Green pigments of the Pompeian artists' palette

Terahertz Time-Domain Spectroscopy in Reflection Configuration for Inorganic and Mineral Pigment Identification

This work demonstrates terahertz time-domain spectroscopy (THz-TDS) in reflection configuration on a class of inorganic and mineral pigments. The technique is validated for pictorial materials against the limitations imposed by the back-reflection of the THz signal, such as weak signal intensity, multiple signal losses and distortion, as well as the current scarce databases. This work provides a detailed description of the experimental procedure and method used for the determination of material absorption coefficient of a group of 10 pigments known to be used in ancient frescoes, that are, Cu-based (azurite, malachite, and Egyptian blue), Pb-based (minium and massicot), Fe-based (iron oxide yellow, dark ochre, hematite, and Pompeii red) pigments and mercury sulfide (cinnabar), and classified the vibrational modes of the molecular oxides and sulfides for material identification. The results of this work showed that the mild signal in reflection configuration does not limit the application of THz-TDS on inorganic and mineral pigments as long as (i) the THz signal is normalized with a highly reflective reference sample, (ii) the secondary reflected signals from inner interfaces are removed with a filtering procedure, and (iii) the limitations at high frequencies imposed by the dynamic range of the instrument are considered. Under these assumptions, we were able to differentiate molecular phases of the same metal and identify azurite, Egyptian blue, minium, and cinnabar, isolating the molecular vibrations up to 125 cm^-1. The established approach demonstrated to be reliable, and it can be extended for the study of other materials, well beyond the reach of the heritage domain.

Preliminary Study of the Mural Paintings of Sotterra Church in Paola (Cosenza, Italy)

A multi-analytical approach was employed to study wall paintings located in the Sotterra church at Paola, in the province of Cosenza, Italy. The site is an underground church (hence the name of Sotterra, which means "under the earth") rediscovered in the second half of the 19th century, during the building works of the Madonna del Carmine church on the same area. This underground church preserves valuable mural paintings having different styles. The construction's dating and overlapped modifications made until the site was abandoned is also debated. A wall painting, depicting "The Virgin" as part of the "Annunciation and the Archangel Gabriel" present on the opposite side of the apse, was selected and investigated using both in situ and laboratory-based analysis. Preliminarily, the non-destructive investigations involved several analytical techniques (IR imaging, UV-Induced Visible Fluorescence, and X-ray Fluorescence analyses) that provided mapping and characterization of pictorial layers and first data about deterioration phenomena. On the basis of this information, a more in-depth study was conducted on micro-fragments aimed at characterizing the stratigraphy and to identify the artist's technique. Cross-sections were analysed using polarized optical microscopy and electron scanning microscopy coupled with energy-dispersive X-ray spectroscopy to obtain morphological and chemical information on the selected pictorial micro-fragments of the wall painting. The results allowed to characterize the pigments and provide better readability of the whole figure, revealing details that are not visible to the naked eye, important for future historical-artistic and conservative studies. The results represent the first step of a systematic archaeometric research aimed at supporting the ongoing historical-stylistic studies to distinguish the different building phases hypothesized for this religious site which remained buried for three centuries.

Enriching the knowledge of Ostia Antica painted fragments: a multi-methodological approach

This paper presents the study of selected painted fragments from different contexts of Ostia Antica city, dating between 2nd century BCE and the end of the 1st century CE. The aim is to identify the raw materials used and to understand the execution techniques through a non-invasive protocol including techniques based either on multiband imaging (Visible-VIS, Ultraviolet induced Luminescence - UVL and Visible Induced Luminescence - VIL) and single spot analyses (Fiber Optic Reflectance Spectroscopy- FORS and portable X-Ray Fluorescence spectrometry - XRF). The most representative and interesting fragments were sampled for further studies with laboratory techniques such as optical microscopy (OM) and electron microscopy (SEM), Fourier Transform Infrared and micro-Raman Spectroscopies (FT-IR and μRaman). The extensive use of non-invasive techniques, even working on fragments, is proved to be the most robust and effective approach enabling the analysis of a high number of areas, dramatically increasing the statistical meaning of the collected data. The elaboration of such a huge number of data allows highlighting differences and similarities, thus achieving a more realistic overview of the materials composition and addressing the sampling to the more significant and complex areas.

Trace compounds in Early Medieval Egyptian blue carry information on provenance, manufacture, application, and ageing

Only a few scientific evidences for the use of Egyptian blue in Early Medieval wall paintings in Central and Southern Europe have been reported so far. The monochrome blue fragment discussed here belongs to the second church building of St. Peter above Gratsch (South Tyrol, Northern Italy, fifth/sixth century A.D.). Beyond cuprorivaite and carbon black (underpainting), 26 accessory minerals down to trace levels were detected by means of Raman microspectroscopy, providing unprecedented insights into the raw materials blend and conversion reactions during preparation, application, and ageing of the pigment. In conjunction with archaeological evidences for the manufacture of Egyptian blue in Cumae and Liternum and the concordant statements of the antique Roman writers Vitruvius and Pliny the Elder, natural impurities of the quartz sand speak for a pigment produced at the northern Phlegrean Fields (Campania, Southern Italy). Chalcocite (and chalcopyrite) suggest the use of a sulphidic copper ore, and water-insoluble salts a mixed-alkaline flux in the form of plant ash. Not fully reacted quartz crystals partly intergrown with cuprorivaite and only minimal traces of silicate glass portend solid-state reactions predominating the chemical reactions during synthesis, while the melting of the raw materials into glass most likely played a negligible role.

Computational study of oxidation mechanism of mineral green pigments

The molecular structures, electronic properties, and the UV-vis absorption spectra of the oxides of mineral green pigment (MGP) have been theoretically calculated by using the density-functional theory (DFT) method. Our results reveal that the ground-state structure (isomer-I) of the oxides takes on an O-bridged bond with the polycyclic ring. The chemical stabilities of the oxides (I-V) are gradually reduced, of which the I isomer has the largest gap (2.50 eV). Moreover, the adsorption of the two oxygen atoms tailors the electronic structures of oxides, and the electronic properties are keys to understand the structural stabilization of the complexes. Additionally, the strongest UV-vis absorption band of the I isomer has been assigned; e.g., the crucial excitation originates from a HOMO-17→LUMO (32%) transition at ~ 187.3 nm.

Pigments on Roman Wall Painting and Stucco Fragments from the Monte d’Oro Area (Rome): A Multi-Technique Approach

This work concerns the characterisation of a set of wall painting and stucco fragments collected during a rescue excavation carried out in 2013 by the Soprintendenza Archeologica in the Monte d’Oro area (Rome). Due to the contextless archaeological situation, analyses were performed to obtain more information about the collected materials. A multi-analytical approach has been applied including spectroscopic (FTIR, Raman and visible reflectance analyses) and elemental analysis (SEM-EDS) techniques. The chromatic palette has been in this way disclosed evidencing the use of pigments such as cinnabar, Egyptian blue, red and yellow ochre and green earth, but also the simultaneous use of them. The presence of a decoration achieved by using a gold leaf has been highlighted also, indicating the preciousness of the decorations. The convenience and advantages linked to the use of portable instrumentation have been also evidenced.

The colours of Rome in the walls of Cástulo (Linares, Spain)

Wall paintings have become one of the most relevant, complex and challenging research subjects in Archaeometry. Minimally- or non-invasive, accurate and multidisciplinary methods are needed to successfully address the problems posed by their physical and chemical properties and by their analysis techniques. Specifically, the analytical method implemented for the study of this type of samples must enable a precise separation of the chemical information from backgrounds and scenes, allowing the identification of pigment’s components in overlapping layers, the detection of minority components and the elucidation of pigment mixtures. Thus, this paper puts forward a multidisciplinary approach towards these goals by means of the combined use of micro Energy Dispersive X-ray Fluorescence (µEDXRF) surface mapping and single-spot micro-Raman spectroscopy and µEDXRF analysis. The samples under research come from the site of Cástulo (Linares, Spain), one of the most important Roman cities in the Iberian Peninsula. It must be emphasized the uniqueness of the walls of Cástulo, their optimal conservation state and the richness and variety of the colour’s palette used in their decoration, which make them an excellent and representative example of Roman wall paintings.

The Tomb of the Diver and the frescoed tombs in Paestum (southern Italy): New insights from a comparative archaeometric study

The Tomb of the Diver has been subject for many decades of fierce debate among archaeologists and classicists. Since its discovery in 1968, some scholars have considered it a unique example of the lost tradition of Greek painting, others have emphasized Etruscan or Italic parallels. More recently, a possible local production has been suggested. With the aim of trying to solve the archaeological question, an archaeometric comparison among this well-known artwork and several frescoed tombs coming from Hellenistic and Lucan necropolis was carried out. The multi-analytical study was focused on the identification of peculiar features of executive techniques and raw materials since the first period of the archaeological site. The analytical investigation has been preliminary based on a non-destructive approach, performed in-situ by portable equipment including imaging diagnostics and compositional spectroscopic techniques for identifying pigments and the conservation state of original painted surface; subsequently, a further deepening by using destructive techniques was performed in-lab for the mortar-based supports characterization. Archaeometric study suggested that technological choices slightly changed in a time span of about two centuries, highlighting important markers that allow clustering the contemporary artistic productions. Moreover, a comparison with mortars from temples decorations was provided to better understand the whole artistic context. The archaeometric data showed that the Tomb of the Diver could be traced back to a local artisanal tradition and therefore is neither Etruscan nor Greek, but the first and foremost an expression of the local elite culture of Paestum.

Non-destructive characterization of Egyptian Blue cakes and wall painting fragments from the east of Lake Van, Turkey

A total of five Urartian blue cakes and two wall painting fragments, from excavations in different regions of the east of Lake Van, were analyzed by means of X-ray diffraction (XRD), micro-X-ray fluorescence spectrometry (μ-XRF), scanning electron microscopy combined with energy dispersive spectrometry (SEM-EDS) and Fourier-transform infrared spectroscopy (FT-IR). All the studies were performed non-destructively considering the great archaeological importance of the samples. The results indicate the presence of Egyptian Blue, which is the first synthetic pigment, consists of crystals of calcium-copper tetrasilicate (cuprorivaite, CaCuSi₄O_l0) along with unreacted quartz (SiO₂) and in some cases. Comparison of the elemental compositions of the samples from Egypt and Mesopotamia suggests that EB cakes may be local products due to the presence of zinc. The absence of Sn on the other hand, indicates that the source of the copper may be a copper ore not bronze scrap.

Micro-analytical Evidence of Copper-Based Pigment and Fungal Contamination of Medieval Mural Paintings in Beram, Croatia

The aim of the present study was to map the painting materials, degradation processes, and biological features present on the mural painting in the church of St. Mary in Beram (Croatia) to study their possible interaction and produce information helping the preservation of this valuable painting. The research was conducted on micro samples of painting materials taken from different sites along the painting and the characterization of the present fungal species was carried out. The painting samples, together with observable patinas and degradation products, were studied by optical microscopy (OM), scanning electron microscopy, energy-dispersive spectroscopy (SEM/EDS), Fourier-Transform Infrared spectroscopy, and powder X-ray diffraction. Fungal diversity was studied using cultivation methods followed by OM and SEM analyses in addition to molecular analysis. The results contribute to the characterization of the original painting materials, successively added materials and occurred interventions, to the understanding of degradation progressions and fungal biotransformation processes. A mineral, cumengite, a copper-based pigment extremely rarely used in art, was found. Its occurrence together with barium sulfate, gypsum, and calcium oxalate possibly produced by microbiological activity was studied and information was added regarding the composition of painting materials in St. Mary church mural cycle.

Raman imaging to quantify the thermal transformation degree of Pompeian yellow ochre caused by the 79 AD Mount Vesuvius eruption

Most of the wall paintings from Pompeii are decorated with red and yellow colors but the thermal impact of 79 AD Mount Vesuvius eruption promoted the partial transformation of some yellow-painted areas into red. The aim of this research is to develop a quantitative Raman imaging methodology to relate the transformation percentage of yellow ochre (goethite, α-FeOOH) into red color (hematite, α-Fe₂O₃) depending on the temperature, in order to apply it and estimate the temperature at which the pyroclastic flow impacted the walls of Pompeii. To model the thermal impact that took place in the year 79 AD, nine wall painting fragments recovered in the archeological site of Pompeii and which include yellow ochre pigment were subjected to thermal ageing experiments (exposition to temperatures from 200 to 400 °C every 25 °C). Before the experiments, elemental information of the fragments was obtained by micro-energy dispersive X-ray fluorescence (μ-ED-XRF). The fragments were characterized before and after the exposition using Raman microscopy to monitor the transformation degree from yellow to red. The quantitative Raman imaging methodology was developed and validated using synthetic pellets of goethite and hematite standards. The results showed almost no transformation (0.5% ± 0.4) at 200 °C. However, at 225 °C, some color transformation (26.9% ± 2.8) was observed. The most remarkable color change was detected at temperatures between 250 °C (transformation of 46.7% ± 1.7) and 275 °C (transformation of 101.1% ± 1.2). At this last temperature, the transformation is totally completed since from 275 to 400 °C the transformation percentage remained constant.

Multidisciplinary Approach Applied to the Diagnosis of the Facade of the Arciprestal Church of Santa María de Morella (Castellón, Spain)

This paper deals with the development of a multidisciplinary study on the current state of conservation of the facade of the Arciprestal Church of Santa María de Morella (Castellón, Spain), a work of the Gothic period of great historical and artistic value. The aim of this diagnosis was to undertake the preventive conservation actions required and increase the knowledge about the conservation of paintings on stones. During the diagnosis scanning, electron microscopy was demonstrated to be a valuable analytical method for wall paintings on stone. The facade, which since its construction has not undergone major architectural changes, has reached our days as it was configured in its creation, adding the traces of the passage of time and interventions that have suffered polychromies. Because of the conservation situation, it was decided to have an interdisciplinary project for the structural study of the work, an exhaustive study of the materials and their state of conservation. The study of the materials includes the identification of stone supports, mortars, the pictorial technique of the original and added polychromies, and the superficial patinas. On-site studies were carried out by ground penetration radar (GPR) and X-ray fluorescence (XRF). Among the techniques used in laboratory were optical polarized light microscopy (MO-LP), X-ray diffraction (XRD), scanning electron microscopy with microanalysis (SEM-EDX) and Fourier-transform infrared spectroscopy (FTIR). The study allowed to determine the different pathologies of alteration and degradation of stone substrate and polychromies, chromatic alterations, biological patinas, etc. During this study, it was demonstrated that the diagnosis of wall paintings is a complex issue that needs to be addressed in a multidisciplinary approach, where scanning electron microscopy with microanalysis is the key methodology to get a deeper understanding of subsurface characterization of wall paintings and highlight the weathering processes. In a second phase of previous studies, this technique (SEM) has been used in assessing the viability of consolidation systems and cleaning both the stone and the polychrome.

Raman microspectroscopic analysis of decorative pigments from the Roman villa of El Ruedo (Almedinilla, Spain)

In this work, we analysed the preparatory layer and paintings in the hypocaustum of the Roman villa of El Ruedo (Almedinilla, southern Spain). The specimens studied were from the III and IV centuries. Raman microscopy was for the first time used here to examine Roman pictures in the south of the Iberian peninsula. The results obtained allowed us to establish the chemical nature of the different pigments used by the Roman artists. All were applied over a preparatory layer consisting of limewash. The different colours used (black, white, red, yellow, green and blue) were obtained by using carbon, calcite, gypsum, hematite, goethite, green earth and Egyptian blue. Some exhibited various hues that were obtained by mixing the previous compounds. Worth special note is the incipient presence of blue pigments, which were rarely used in Roman Hispania owing to their scarcity and high price.

Elemental and spectroscopic characterization of plasters from Fatih Mosque-Istanbul (Turkey) by combined micro-Raman, FTIR and EDXRF techniques

The characterization of the plasters and coloring agents of the wall paintings of Fatih Mosque have been performed using combined micro-Raman, FTIR and EDXRF techniques. The investigations show that the plaster used on the walls has mixed gypsum-lime binders. Cinnabar {HgS}, lead red {Pb3O4} and hematite {α-Fe2O3} were identified in the red surfaces. Blue color is attributed to ultramarine blue {Na8-10Al6Si6O24S2-4}. Green color is assigned to mixtures of green earth, copper phthalocyanine {Cu(C32Cl16N8)} and brochantite {CuSO4·3Cu(OH)2}. Strontium yellow {SrCrO4} and zinc white {ZnO} were also used to ensure the color tone. The results provide a basis for future restoration of wall paints.

Analysis of the Quintilii’s Villa Bronzes by Spectroscopy Techniques

The aim of this work is the characterization, with different diagnostic tests, of three fragments of bronze artefacts recovered from the Villa of the Quintilii (located in the south of Rome). In particular, the sample alloys were investigated by different chemical and morphological analysis. Firstly, an analysis of the alloy, implemented through the electronic spectroscopy, was taken to discriminate the bronze morphology and its elemental composition. Subsequently, a surface analysis was realized by molecular spectroscopy to identify the alteration patinas on surfaces (such as bronze disease). Two diagnostic techniques are used for the alloy analysis: scanning electron microscopy (SEM) connected to the EDX spectroscopy (to study the morphology and alloy composition) and Auger electron spectroscopy (AES) (to identify the oxidation state of each element). Moreover, for the study of surface patinas, IR and Raman spectroscopies were implemented. All studies were performed on the “as received” samples, covered by a thin layer of excavated soil and on samples processed in an aqueous solution of sulphuric acid (10%), to remove patinas and alterations.

Characterisation of a portable Raman spectrometer for in situ analysis of art objects

During the last decades, Raman spectroscopy has grown to an established analytical technique in archaeometry, art analysis and conservation science. Mobile Raman instruments were designed to be used for in situ characterisation and identification of inorganic and organic materials in art and archaeometry. This research paper aims to point out several aspects that need to be considered when selecting a mobile Raman spectrometer for in situ archaeometrical studies. We describe an approach to evaluate these parameters and apply this to a dual laser portable Raman spectrometer. Twofold characterisation of mobile Raman instrumentation for art analysis: (i) investigation of spectroscopic characteristics such as (amongst others) spectral resolution, spectral window, signal to noise ratio and limit of detection; (ii) evaluation of specific properties that are useful for mobile studies in archaeometry. These include options for easy positioning and focussing, the ability to reduce laser power on the surface of the art object and the working distance between the probehead and the artefact. Finally, the research was completed with field tests by studying the pigments of a mediaeval wall painting.

Micro-Raman analysis of the pigments on painted pottery figurines from two tombs of the Northern Wei Dynasty in Luoyang

The pigments on the painted pottery figurines from two tombs of Northern Wei Dynasty (AD 386-534) in Luoyang were analyzed by Raman microscopy. All the pigments were identified compared with the Raman spectra of standard pigments. The red pigments were identified as haematite, the blue pigment as lapis lazuli, the green pigment as malachite, the black pigment as carbon black and the white pigment as calcite. Similar pigments were used in the two tombs despite the pottery figurines were very different in artistic style. The use of lapis lazuli as blue pigment on Chinese painted pottery figurines was found for the first time. This pigment and the painted pottery figurine of Sogdians are of great archaeological significance because it demonstrated that the trade and cultural exchanges via the Silk Road had extended to Luoyang city in the Northern Wei Dynasty. The result also confirms that micro-Raman spectroscopy is a powerful analytical method for the identification of pigments on ancient artworks.

Pigment analyses of a portrait and paint box of Turkish artist Feyhaman Duran (1886-1970): the EDXRF, FT-IR and micro Raman spectroscopic studies

The samples obtained from nine different places of Ataturk portrait (oil on canvas, 86 cm×136 cm) by Feyhaman Duran (1886-1970), one of the famous Turkish painters of the 20th century, together with five pigment samples (two different white, two different yellow and blue), obtained as powders from artist's paint box, were analysed by EDXRF, FT-IR and micro-Raman spectroscopic methods, in order to characterise the pigments used by the artist. Informative Raman signals were not obtained from most of the samples of the portrait, due to huge fluorescence caused by the presence of impurities and organic materials in the samples, however the Raman spectrum of the sample from skin coloured part of the portrait and the pigment samples obtained from the paint box of the artist were found to be very informative to shed light on the determination of the pigments used. Analysis revealed the presences of chrome yellow (PbCrO4), strontium yellow (SrCrO4) and Cadmium yellow (CdS) as yellow, chromium oxides (Cr2O3 and Cr2O3·2H2O) as green, natural red ochre as red, brown ochre as brown and ivory black or bone black (C+Ca3(PO4)2) and manganese oxides (Mn2O3 and MnO2) as black pigments, in the composition of the Ataturk portrait. Lead white (2PbCO3·Pb(OH)2), calcite (CaCO3), barite (BaSO4), zinc white (ZnO) and titanium white (TiO2) were used as extenders to lighten the colours and/or as for ground level painting. Powder pigment samples, obtained from the paint box of artist, were found to be mixed pigments rather than pure ones.

Argentinean prehistoric pigments' study by combined SEM/EDX and molecular spectroscopy

Composition of the prehistoric pigments' (from Carriqueo rock shelter, Rio Negro province, Argentina) has been analysed by means of molecular spectroscopy (Fourier transform infrared (FTIR) and micro-Raman) and scanning electron microscopy (SEM) coupled to an energy-dispersive X-ray spectrometer (EDS). Red and yellow pigments were recognized as red and yellow ochre. The matrix of the pigments is composed of one or more substances. According to the matrix composition yellow and red pigments were also divided into two groups-i.e. those containing kaolinite or sulphates. Green pigment was detected as green earth, made up of celadonite as a chromophore.