A multi-analytical approach to investigate the state of conservation of the wall paintings of Insula 104 in Hierapolis (Turkey)

Vettori, Serena; Bracci, Susanna; Cantisani, Emma; Riminesi, Cristiano; Sacchi, Barbara; D’Andria, Francesco

doi:10.1016/j.microc.2016.05.006

Cited by 9 publications

(4 citation statements)

References 8 publications

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“…Both syngenite and gypsum are frequently encountered weathering products in black crusts and efflorescence layers on stone monuments and mural paintings and as a white haze on medieval (K-rich) glass. − Potassium and sulfate originate either from internal (e.g., potash glass, K-rich feldspar in granite) or external sources (e.g., fertilizers, K-rich cement, KOH solutions for polychromy removal, dust particles, and air pollution). ,,, Depending on the available counterions, sulfate salts with different composition will readily precipitate at the surface or inside cracks. The mention of syngenite in oil paintings seems very limited in literature; it has been found as a secondary salt in a red-orange Baroque bole ground used for the altar piece Celebration of St. Roche .…”

Section: Resultsmentioning

confidence: 99%

Transmission and Reflection Mode Macroscopic X-ray Powder Diffraction Imaging for the Noninvasive Visualization of Paint Degradation in Still Life Paintings by Jan Davidsz. de Heem

et al. 2019

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The use of noninvasive chemical imaging techniques is becoming more widespread for the study of cultural heritage artefacts. Recently a mobile instrument for macroscopic X-ray powder diffraction (MA-XRPD) scanning was developed, which is capable of visualizing the distribution of crystalline (pigment) phases in quasi-flat painted artefacts. In this study, MA-XRPD is used in both transmission and reflection mode for the analysis of three 17 th century still life paintings: two paintings by Jan Davidsz. de Heem (1606-1684) and one copy painting after De Heem by an unknown artist. MA-XRPD allowed to reveal and map the presence of in situ formed alteration products. In the works examined, two rare lead arsenate minerals, schultenite (PbHAsO 4 ) and mimetite (Pb 5 (AsO 4 ) 3 Cl) were encountered, both at and below the paint surface; they are considered to be degradation products of the pigments realgar (α-As 4 S 4 ) and orpiment (As 2 S 3 ). In transmission mode, the depletion of lead white, present in the (second) ground layer, could be seen, illustrating the intrusive nature of this degradation process. In reflection mode, several sulfate salts, palmierite (K 2 Pb(SO 4 ) 2 ), syngenite (K 2 Ca(SO 4 ) 2 .H 2 O) and gypsum (CaSO 4 .2H 2 O), could be detected, in particular at the (top) surface of the copy painting. Estimates for the information depth and sensitivity of both transmission and reflection mode MA-XRPD for various pigments have been made. The possibility of MA-XRPD to allow for noninvasive identification and visualization of alteration products is considered a significant advantage and unique feature of this method. MA-XRPD can thus provide highly relevant information for assessing the conservation state of artworks and could guide possible future restoration treatments.

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Section: Resultsmentioning

confidence: 99%

Transmission and Reflection Mode Macroscopic X-ray Powder Diffraction Imaging for the Noninvasive Visualization of Paint Degradation in Still Life Paintings by Jan Davidsz. de Heem

et al. 2019

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“…Syngenite is a frequently encountered secondary salt, either as a weathering product in black crusts or as efflorescence layers on stone monuments, mural paintings and medieval (K-rich) glass [30][31][32][33][34][35][36]. In some cases it has been found below the surface of artworks, such as in a red-orange Baroque bole ground or as a raw material in the plaster of a Chinese wall painting [37,38].…”

Section: Macroscopic X-ray Powder Diffraction Mapping Of a Degraded Ymentioning

confidence: 99%

Combined Micro- and Macro scale X-ray powder diffraction mapping of degraded Orpiment paint in a 17th century still life painting by Martinus Nellius

et al. 2019

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The spontaneous chemical alteration of artists' pigment materials may be caused by several degradation processes. Some of these are well known while others are still in need of more detailed investigation and documentation. These changes often become apparent as color modifications, either caused by a change in the oxidation state in the original material or the formation of degradation products or salts, via simple or more complex, multistep reactions. Arsenic-based pigments such as orpiment (As 2 S 3) or realgar (α-As 4 S 4) are prone to such alterations and are often described as easily oxidizing upon exposure to light. Macroscopic X-ray powder diffraction (MA-XRPD) imaging on a sub area of a still life painting by the 17th century Dutch painter Martinus Nellius was employed in combination with microscopic (μ-) XRPD imaging of a paint cross section taken in the area imaged by MA-XRPD. In this way, the in situ formation of secondary metal arsenate and sulfate species and their migration through the paint layer stack they originate from could be visualized. In the areas originally painted with orpiment, it could be shown that several secondary minerals such as schultenite (PbHAsO 4), mimetite (Pb 5 (AsO 4) 3 Cl), palmierite (K 2 Pb(SO 4) 2) and syngenite (K 2 Ca(SO 4) 2 •H 2 O) have formed. Closer inspection of the cross-sectioned paint layer stack with μ-XRPD illustrates that the arsenate minerals schultenite and mimetite have precipitated at the interface between the orpiment layer and the layer below that is rich in lead white, i.e. close to the depth of formation of the arsenate ions. The sulfate palmierite has mostly precipitated at the surface and upper layers of the painting.

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“…Frescos have been also widely studied with IR thermography to detect previous interventions, hidden damages and, in some cases, to discover the cause of their deterioration (humidity, unknown structures in the wall, etc.) . In case of mosaics, IR thermography permits to evaluate the mortar and the suitability of the consolidative materials and treatments .…”

Section: Introductionmentioning

confidence: 99%

“…[3][4][5][6][7][8][9][10][11][12][13][14][15][16] Frescos have been also widely studied with IR thermography to detect previous interventions, hidden damages and, in some cases, to discover the cause of their deterioration (humidity, unknown structures in the wall, etc.). [17][18][19][20][21][22][23][24] In case of mosaics, IR thermography permits to evaluate the mortar and the suitability of the consolidative materials and treatments. 24,25 The application of IR thermography is not only focused on constructions, it has been also applied on paintings on canvas or wood, [26][27][28][29] tapestries, 30 books 31,32 and archaeological artifacts 33,34 to evaluate their conservation state, to detect hidden damages and to improve their conservation strategies.…”

Section: Introductionmentioning

confidence: 99%

Comparative assessment of stained‐glass windows materials by infrared thermography

Palomar

Agua

Gómez-Heras

2018

Int J of Appl Glass Sci

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This paper reports the analyses of infrared thermography images of two stained‐glass windows with the objective of the in situ characterization of this type of artworks. The analyses were carried out by active thermography. The observations revealed that glasses absorbed the long‐wave IR radiation emitted by the halogen lamps and their apparent surface temperature progressively increased. After switching the spotlight off, they experienced a progressive decrease in temperature. Silver stained glasses presented the same thermographic behavior than uncolored glasses because silver nanoparticles were too small or the yellow layer was too thin to produce a different response than the base glass with the IR radiation. The apparent surface temperature of enamels and grisailles depended on their thickness and color. Lead cames maintained an almost constant surface apparent temperature, except those painted that behave in a similar way than enamels. Metallic tin‐lead welds experienced the most important variation in the surface apparent temperature in reflection mode due to the energy reflected by the surface of the weld. Glass defects such as big bubbles were also observed.

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A multi-analytical approach to investigate the state of conservation of the wall paintings of Insula 104 in Hierapolis (Turkey)

Cited by 9 publications

References 8 publications

Transmission and Reflection Mode Macroscopic X-ray Powder Diffraction Imaging for the Noninvasive Visualization of Paint Degradation in Still Life Paintings by Jan Davidsz. de Heem

Transmission and Reflection Mode Macroscopic X-ray Powder Diffraction Imaging for the Noninvasive Visualization of Paint Degradation in Still Life Paintings by Jan Davidsz. de Heem

Combined Micro- and Macro scale X-ray powder diffraction mapping of degraded Orpiment paint in a 17th century still life painting by Martinus Nellius

Comparative assessment of stained‐glass windows materials by infrared thermography

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