Technological study of ancient ceramics produced in Casteldurante (central Italy) during the Renaissance

In order to recover the ancient tradition concerning the materials used for the decoration, majolica shards produced during the Renaissance period in Casteldurante, a famous centre for ceramic production in Italy (Marche), have been examined. In the present study, pigments used for the decorations have been investigated by means of inductively coupled plasma optical emission spectrometry (ICP-OES), scanning electron microscopy/energy-dispersive X-ray spectroscopy (SEM-EDX) and diffuse-reflectance UV-Vis spectroscopy. Ochre, lead antimonate yellow, copper-based pigment and smalt have been used as colourants to obtain respectively yellow-orange, yellow, green and blue decorations in accordance with what is reported by the ancient recipes. PACS 81.05.Mh; 82.80.-d; 61.66.Fn; 61.66.Hq     

Production of gold and ruby-red lustres in Gubbio (Umbria,Italy) during the Renaissance period

The aim of this work is to gain a further insight into the knowledge of the production process of lustre-decorated ancient majolicas. Lustre is a sophisticated technique employed in the decoration of majolicas as used in central Italy during the Renaissance period. It consists of a beautiful iridescent gold or ruby-red thin metallic film, containing silver, copper and other substances and obtained in a reducing atmosphere on a previously glazed ceramic. Nowadays, it is not possible to replicate the outstanding results obtained by the ancient ceramicists, since the original recipes were lost. It is quite interesting to study lustre-production technology by means of analytical techniques now employed for advanced research on materials (XRD, ETAAS, ICP-OES, TEM-EDX-SAED and UV-Vis). In this work, we have focussed our attention on ceramic fragments decorated with both gold and ruby-red lustres, which were difficult to obtain due to complex reduction conditions required and which were a prerogative of Gubbio production. The two lustre colours differ in their chemical composition as well in their nanostructure. The presence of bismuth was disclosed and it was ascertained to be a distinctive feature of the Italian production. PACS 78.67.Bf; 81.05.Je; 68.37.Lp; 68.37.Hk; 68.90.+g     

Significant findings concerning the production of Italian Renaissance lustred majolica

In the present paper the main results obtained, over a period of more than ten years, from a series of studies concerning the characterization of Italian Renaissance lustred majolicas (from Gubbio and Deruta, Umbria, Italy) are presented. Lustre decoration is a well-known technique, consisting in the application of a thin metallic iridescent film, containing silver and copper nanoparticles, over a previously glazed ceramic object. The technique had its origin in Persia (IX century), was imported by Moorish in Spain, and then developed in central Italy during the Renaissance period. Numerous analytical techniques (among which, ETASS, XRD, UV–Vis, SEM-EDX) have been employed for the characterization of lustred ceramic shards, allowing one to acquire information on both lustre chemical composition and nanostructure. In this way it was shown how some technological parameters, such as the firing conditions, are mandatory to obtain the final result. The presence of a specific marker of the lustre Italian production, i.e., cosalite (Pb₂Bi₂S₅), has been also highlighted. From the study of the ceramic body composition (by means of XRD and ICP-OES and in particular of chemometric techniques) acquired on more than 50 ceramic shards it was possible to discriminate between Deruta and Gubbio production, in this way allowing one to assign objects of uncertain provenance to a specific site. Finally, the most interesting results obtained studying excellent lustred masterpieces from Renaissance belonging to important museums are here presented. In particular, with the use of nondestructive techniques (PIXE, RBS, and portable XRD), the production of Mastro Giorgio Andreoli from Gubbio was investigated. By means of the same analytical approach, one of the first examples of lustre in Italy (the famous Baglioni’s albarello) was examined, and the controversial question of its attribution to Italian production was scientifically faced.     

Luminescence properties of lustre decorated majolica

Luminescence measurements have been performed on several Italian Renaissance ceramic shards produced in central Italy, as well as on some others from Hispano–Moresque and Fatimid periods. The aim of this study was the characterisation of the raw materials used to manufacture lustre decorated majolica. At first, the thermoluminescence (TL) dating of all ceramic bodies was performed, because the shards lacked sure chronological attribution, having been provided by private collectors, or found during emergency restoration works or archaeological surveys. To characterise the defects and the recombination centers of the different components of the ceramics (ceramic body, glaze, glaze, and lustre), radioluminescence (RL) measurements have been performed on samples representative of each historical period. The dating results are reported, as well as the preliminary RL results. PACS 78.66Jg; 87.66Sq; 81.05.Mh     

Italian Renaissance and Hispano-Moresque lustre-decorated majolicas: imitation cases of Hispano-Moresque style in central Italy

An investigation was carried out on Renaissance lustre-decorated majolica shards, found during excavations made in Umbria (central Italy) and defined by experts, on the ground of the surface decoration, as imitations of the Hispano-Moresque style. A comparison between this particular kind of samples, produced in central Italy, and some Hispano-Moresque lustre shards has been performed. The ceramic bodies as well as the lustred surfaces have been analysed by means of several techniques: inductively coupled plasma optical emission spectrometry, X-ray diffraction (XRD), atomic absorption spectrometry with electrothermal atomisation and scanning electron microscopy. By means of XRD analysis the presence of cosalite (Pb₂Bi₂S₅) has been disclosed in the Italian lustre decorations but was not observed in the Hispano-Moresque ones. A hypothesis has been made, considering bismuth as a discriminating element, between lustres produced in central Italy and the Hispano-Moresque ones. We thought that the Italian artisans were able to manage the use of bismuth. Therefore a recipe, quite similar to the one employed by the Spanish artisans, was used by the Italian ceramists if their aim was to imitate the Hispano-Moresque style. Received: 4 November 2002 / Accepted: 6 November 2002 / Published online: 28 March 2003 RID="*" ID="*"Corresponding author. Fax: +39-06/9067-2316, E-mail: pad@mlib.cnr.it     

How the masters in Umbria,Italy, generated and used nanoparticles in art fabrication during the Renaissance period

Lustre was one of the most sophisticated techniques for the decoration of majolicas during the Renaissance period. Lustre consists of a thin metallic film containing silver, copper and other substances like iron oxide and cinnabar applied in a reducing atmosphere on a previously glazed ceramic. In this way, beautiful iridescent reflections of different colours (in particular gold and ruby-red) are obtained. The characterisation and the study of lustre-decorated majolicas is of great interest for archaeologists, but also offers possibilities for producing pottery with outstanding decoration today, following ancient examples, since nowadays Italian artisans are interested in the reproduction of the ancient recipes and procedures. Moreover, it can even suggest new procedures for obtaining uniform thin metallic films for technological applications. A study has been carried out on ancient lustre layers using numerous different analytical techniques such as XRD, SEM–EDX, TEM–EDX–SAED, ETAAS, ICP–OES, UV–vis reflectance spectroscopy and SAXS. Lustre films were shown to be formed by copper and silver clusters of nanometric dimension. The colour and the properties of the lustre films depend on the elemental composition of the impasto applied to the ceramic surface as well as on other factors like the metallic nanocluster dimension, the firing conditions, the underlying glaze composition and the procedure used. Received: 12 August 2002 / Accepted: 14 August 2002 / Published online: 8 January 2003 RID="*" ID="*"Corresponding author. Fax: +39-6/9067-2445, E-mail: pad@mlib.cnr.it     

An investigation of a unique group of painted silk banners from a Polish collection

Historic textiles represent a very important part of our cultural heritage. This research focused on the evaluation of a group of unique 16th century banners painted on silk. The banners were examined by Raman spectroscopy and X‐ray fluorescence spectrometry. The measurements were performed to characterize the pigments and materials used, in order to establish the most adequate display methods. Pigments typical of the Renaissance period such as azurite, lead tin yellow, yellow ochre, vermilion, red lead, red ochre, lead white and charcoal were found. Because some of the detected pigments are sensitive to anoxic atmospheres, a microclimate display system was selected as the most adequate option for the safety exhibition. Copyright © 2017 John Wiley & Sons, Ltd.     

Microchemical and microstructural characterisation of medieval and post-medieval ceramic glaze coatings

A large number of ceramic samples (from the 10th to the 19th century), found during the excavation of Sicilian archaeological sites (Syracuse, Caltagirone, Sciacca and Piazza Armerina), have been studied by combining scanning electron microscopy, energy-dispersive X-ray spectrometry and optical microscopy. Attention has been focused on the microchemical and microstructural properties of the painted surfaces to investigate the nature of the enamels and pigments in the decorative layers. The general perspective has been the identification of consistent archeometric criteria, other than the standard stylistic considerations, which can be used for a reliable recognition of the production sites. The results collected for each ceramic typology were used to cluster the different ceramic reference groups in a wide database suitable for a reliable discrimination of the provenance of artefacts. Moreover, the same compositional and microstructural data allow the identification of the raw materials used for pigments. There is evidence of some differences with existing information found in the literature concerning the formulas used in ancient times. Finally, attention has also been devoted to identify the technological aspects of the manufacturing techniques and firing conditions adopted for each typology of glaze coating depending on different ceramic materials .PACS 81.05.Je; 82.80.-d; 68.37.Hk; 68.55.-a     

Evolution of past enamel technology and metal conservation issues: the case of two Byzantine style bindings

The results of a Raman spectroscopic study of the cloisonne’ and basse‐taille enamels, which beautify two Byzantine style bindings from the Marciana Library (Venice), namely the Lat. III,111 and the MsGR.I.53 codexes, are presented in this work. The first binding dates back to the 13th century and was subject to an early restoration work in the 14th century, when new enamels substituted four originals. The second binding, from the 15th century, shows a lower number of enamels, all originals, and with a larger color palette. The white and yellow enamels of both codexes were successfully characterized and the red ones, where hematite was not used. Interestingly the white and yellow color of the 13th century enamels of the Lat. III,111 codex has been obtained by an ancient technique of the glass technology, which was already obsolete in the 13th century, and is based on the use of calcium antimonate and Naples yellow. The white color in the other binding's enamels have been instead obtained by using cassiterite, according to the tradition of the time. Cassiterite was also mixed to Naples yellow in the enamels of the MsGR.I.53 codex, to change the yellow hue. The identification of agents determining some colors is instead uncertain or not feasible by Raman spectroscopy. The transparency of the 14th century enamels of the Lat. III,111 codex has allowed the comparison of metal degradation below the enamels and in regions exposed to the atmosphere. Copyright © 2012 John Wiley & Sons, Ltd.     

The use of small angle X-ray scattering (SAXS) for the characterisation of lustre surfaces in Renaissance majolica

In this work some Renaissance lustre decorated ceramics have been examined. Our attention was directed to lustre which is a thin decorative metallic film applied on the surfaces of previously glazed ancient pottery.Some 16th century lustre ceramics shards from Deruta, Umbria (Italy) have been analysed by small angle X-ray scattering (SAXS) in order to characterise the dimension of the metal nanocrystals forming the thin lustre layer. This technique appeared to be a powerful tool to characterise lustre films nanostructure and may be successfully used for this purpose together with transmission electron microscopy (TEM). Furthermore, SAXS measurements are extremely suitable for the determination of polydispersity and average interparticle distance.The lustre surfaces have been also analysed by scanning electron microscopy plus X-ray energy dispersive spectrometry (SEM–EDX) in order to identify the metals present (silver, copper or both of them) and to establish copper/silver ratios. From the comparison between SAXS results and compositional data, it was possible to conclude that copper particles are smaller than the silver ones. We have evidenced how the microtexture as well as the chemical composition of the lustre layers are responsible for the gold or red colour typical of the lustre films.     

Characterization of blue decorated Renaissance pottery fragments from Caltagirone (Sicily,Italy)

Renaissance blue decorated pottery fragments from the archaeological site of Caltagirone (Sicily, Italy) were analysed by scanning electron microscopy – energy dispersive X-ray spectrometry (SEM/EDS). The samples were dated back to 16th century AD on the basis of archaeological observations. The micro-chemical analyses were performed on the ceramic body and the surface decorated layer of the samples. Particularly, the investigation was addressed the characterization of the coating blue decorations. The obtained results allowed us to clearly identify smalt as pigment. Also the presence of arsenic (As) was revealed and the Co/As ratio values were calculated and related to the different process used for the pigment preparation. Further spectroscopic analyses, performed through X-ray absorbance spectroscopy (XAS), carried out at the Co K-edge, confirmed the micro-analytical results and permitted us to identify the oxidation form and the local environment of cobalt atoms. PACS  81.05.Mh; 82.80.-d; 68.37.Hk     

Classification of lead white pigments using synchrotron radiation micro X-ray diffraction

Lead white pigment was used and synthesised for cosmetic and artistic purposes since the antiquity. Ancient texts describe the various recipes, and preparation processes as well as locations of production. In this study, we describe the results achieved on several paint samples taken from Matthias Grünewald’s works. Grünewald, who was active between 1503 and 1524, was a major painter at the beginning of the German Renaissance. Thanks to X-ray diffraction analysis using synchrotron radiation, it is possible to associate the composition of the paint samples with the masters ancient recipes. Different approaches were used, in reflection and transmission modes, directly on minute samples or on paint cross-sections embedded in resin. Characterisation of lead white pigments reveals variations in terms of composition, graininess and proportion of mineral phases. The present work enlightens the presence of lead white as differentiable main composition groups, which could be specific of a period, a know-how or a geographical origin. In this way, we aim at understanding the choices and the trading of pigments used to realise paintings during northern European Renaissance. PACS 61.10.Nz; 07.85.Qe; 61.43.Gt     

Inside the glassmaker technology: search of Raman criteria to discriminate between Emile Gallé and Philippe‐Joseph Brocard enamels and pigment signatures

The development of solid‐state chemistry at the end of the 19th century offered a variety of routes to colour a glass matrix. Eight enamelled glass objects made by Philippe‐Joseph Brocard and two representative objects made by Emile Gallé have been analysed using a mobile Raman instrument at the Musée des arts décoratifs (Paris) in order to compare their colouration technology. White, blue, yellow, green, orange, red, brown and black pigments have been identified. If most of the pigment palette is common to both craftsmen and typical of the second half of the 19th century, innovative uses are recognized for Gallé (wollastonite as an opacifier, manganese oxides in black mixtures) and Brocard (specific black and grey, pigment mixture, shade modification by small addition of white and red pigments). This preliminary work confirms the potential of Raman spectroscopy, not as a simple analytical method but as a way to document the ancient technology of fine art objects and to discriminate between different genuine productions and/or copies. Copyright © 2014 John Wiley & Sons, Ltd.     

A scientific approach to the attribution problem of renaissance ceramic productions based on chemical and mineralogical markers

Renaissance lustred majolica shards from Gubbio and Deruta (Central Italy) were investigated in order to point out differences in chemical and mineralogical composition between these two very similar Italian potteries and furthermore to find correlations with the local raw clay materials probably used for their production. Chemical and mineralogical analysis on the ceramic body were performed by ICP-OES (inductively coupled plasma optical emission spectroscopy) and XRD (X-ray diffraction), respectively. Investigation of the ceramic body revealed significant differences on calcium content indicating that it could be used as a marker for the two different productions.     

XAFS study of copper and silver nanoparticles in glazes of medieval middle-east lustreware (10th–13th century)

It has recently been shown that lustre decoration of medieval and Renaissance pottery consists of silver and copper nanoparticles dispersed in the glassy matrix of the ceramic glaze. Here the findings of an X-ray absorption fine structure (XAFS) study on lustred glazes of shards belonging to 10th and 13rd century pottery from the National Museum of Iran are reported. Absorption spectra in the visible range have been also measured in order to investigate the relations between colour and glaze composition. Gold colour is mainly due to Ag nanoparticles, though Ag⁺, Cu⁺ and Cu²⁺ ions can be also dispersed within the glassy matrix, with different ratios. Red colour is mainly due to Cu nanoparticles, although some Ag nanoparticles, Ag⁺ and Cu⁺ ions can be present. The achievement of metallic Cu and the absence of Cu²⁺ indicate a higher reduction of copper in red lustre. These findings are in substantial agreement with previous results on Italian Renaissance pottery. In spite of the large heterogeneity of cases, the presence of copper and silver ions in the glaze confirms that lustre formation is mediated by a copper- and silver-alkali ion exchange, followed by nucleation and growth of metal nanoparticles.     

Technological features of ‘gnathia’ pottery

‘Gnathia’ pottery samples, dating back to the mid‐fourth and third century BC, from the archaeological site of Egnazia (Fasano, Brindisi, Italy) have been characterised from the physical‐chemical, mineralogical and morphological points of view. Optical and scanning electron microscopy, X‐ray energy‐dispersive spectroscopy and X‐ray diffraction analyses have been carried out on the ceramic body, black gloss, white, yellow and red over‐paintings of fragments, with the aim of outlining technological features and defining the nature of coatings and decorations. Analytical results confirm from both a technological and morphological/decorative point of view the close relationship between ‘Gnathia’ pottery and red figured pottery, particularly with the Apulian red figured from which it takes its inspiration. At the same time the experimental results highlight shared characteristics and differences with both Attic and Apulian red figured productions. The biggest difference is in the utilisation of the ‘ingobbio rosso’ layer that covers the ceramic body. This does not seem to be based on aesthetic grounds, as in the case of Apulian red figured pottery, but on application of acquired production processes, since ‘Gnathia’ pottery was made in the same workshops as red figured pottery. Copyright © 2009 John Wiley & Sons, Ltd.     

Heaven and Earth – ‘Madonne col Bambino’ and ‘Rustiques figulines’

Analyses of the productions of della Robbia and Palissy, two masters of Renaissance ceramics in France and in Italy, have enlightened their contributions to the improvement of the glazed terracotta technique. Della Robbia used very homogeneous materials: marly clay for the bodies, and tin-opacified coloured glazes. The technique is here very robust and very mastered. Palissy used different types of clay with different colours and physical properties, associated with specific productions. So far, we have identified seven pastes. Concerning the glazes, he played with transparency and opacity, with lead glazes and with tin-opacified lead glazes. He added traditional colouring oxides as well as specific pigments (lead–tin yellow, haematite, etc.). The mixed-earth technique is specific to his palette. So, the materials used by both artists are completely different and illustrate their different philosophical approaches. To perform the different analyses, new methodologies have been developed: ICP/AES-MS, petrography and X-ray diffractometry for the bodies, PIXE and micro-PIXE, SEM coupled with EDS and Raman spectrometry for the glazes. PACS 82.80.-d; 81.05.Je; 61.43.Fs     

Natural salt and fluoride based electrolytes fuel cells

New advanced ceramic type fuel cells using natural salt and fluoride-based electrolytes have been demonstrated. Compared with conventional fuel cells, the natural salt and fluoride-based electrolyte fuel cells have shown a technical opportunity to develop intermediate temperature fuel cells for commercialisation in the near future. Paper presented at the 6th Euroconference on Solid State Ionics, Cetraro, Calabria, Italy, Sept. 12–19, 1999     

Classification of ancient Etruscan ceramics using statistical multivariate analysis of data

About one hundred Etruscan ceramic shards dating from the VIII to the IV century BC and coming from the archaeological excavation at Pian di Civita in Tarquinia (central Italy) have been analyzed by inductively coupled plasma optical emission spectrometry and flame atomic emission spectrometry in order to settle their provenance and to acquire knowledge about the ceramic production technology. The examined shards belong to the class of the depurata pottery, a fine ware produced in Tarquinia over a long period, and are representative of different sub-classes. The samples have been analyzed for fifteen elements (Ca, Al, Mg, Fe, Ti, Cr, Cu, Ni, Zn, Mn, Zr, Sr, Na, K and Rb). The data acquired have been treated by multivariate analysis techniques such as principal component analysis and Kohonen artificial neural networks. Most of the analyzed shards have been locally produced as belonging to a unique large group. A continuity in usage of both choice of materials and technology has been recognized. PACS 02.50.Sk; 81.05.Mh; 82.80.-d