Benefits of applying combined diffuse reflectance FTIR spectroscopy and principal component analysis for the study of blue tempera historical painting

This paper explores the application of diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS) to the examination of historic blue pigments and blue tempera paintings commonly found on works of art. The discussion is mainly focused on the practical benefits of using this technique joined to principal component analysis (PCA), a powerful multivariate analysis tool. Thanks to the study of several replica samples that contain either pure blue pigments (azurite, lapis lazuli and smalt), or pure binder (rabbit glue) and mixtures of each of the pigments with the binder (tempera samples), different aspects of these benefits are highlighted. Comparative results of direct spectra and multivariate analysis using transmittance-Fourier transform infrared spectroscopy (T-FTIR) are discussed throughout this study. Results showed an excellent ability of PCA on DRIFT spectra for discriminating replica samples according to differing composition. Several IR regions were tested with this aim; the fingerprint IR region exhibited the best ability for successfully clustering the samples. The presence of the binder was also discriminated. Only using this approach it was possible to completely separate all the studied replica samples. This demonstrates the potential benefits of this approach in identifying historical pigments and binders for conservation and restoration purposes in the field of Cultural Heritage.     

Identification of complex structures of paintings on canvas by NMR: Correlation between NMR profile and stratigraphy

Paintings on canvas are complex structures created by superimposing layers of different composition. Investigations on the structure of these artworks can provide essential information on their state of conservation, pictorial technique, possible overpaintings, and in planning a proper conservation plan. Standard methods of investigation consist in sampling a limited number of fragments for stratigraphic analyses. Despite the recognized validity of these methods, they are affected by evident limitations. Nuclear magnetic resonance (NMR) profiling, often named NMR stratigraphy, is an NMR relaxometry technique applied by single-sided portable devices developed to overcome the disadvantages of microinvasive stratigraphic analyses. The potential of this approach on artworks, including wall paintings and a few examples of painted canvas, is described in the literature. In this study, NMR profiles of painting on canvas were examined by analyzing transverse relaxation time data by T₂ quasi-continuous distributions and the results compared with standard stratigraphic cross-sections analysis. Combining signal intensity and T₂ quasi-continuous distributions, the identification of textile, preparatory, and paint layers was enhanced. The diction “NMR stratigraphy” for these inhomogeneous layered artworks is also discussed. Indeed, unlike the stratigraphic cross-sections, NMR profiles provide information on a volume (flat slice), rather than on a surface, and the collected signal can derive from nonuniform and partially overlapping layers. This study paves the way for extensive investigations on relaxation time quasi-continuous distributions in various binder/pigment mixtures in order to improve the reliability of NMR profile as an innovative, non–invasive, and nondestructive method for analyzing paintings on canvas.     

The contribution of gas chromatography to the resynthesis of the post-Byzantine artist’s technique

Gas chromatographic analysis of ethyl chloroformate derivatives of samples taken from the paint layers of post-Byzantine panel paintings permitted the successful characterisation of the different binding media used in them. This paper describes an analytical study of various post-Byzantine binding media such as egg yolk and egg/oil emulsion, using gas chromatography. The characterisation of these icons’ binding media is an important task, as it contributes to our understanding of and the reconstruction of the post-Byzantine artists’ palette. It also enables us to investigate the validity of our assumptions about the influences of Venetian style on Greek icon painting techniques from the sixteenth to the early nineteenth century, which up to now have been based on information in artists’ handbooks. The methodology involves two experimental steps: (1) hydrolysis of the proteins and triglycerides in the binding media to obtain free amino acids and fatty acids, and (2) the formation of ethyl chloroformate derivatives via derivatization with ethyl chloroformate (ECF). This methodology is of considerable interest, since it permits the identifcation of the nature of the proteinaceous binders used in these works through the simultaneous derivatization and determination of amino acids and fatty acids. Advantages of this methodology include the small quantity of sample required and the minimum preparation time involved. The proteinaceous media can be determined based on the ratios of seven stable amino acids, while the type of emulsions and drying oils used can be determined from the fatty acid ratio. Electronic supplementary material Supplementary material is available in the online version of this article at and is accessible for authorized users.     

Unilateral NMR study of a XVI century wall painted

Wall paintings in the XVI century Serra Chapel in the "Chiesa di Nostra Signora del Sacro Cuore" Rome, have been studied using unilateral NMR. In order to map the distribution of moisture content in the wall painted, a large number of Hahn echo measurements, covering large areas of the wall painting were performed. Because the intensity of the Hahn echo is proportional to the amount of moisture in the area under study, the experimental data were transformed into 2D gradient colour maps which allowed an easy visualization of the moisture content of the wall. The state of conservation of the wall painting was monitored using T2 measurements specially with regards to outcropping salt.     

In situ Raman microscopy applied to large Central Asian paintings

Procedures and versatile Raman instruments are described for the non‐destructive in situ analysis of pigments in large paintings. A commercial Raman microscope is mounted on a gantry for scanning paintings with dimensions exceeding 1 m². Design principles and the physical implementation of the set‐up are outlined. Advantages/disadvantages and performance of the gantry‐based instrument are compared with those of a mobile Raman probe, attached to the same Raman microscope. The two set‐ups are applied to Central Asian thangka paintings. The utility of the gantry‐mounted Raman microscope is demonstrated on a 19th century Buddhist painting from Buriatia, South Siberia. Surprisingly, three arsenic‐based pigments, i.e. orpiment, realgar, and pararealgar, are found all in the same painting. Pararealgar is used for painting the numerous yellow areas. Realgar is admixed with red lead for adjusting its orange tint. Finally, orpiment is blended with Prussian blue for producing green. Traditional malachite is used in addition as a non‐adulterated green pigment. The mobile Raman probe was employed for examining a Tibetan painting of the 18th century from Derge monastery in the Kham area of Sichuan. The highly unique painting could be dated well and its origin accurately located. In fact, the painter's workshop, where the thangka has been executed, is shown in great detail on the painting itself. The painter's palette of this thangka matches the canonical set of pigments used in Tibet for more than 10 centuries. Copyright © 2009 John Wiley & Sons, Ltd.     

Relics in medieval altarpieces? Combining X‐ray tomographic,laminographic and phase‐contrast imaging to visualize thin organic objects in paintings

X‐ray radiography is a common tool in the study of old master paintings. Transmission imaging can visualize hidden paint layers as well as the structure of the panel or canvas. In some medieval altarpieces, relics seem to have been imbedded in the wooden carrier of paintings. These are most probably thin organic fibrous materials such as paper or textile, which in traditional radiography are shadowed by the more absorbing surrounding material. This paper studies the application potential of synchrotron‐based tomographic and laminographic imaging complemented with phase‐contrast imaging for detection of such relics. The techniques are applied to a dummy painting. The results demonstrate that by using these imaging methods it is possible to three‐dimensionally visualize hidden cavities in panels and detect thin fibrous low‐Z materials sandwiched between a high‐Z paint layer and a thick wooden panel.     

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).     

Unveiling the chromatic palette used for mural paintings in a recently discovered Ptolemaic‐era tomb (Sohag,Upper Egypt): A multitechnique surface investigation

In 2019, an exceptional Ptolemaic‐era tomb was discovered in Al‐Diabat archaeological site, Sohag, Upper Egypt. Numerous fallen painted fragments in the floor of tomb were collected and studied. The microstructural and chemical makeup of samples was discerned by virtue of a field‐emission scanning electron microscopy (FE‐SEM) with an energy‐dispersive x‐ray (EDX) spectrometry. Further, the molecular‐vibrational property was acknowledged by Fourier‐transform infrared (FT‐IR) and micro‐Raman (μ‐Raman) spectrometers. Also, the crystalline structure of stone and plaster samples was defined by x‐ray diffraction (XRD) analysis. The results have demonstrated that the murals were implemented on a thick mud plaster followed by a thin preparation layer, which, unusually, was made of calcite. Gypsum was also detected in variable quantity throughout the render samples. Colouring substances of Egyptian blue, green earth, red ochre, yellow ochre and carbon black were recognized in the studied murals. Besides, maghemite (γFe₂O₃) was disclosed in the red pigment sample. Unexpectedly, gold was detected in the yellow paint areas, possibly associated with a religious tradition. As well, the recognition of an organic binder (probably egg yolk) nominates the application of tempera technique. Noteworthy, this research contributes in presenting significant findings on painting materials used in unusual rock‐cut tomb from the Ptolemaic era.     

Evaluation of Gypsum and Calcium Oxalates in Deteriorated Mural Paintings by Quantitative FTIR Spectroscopy

This study dealt with the development of a procedure based on quantitative FTIR spectroscopy to determine the amount of some contaminants in wall paintings, mortars, and stone micro‐samples. As contaminants we selected gypsum, CaSO₄ · 2H₂O, and calcium oxalate monohydrate, CaC₂O₄ · H₂O, among the most common polluting substances present in architectural porous materials. Calibration curves of absorbance versus analyte concentration were determined by adopting both the internal and external standard methods. As internal standard we used Prussian blue, Fe₃[Fe(CN)₆]₄, that presents an unique infrared peak at 2094 cm^? 1. The correlation coefficient for a linear fit was very good for every calibration, being in each case greater than 0.9900. Furthermore, the precision of the evaluation of gypsum and calcium oxalates varied in the range 8–15% and ca. 4% respectively. In order to verify the findings, some specimens, which came from real frescoes, were analysed both by DSC calorimetry and FTIR spectroscopy: we found a satisfactory match between the quantitative analyses performed by the two techniques. For the first time, the application of this method allowed the quantitative determination of the desulphatization power of the Ferroni‐Dini method—based on the ammonium carbonate and barium hydroxide technique—in the conservation of mural paintings.