Near-crater discoloration of white lead in wall paintings during laser induced breakdown spectroscopy analysis

During Laser-Induced Breakdown Spectroscopy (LIBS) analysis of white lead pigment (basic lead carbonate, 2PbCO₃·Pb(OH)₂), used in wall paintings of historical interest, a yellow–brown discoloration has been observed around the crater. This phenomenon faded after a few days exposure under ambient atmosphere. It was established that the mechanism of this discoloration consists in lead oxides (PbO) formation. It was verified by further experiments under argon atmosphere that recombination of lead with oxygen in the plasma plume produces the oxides, which settle around the crater and induce this discoloration. The impact of discoloration on the artwork's aesthetic aspect and the role of atmosphere on discoloration attenuation are discussed. The mechanism is studied on three other pigments (malachite, Prussian blue and ultramarine blue) and threshold for discoloration occurrence is estimated.     

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.     

Electrochemical Characterization of Egyptian Blue Pigment in Wall Paintings Using the Voltammetry of Microparticles Methodology

The solid state voltammetric response of Egypt blue, Han blue and ploss blue pigments upon attachment to graphite electrodes in contact with aqueous phosphate buffer at pH 7.0 is studied by voltammetry of microparticles and scanning electrochemical microscopy. Such voltammetric responses, combined with those for synthetic specimens consisting of binary mixtures of the pigment and SiO₂ or CaCO₃ as well as ternary ones of CaCO₃ and SiO₂ mixtures allow for the identification of the pigment and the support in samples from wall paintings using different electrochemical parameters, in particular upon performing the Tafel and modified Tafel analysis of voltammetric peaks. Identification of Egypt blue in microsamples of murals from a Roman archaeological site in Castulo (Jaén, Spain) is discussed.     

How mobile NMR can help with the conservation of paintings

The conservation of paintings is fundamental to ensure that future generations will have access to the ideas of the grand masters who created these art pieces. Many factors, such as humidity, temperature, light, and pollutants, pose a risk to the conservation of paintings. To help with painting conservation, it is essential to be able to noninvasively study how these factors affect paintings and to develop methods to investigate their effects on painting degradation. Hence, the use of mobile nuclear magnetic resonance (NMR) as a method of investigation of paintings is gaining increased attention in the world of Heritage Science. In this mini-review, we discuss how this method was used to better understand the stratigraphy of paintings and the effect different factors have on the painting integrity, to analyze the different cleaning techniques suitable for painting conservation, and to show how mobile NMR can be used to identify forgeries. It is also important to keep in mind its limitations and build upon this information to optimize it to extend its applicability to the study of paintings and other precious objects of cultural heritage.     

A combined analytical approach applied to Medieval wall paintings from Puglia (Italy): The study of painting techniques and its conservation state

A combined analytical approach has been applied to the wall paintings, dated from 10th to 14th centuries, of the Santi Stefani crypt at Vaste (Lecce, Southern Italy). These paintings are a precious testimony of Medieval art in Southern Italy. However, the church shows problems of damp as well as clear evidences of flora, fungi and mold presence, and there is little knowledge of the pictorial methodologies used. Raman spectroscopy allowed to determine the palette and to reconstruct the worksite and the chronological sequence of the various paint layers. Kaolinite, calcite, carbon black, hematite, massicot, goethite, indigo and azurite were identified as pigments along with synthetic pigments, like phthalocyanine blue and chrome yellow. Attenuated total reflectance‐Fourier transform infrared spectroscopy suggested the presence of egg as a binder in some pictorial layers. The conservation state of the crypt is poor, and detachments of pigmented layers are frequent because of the presence of subflorescence and efflorescence: nitrate, sulfate and chloride salts have been identified spectroscopically and quantified by ion chromatography. The extensive use of kaolinite in Santi Stefani, actually not uncommon in Medieval art, is observed for the first time in a crypt of Puglia: its use to stabilize some pigments and to improve their adhesion on substrate is proposed. Copyright © 2015 John Wiley & Sons, Ltd.     

Evolved Gas Analysis‐Mass Spectrometry to Identify the Earliest Organic Binder in Aegean Style Wall Paintings

An organic binder was identified in the painted fragments from the Canaanite palace of Tel Kabri, Israel. Recently dated to the late 18th century B.C.E. by ¹⁴C, Tel Kabri is the most ancient of the Eastern Mediterranean sites in which Aegean style paintings have been found. The application of pigments was suspected to be using an organic binding medium, particularly for the Egyptian Blue pigment. Samples of blue paint were examined using evolved gas analysis‐mass spectrometry (EGA‐MS) in order to overcome the analytical challenges imposed by highly degraded aged proteinaceous materials. Egg was identified as the binder based on the presence of hexadecanonitrile and octadecanonitrile, confirming the use of a secco painting technique. Lysozyme C from Gallus gallus was detected by proteomics analysis, confirming the presence of egg. To our knowledge, this is the earliest use of egg as a binder in Aegean style wall paintings.     

Apports de la colorimétrie et de la spectroradiométrie à la caractérisation in situ des peintures paléolithiques de la grotte Chauvet (Ardèche,France)

The colour of the Palaeolithic paintings on cave walls has been studied primarily in a qualitative way and, more rarely, from the physical angle. Our approach is based on the production of colorimetric measurements in caves, by means of the acquisition of energy radiance spectra with a portable spectroradiometer that can function without contact, several metres away from the decorated walls being studied, thus respecting the constraints of conservation. The colour of parietal works is an element that needs to be taken into account for their archaeological study and conservation. But observation is insufficient and only the measurement of colour makes it possible to compare distant works on rocky supports with different colourings and surface conditions.This article shows the methodology used, and it takes stock of the experience acquired in the research programme on the Chauvet Cave. It also attempts to show the benefits of taking spectroradiometric measurements on prehistoric artworks. However, the in-situ study of their colour cannot be a substitute for chemical and mineralogical analyses and the characterization of the materials, either sampled or in place. Its interest lies in its capacity for detecting even minimal changes in condition and composition. So our objective has been to establish comparisons between the graphic entities to identify the origins of the variations detected in their optical signatures. These variations can be linked to the nature of the colouring materials, but also to their position on the wall, a consequence of the application methods and sometimes also of later removals through taphonomic processes such as water run-off. Alterations (patinas) and coverings (notably veils of calcite or clay) have also been taken into account in our analysis of the data. Hence, we carried out experiments in calcification of surfaces to evaluate the case – quite frequent in caves – of calcite covering a coloured surface, outside of any other phenomenon of alteration. The first results lead us assume that it is possible to identify the signature of a veil of calcite on given colouring materials and also to present hypotheses about the nature of colouring materials covered by a veil of calcite.     

Review of the use of NMR spectroscopy to investigate structure,reactivity, and dynamics of lead soap formation in paintings

Heavy metal carboxylate or soap formation is a widespread deterioration problem affecting oil paintings and other works of art bearing oil-based media. Lead soaps are prevalent in traditional oil paintings because lead white was the white pigment most frequently chosen by old masters for the paints and in some cases for the ground preparations, until the development of other white pigments from approximately the middle of the 18th century on, and because of the wide use of lead-tin yellow. In the latter part of the 19th century, lead white began to be replaced by zinc white. The factors that influence soap formation have been the focus of intense study starting in the late 1990s. Since 2014, nuclear magnetic resonance (NMR) studies have contributed a unique perspective on the issue by providing chemical, structural, and dynamic information about the species involved in the process, as well as the effects of environmental conditions such as relative humidity and temperature on the kinetics of the reaction(s). In this review, we explore recent insights into soap formation gained through solid-state NMR and single-sided NMR techniques.     

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.