Characterising the unique polychrome sinopia under the Lod Mosaic, Israel: pigments and painting technique

Piovesan, Rebecca; Maritan, Lara; Neguer, Jacques

doi:10.1016/j.jas.2014.02.032

Cited by 18 publications

(9 citation statements)

References 10 publications

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“…For the Fe-rich yellows and reds, it appears that the latter have been prepared with an As-rich ochre, whereas yellow is As-free (Figure 6a), similarly to what observed in House of Marcus Lucretius and House of Gilded Cupids in Pompeii (38). Mimetite (Pb 5 (AsO 4 ) 3 Cl) and vanadinite (Pb 5 (VO 4 ) 3 Cl), containing As and V respectively, have been confirmed in lead ore deposits but also in ironrich soils (ochres) (39,40).…”

Section: Portable Instrumentationsupporting

confidence: 69%

Integrated analytical approach to unveil the secrets of the recently discovered “Sphinx Room”: a new piece of Domus Aurea puzzle.

Caggiani

Coccato

Mazzoleni

et al. 2020

Preprint

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The recent discovery of the Sphinx Room, belonging to the Domus Aurea Esquiline wing, thanks to the framework given by the project “Non-destructive analytical studies at Parco Archeologico del Colosseo (Rome, Italy)”, allowed to perform an analytical campaign, both in situ and on micro-fragments. The first aim was the archaeometrical characterisation of the painting materials. In fact, the analytical information on the wall decorations contributes to the overall comprehension of this extraordinary imperial architecture, and allows to contextualize the newly-discovered room inside the Domus Aurea complex. Moreover, further knowledge on the painting technique is achieved, which is of relevance for the general understanding of Roman mural decorations. The palette, composed of Egyptian blue, green earths, iron- and lead-based red, orange and yellow, calcite, carbon black, allowed to compare the Sphinx Room to Corridor 92 and Room 114 of Domus Aurea and to other sites in Rome. Furthermore, the employ of an organic binder in some spots can be put forward based on spectroscopic results, which does not exclude a wider use of the a fresco. Furthermore, a complementary methodological strategy was designed, in order to achieve a complete characterization of the materials. In addition to the well-known combination of in situ Raman and X-ray fluorescence analyses, Infrared Fourier Transform Spectroscopy was used, both in situ (Diffuse Reflectance) and in the lab (Attenuated Total Reflectance). The results confirm the suitability of this approach for the characterization of Roman wall paintings, where both inorganic and organic materials are simultaneously present.

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Section: Portable Instrumentationsupporting

confidence: 69%

Integrated analytical approach to unveil the secrets of the recently discovered “Sphinx Room”: a new piece of Domus Aurea puzzle.

Caggiani

Coccato

Mazzoleni

et al. 2020

Preprint

View full text Add to dashboard Cite

show abstract

“…Occurrences of vanadinite are rare but attested in the Hellenistic period by the statues from Delos (Jockey & Bourgeois 2005), the wall paintings from Alexandria (Rouveret & Walter 1998, 2004: 47–48, 67–68) and the brick figurine from Amathonte (Courtois & Velde 1981). In Roman times, the use of vanadinite is presumed in the sinopia of the Lod Mosaic in Israel; Piovesan et al (2014) assume, however, that it was present in the natural earth. Its presence was also associated in small quantities with the lead white applied on the Sciarra Amazon of the Ny Carslberg Glyptotek art museum (Sargent & Hoberg Therkildsen 2010: 33).…”

Section: Resultsmentioning

confidence: 99%

Polychromy in Africa Proconsularis: investigating Roman statues using X-ray fluorescence spectroscopy

et al. 2017

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“…Piovesan et al described a polychrome sinopia, where cinnabar was also used, under the Lod Mosaic, Israel. Gill et al analysed the extraordinary palette of pigments on Buddhist wall paintings and sculptures, dating to the 12–13th century, in the interiors of the temple complex at Sumda Chun, Ladakh: azurite, orpiment, vermilion and minium were identified.…”

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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Characterising the unique polychrome sinopia under the Lod Mosaic, Israel: pigments and painting technique

Cited by 18 publications

References 10 publications

Integrated analytical approach to unveil the secrets of the recently discovered “Sphinx Room”: a new piece of Domus Aurea puzzle.

Integrated analytical approach to unveil the secrets of the recently discovered “Sphinx Room”: a new piece of Domus Aurea puzzle.

Polychromy in Africa Proconsularis: investigating Roman statues using X-ray fluorescence spectroscopy

Raman spectroscopy of minerals and mineral pigments in archaeometry

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