Insight into Framework Destruction in Ultramarine Pigments

Structure and morphology of red pigments based on sepiolite

Sepiolite is an important raw fibrous material. A method to prepare red pigments based on sepiolite through the thermal treatment of sepiolite with sulfur and sodium sulfide hydrate is reported. Sepiolite was heated until 800 °C in order to remove zeolitic water, the first coordinated water, the second coordinated water, and structural hydroxyls. Several [S/Na2S]molar ratios in the range 0.5-7 were employed. The properties of these pigments were studied by different analytical techniques, such as colorimetric analysis, thermal analysis, Fourier transform infrared (FTIR) spectroscopy, X-ray diffraction and scanning electron microscopy. The samples with [S/Na2S] = 0.5 and 1, corresponding to high contents of sodium sulfide in the synthesis procedure, exhibit high values of the colorimetric parameter CIE a* and a maximum reflectance in the visible zone belonging to red, based on the red colour of the samples. Under the reducing conditions of the synthesis, sulfur forms polysulfides of the general formula [Sx]2-. The sodium sulfide reacts with the excess S to form polysulfides as well. From the polysulfides, the radical anions of the general formula [Sx/2]˙- originate and they are identified as the chromophore groups responsible for the color in the sulfur-based pigment analogues of ultramarines. The red colour of the samples could be mainly attributed to the presence of S4 and S4˙- identified by FTIR.

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.

Computational refinement of the puzzling red tetrasulfur chromophore in ultramarine pigments

We investigated the cryptic red chromophore, accompanying the blue S3˙- radical in ultramarine pigments, which usually was tentatively assigned to an unspecified isomer of either neutral S4 or ionic S4˙- species. To reveal its identity, we performed the first systematic density functional studies on periodic and large cluster models of red ultramarines, considering several S4/S4˙- isomers embedded in aluminosilicate cages. For both neutral and charged tetrasulfides the most stable confined isomer is the planar C2v one. The only plausible candidate for the red chromophore among the tetrasulfur species is the planar C2v isomer of the neutral S4 molecule, which, apart from being thermodynamically preferable, strongly absorbs green light and its vibrational modes match very well with the available Raman data. The C2v-S4˙- radical, if present at all in red ultramarines, could be identified by strong absorption in the near infrared region and possibly by the slightly larger isotropic value of the g tensor than that of the S3˙- radical.

Sulfur K-edge micro- and full-field XANES identify marker for preparation method of ultramarine pigment from lapis lazuli in historical paints

Ultramarine blue pigment, one of the most valued natural artist's pigments, historically was prepared from lapis lazuli rock following various treatments; however, little is understood about why or how to distinguish such a posteriori on paintings. X-ray absorption near-edge structure spectroscopy at the sulfur K-edge in microbeam and full-field modes (analyzed with nonnegative matrix factorization) is used to monitor the changes in the sulfur species within lazurite following one such historically relevant treatment: heating of lapis lazuli before extracting lazurite. Sulfur signatures in lazurite show dependence on the heat treatment of lapis lazuli from which it is derived. Peaks attributed to contributions from the trisulfur radical-responsible for the blue color of lazurite-increase in relative intensity with heat treatment paralleled by an intensified blue hue. Matching spectra were identified on lazurite particles from five historical paint samples, providing a marker for artists' pigments that had been extracted from heat-treated lapis lazuli.

Raman microspectroscopy for Cultural Heritage studies

The Raman effect is at the basis of Raman scattering and microspectrometry: in the first part of the chapter, it is very shortly exposed together with differences with infrared (IR) spectroscopy, and advantages and drawbacks of the technique. The importance of the choice of the excitation wavelength, of the spectrometer (fixed, portable and handheld) and of the optics is underlined, while the information provided by the technique for inorganic and organic materials is considered. The surface-enhanced Raman spectroscopy (SERS) theory and principle applications are also taken into account. In the second part of the chapter, all the different applications of Raman and SERS to cultural heritage materials are contemplated: minerals, gemstones, rocks, patinas and corrosion products, glass, pottery, mortars, dyes, binders, resins, paper, parchment, inks and human remains. For each category of objects, the answers that Raman microspectrometry and SERS can give to the archaeometric and conservation-related questions, the in situ investigations, the search of specific spectral parameters and the use of chemometrics are shown, together with the most recent advances in the field.

From lapis lazuli to ultramarine blue: investigating Cennino Cennini’s recipe using sulfur K-edge XANES

As one of the most desired and expensive artists’ materials throughout history, there has long been interest in studying natural lapis lazuli. The traditional method of extracting the blue component, lazurite, from lapis lazuli, as outlined in Cennini’s Il Libro dell’Arte, involves a lengthy purification process: (1) finely grind the rock; (2) mix with pine rosin, gum mastic, and beeswax; (3) massage in water to collect the lazurite. Repeating the process produces several grades of the pigment, typically referred to as ultramarine blue. Here, we investigate the sulfur environment within the aluminosilicate framework of lazurite during its extraction from lapis lazuli. The sulfur XANES fingerprint from samples taken at the different stages in Cennini’s extraction method were examined. All spectra contain a strong absorption peak at 2483 eV, attributable to sulfate present in the lazurite structure. However, intensity variations appear in the broad envelope of peaks between 2470 and 2475 eV and the pre-peak at 2469.1 eV, indicating a variation in the content of trisulfur (S3 −˙) radicals. By studying the effect of each step of Cennini’s process, this study elucidates the changes occurring during the extraction and the variability within different grades of the precious coloring material. The increasing application of XANES to the study of artist’s materials and works of art motivated extending the research to assess the possibility of X-ray induced damage. Direct comparison of micro-focused and unfocused beam experiments suggests an increase of the S3 −˙ radicals with prolonged exposure. Analysis indicates that induced damage follows first-order kinetics, providing a first assessment on the acceptable amount of radiation exposure to define the optimal acquisition parameters to allow safe analyses of lapis lazuli and ultramarine pigments.

Non-Invasive and Non-Destructive Examination of Artistic Pigments, Paints, and Paintings by Means of X-Ray Methods

Recent studies are concisely reviewed, in which X-ray beams of (sub)micrometre to millimetre dimensions have been used for non-destructive analysis and characterization of pigments, minute paint samples, and/or entire paintings from the seventeenth to the early twentieth century painters. The overview presented encompasses the use of laboratory and synchrotron radiation-based instrumentation and deals with the use of several variants of X-ray fluorescence (XRF) as a method of elemental analysis and imaging, as well as with the combined use of X-ray diffraction (XRD) and X-ray absorption spectroscopy (XAS). Microscopic XRF is a variant of the method that is well suited to visualize the elemental distribution of key elements, mostly metals, present in paint multi-layers, on the length scale from 1 to 100 μm inside micro-samples taken from paintings. In the context of the characterization of artists' pigments subjected to natural degradation, the use of methods limited to elemental analysis or imaging usually is not sufficient to elucidate the chemical transformations that have taken place. However, at synchrotron facilities, combinations of μ-XRF with related methods such as μ-XAS and μ-XRD have proven themselves to be very suitable for such studies. Their use is often combined with microscopic Fourier transform infra-red spectroscopy and/or Raman microscopy since these methods deliver complementary information of high molecular specificity at more or less the same length scale as the X-ray microprobe techniques. Since microscopic investigation of a relatively limited number of minute paint samples, taken from a given work of art, may not yield representative information about the entire artefact, several methods for macroscopic, non-invasive imaging have recently been developed. Those based on XRF scanning and full-field hyperspectral imaging appear very promising; some recent published results are discussed.

Non invasive analysis of miniature paintings: proposal for an analytical protocol

The characterisation of palettes used in manuscript illumination is a hard analytical task, due to value and fragility of the analysed items. Analysis on miniatures must be necessarily non-invasive and fast and requires the use of several techniques since no single technique is able to provide all information needed. In this work a four-step analytical protocol is proposed for non-invasive in situ characterisation of miniature paintings. The protocol allows the identification of coloured materials through the use in sequence of complementary techniques, so as to fully exploit the information given by each instrument. Preliminarily to the instrumental investigations on ancient books and miniatures is the compilation of spectroscopic databases obtained from "standard" samples prepared on parchment, according to recipes described in medieval artistic treatises. The protocol starts with an extensive investigation with UV-visible spectrophotometry in reflectance mode, collecting spectra from all the most significant painted areas in the manuscript; chemometric classification is then performed on the spectra to highlight areas possibly containing the same materials. The second step involves in-depth inspection of miniatures under optical microscopy that guides the interpretation of reflectance spectra. XRF spectrometry is then performed to characterise pigments and metal layers, to verify the presence of overlapping layers, to identify mordants in lakes and to recognise minor components that may yield information concerning provenance; in addition, chemometric classification can be performed on element concentrations to highlight similar areas. Finally, Raman spectroscopy is used to shed light on the uncertain cases, if still present. Such a procedure offers a wealth of information without causing stress to the manuscripts under analysis.