Analytical characterisation of pigments on pre-Roman pottery by means of spectroscopic techniques Part I: white coloured shards

This paper is part of a systematic archaeometric investigation aimed at the characterisation of the pigments and related materials (ligand, colour substrate) used in decoration of pottery excavated in the archaeological zone of Canosa (Puglia, Italy). Shards found in thirteen different tombs have been analysed; in this paper samples exhibiting a white colouration have been selected. Both surface (XPS) and bulk (FT-IR) spectroscopies were used which gave complementary information and enabled white pigments to be divided into two groups. Moreover, X-ray diffraction was used in some cases to further support some spectral assignments. The molecular specificity of FT-IR, when applied to the analysis of both pigments and ceramic body, allowed the identification of the various constituents and, hence, provided indirect information on the end-use of the original wares. The potential of the combined use of different spectroscopies to obtain valuable information on both painting materials and technical aspects is shown. Received: 5 December 1997 / Revised: 16 March 1998 / Accepted: 19 March 1998     

Fourier transform infrared spectroscopy and the analytical study of works of art for purposes of diagnosis and conservation

This paper is a study of the analytical capacity of Fourier transform infrared spectroscopy (FT-IR) for any type of samples from works of art. The analytical information obtained with this technique on organic and inorganic compounds is extremely useful in the preliminary studies necessary for diagnosis and to decide on the conservation process. This paper reports the analysis and study with FT-IR on samples extracted from the microlayers in several works of art from different periods (16th to 18th century) comprising wall paintings and canvas. The most outstanding of these being the frescoes by A. Palomino from two ceilings in the Santos Juanes church. The analytical procedures for the different components of the works studied such as

1. (a) varnish applied to wood panels and canvas paintings,

2. (b) binding media and pigments used by the artists,

3. (c) inerts, mortars, stuccos and grounds have been optimized. The FT-IR technique offers a quick analysis of microsamples (less than 0.5 mg) and is able to characterise the different molecular groups which provide information on the nature of the different materials of organic and inorganic origin used by the artist and thus permits the diagnosis of pathologies requiring conservation treatment.

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.     

Spectroscopic investigation of a ‘Virgin of Sorrows’ canvas painting: A multi-method approach

The investigation of unmatched ancient objects is an attentive and arduous activity to conservation scientists. An important aspect of art analysis is the question on sampling and avoiding damage on the artefact during the study. A possible way to maximize the information that is extracted from the historical object is using several sensitive micro-analytical techniques on the same micro samples. As an illustration of this multi-method approach, in this work, a canvas painting ‘Virgin of Sorrows’ was studied and its materials were analysed in order to roughly date and to authenticate this object of art. Proton induced X-ray emission (PIXE), neutron activation analysis (NAA), optical microscopy, scanning electron microscopy (SEM), micro-Raman spectroscopy (MRS) and Fourier transform infrared spectroscopy (FT-IR) were used, obtaining successful results. These methods allowed identifying the different inorganic pigments (iron oxide, carbon black, white lead, Prussian blue) as well as indigo. Optical microscopy and SEM revealed the layered structure of the samples, while FT-IR enabled to determine the nature of the varnish used (shellac). By using these complementary techniques, it was possible to identify the materials in the painting, which are indicative for the period of manufacturing the artwork.     

The ageing of model pigment/linseed oil systems studied by means of vibrational spectroscopies and chemometrics

We used Fourier Transform - Near Infrared (FT-NIR) and micro-Raman spectroscopies to follow the changes occurring in a thin layer of linseed oil in the presence of lead white (basic lead carbonate) and zinc white (zinc oxide), which were due to the natural ageing process.The curing of linseed oil is a very complicated process, owing to different mechanisms that occur simultaneously, ones which may be further modified by the presence of pigments and by environmental conditions (e.g. light, humidity, temperature). Both lead white and zinc white pigments affect this process, leading to the formation of films with different properties. Previous studies have already characterised the ageing of binders alone, including linseed oil. We investigated, by means of a combined analysis of the results of two different vibrational spectroscopy methods, the role of these two white pigments on the ageing of a linseed oil film. Model samples were prepared, and we followed their evolution over a 24-month period. Two ten-year-old oil mock-ups, which were prepared by using lead and zinc white pigments (comparable to contemporary oil painting), were analysed within the framework of the present results.Lastly, we exploited the potentiality of Principal Component Analysis (PCA) on the combined FT-NIR and Raman spectra in order to define a possible ageing trend for two oil-white mixtures. Furthermore, we tested the statistical models by comparison with spectra related to the two ten-year-old mock-ups.     

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     

Characterization of “oil on copper” paintings by energy dispersive X-ray fluorescence spectrometry

Energy dispersive X-ray fluorescence is a common analytical tool for layer thickness measurements in quality control processes in the coating industry, but there are scarce microanalytical applications in order to ascertain semi-quantitative or quantitative information of painted layers. “Oil on copper” painting becomes a suitable material to be analysed by means of X-ray fluorescence spectrometry, due to the metallic nature of substrate and the possibility of applying layered models as used in coating industry. The aim of this work is to study the suitability of a quantitative energy dispersive X-ray fluorescence methodology for the assessment of the areal distribution of pigments and the characterization of painting methods on such kind of pictorial artworks. The method was calibrated using standard reference materials: dried droplets of monoelemental standard solutions laid on a metallic plate of copper. As an example of application, we estimated pigment mass distribution of two “oil on copper” paintings from the sixteenth and eighteenth centuries. Pictorial layers have been complementarily analysed by X-ray diffraction. Apart of the supporting media made of copper or brass, we could identify two different superimposed layers: (a) a preparation layer mainly composed by white lead and (b) the pictorial layer of variable composition depending on the pigments used by the artist on small areas of the painting surface. The areal mass distribution of the different elements identified in the painting pigments (Ca, Cr, Mn, Fe, Zn, Cd, Hg and Pb) have been determined by elemental mapping of some parts of the artworks.     

Roughness assessment and wetting behavior of fluorocarbon surfaces

The wetting behavior of fluorocarbon materials has been studied with the aim of assessing the influence of the surface chemical composition and surface roughness on the water advancing and receding contact angles. Diamond like carbon and two fluorocarbon materials with different fluorine content have been prepared by plasma enhanced chemical vapor deposition and characterized by X-ray photoemission, Raman and FT-IR spectroscopies. Very rough surfaces have been obtained by deposition of thin films of these materials on polymer substrates previously subjected to plasma etching to increase their roughness. A direct correlation has been found between roughness and water contact angles while a superhydrophobic behavior (i.e., water contact angles higher than 150° and relatively low adhesion energy) was found for the films with the highest fluorine content deposited on very rough substrates. A critical evaluation of the methods currently used to assess the roughness of these surfaces by atomic force microscopy (AFM) has evidenced that calculated RMS roughness values and actual surface areas are quite dependent on both the scale of observation and image resolution. A critical discussion is carried out about the application of the Wenzel model to account for the wetting behavior of this type of surfaces.     

Non-destructive and in situ identification of rice paper, seals and pigments by FT-IR and XRD spectroscopy

This paper studied the chemical characteristics of rice paper, pigments and seals on Chinese calligraphies and traditional Chinese paintings. The techniques used here were Fourier transform infrared (FT-IR) spectroscopy and X-ray diffraction (XRD). FT-IR allows good identification of the substances present in pigments and inkpads and differentiates each era of rice paper. This can be the base of estimating the age of rice paper. Different crystalline phases can be identified by XRD, which is further evidence to separate different kinds of pigments or inkpads. Both of these methods were non-destructive in situ analysis and can be used in the identification in calligraphies and traditional Chinese paintings. These results confirmed that the applied techniques are relatively quicker and more reliable than traditional approaches authenticated by years of experience.     

The compositional and mineralogical analysis of fired pigments in Nasca pottery from Cahuachi (Peru) by the combined use of the portable PIXE-alpha and portable XRD techniques

An analytical protocol based on the combined use of the portable PIXE-alpha (Particle Induced X-ray Emission) and XRD (X-ray Diffraction) non destructive techniques developed at the LANDIS laboratory (Laboratorio di Analisi Non Distruttive) of the INFN–CNR (Istituto Nazionale di Fisica Nucleare–Consiglio Nazionale delle Ricerche) in Catania (Italy), was applied for the characterisation of the surface paints of some archaeological fragments of Nasca pottery from the Ceremonial Centre of Cahuachi in Southern Peru.Measurements were carried out on the black, white, red, orange and grey pigments; quantitative information on the chemical composition as well as on the mineralogical phases present on the paints were obtained.Results allowed to make some considerations about the materials and the manufacturing technique used to realise such fired pigments.It should be noted that during firing the precursor minerals composing the pigments undergo a phase transformation and their identification presents some difficulties.     

Use of various spectroscopy techniques to investigate raw materials and define processes in the overpainting of Apulian red figured pottery (4th century BC) from southern Italy

Analytical investigations using Scanning Electron Microscopy (SEM), with Energy Dispersive Spectrometry (EDS), X-ray Diffraction (XRD), Infrared Spectroscopy (FT-IR) and High Resolution Magic Angle Spinning Nuclear Magnetic Resonance (CP-MAS NMR), were carried out on white, yellow and red overpaintings on Apulian red-figured pottery fragments (4th century BC) from Altamura, Monte Sannace and Canosa - among the most relevant archaeological sites in ancient Peucetia - in order to outline technological features and define the nature of pigments. The results obtained allow us to highlight that Apulian objects have an external appearance which is very similar to Attic objects, but that they are nevertheless different, as they were made using locally available raw materials employing similar but not identical production technology. Perhaps familiarity, rather than real and proper continuity with the Attic pottery tradition, would explain the analytical results.Moreover, this paper proves that solid state nuclear magnetic spectroscopy (CP-MAS NMR) is a useful analytical tool for the examination of ancient pottery, which is also suitable for the identification of its firing temperature.     

Introduction to measurement of color of fluorescent materials

Fluorescent pigments and dyes add brightness and color to our lives, but brightness and light to the consumer can spell difficulties in color matching and formulation for a manufacturer. While fluorescent pigments have been used for many years, the proper formulation and quality control of colored materials containing them has been a challenge, primarily due to lack of proper instrumentation to make the necessary measurements. Another difficulty has been a general lack of understanding of how such materials achieve fluorescence. This paper, and those also published in this section, are intended to present an overview of the general principles associated with measuring fluorescent color. It addresses the chemistry and physics of what causes fluorescent pigments to work and gives some examples of applications for the pigments. Considerations as to why standard spectrophotometers and colorimeters fail to give completely accurate results in measuring such materials are discussed. After an overview of the effects of different illuminants on fluorescent pigments, I will discuss how geometry of measurement can affect results, and how several national laboratories are making such measurements.     

Leather material found on a 6th B.C. Chinese bronze sword: a technical study

During July to November, 2006, an important archaeological excavation was conducted in Yun country, Hubei province, southern China. Chinese archaeologists found some remnant of leather materials, covered with red pigments, on a 6th century B.C. Chinese bronze sword. To understand the technology/ies that may have been utilized for manufacturing the leathers, a combined of Raman spectroscopy, FT-IR and XRF was thus applied to the remnant of leather materials. Raman analyses showed that red pigment on the leather was cinnabar (HgS). FT-IR and XRF analyses indicated that the content of some elements, such as Ca (existing as CaCO3) and Fe (existing as Fe2O3), were much higher than those in the surrounding grave soil. The results inferred an application of lime depilation and retting, and the Fe-Al compound salt as tanning agent. And it was furthermore implicated that the Fe-Al salt tanning technique had been developed in the middle and late Spring and Autumn Period of China.     

Molecular Fluorescence Imaging Spectroscopy for Mapping Low Concentrations of Red Lake Pigments: Van Gogh's Painting The Olive Orchard

Vincent van Gogh used fugitive red lake pigments that have faded in some paintings. Mapping their distribution is key to understanding how his paintings have changed with time. While red lake pigments can be identified from microsamples, in situ identification and mapping remain challenging. This paper explores the ability of molecular fluorescence imaging spectroscopy to identify and, more importantly, map residual non-degraded red lakes. The high sensitivity of this method enabled identification of the emission spectra of eosin (tetrabromine fluorescein) lake mixed with lead or zinc white at lower concentrations than elemental X-ray fluorescence (XRF) spectroscopy used on account of bromine. The molecular fluorescence mapping of residual eosin and two carmine red lakes in van Gogh's The Olive Orchard is demonstrated and compared with XRF imaging spectroscopy. The red lakes are consistent with the composition of paint tubes known to have been used by van Gogh.     

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.     

Importance of weak interactions in developing 1,3-bis(4,6-dimethyl-1H-nicotinonitrile-1-yl)1,3-dioxy propane polymorphs

The structure of 1,3-bis(4,6-dimethyl-1H-nicotinonitrile-1-yl)1,3-dioxy propane polymorphs has been characterized by X-ray diffraction, FT-IR, 1H and 13C NMR spectroscopies. The influence of intra and intermolecular weak interactions is thoroughly studied in solid state using single crystal X-ray diffraction and FT-IR. These polymorphs belong to monoclinic space group 'P2(1/n)' and 'P2(1/c)'. These polymorphs have C-H?n (lone pair), hydrogen bonds, C-N?π, C-H?π and π?π intermolecular non-covalent interactions. These polymorphs are the result of weak interactions and solvent used in crystallization. The FT-IR spectra have been recorded in the solid phase and NMR has been recorded in solvent. The optimized geometry has been calculated by B3LYP methods using different basis sets. The FT-IR and NMR spectra of 1st polymorphs has been calculated at B3LYP/6-31G (d) level. The scaled theoretical wave number showed good agreement with the experimental values. These two polymorphs as well as other stereomers are studied by DFT calculations.     

Molecular Fluorescence Imaging Spectroscopy for Mapping Low Concentrations of Red Lake Pigments: Van Gogh's Painting The Olive Orchard

Vincent van Gogh used fugitive red lake pigments that have faded in some paintings. Mapping their distribution is key to understanding how his paintings have changed with time. While red lake pigments can be identified from microsamples, in situ identification and mapping remain challenging. This paper explores the ability of molecular fluorescence imaging spectroscopy to identify and, more importantly, map residual non‐degraded red lakes. The high sensitivity of this method enabled identification of the emission spectra of eosin (tetrabromine fluorescein) lake mixed with lead or zinc white at lower concentrations than elemental X‐ray fluorescence (XRF) spectroscopy used on account of bromine. The molecular fluorescence mapping of residual eosin and two carmine red lakes in van Gogh's The Olive Orchard is demonstrated and compared with XRF imaging spectroscopy. The red lakes are consistent with the composition of paint tubes known to have been used by van Gogh.     

金、铜金属纳米棒或纳米线的AFM和SERS的研究(英文)

通过电化学氧化法制备具有不同孔径氧化铝模板 ,利用交流电镀的方法在模板中沉积金属 ,再用酸溶解模板可以得到相应尺度的金属纳米线或纳米棒的阵列 .本文利用原子力显微镜和表面增强拉曼技术分别表征了金和铜两种金属纳米线阵列 .研究结果表明 ,作为探针分子的硫氰(SCN )在金属纳米线上的碳氮三键的振动频率随纳米线直径的增大而蓝移 .这一现象可能是因为尺寸效应对纳米线的费米能级造成影响 ,使不同直径的金属纳米线电子结构存在微小的差别 .