Library of FT-Raman spectra of pigments, minerals, pigment media and varnishes, and supplement to existing library of Raman spectra of pigments with visible excitation

Laser-based analytical techniques in cultural heritage science - Tutorial review

This tutorial review combines the fundamentals of the design and operation of lasers with their usage in applications related to conservation and cultural heritage (CH) science - as components of analytical devices for the study of the chemical composition of materials. The development of laser instruments and their fundamental physical background, including a short explanation of their properties and parameters, are briefly summarised, and an overview of different laser-based analytical techniques is given. The analytical techniques covered in this tutorial are divided into three groups based on their technical aspects and properties: (1) vibrational spectroscopy, (2) elemental analysis, and (3) different molecular mass spectrometric techniques.

Multitechnique Characterization of Pigments Used in Paintings by Léon Pallière

This study provides a microanalytical characterization of pigment fragments from the painting "Allegory to the Arts" and two portraits, "Rubens" and "Tintoretto," by Léon Pallière. The fragments were surface-analyzed using several near-surface methods to acquire information on the materials and determine the painting techniques utilized before the restoration. Scanning electron microscopy/energy-dispersive X-ray spectrometry (SEM/EDS), Raman spectroscopy coupled to an optical microscope (Raman microprobe), X-ray diffraction (XRD), and Fourier transform infrared spectroscopy (FTIR) revealed organic materials, hydrocerussite (Pb3(CO3)2(OH)2), cerussite (PbCO3), zincite (ZnO), chalcopyrite (CuFeS2), nepheline (K(Na,K)3AlSi4O16), calcite (CaCO3), brookite (TiO2), kinoshitalite (Ba3(Si2Al2)O10(OH)2), hematite (Fe2O3), barium magnesium silicate (Ba2Mg(Si2O7)), and aluminosilicates. Also identified were vermilion/cinnabar (HgS), copper phthalocyanine blue (C32H16CuN8), and mendipite (Pb3Cl2O2), in addition to the use of gold leaf in one of the artworks. SEM/EDS provided information on the chemical composition and surface morphology of the fragments, and XRD revealed crystalline raw materials (minerals or their synthetic analogs) used in the paintings. Raman microprobe was particularly useful in identifying pigments, providing a uniquely specific and sensitive means of identifying inorganic and organic compounds.

Identification, transformations and mobility of hazardous arsenic-based pigments on 19th century bookbindings in accessible library collections

This study focused on the non-destructive characterization of potentially hazardous Victorian-era books found in the Northwestern University Libraries. XRF, Raman and FTIR were used to identify and isolate hazardous books containing As-based pigments. These techniques also permitted, on selected books, to characterize the pigment as being Emerald green. However, none allowed for the identification of equally hazardous degradation products or potential transfer to adjacent books. These analytical gaps create limits in thoroughly identifying the level of risks associated with these books for library users and hampered the application of effective risk mitigation measures. Such limitations were overcome with synchrotron radiation (SR) techniques. Through SR-XRF, Cu/As distributions were mapped across covers and spines of green and neighboring books, whereas SR-X-ray absorption near edge structure (SR-XANES) was used to characterize the As oxidation state, leading to the identification of arsenates as degradation products. Besides successfully identifying hazardous books, this study demonstrated that hazards extend beyond As-containing green books to innocuous, long-standing neighboring books and non-colored pages due to migration and transfer of pigment and degradation products. Aside from helping to implement workplace health and safety measures, this study also informs how other libraries can identify and characterize potentially hazardous items in their collections.

Preserving the Ephemeral: A Micro-Invasive Study on a Set of Polyurethane Scenic Objects from the 1960s and 1970s

Among the innovative materials used by 20th-century artists, polyurethane (PUR) has been shown to be highly unstable, and therefore artworks made of it are now in need of careful conservation strategies. This study presents a multi-analytical investigation of PUR foam scenic objects originally made between the 1960s and 1970s during the Italian Arte Viva movement. The main components in the foam and additives were characterized through micro attenuated total reflectance infrared spectroscopy (μ-ATR-FTIR) and pyrolysis coupled with gas chromatography and mass spectrometry (Py-GC/MS). Painted samples were further investigated through μ-FTIR and Raman spectroscopy to define binders and pigments. The use of μ-ATR-FTIR in combination with evolved gas analysis-mass spectrometry (EGA-MS) allowed the variable conditions of the artworks to be assessed and attained some insights into the chemical processes responsible for aging. At the same time, morphological changes due to the degradation phenomena were recorded through optical (OM) and scanning electron microscopy (SEM). The detailed characterization of the PUR foam and painting materials was helpful in attaining some insights into harmful environmental parameters for the artworks, thus informing preventive conservation.

Sensing soluble molecules through SERS substrates in one-step procedure: Unrevealing the Meiji woodblock printing materials

Ultrasensitive SERS substrates allowed us to detect complex mixtures of coloring components from Meiji Japanese woodblock prints (1868-1912). In museum settings, compositional analyses have limitations due to restrictions to sampling advised by conservators and curators for the adequate preservation of the objects. An additional layer of complexity is brought by the high heterogeneity of heritage materials, usually not resolved with commercial portable instruments. High-performance instruments for in situ analyses are seldom available in museums. Furthermore, the chambers of most instruments for morphological or chemical characterization accommodate small samples rather than large or medium-sized objects. The innovative sampling strategy herein proposed comprises the gentle touch-dry removal of small coloring molecules weakly bound to the surface of heritage objects, transferred through a silicone sampler to planar SERS substrates with selected solvents in a one-step procedure. The analytical protocol reduces the amount of sample necessary for reliable identification of color components down to nanograms. The selectivity of the solvents combined with the geometry of the planar SERS sensing devices produces reliable signals for molecular identification, with no need for incision or wetting of the printed material. Further, 3D Raman imaging allowed us to reach an unprecedented degree of molecular discrimination, advancing previously available minimally-invasive instrumental methods used in heritage science research. The validation with historical inks from Meiji woodblock prints led to the identification of soluble synthetic azo β-naphthols, barium sulfonic lakes, purple anilines, Prussian blue, glass arsenic sulfides and other traditional coloring media.

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.

From Materials to Technique: A Complete Non-Invasive Investigation of a Group of Six Ukiyo-E Japanese Woodblock Prints of the Oriental Art Museum E. Chiossone (Genoa, Italy)

In the present work, a complete non-invasive scientific investigation of six Utagawa Kunisada's woodblock prints (nishiki-e) belonging to the Oriental Art Museum "E. Chiossone" (Genoa, Italy), was performed in situ. The campaign started with high resolution multiband imaging (visible, multiband fluorescence, near infrared) followed by reflectance transformation imaging (RTI) to characterize and highlight the peculiar printing techniques and the condition of the support. Then fiber optics reflectance spectroscopy (FORS), spectrofluorimetry, Raman and reflectance Fourier-transform infrared (FTIR) spectroscopies were successfully applied in synergy for the investigation of the printing materials (pigments, binders, support). The results obtained represent a set of very important information for these never-before-studied works of art, useful to the different professionals involved: historians, conservators and curators. The materials identified were completely in agreement with those traditionally used in the Edo period in the 19th century, while the computational imaging technique RTI gave an additional amount of information in terms of surface characterization that could not be overlooked when studying these works of art. RTI data were further processed to enhance the texture visualization.

Multi-analytical approach to the mural painting from an ancient tomb of Ming Dynasty in Jiyuan, China: Characterization of materials and techniques

The pigments, surface deposition, preparatory layer and support from a mural painting tomb of Ming Dynasty (1368-1644 CE) were first time analyzed by micro-Raman, Fourier-transform Infrared (FT-IR), X-ray diffraction (XRD), scanning electron microscope with energy-dispersive X-ray microanalysis (SEM-EDX), thermogravimetry and differential scanning calorimetry (TG-DSC) to reach a better understanding of the composition of the materials and the techniques adopted. All the pigments were identified, including hematite, cinnabar, malachite, yellow ochre, calcite and carbon black. The preparatory layer was found to be prepared by fine lime mortar with cotton fiber inside. The crystalline depositions on the mural painting were identified as calcite and dolomite originated from the lime-based preparatory layer. The support was found to be constructed with sticky rice lime mortar with several kinds of additives. The original lime stone was demonstrated to be magnesium-rich and the carbonization results were also discussed. These results revealed significant information on the materials and techniques used to build mural painting tomb in Ming Dynasty. This will benefit the further restoration and conservation works and also provide a methodology solution for the scientific analysis of ancient tomb mural paintings.

Special-Effect and Conventional Pigments in Black Light Art: A Multi-Technique Approach to an In-Situ Investigation

Since their introduction in the early decades of the 20th century, fluorescent pigments have found progressively wider applications in several fields. Their chemical composition has been optimized to obtain the best physical properties, but is not usually disclosed by the manufacturers. Even the other class of luminescent pigments, namely the phosphorescent ones, is now produced industrially. The peculiar optical properties of these pigments have attracted more and more the attention of famous artists since the middle of the last century. The Italian Black Light Art movement exploits the possibility of conveying different aesthetical messages depending on the kind of radiation (UV or visible) with which the artwork is illuminated. In the present work, a non-invasive in-situ investigation based on Raman, fluorescence, and visible-reflectance spectroscopies was performed on a series of Black Light Art paintings exhibited in Milan (Italy) in 2017, succeeding in the identification of the materials used by the artists. In particular, the use of both fluorescent and phosphorescent pigments, alone or combined with conventional synthetic organic pigments, has been recognized.

Characterizing paint technologies and recipes in Levantine and Schematic rock art: El Carche site as a case study (Jalance, Spain)

This paper contributes to current debates on the technologies and practices of prehistoric artists using the rock art site of el Carche (Jalance, Spain) as a case study. The site preserves both Levantine and Schematic paintings, yet poorly understood from an analytical point of view. In the past, it has even been argued how little differentiation there is between these two post-Paleolithic traditions in terms of paint composition. Our aim with this paper was to identify pigments, paint recipes and technologies and decipher the order of the superimpositions, both between Levantine motifs of different styles, and between these and the Schematic ones. To do so, we adopted a multi-stage and multi-technical analytical strategy, trying to find a balance between sound scientific investigation and impact on the art, considering the irreplaceable nature of this World Heritage rock art. As such, our approach begins with in situ non-invasive investigations using portable EDXRF, to then collect micro-samples for non-destructive analyses by means of Optical Microscopy, Scanning Electron Microscopy coupled with Energy Dispersive X-Ray Spectroscopy (SEM-EDX), micro-Raman Spectroscopy and Fourier Transform Infrared Spectroscopy (FTIR). One of the key highlights of these paper is the identification of up to four different paint compositions, produced with various hematite-based raw materials and different processing techniques. This variability had not been previously documented. Interestingly though, no direct correlations appear to exist between styles or sub-styles and recipes. Some of these paint mixtures were even shared by both traditions. These results are discussed in cultural terms, challenging previous interpretations suggesting a similar pigment composition between Levantine and Schematic art. Microstratigraphic analysis of the cross-sections only partially clarified the overlapping sequence unveiling the complexity of these analysis. They also revealed several degradation layers and external crusts related to rock alteration processes and biological formations. Their role in rock art conservation is also discussed.

A Multi-Analytical Approach to Investigate the Polychrome Clay Sculpture in Qinglian Temple of Jincheng, China

This article presents an integrated analytical method to investigate the polychrome clay sculptures of the Qinglian Temple in Jincheng City, Shanxi Province, China. Digital microscopy, SEM-EDS, XRD, Herzberg stain, Micro-Raman spectroscopy and FT-IR were selected to identify the raw materials and techniques used to produce the ground clay layer, the white powder layer and the mineral pigment of the polychrome clay sculptures. The investigation shows that the clay used to make the coarse and fine clay layer is consistent. However, different kinds of fibres were found mixed in the coarse and fine clay layers: wheat straw was the main fibre used in coarse clay layer, while the bast fibres, including ramie, kenaf and sisal hemp, were used as the fibre supports in the fine clay layers due to their useful properties. The white powder layer was made of a mixture of kaolinite and gypsum. For the mineral pigments, it principally contained red (hematite, minium or a mixture of minium and cinnabar), green (atacamite and atacamite), blue (azurite), yellow (yellow ochre), black (amorphous carbon) and white (the mixture of kaolinite and gypsum). Additionally, a gilding technique and multiple paint layers also typified many pigment areas. This work has furthered understanding of the materials and techniques used in making the sculptures of the Qinglian Temple and has clear implications for the restoration and conservation treatments on these kinds of ancient painted clay sculptures.

A Study of Song Dynasty Polychrome Statue-Making Techniques and Materials in the Sage Mother Hall of the Jinci Temple, Shanxi, China

The polychrome statues of the Sage Mother Hall at the Jinci Temple in Taiyuan city are recognized as one of the three masterpieces of the Jinci Temple. They are also regarded as an outstanding representative of ancient Chinese temple statues. These statues possess great historical, artistic, scientific, cultural and social values, and they are an important physical material for the study of ancient Chinese history, culture, religion, politics and economy, as well as science and technology. The internal structure, plaster layer samples and surface pigments of the polychrome statues of the Sage Mother Hall were analyzed by optical microscope (OM) scanning electron microscopy coupled with energy-dispersive X-ray spectrometry (SEM–EDS), X-ray powder diffraction (XRD), Raman spectroscopy (Raman), X-radiography and other analytical methods in order to gain an understanding of the production process and pigment composition of the polychrome statues of the Sage Mother Hall. According to the findings, the following steps were taken during the production of the polychrome statues that decorate the Sage Mother Hall at Jinci Temple: building a wooden skeleton, fixing the skeleton with rivets or twine, shaping the clay form with coarse clay, shaping the appearance with fine clay, refining the molded appearance, and white substrate layer painting. The majority of the pigments are inorganic mineral pigments: the red pigments include cinnabar and minium; the blue pigments include ultramarine; the green pigments include lavendulan; the yellow pigments include yellow ochre; the black pigments include carbon black; and the white pigments and substrate layers include white lead and lead sulfate. Some of the pigment layers can be seen in multiple layers, which indicates that over the history of the painted statues of the Sage Mother Hall, they have been subject to a series of repainting, with the more recent repainting time perhaps having taken place during the late Qing Dynasty and the following time period.

Micro-Raman Analysis of the Pigments on a Crucifix in Calabria

This study was carried out on a crucifix located inside the church of St. Mary Major in Acri. The story of this crucifix is not very clear, and its dating is still uncertain, as well; however, it ranges between the 15th and the 14th century. The wooden sculpture of the crucified body of Jesus was painted and the conservation state of the color appeared good. A detailed analysis of the pigments was considered very useful in verifying the restoration history of this crucifix, and to discriminate between the original painting and later restoration activities. A micro-Raman analysis reveals the presence of the classical pigments expected for the estimated age of the crucifix, such as gypsum, terra di Siena, vermilion, carbon black, and others. In addition, other pigments of more recent use were found, such as Prussian blue, titanium white, lithopone, and chromium yellow, mostly in the thong around body of Jesus, which appears green. This is a clear indication of a relevant modification of the artifact in modern times, when the thong was totally painted again; smaller modifications were surely revealed by the presence of “modern” pigments on other points of the body.

Portable Sequentially Shifted Excitation Raman Spectroscopy to Examine Historic Powders Enclosed in Glass Vials

Raman spectroscopy (RS) is a powerful non-invasive tool for the characterization of materials. However, the fluorescence effect often hampers the detectability of the relatively weak vibrational Raman signal. Several approaches were exploited to overcome this limit. This work, in particular, evaluates the performance of an in situ portable sequentially shifted excitation (SSE™) Raman spectrometer applied to the examination of artistic historical pigment powders enclosed in glass vials. The explored handheld spectrometer employs a dual, temperature-shifted, 785 nm and 852 nm laser excitation to optimize both spectral coverage and fluorescence subtraction. The study demonstrates the feasibility of the SSE RS approach for non-invasive identification of art materials, and its applicability in complex situations where the examined material cannot be removed from its container. Laboratory measurements using benchtop dispersive micro-Raman spectroscopy at 785 nm are reported for comparison.

A Multi-Analytical Investigation of Roman Frescoes from Rapoltu Mare (Romania)

(1) Background: Due to the precarious situation of many monuments or archeological sites, analytical investigations are necessary to obtain information about the used materials, as well as to identify the most appropriate solutions for their conservation/restoration. This paper addresses the characterization of mural painting fragments collected during the excavation in 2018 in Rapoltu Mare (La vie), Deva. (2) Methods: Specific analytical techniques were used, as follows: X-ray diffractometry (XRD), wavelength dispersive X-ray fluorescence (WDXRF), optical microscopy (OM), zoom microscopy and scanning electron microscopy (SEM), spectroscopic techniques (UV–Vis, FTIR, Raman), porosity and thermal analysis, all of which provide information about the structure, chemical composition, morphology and topography of pigments and their deterioration as well. (3) Results: Up to seven different pigments were identified: Egyptian blue, carbon, calcite, gypsum, hematite, goethite and green earth. Egyptian Blue is identified in all the other color areas, except the white area: in the green zone (as degradation product with beeswax) and in the red zone (in mixture with ochre) too. In addition, carbon and beeswax were highlighted as toner and binder for pigments, respectively. In the presence of the organic beeswax binding environment, the Egyptian blue pigment particles darkened or turned yellow significantly, changing the blue to a greenish color. It is also possible to identify wollastonite (CaSiO3) in the blue pigment, which indicates that the temperature used in the manufacturing of Egyptian blue was higher than 950 °C from thermal analysis. The presence of apatite, hematite and gypsum deposits in the Hunedoara region certifies that these pigments could have been of local origin, as demonstrated by the presence of analytically identified elements (Fe, P, S, Ca). (4) Conclusions: The analytical techniques used for such investigations have highlighted the main pigments used in Roman times for various Roman murals.

Raman Spectroscopy Analysis of the Mural Pigments in Lam Rim Hall of Wudang Lamasery, Baotou Area, Inner Mongolia, China

This paper presents scientific analyses of the wall paintings in Wudang Lamasery, which is located in the Baotou area of Inner Mongolia, China. Raman spectroscopy was used to analyze the pigments of the mural of the Lam rim Hall. The results show that vermilion, red lead, chrome yellow, emerald green and synthetic ultramarine were used. The existence of synthetic pigments provides a clue for the date the mural was painted.

The combined use of SEM-EDX, Raman, ATR-FTIR and visible reflectance techniques for the characterisation of Roman wall painting pigments from Monte d'Oro area (Rome): an insight into red, yellow and pink shades

The aim of this work has been the identification of the painter's materials employed in the wall decoration of some destroyed buildings dating approximately between the first century B.C. and the first century A.D. This research originates from a previously started joined archaeological and analytical investigation concerning a varied group of findings that resulted from a rescue excavation performed by Soprintendenza Archeologica in the area of Monte d'Oro in Rome. The focus of this study progression has been directed to a numerous selection of monochrome red, pink and yellow-pigmented fragments. The analyses were performed by means of scanning electron microscopy energy dispersive X-ray spectroscopy (SEM-EDX) combined with Raman and Fourier transform infrared (FTIR) spectroscopies; visible reflectance measurements have also been carried out and the relevance of this technique in such a kind of archaeological studies has been highlighted. Most attention has been given to the assessment of the performances of non-destructive techniques achieved by portable Raman, and visible reflectance instrumentation to test their diagnostic capabilities. In addition to the expected and well-known pigments such as cinnabar, red ochre, hematite for the reds and yellow ochre for the yellows, the study highlighted a diffuse use of mixed colours and in some cases the possible presence of overlapped painted layers and confirmed the presence of gildings. Among the mixtures of pigments, the most singular outcome concerns the pink fragments revealing the possible application of bone white, which seems to be rather uncommon as a pigment in Roman wall decorations.

Novel Probe for Thermally Controlled Raman Spectroscopy Using Online IR Sensing and Emissivity Measurements

Temperature rise during Raman spectroscopy can induce chemical alterations of the material under analysis and seriously affect its characterization. Thus, such photothermal side effects can represent a serious problem to be carefully controlled in order to safeguard the integrity of the material and its spectral features. In this work, an innovative probe for thermally controlled portable Raman spectroscopy (exc. 785 nm) equipped with infrared sensing lines was developed. It included an infrared source and two thermopile sensors, which allowed to perform real-time measurements of the local emissivity of the material surface under laser excitation. The emissivity, which is needed in order to monitor the temperature of the irradiated surface through infrared radiation measurements, represents the complementary component of the reflectance in the radiative energy balance. Thus, total reflectance, temperature measurements and Raman spectroscopy were integrated in the present probe. After independently assessing the reliability of the former in order to derive the emissivity of variety of materials, the probe was successfully applied on pigments, paint layers, and a painting on canvas. The results achieved evidence the significant exploitation potential of the novel tool.

The Church of S. Maria Delle Palate in Tusa (Messina, Italy): Digitization and Diagnostics for a New Model of Enjoyment

Cultural places represent the tangible part of the identity and historical heritage of a civilization as well as an extraordinary driving force for the economic development of a country. Within its huge asset, Italy counts a wide number of archaeological sites and monuments which, despite their cultural value, are totally cut off from the most important cultural routes. This paper aims to demonstrate how specific actions of digitization can contribute to valorize (restoring a cultural value) ‘marginal’ landmarks, promoting their knowledge and inclusion. The case study described is represented by the Church of “Santa Maria delle Palate”, located inside the well-known Archaeological Park of Halaesa Arconidea (Tusa, ME). The church, built in 1551 and subject to several renovations throughout the centuries, has been investigated as part of an interdisciplinary training and skill transfer project carried out by a CNR-IPCF research team. During the activities, the group of trainees approached a multi-analytic method for the study of many Sicilian places using different techniques such as laser scanning, photogrammetry, thermography and spectroscopy and collecting a large amount of information and data. In 2019, the building in question was the object of a complete architectural survey in order to obtain an accurate digital replica; moreover, the wall painting representing St. Francis, preserved in the southern nave, was investigated through non-invasive investigations (IR-imaging, XRF and Raman spectrometry) with the intention of collecting information about its state of preservation and nature of pigments used and help the restoration work, which would have been carried out in the following months. The result of the work is a combined “digital archive” useful not only for the purposes of conservation, monitoring and dissemination, but as a container of information enjoyable at different levels of depth. In addition to the scientific outcomes achieved for the study of the painting, relevant from the historical and artistic point of view, we must underline the importance of the work for the implementation of a web-based platform where expert and inexpert users can virtually access the church virtual tour and search for specialized contents (e.g., measures, analyzes results). Media such as this are finally demonstrated to be able to promote the inclusion (e.g., for people unable to reach the place or with reducing mobility) and accessibility to cultural places during ordinary (maintenance, closure) or extraordinary events (pandemic).

Analytical Investigation of Jiatang Scroll Paintings in the Seventh Year of the Guangxu Era

Jiatang scroll paintings listed in the Chinese intangible cultural heritage list are an important form of family trees. In this paper, a Jiatang scroll painting drawn in the seventh year of Guangxu (AD 1881) was chosen as a prototype to analyze its components. Samples were taken from different parts of the Jiatang scroll painting to analyze the composition of fibers, pigments, and adhesives. Herein, fiber analyzer, Fourier transform infrared spectroscopy (FTIR), and Herzberg stain were conducted to identify the type of fiber used. Microstructural and microchemical analyses by means of SEM-EDX and Raman spectroscopy were performed to characterize the pigments present in the painting, while the nature of the adhesive was examined using pyrolysis gas chromatography–mass spectrometry (Py-GC/MS). The results show that the painting fiber is from cotton, while the red, black, and green pigments were identified as cinnabar, carbon black, and emerald green, respectively. Finally, the adhesive is a mixture of animal glue, benzoin gum, and starch. The research results provide a basis for the protection and restoration of this precious cultural heritage in the future.

An Insight into Gandharan Art: Materials and Techniques of Polychrome Decoration

Gandharan art developed in the Himalayan area in the early centuries CE. It has been investigated mostly from an iconographic point of view, missing, until very recently, a systematic technical investigation of materials and techniques. Recently our team began performing chemical analyses of the traces of the polychromy originally covering statues, reliefs and architectural decorations, to discover the ancient painting techniques and artistic technologies. This paper presents the results of the analytical investigation (optical microscopy, Raman spectroscopy and gas chromatography coupled with mass spectrometry) of pigments, ground layers and binders of a new group of samples taken from stucco architectural decorations (2nd–3rd/4th centuries CE). The samples were collected directly at an archaeological site in the Swat Valley, ensuring the exact knowledge of their stratigraphic provenance, as well as the absence of any restoration treatment applied prior sampling. The results are discussed in the wider context of Gandharan polychromy investigated so far by our team, as found in sculptures and architectural decorations preserved in museums (in Italy and France) and in archaeological excavations in Pakistan. The aim of this research is to shed light on the materials and techniques of this Buddhist ancient art from this region and on the influences exerted on it from Eastern and Western artistic traditions.

Canvas Painting Analysis Using Spectroscopic Analysis and Microcharacterisation Techniques

Raman spectroscopy is a well-recognised tool for the analysis of materials in canvas paintings. However, it can be difficult to interpret the peaks of the spectra without the additional context of the artwork such as the age, provenance, or colour. Reflectance spectrophotometry can be used to capture the colour of pigments, dyes, and lacquers, but is seldom used to complement Raman data. Additionally, reflectance spectrophotometry results can be influenced by the surface profile of the painting. To overcome these limitations, this work brings together three different analysis modalities to provide a singular, analytical map of the artwork. Raman spectroscopy was used to conduct the chemical identification of pigments, binding media, and varnish present in a synthetic painting sample. Reflectance spectrophotometry was applied to obtain colour information of the surface paint of the sample. Three-dimensional optical profilometry data was used to characterise the micro topology of the paint surface. These three data sets were spatially matched allowing the recorded spectroscopic data to be displayed with the corresponding colour and surface topography across the paint surface.

Characterization of Two Historical Postage Stamps Made from Cotton Fibers and Their Restoration Trials Based on the Experimental Studies

Ancient stamps are suffering from the destructive effects of different kinds of inks that were prepared from different ingredients. Two Egyptian historical postage stamps printed in blue and red printing inks were evaluated and examined for their composition using a light microscope, SEM-EDS, FTIR, and Raman spectroscopic analyses. Mechanical, chemical, and deacidification treatments were done for the two stamps. Model stamps were made from the cotton pulp in the book house to simulate historical stamp paper with an average thickness of 11 microns. The unprinted and printed paper samples with printing inks that aged and unaged were treated with 0.7% Klucel G, 0.2% TiO2 NP, or a mixture of 0.7% Klucel G + 0.2% TiO2 NP, and the color change was measured and compared with the blank samples. The two stamps are suffering from high pH, where the margin color of the stamps changed to yellow-brown with weakness of the stamp paper. By SEM examination, stamps have suffered from fibers’ weakness and dryness resulting from the self-oxidation reactions. EDS elemental composition of the red stamp showed the presence of C, O, Na, Al, Si, Mg, S, Ca, Ba, and Fe, while in the blue stamp, it was C, O, Na, Al, Si, P, S, Cl, and Ca. Raman spectrometer wavelengths turn out that the blueprinting ink of the stamp was characterized with spectra of ultramarine blue (lazurite), while hematite was characterized by the red stamp. FTIR analysis for the printing inks identified that gum Arabic sample and linseed oil were the binding and color medium, respectively. From the model trials, it was observed that the treatment of a mixture of Klucel G and TiO2 NP had the best properties for the consolidation of stamps. The two historical stamps were documented through different spectroscopic analyses, and from the restoration trials, it was observed that the mixture of 7% Klucel G + 0.2% TiO2 NP appeared to be a new and effective method for recovering the historical postage stamps.

The Art of Everyday Objects: A Non-Invasive In Situ Investigation of Materials and Techniques of Italian Pop Art Paintings on Aluminium

Two paintings, made on aluminium support by Silvio Pasotti (among the major exponents of 1960s Italian pop art) were investigated in a totally non-invasive manner to identify the materials used by the artist. Raman spectroscopy, Fourier-transform infrared spectroscopy (FTIR), visible reflectance spectroscopy, and spectrofluorimetry with visible excitation were exploited as molecular analysis techniques, which are particularly suitable to recognise also synthetic organic materials, such as pigments and binders. The effectiveness of this multi-analytical approach was demonstrated, leading to the identification of several synthetic organic pigments, both conventional and “special effect” ones, introduced during the first half of the 20th century, as well as some well-established inorganic ones. Combining FTIR results both in the medium and near IR ranges, considerations regarding the binders employed by the artist could also be made, suggesting the use of both nitrocellulose and acrylic paints. Imaging techniques, such as IR reflectography, false colour IR, UV induced fluorescence, and portable microscopy, were also used to achieve a better knowledge of the painting practice.

Identification of cinnabar existing in different objects using portable coupled XRF-XRD, laboratory-type XRD and micro-Raman spectroscopy: comparison of the techniques

Abstract

Cinnabar (α-HgS) is a common mineral used in various fields. The identification of cinnabar can be achieved by classic mineralogical methods and instrumental methods. X-ray diffraction (XRD) is the most reliable instrumental method for identifying material phases, but the sampling process and the immovable instrument limit its wider application in the cultural heritage field. The occurrence of Assing S. p. A. Surface Monitor, a portable system integrating X-ray fluorescence (XRF) and XRD, provides researchers with a new solution. Raw mineral, polished gemstone, pigment powder and Chinese ink stick claimed to be composed of cinnabar were measured by the system as well as laboratory-type XRD and micro-Raman techniques in this study. The qualitative XRF results were applied to determining the elements existing in the samples and thus defining the range of possible phases. Patterns obtained were compared carefully with the characteristic lines to determine the most likely phases, while the pattern appearances were compared in order to recognize the different states of cinnabar and generalize the experience for identifying cinnabar by the system. The Raman spectra obtained were compared and analyzed in order to learn the best parameters and determine the real composition of each sample. The results indicate that the XRF detector is sensitive enough to distinguish cinnabar from another red pigment, minium (Pb3O4), without destructive preparation provided that the desired phases occupy a major content in the sample, while the laser micro-Raman is even better in application range and measurement speed but correct analysis of the spectra is highly dependent on experience and literatures. The portable coupled XRF-XRD system and the micro-Raman provide researchers with convenient and efficient options to preliminarily identify minerals like cinnabar, which is significantly meaningful to several research fields including mineralogy, heritage science, material science, etc.

Article highlights

Developing Macro-Raman Mapping as a Tool for Studying the Pigment Distribution of Art Objects

Raman spectroscopy is a well-appreciated technique in cultural heritage research for its ability to obtain molecular information nondestructively. During Raman mapping experiments, advantage is taken of the excellent spatial resolution of the approach, allowing to visualize the spatial distribution of the molecules. In the current research, macro-Raman mapping is proposed, allowing us to map large areas of an artwork (typically tens or hundreds of square centimeters). Therefore, a new setup is made, using a commercially available mobile Raman spectrometer and fast translation stages. Moreover, the probe is equipped with a triangulator to measure the distance to the surface of the artwork and thus achieving accurate focusing of the Raman probe. Finally, the correct setup is guaranteed by using a calibration module that is designed to allow for spectral calibration and aligning all components of the probe. The use of the method is demonstrated by three cases, where different data processing techniques are illustrated.

A Comprehensive and Systematic Diagnostic Campaign for a New Acquisition of Contemporary Art—The Case of Natura Morta by Andreina Rosa (1924–2019) at the International Gallery of Modern Art Ca’ Pesaro, Venice

A multi-analytical approach has been employed to investigate the painting Natura Morta (1954–1955) by Andreina Rosa (1924–2019) to assess the state of conservation and to understand more about the painting materials and techniques of this artwork, which was recently donated by the painter’s heirs to the International Gallery of Modern Art Ca’ Pesaro (Venice-Italy). A comprehensive and systematic diagnostic campaign was carried out, mainly adopting non-invasive imaging and spectroscopic methods, such as technical photography, optical microscopy, Hyperspectral Imaging Spectroscopy (HIS), fiber optics reflectance spectroscopy (FORS), External Reflectance Fourier Transform Infrared (ER-FTIR), and Raman spectroscopies. Microsamples, collected from the edges of the canvas in areas partially detached, were studied by Attenuated Total Reflection Fourier Transform Infrared (ATR-FTIR) spectroscopy and Gas Chromatography-Mass Spectrometry (GC-MS). By crossing the information gained, it was possible to make inferences about the composition of the groundings and the painted layers, the state of conservation of the artwork, and the presence of degradation phenomena. Hence, the present study may be of interest for conservation purposes as well as for enhancing the artistic activity of Andreina Rosa. The final aim was to provide useful information for the Gallery which recently included this painting in its permanent collection.

Jazz Colors: Pigment Identification in the Gouaches Used by Henri Matisse

Jazz, the illustrated book by Henri Matisse, is a testament to the vitality of the artist in the last decade of his career. The book consists of twenty illustrations reproduced in 370 copies using a stencil-based printing technique and the same Linel gouaches the artist had used for the original maquettes. This study reports on the comprehensive analysis carried out to identify the pigments in the gouaches used in Jazz by transmitted and reflectance infrared, Raman, SERS, and X-ray fluorescence spectroscopies, and describes the lightfastness of these gouaches as evaluated by microfaedometry. This study also highlights the necessity of a multi-analytical approach for comprehensive identification of artist materials and investigates the suitability of portable and non-invasive techniques. The results were consistent across the three copies investigated: a portfolio in the collection of the Museum of Modern Art in New York and two books in the collection of the Musée National d’Art Moderne in Paris. In total, 39 distinct colors were characterized, with the magenta, pinks, and blues being the most fugitive.

Did Dionysius of Fourna Follow the Material Recipes Described in His Own Treatise? A First Analytical Investigation of Four of His Panel Paintings

A research protocol based on imaging techniques and physicochemical analyses was designed and carried out in order to investigate the construction technology of four panel paintings produced by a very important 18th century artist, hieromonk Dionysius from Fourna. Dionysius was the first painter of the post-Byzantine period who wrote an artists’ manual for the Eastern Orthodox painting art: he recorded and described in his treatise ‘Hermeneia of Art Painting’ the materials and construction techniques of the 18th century Christian painting. The contribution of Dionysius and his ‘Hermeneia of the Painting Art’ is decisive because it gathers all the previously scattered advice and guidelines about the construction of panel paintings and the information quoted by him is probably the only official recorded source of Eastern Orthodox art technology. In this context, four panel paintings signed by Dionysius were selected for scientific research: it is the first time that an effort is made to analytically characterize the materials used by the hieromonk, to recognize the construction technology, and examine whether it follows the recipes included in his manuscript or not.

A Multi-Analytical Study for the Enhancement and Accessibility of Archaeological Heritage: The Churches of San Nicola and San Basilio in Motta Sant’Agata (RC, Italy)

In the coming years, Italy will need to take on a great challenge concerning the digitization of its archaeological and architectural heritage, one of the richest and most problematic in the world. The aim is to improve the knowledge, conservation, enhancement and accessibility of cultural assets and to make them a resource for national and local development. In this process, the next generation of 3D survey methods (laser scanning and photogrammetry), in combination with diagnostic techniques (spectroscopy analyses) and GIS/BIM (Geographic Information System/Building Information Modeling) solutions, represent a valid support. This work, part of a broader intervention launched by the Municipality of Reggio Calabria for the requalification of some archaeological sites located within its urban and metropolitan area, is focused on the study case of Motta S. Agata. The ancient settlement is located 8 km from Reggio C. in a hilly area difficult to reach and preserves numerous structures in a state of ruin. Among these, two interesting medieval churches are proposed for examination: the church of San Nicola, characterized by five hypogeal funeral crypts, and the chapel of San Basilio, which preserves the traces of a wall painting. A multi-methodological approach including close-range photogrammetry, laser scanning and chemical and thermal analyses was adopted in order to fulfill different tasks: creating a topographic model of the hillfort, mapping the archaeological evidence, digitizing and returning 3D models of the churches, characterizing materials through chemical analyses and monitoring the surfaces with thermal imaging. These combined applications have contributed to reaching the planned goals, i.e., study, conservation, diagnostics, preparation for restoration interventions, development of digital media and dissemination. In this way, a type of interactive museum (made up of virtual tours and informative digital models) has been made available in order to improve the site’s accessibility and inclusivity as well as to test the effect of digitization in attracting tourists and local people toward a place located outside of the usual tourist circuits.

Protocol for the Analysis of Cross-Sections from Gilded Surfaces

This paper describes the protocol currently used at the Victoria and Albert Museum for the scientific analysis of water, oil and lacquer gilding in cultural heritage objects. The purpose of the protocol is to guide scientists, curators and conservators in their routine investigations, and address questions about the characteristics of gilded surfaces, their number, sequence, date, composition and stratigraphic details. Each protocol step is described in detail and is accompanied by practical examples taken from the analysis of an 18th-century Chippendale table and the 20th-century statue of the Spirit of Gaiety. The merits of individual analytical techniques and equipment are also evaluated.

A preliminary evaluation of chemical interaction between sanitizing products and silk

The ongoing Coronavirus crisis involved almost all sectors as well as museums, collections, and historical sites all over the world. Even though artworks do not have the ability to spread the virus, the pandemic officially introduced in cultural sites alcohol-based products (even by visitors for personal use) as these products were indicated to be able to inactivate the virus and were imposed by many local authorities. In this context, the need to conciliate the safety of the visitors and the protection of artworks represents a challenging task. The possibility that accumulation of vapour coming from the sanitizing solutions or from accidental spills, potentially caused also by visitors, should be considered. The study focuses specifically on the possible interactions between sanitizing alcohol-based products and silk, since this material is present in many cultural sites all over the world on upholsteries and tapestries. The recommended sanitising solution (75% ethanol, 20% water, 5% benzalkonium chloride) selected by the Italian Ministry for Cultural Heritage (MIBACT) was considered. Pure distilled water, absolute ethanol and water/ethanol blends in different concentrations were also tested. Chemical and morphological variations on the silk have been evaluated with Scanning Electron Microscopy - SEM, Atomic Force Microscopy - AFM and portable instruments (contact microscope, colorimeter, Infrared and Raman spectroscopy). IR and Raman analyses did not detect significant chemical changes in silk. However, Raman spectra showed, after immersion treatments, minor variations in the intensity of peaks attributed to dyes. Residues of benzalkonium chloride after immersion tests in sanitising solution are present, confirmed also by SEM and AFM analyses. Even if chemical spectroscopic changes were not relevant, the colour of few samples seemed to consistently fade after immersion treatments, thus affecting the visual appearance of textiles.

Multicolor-Raman analysis of Korean paintworks: emission-like Raman collection efficiency

It has been reported that the scattering cross-sections of resonance Raman spectra strongly depend on the resonance between the laser's excitation energy and the electronic absorption band of pigments in solution. However, the actual collection of scattered photons is affected by diffuse scattering and self-absorption when studying painted colorants in artworks. Quantitative spectroscopic measurements are required to elucidate the apparent resonance Raman cross-sections in both solution and solid. In this study, we explored the excitation-dependent Raman scattering of natural and artificial Korean pigments painted on a wood block with six visible wavelengths. Our study shows that the Raman intensity profile agrees with the emission profile rather than with the absorption. We also assessed the validity of self-absorption and the outgoing resonance mechanism in the solid state for the results.

Adsorption Geometry of Alizarin on Silver Nanoparticles: A Computational and Spectroscopic Study

The knowledge of the adsorption geometry of an analyte on a metal substrate employed in surface enhanced Raman scattering (SERS) spectroscopy is important information for the correct interpretation of experimental data. The adsorption geometry of alizarin on silver nanoparticles was studied through ab initio calculations in the framework of density functional theory (DFT) by modeling alizarin taking into account all the different charged species present in solution as a function of pH. The calculations allowed a faithful reproduction of the measured SERS spectra and to elucidate the adsorption geometry of this dye on the silver substrate.

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.

Alizarin Grafting onto Ultrasmall ZnO Nanoparticles: Mode of Binding, Stability, and Colorant Studies

The demand is rising for colorants that are obtained from natural resources, tolerant to industrial processing methods, and meet color quality demands. Herein, we report how relevant properties such as thermal stability and photostability of the natural colorant alizarin can be improved by grafting it onto ZnO nanoparticles (NPs), allowing application in a warm extrusion process for the fabrication of polyamide fibers. For this study, ZnO NPs (diameter 2.0 ± 0.6 nm) were synthesized and subsequently functionalized with alizarin. The alizarin-coated ZnO NPs (i.e., dyed nanoparticles, DNPs) were characterized. Thermogravimetric analysis and ultraviolet-visible (UV-vis) studies revealed that alizarin coating accounts for ∼65% (w/w) of the total mass of the DNPs. A subsequent detailed characterization with Fourier transform infrared (FT-IR), ¹H nuclear magnetic resonance (NMR), ¹³C cross-polarization magic angle spinning (CP-MAS) NMR, X-ray photoelectron spectroscopy (XPS), and quantum chemistry studies using various density functional theory (DFT) functionals and basis sets indicated that binding onto the ZnO NPs occurred predominantly via the catechol moiety of alizarin. Importantly, this grafting increased the thermal stability of alizarin with >100 °C, which allowed the processing of the DNPs into polyamide fibers by warm extrusion at 260 °C. Evaluation of the lightfastness of the DNP-dyed nylon fibers revealed that the changes in color quantified via the distance metric ΔE* of alizarin when embedded in a hybrid material were 2.6-fold better compared to nylon fibers that were directly dyed with alizarin. This reveals that the process of immobilization of a natural dye onto ZnO nanoparticles indeed improves the dye properties significantly and opens the way for a wide range of further studies into surface-immobilized dyes.

Sub-Surface Molecular Analysis and Imaging in Turbid Media Using Time-Gated Raman Spectral Multiplexing

Obtaining molecular information deeper within optically turbid samples is valuable in many applications. However, in many cases this is challenging, in particular when the sample elicits strong laser-induced fluorescence emission. Here, we investigated the use of time-gated and micro-spatially offset Raman spectroscopy (micro-SORS) based on spectral multiplexing detection to obtain sub-surface molecular analysis and imaging for both fluorescing and non-fluorescing samples. The multiplexed spectral detection achieved with a digital micromirror device (DMD) allowed fast acquisition of the time-gated signals to enable three-dimensional Raman mapping (raster scanning in the lateral x,y plane and using time-of-flight calibration for the axial z-direction). Sub-millimeter resolution molecular depth mapping was achieved with dwell times on the order of seconds per pixel. To suppress fluorescence backgrounds and enhance Raman bands, time-gated Raman spectroscopy was combined with micro-SORS to recover Raman signals of red pigments placed behind a layer of optically turbid material. Using a defocusing micro-SORS approach, both fluorescence and Raman signals from the surface layers were further suppressed, which enhanced the Raman signals from the deeper sublayers containing the pigment. These results demonstrate that time-gated Raman spectroscopy based on spectral multiplexed detection, and in combination with micro-SORS, is a powerful technique for sub-surface molecular analysis and imaging, which may find practical applications in medical imaging, cultural heritage, forensics, and industry.

Integrating liquid chromatography mass spectrometry into an analytical protocol for the identification of organic colorants in Japanese woodblock prints

Three Japanese woodblock prints from the Edo period (1603–1868) underwent a scientific investigation with the aim of understanding the changes in the colorants used in Japanese printing techniques. A multi-analytical approach was adopted, combining non-invasive techniques, such as fiber optic reflectance spectroscopy (FORS), Raman spectroscopy, multispectral imaging (MSI), and macro X-ray fluorescence (MA-XRF) with minimally invasive surface-enhanced Raman spectroscopy (SERS). The results enabled many of the pigments to be identified and their distribution to be studied, apart from two shades of purple of organic composition. Consequently, the potential of high-pressure liquid chromatography tandem mass spectrometry (HPLC–MS/MS) was explored for the first time with application to Japanese woodblock prints. The intrinsic sensitivity of the instrument and an effective extraction protocol allowed us to identify a mixture of dayflower (Commelina communis) blue and safflower (Carthamus tinctorius) red in purple samples constituted of 2–3 single fibers. In addition to the innovative integration of MA-XRF and HPLC–MS/MS to investigate these delicate artworks, the study concluded on the use of traditional sources of colors alongside newly introduced pigments in late Edo-period Japan. This information is extremely important for understanding the printing practices, as well as for making decisions about display, conservation, and preservation of such artworks.

By the Hand of Angelos? Analytical Investigation of a Remarkable 15th Century Cretan Icon

A 15th century St Theodoros icon of outstanding quality is on display at the Zakynthos Ecclesiastical Art Museum. On the basis of certain stylistic characteristics, this icon has been attributed to the legendary Cretan painter Angelos Akotantos. In order to explore the latter attribution, the icon was subjected to examination via multispectral imaging, while microsamples were investigated through an optical microscope (OM), a scanning electron microscope coupled with an energy dispersive analyzer (SEM-EDX), μ-Raman and X-ray diffraction (XRD). The data were evaluated in the light of the findings of recent analytical studies conducted on several genuine Angelos icons. Identified materials include gypsum, gold leaf, bole, natural ultramarine, lead white, charcoal, green earth, red lake, minium, cinnabar, and red and yellow ochres. The identified materials resemble those employed by Angelos, while the identification of ultramarine is of particular significance, as this extremely expensive and rather rare pigment was very often used by the particular painter. Moreover, multispectral imaging reveals notable painting technique similarities between the icon in consideration and known Angelos icons, while cross sections of corresponding samples exhibit almost identical structures. Overall, the present work considerably strengthens the suggestion that the St Theodoros icon in consideration was painted by Angelos and also widens our knowledge regarding the late Byzantine painting.

Ag-Nanostars for the Sensitive SERS Detection of Dyes in Artistic Cross-Sections—Madonna della Misericordia of the National Gallery of Parma: A Case Study

In historical paintings, the detection of low amounts of pigments and dyes by Raman spectroscopy can sometimes be challenging, in particular for fluorescent dyes. This issue can be overcome by using SERS (surface-enhanced Raman spectroscopy) which takes advantage of the properties of nanostructured metal surfaces to quench fluorescence and enhance Raman signals. In this work, silver nanostars (AgNSs) are applied for the first time to real art samples, in particular to painting cross-sections, exploiting their effective SERS properties for pigment identification. The case study is the Madonna della Misericordia of the National Gallery of Parma (Italy). Cross-sections were analyzed at first by optical microscopy, SEM-EDS, and micro-Raman spectroscopy. Unfortunately, in some cross-sections, the application of conventional Raman spectroscopy was hindered by an intense background fluorescence. Therefore, AgNSs were deposited and used as SERS-active agent. The experimentation was successful, allowing us to identify a modern dye, namely copper phthalocyanine. This result, together with the detection of other modern pigments (titanium white) and expert visual examination, allowed to reconstruct the painting history, postdating its realization from the 15th century (according to the Gallery inventory) to 19th century with a heavy role of recent (middle 20th century) restoration interventions.

From remote sensing and machine learning to the history of the Silk Road: large scale material identification on wall paintings

Automatic remote reflectance spectral imaging of large painted areas in high resolution, from distances of tens of meters, has made the imaging of entire architectural interior feasible. However, it has significantly increased the volume of data. Here we present a machine learning based method to automatically detect ‘hidden’ writings and map material variations. Clustering of reflectance spectra allowed materials at inaccessible heights to be properly identified by performing non-invasive analysis on regions in the same cluster at accessible heights using a range of complementary spectroscopic techniques. The world heritage site of the Mogao caves, along the ancient Silk Road, consists of 492 richly painted Buddhist cave temples dating from the fourth to fourteenth century. Cave 465 at the northern end of the site is unique in its Indo-Tibetan tantric Buddhist style, and like many other caves, the date of its construction is still under debate. This study demonstrates the powers of an interdisciplinary approach that combines material identification, palaeographic analysis of the revealed Sanskrit writings and archaeological evidence for the dating of the cave temple paintings, narrowing it down to the late twelfth century to thirteenth century.