Between past and future: Advanced studies of ancient colours to safeguard cultural heritage and new sustainable applications

An overview of prominent factors influencing the photocatalytic degradation of cationic crystal violet dye employing diverse nanostructured materials

“…127 The medium, binding agent and other additives are some of the other components that affect a dye's color; therefore there has not been any obvious correlation identified between the fading rate and dye colour. 128,129 According to Vattikuti et al, 74 96.2% of CV decayed after 50 min of UV light exposure, and 93.06% after 105 min of visible light exposure. According to Aulakh et al, 130 3-mercaptopropionic acid-capped ZnS nanostructures degrade CV by 93% and 88%, respectively, under UV light and visible light irradiation in the same amount of time.…”

A combined approach to the vibrational characterization of medieval paints on parchment: Handheld Raman spectroscopy and micro‐SORS

“…1,2 In the past two decades, several studies have focused on the technical analysis of the color palette used to illuminate Iberian medieval manuscripts. 1,[3][4][5][6][7][8] As paint formulations and application techniques can sometimes be traced back to specific times and locations, research on these aspects has proven useful to shed light not only on an object's state of preservation but also on its history and technology of production. 1,[6][7][8] Illuminations from Portuguese monasteries display predominantly pure colors, which were often overlaid to convey an idea of volume; however, pigment mixtures have also been found on these artifacts.…”

“…1,[3][4][5][6][7][8] As paint formulations and application techniques can sometimes be traced back to specific times and locations, research on these aspects has proven useful to shed light not only on an object's state of preservation but also on its history and technology of production. 1,[6][7][8] Illuminations from Portuguese monasteries display predominantly pure colors, which were often overlaid to convey an idea of volume; however, pigment mixtures have also been found on these artifacts. 4,5,9 In manuscripts of royal production such as the Ajuda Songbook, the only surviving codex of Galician-Portuguese secular poetry, dating from the 13th-14th centuries, the combination of two or more pigments or colorants to yield a certain tone was identified as a more common practice.…”

“…Medieval illuminated manuscripts are among the wonders that have come down to us from the Middle Ages, whose colorful imagery has fascinated researchers for centuries up to the present day 1,2 . In the past two decades, several studies have focused on the technical analysis of the color palette used to illuminate Iberian medieval manuscripts 1,3–8 .…”

“…Medieval illuminated manuscripts are among the wonders that have come down to us from the Middle Ages, whose colorful imagery has fascinated researchers for centuries up to the present day 1,2 . In the past two decades, several studies have focused on the technical analysis of the color palette used to illuminate Iberian medieval manuscripts 1,3–8 . As paint formulations and application techniques can sometimes be traced back to specific times and locations, research on these aspects has proven useful to shed light not only on an object's state of preservation but also on its history and technology of production 1,6–8 .…”