Architectural Polychromy on the Athenian Acropolis: An In Situ Non-Invasive Analytical Investigation of the Colour Remains

Abstract

The preservation of the Athenian Acropolis monuments constitutes an ongoing top-priority national project of global significance and impact. The project concerning the analytical investigation of the polychromy of the Acropolis monuments presented in this paper was part of the Acropolis Restoration Service (YSMA) program (2011–2015), regarding the restoration of the two corners of the west entablature of the Parthenon, which exhibited severe static damage, and a parallel restoration program of the Propylaea. The scope of this research was to investigate the materials in the paint decoration remains on the monuments by applying, entirely in situ, numerous non-invasive techniques on selected architectural members of the Parthenon and the Propylaea. The research focused, mainly, on surfaces where traces of colour or decoration patterns were visible to the naked eye. Furthermore, surfaces that are referred to in the literature as decorated but that are currently covered with weathering crusts (of white or black colour) and/or layers of patina (of yellowish and orange-brown hue), were also examined. The techniques applied in situ on the Acropolis monuments were X-ray fluorescence, micro-Raman, and Fourier Transform InfraRed (FTIR) spectroscopic techniques, conducted with the use of handheld or portable instruments. The scientific data gathered in situ are discussed in this paper to enhance our knowledge of the architectural polychromy of the classical period. Further investigation by applying analytical techniques on a few selected micro-samples would be highly complementary to this present work.

Polychrome Bronze Sculpture: A Multi-Analytical Approach to Unveil the Renaissance Gilded Eagles in the Abbey of San Miniato al Monte, Florence

“…The theme of polychromy in ancient statuary is rather challenging because the traces of the original colors are often modified by the natural processes of alteration, causing a loss of the original decorative effect as a result of pollution by previous cleaning interventions or colors being hidden by encrusted deposits. In recent years, interest in ancient polychromy has strengthened with new studies on stone [2][3][4], terracotta [5], and bronze statuary [6].…”

The goddess’ new clothes: the carving and polychromy of the Parthenon Sculptures

“…In 2018, a new research project revealed a wealth of additional information on the use of colour on the monument. Most recently, the architectural polychromy of the Parthenon in Greece has been published (Aggelakopoulou et al 2022). The present article reports on analysis of the carving and painting of the Parthenon Sculptures at the British Museum, designed to document the sculptures' surfaces and identify indications of their production and finishing, including carving marks and paint traces, and any links between them.…”