Analyses of a Green Copper Pigment Used in a Thirteenth-Century Wall Painting

Bidaud, E.; Halwax, E.; Pantos, E.; Sipek, Beate

doi:10.1179/sic.2008.53.2.81

Cited by 6 publications

(2 citation statements)

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“…They could correspond to atacamite (CuCl 2 · 3Cu(OH) 2 ) with characteristic strong bands at 514, 3353 and 3437 cm −1 [26,36] although other bands of weak to medium intensity at 819, 912 and 974 cm −1 can hardly be detected in our spectra due to the weakness of the signal and the strong fluorescence background. Despite the fact that this kind of copper salt was mentioned in old treatises, [26] there is no agreement in scientific literature whether copper chlorides were used as raw materials [37,38] or whether they must be attributed to degradation processes from other copper pigments like azurite. [39] Here, the presence of Cl exclusively in this pictorial layer and its homogenous distribution suggested the intentional application of a chloride-containing pigment or a pigment mixture.…”

Section: Red Areasmentioning

confidence: 99%

Analytical study of polychromy on exterior sculpted stone

Campos-Suñol

Torre-López

Ayora‐Cañada

et al. 2009

J Raman Spectroscopy

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A complete study on the remnants of the polychromy in the main entrance portal of Saint Paul's church (16th century,Úbeda, Spain) has been carried out using Raman microspectroscopy in combination with optical microscopy and scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX). The polychromy in red areas showed the superposition of two well-defined pictorial layers. The first one (probably original) was composed of cinnabar, red lead and hematite over a preparation coating containing calcite, gypsum and lead white. The second red pictorial layer was mainly constituted by cinnabar and was over a thicker preparation coating. Green samples showed a single pictorial layer over the weathered stone. The high fluorescence background made the examination of the latter samples extremely difficult by means of Raman microspectroscopy. SEM-EDX detected abundance of copper and chlorine, and a detailed inspection of Raman spectra revealed the presence of a copper hydroxychloride, analogous to the naturally occurring mineral atacamite. Azurite remnants of the original polychromy were only found in the cracks of mortar joints. Alteration products like calcium and copper oxalates were also widely distributed in this layer.

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Section: Red Areasmentioning

confidence: 99%

Analytical study of polychromy on exterior sculpted stone

Campos-Suñol

Torre-López

Ayora‐Cañada

et al. 2009

J Raman Spectroscopy

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“…Lepot et al, in a study of mural paintings of the Tournai Cathedral (Belgium), identified atacamite and posnjakite as pigments (intentionally used and not as a result of degradation processes). Bidaud et al identified clinoatacamite as a pigment by SEM‐EDS and XRD in the 13th century wall painting in the city castle in Krems, Lower Austria. Castro et al studied a blue‐coloured map from the 17th century, and discussed about the presence of atacamite as a pigment or as a degradation product; a (1 : 1) molar relationship between copper and chlorine suggested atacamite as a raw material.…”

Section: Introductionmentioning

confidence: 99%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

147

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Minerals, as raw structural materials or pigments, play a fundamental role in archaeometry, for the understanding of nature, structure and status of an artefact or object of interest for cultural heritage. A detailed knowledge of the mineral phases is crucial to solve archaeological problems: Raman spectroscopy is a powerful investigation technique and has been applied extensively in the last 30 years on mineral identification and on pigment degradation. Here we report an updated review, covering the last decade, of the applications of Raman techniques to issues in which raw minerals, including mineral pigments, are involved. Particular attention is devoted to cases where the Raman analysis of minerals is deeper than a simple identification of the phases present in an archaeological or artistic object. Copyright © 2016 John Wiley & Sons, Ltd.

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