0.02~0.3 mm，粒状、纤维状结构。“黄蜂石”中CaO的含量约为53.64%～56.66%，FeO的含量约为2.23%~3.62%，MgO的含量约为1.05%~1.79%，部分测试点中出现As和S元素。样品中Mg/Ca摩尔百分比为2.59%~4.68%，为低镁方解石。红外吸收光谱分析显示，“黄蜂石”的红外光谱特征吸收峰与碳酸盐类矿物理论值一致，为1 514，1 427，881和710 cm-1，由[CO₃]2-不对称伸缩振动、面内弯曲振动以及面外弯曲振动导致；黑色矿物中存在黄铁矿的特征峰1 123，1 050，423，1 123和1 050 cm-1为S-S伸缩振动，423 cm-1为Fe2+-[S₂]2-伸缩振动。拉曼光谱分析显示，样品的黄色部分中除具方解石的拉曼位移1 083，713，282和157 cm-1外，还有副雄黄的拉曼峰346，233和184 cm-1；橙红色部分显示雄黄的拉曼特征峰338，221及184 cm-1，338 cm-1由S-As-S伸缩振动所致，221 cm-1属于S-As-S弯曲振动结合As-S伸缩振动产生，184 cm-1与As-As伸缩振动相匹配。X射线粉晶衍射分析结果与红外吸收光谱、拉曼光谱等测试结果一致，即“黄蜂石”的主要矿物是方解石，次要矿物为黄铁矿、雄黄及副雄黄等，根据国家标准可定名为“碳酸盐质玉”。     

Portable XRF study of pigments applied in Juan Hispalense’s 15th century panel painting

Several medieval paintings and polychrome sculptures have been analysed in the frame of a collaboration between the Fine Arts Museum of Seville and the National Centre of Accelerators, dedicated to a non‐destructive study of artworks that belong to the wide museum’s collection. Among the oldest artworks in the collection is the panel painting Archangel St. Michael attributed to Juan Hispalense, one of the first painters in the 15th‐century Seville known by name. The panel was analysed by a portable X‐ray fluorescence (XRF) to get more information about the pigments applied and to identify possible later interventions. The results showed that the pigments were those commonly used in that period. Lead white was found in the preparation of the painting and in colour layers. For yellow colour, yellow ochre was used, while for the red one, the painter usually mixed red earth and vermillion. Blue pigment is azurite, while the copper‐based green one could not be determined more specifically by XRF. Brown colour is made with yellow ochre and organic black or, in some cases, umbra. Black pigment is probably bone or ivory black. Many decorative parts of the panel are gilded, which were confirmed by Au peaks. Later interventions were carried out on the base of Ti–Zn white mixed with earth pigments, while for green areas such as Archangel's wings also chrome green was applied. The research is part of a larger study which is still going on, whose aim is to gain more knowledge about the 15th‐ and 16th‐century Spanish painting and polychromy. Copyright © 2011 John Wiley & Sons, Ltd.     

CCD紫外增强薄膜旋涂法工艺优化

在硅基探测器的入射窗上制备荧光下转换薄膜,是一种有效降低成本的紫外荧光增强技术。从理论上探讨了由聚二甲基硅氧烷与颜料黄101混合胶体的紫外荧光薄膜旋涂工艺参数与性能之间关系,搭建紫外荧光薄膜应用于光谱分析的性能测试实验平台,对紫外荧光增强薄膜旋涂工艺参数质量配比、旋涂转速进行优化。光谱分析探测器有两个主要指标,光谱响应灵敏度和光谱分辨率,分析与实验结果表明,利用旋涂法制备紫外增强荧光薄膜,旋涂转速将直接影响薄膜的厚度、表面粗糙度和荧光物质的分布,从而影响光谱分析系统的分辨率;紫外荧光增强薄膜的增强效率与荧光溶剂聚二甲基硅氧烷与荧光物质颜料黄101的质量比密切相关,质量比低无法满足对紫外响应效率的提高,但高质量比,荧光物质处在聚集态荧光自猝灭严重,也不利于增强薄膜的紫外响应效率。最终,在薄膜旋涂工艺优化的基础上,旋涂转速2 500～3 000 r·min-1,荧光物质与荧光溶剂质量比为7∶100制备出紫外荧光增强薄膜。汞灯特征光谱测试结果表明该薄膜313 nm紫外波长处探测响应灵敏度提高了1.6倍左右,对比分析镀膜前后特征光谱的半波带宽,镀制紫外增强荧光薄膜对其影响很小。     

A prototype for high resolution infrared reflectography of paintings

A new scanner for infrared reflectography of ancient paintings is described. The system is based on an InGaAs focal plane array which automatically scans the image plane of a lens for wide format photography. The device is compact, portable and fast for use in situ.     

Laser desorption studies using laser-induced fluorescence of large aromatic molecules

Pulsed laser desorption of non-volatile organic dye molecules paraterphenyl and tetra-t-butyl-p-quinquephenyl (QUI) was studied using gas phase ultraviolet laser induced fluorescence, following heating of a steel substrate by a pulsed 1.06-μm Nd:YAG laser. The fluorescence signal intensity is linear in concentration up to at least 30 monolayers and shows infrared power threshold behavior, as expected for evaporation, at ∼0.2 J/cm². Similar signal levels were also observed in air, with 532-nm heating, and using other metallic or dark black surfaces.     

Raman analysis assessed by Fourier‐Transformed infrared and X‐ray fluorescence spectroscopies: a multi‐analytical approach of ancient chromolithographs from the 19th century

A set of chromolithographs from the 19th century were analysed to identify the fillers and pigments used for their elaboration. Because of the delicacy of the chromolithographs, the research involved the use of Raman, Fourier‐transform infrared and energy dispersive X‐ray fluorescence spectroscopies for a complete characterization of the works on paper without removing any microsamples. Despite the high fluorescence of the samples when analyzed by Raman spectroscopy, in this paper, we demonstrated that ink spectra can be successfully enhanced by subtracting the spectra of the supporting background paper. The results of the study showed that, apparently, the lithographer used a limited range of common inorganic pigments from the 19th century (carbon black, chrome yellow, Prussian blue, red ochre, red lead and vermilion) together with organic pigments (indigo blue, gamboge and a red organic pigment). The study also found that despite the fact that during the 19th and early 20th century the use of mixtures of several pigments was a common practice, unusual admixtures were used for the preparation of some colours of the studied chromolithographs. Copyright © 2011 John Wiley & Sons, Ltd.     

New insight on the underdrawing of 16th Flemish-Portuguese easel paintings by combined surface analysis and microanalytical techniques

This paper focusses on the study of the underdrawings of 16th century easel paintings attributed to the workshop of the Portuguese-Flemish Master Frei Carlos. This investigation encompasses multidisciplinary research that relates the results of surface exams (infrared reflectography, standard light photography and infrared photography) with analytical investigations.The surface analysis of Frei Carlos’ underdrawings by infrared reflectography has shown heterogeneous work, revealing two different situations: (1) an abundant and expressive underdrawing, revealing a Flemish influence and (2) a simple and outlined underdrawing. This preliminary research raised an important question related to this Portuguese-Flemish workshop and to the analytical approach: Is the underdrawing's heterogeneity, as observed in the reflectograms, related to different artists or is this rather an effect that is produced due to the use of different materials in the underdrawing's execution? Consequently, if different materials were used, how can we have access to the hidden underdrawings? In order to understand the reasons for this dissemblance, chemical analysis of micro-samples collected in underdrawing areas and representing both situations were carried out by optical microscopy, micro Fourier transform infrared spectroscopy (μ-FTIR), scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDX) and micro-Raman spectroscopy (μ-Raman). Taking into account the different possibilities and practical and theoretical limitations of surface and punctual examinations in the study of easel painting underdrawings, the methodology of research was adjusted, sometimes resulting in a re-analysis of experimental results. This research shows the importance of combining multispectral surface exams and chemical analysis in the understanding of the artistic creative processes of 16th century easel paintings.     

Complementary use of the Raman and XRF techniques for non-destructive analysis of historical paint layers

The portable XRF spectrometer has been applied in situ for the non-destructive elemental mapping of the pigment components of the XV c. mural painting and frescos of the Little Christopher chamber in the Main Town Hall of Gdańsk, Poland. For a sufficiently large data collection the principal component analysis (PCA) was applied in order to associate the most intense lines of the elements Ca, Cu, Fe, Pb, and Hg in the XRF spectra with the palette of colors: white, brown, green, blue, red, yellow, and black observed in the painting. This allowed to limit the number of extractions of the micro-samples for the complementary Raman measurements thus assuring the practically non-destructive character of the entire analysis. The reliable identification of the pigment compositions was based on coincidence of the XRF, PCA and the Raman results which confirmed the presence of the chalk, malachite, azurite, red lead, mars red, mars yellow and candle black in the historical paints, except of the carbon-based black pigment being out of the XRF detection range. Different hues of the green paint were specified and the variety of the red and brown ones was ascribed to compositions of the Pb- and Fe-based red pigments (Fe₂O₃ and Pb₃O₄) with addition of the vermilion (HgS) and carbon black, in agreement with literature. The traces of elements: Ba and Sr, Sb and Mo, and also Cd, were ascribed to the impurities of Ca, those of some ochre pigments, and to the soluble Cd salts, respectively.     

Multispectroscopic Characterization of Oil on Copper Painting

A small plate of oil on copper painting from the Italian Renaissance period was characterized by means of noninvasive spectroscopic methods. The study was conducted by the use of energy-dispersive X-ray fluorescence, X-ray diffraction, and Raman and diffuse reflectance infrared Fourier transform spectroscopies to determine the technology production process in such kinds of artworks. Results allowed us to characterize the copper alloy of the support media; the preparation layer, which is composed by white lead; and the pictorial layer of variable composition (green copper sulphate compounds, red lead, carbon black, brown earth pigments, gold, vermilion, and white lead). The complementarity of the techniques used in this study has proven to be highly effective.     

Spectroscopic investigation of modern pigments on purportedly medieval miniatures by the ‘Spanish Forger’

Five miniatures by the so‐called ‘Spanish Forger’ were acquired by the Victoria and Albert Museum in 2008. Believed to be authentic medieval miniatures until the mid‐twentieth century, they are now considered to have been painted around the end of the nineteenth and the beginning of the twentieth century. To investigate this attribution and to gather detailed knowledge about the materials used by the artist, a comprehensive pigment analysis by Raman microscopy and X‐ray fluorescence was carried out. Although traditional materials such as vermilion, carbon black, red lead, lead white and indigo were identified, many others (chrome yellow, Scheele's green, emerald green and ultramarine blue) are modern and synthetic pigments, a result which provides a firm scientific basis for stating that the miniatures are forgeries. Copyright © 2009 John Wiley & Sons, Ltd.     

邛崃石窟摩崖造像的彩绘颜料分析与研究

四川省邛崃市地处成都平原,是成都地区发现的摩崖造像规模最大,分布最集中的地区。由于潮湿、半露天的保存环境,造像遭到严重破坏,缺少相关的科学分析研究。本文选用邛崃地区内花置寺摩崖造像、临邛镇磐陀寺摩崖造像和大同乡石笋山摩崖造像三处共12件彩绘颜料样品,通过超景深显微观察、X射线荧光分析、X射线衍射和显微激光拉曼光谱综合分析,获取彩绘颜料信息。结果表明红色颜料为赤铁矿[Fe₂O₃]和铅丹[Pb₃O₄];绿色颜料为砷酸铜[Cu(AsO₃)(OH)·2H₂O]和过硫酸三铜钠钾[KNaCu₃O(SO₄)₃];白色颜料为石膏[CaSO₄];黄色颜料为黄赭石[Fe₂O₃];黑色颜料为铅丹[Pb₃O₄]的变化产物,蓝色颜料为青金石[Na₆Ca₂Al₆Si₆O₂₄(SO₄)₂]。值得注意的是绿色颜料的分析结果,其中检出的砷酸铜类物质在近年中国西南地区彩绘分析中较常见,结合文献调研判断其为近现代人工合成颜料巴黎绿的变化产物,进而推测此处有近现代重绘可能。另外,首次检出过硫酸三铜钠钾成分的绿色颜料,丰富了古代彩绘颜料的分析实例,判断可能是某种绿色含铜矿物的变化结果。四川地区环境湿润,一些不稳定的矿物颜料容易发生化学变化,有的产生变色,有的颜色变化不明显,但成分已产生新的物质。通过分析邛崃石窟彩绘颜料,获取四川地区摩崖造像所使用颜料的相关信息,为颜料复原提供科学依据,同时也有利于文物工作者展开针对性保护工作,为四川地区彩绘石窟的研究和保护提供参考。     

Infrared image analysis and elaboration for archaeology: The case study of a medieval “<Emphasis Type="Italic">capsella</Emphasis>” from Cimitile,Italy

Infrared reflectography, i.e. the use of images taken with infrared light, is currently applied in the field of cultural heritage mainly for paintings analysis to reveal the presence of underdrawings or alterations. Its use in archaeology for deciphering faded signs (texts, images, tattoos, etc.) is a lot more limited and in most cases no or simple data analysis and elaboration is performed. Here we show that infrared reflectography taken by using a wide spectral response (wavelength range from 400 to 2200 nm) VIDICON image acquisition system together with adequate post-elaboration, taking advantage from advanced techniques for data analysis (wavelet decomposition) and image registration and fusion, is able to produce high-quality ‘C&IR’ images. Such images can be obtained in a relatively easy way using the same hardware configuration generally used for infrared reflectographic analysis of paintings. The application to a medieval capsella (a small wooden relics container) from Cimitile, Italy, has shown that these results are of great interest for archaeologists.     

栀子黄色素包合物的研究

栀子黄色素是一种用途非常广泛并具有许多生理活性的食用天然色素，但由于性质不稳定，使其应用受到一定的限制. 制备了栀子黄色素与β-环糊精的包合物，并
通过紫外、红外、荧光、核磁共振谱验证了包合物的形成，确定了组成及包合物形成常数. 研究结果表明：栀子黄色素与β-环糊精形成了1∶1包合物，其结果将为栀子黄色素的应用提供参考依据.     

巴中水宁寺摩岩石刻的彩绘颜料分析

巴中水宁寺摩崖造像以题材广泛、形式多样、雕刻精致著称于世,但潮湿的环境,不稳定的崖体,半露天的保存环境使水宁寺石刻遭到了严重的破坏,影响了石刻的艺术性,因此水宁寺摩崖造像保护修复工作迫在眉睫.通过对水宁寺石刻颜料的分析,获取彩绘颜料的信息,一方面为颜料复原提供科学依据,另一方面也有利于文物工作者展开针对性保护工作,具有...     

Polychrome glass from Etruscan sites: first non-destructive characterization with synchrotron μ-XRF, μ-XANES and XRPD

This work is devoted to the characterization of a suite of very rare, highly decorated and coloured glass vessels and beads from the VII to the IV century BC. The most serious difficulty in developing this study was that any sampling – even micro-sampling – was absolutely forbidden. As a consequence, the mineralogical and chemical nature of chromophores and opacifiers present in these Iron Age finds were identified by means of the following synchrotron-based, strictly non-destructive, techniques: micro X-ray fluorescence (μ-XRF), Fe K-edge micro X-ray absorption near edge spectroscopy (μ-XANES) and X-ray powder diffraction (XRPD). The μ-XRF mapping evidenced high levels of Pb and Sb in the yellow decorations and the presence of only Sb in the white and light-blue ones. Purple and black glass show high amounts of Mn and Fe, respectively. The XRPD analyses confirmed the presence of lead and calcium antimonates in yellow, turquoise and white decorations. Fe K-edge μ-XANES spectra were collected in different coloured parts of the finds, thus enabling the mapping of the oxidation state of these elements across the samples. In most of the samples iron is present in the reduced form Fe²⁺ in the bulk glass of the vessels, and in the oxidized form Fe³⁺ in the decorations, indicating that these glass artefacts were produced in at least two distinct processing steps under different furnace conditions. PACS  29.20.Lq; 81.80.Kf; 61.10.Ht