The research presented in this study aimed to document the variability of synthetic lead antimonate pigments known as Naples yellow in selected artworks by Czech landscape painters from the turn of the 20th century. Spectra

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The use of computed tomography (CT) for studying artwork has a long tradition in the restoration and care of collections in memory institutions. The result of the related tomographic reconstruction is a virtual spatial model in which we can examine the production technology, the internal structure, various damaged areas, and previous restoration interventions. The extension of standard CT to dual energy CT provides additional information to help distinguish materials with similar densities but different chemical compositions. As will be shown, pigment differences that appear very similar in optical light can be identified in this way. The differences found were confirmed by X-ray fluorescence and Raman spectroscopy analytical techniques. Current laboratory CT scanners make it possible to examine the layered structures of paintings and polychrome sculptures. In the case of wood panel paintings, however, we are faced with the common deformation of the panels. So, when examining the CT data, we can only see a small section of the paint layer, and it is difficult to examine the whole artwork in its entire context. This disadvantage can be solved by a virtual straightening of the panel, as will be demonstrated.

This paper presents an investigation of wooden artworks from the collection of the National Gallery Prague created by Monogrammist IP–one of the top carvers of the Salzburg-Passau region at the beginning of the 16th century. His wood reliefs were examined to gain a better understanding of the historical techniques used in medieval art workshops. The internal structure of the small relief Visitation was analysed using computed tomography. Tomographic reconstruction made it possible to distinguish wood species, observe the internal structure of the artwork in detail, study the technological procedures and identify earlier repairs, additions and damages. Tomographic investigation proved the use of four types of wood on the relief Visitation, most likely pear, lime, unspecified softwood and other different species used for joining dowels. A combination of non-invasive and micro-destructive analytical techniques was employed for the chemical characterisation of the materials in the surface layers of the artworks. Photomicrographs of the surface were taken to provide material for the initial investigation. Non-invasive material research was conducted using a portable X-ray fluorescence analyser and, in selected cases, an external reflection infrared spectrometer. The detailed analyses on the micro-samples was carried out by optical microscopy, micro-Raman spectroscopy, Fourier transform infrared spectroscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry and gas chromatography with mass spectrometry. A glaze layer based on protein with earth pigment was identified on the relief Christ the Saviour from Death.

Tato studie si klade za cíl prezentovat poznatky získané z restaurátorského a materiálového prÛzkumu provedeného na vybran˘ch dílech Josefa Mánesa (1820-1871). Cílem bylo charakterizovat díla z hlediska technologického v˘voje a porovnat mezi sebou jednotlivé obrazy, dohledat souvislosti mezi zpÛsobem malby, systémem vrstvení a materiálov˘mi sloÏkami díla v prÛbûhu Mánesovy tvorby a tím pfiispût k lep‰ímu poznání umûlcova malífiského rukopisu. PfiestoÏe Mánes patfií mezi nejv˘znamnûj-‰í ãeské malífie, jeho malífiská technika a materiály, které na sv˘ch dílech pouÏíval, nebyly doposud pfiedmûtem komplexního zkoumání. PrÛzkumy Mánesov˘ch dûl provádûl v 60. letech 20. století restaurátor Mojmír Hamsík v rámci restaurátorsk˘ch zásahÛ, nicménû jeho v˘sledky jsou dostupné pouze ve formû restau-rátorsk˘ch zpráv. 1 Dílãí informace k Mánesovû technice malby publikoval ve svém díle restaurátor Bohuslav Slánsk˘. 2 VyuÏití souãasn˘ch moÏností moderních prÛzkumov˘ch metod umoÏÀuje doposud získané poznatky dále roz‰ífiit a upfiesnit. Velmi omezené jsou také informace o materiálech a technice malby Mánesov˘ch pfiedchÛdcÛ i souãasníkÛ, jako byl napfiíklad Christian Ruben ãi Antonín Mánes, ktefií se mohli podílet na v˘voji autorského rukopisu Josefa Mánesa.