Determination of Pigments and Binders in Pompeian Wall Paintings Using Synchrotron Radiation – High‐resolution X‐ray Powder Diffraction and Conventional Spectroscopy – Chromatography

Durán, A.; Haro, M.C. Jiménez de; Pérez-Rodríguez, J. L.; Franquelo, M. L.; Herrera, Liz Karen; Justo, A.

doi:10.1111/j.1475-4754.2009.00478.x

Cited by 80 publications

(54 citation statements)

References 38 publications

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“…In general, many studies have been devoted to characterize materials dating back to the Roman age from different sites around the world, some of these materials are pigments [18][19][20][21][22][23][24][25][26][27][28], mortars [29][30][31], and plasters [32]. In contract of this, few studies were undertaken to study materials from Ptolemaic and Roman monuments in Egypt [33][34][35][36][37][38].…”

Section: Research Aimsmentioning

confidence: 99%

Investigations by Raman microscopy, ESEM and FTIR-ATR of wall paintings from Qasr el-Ghuieta temple, Kharga Oasis, Egypt

Mahmoud

2014

herit sci

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In the present work, a multi-analytical approach was used to analyze samples collected from the wall paintings of Qasr el-Ghuieta temple, Kharga Oasis, Egypt. The temple is dating back to the 27th dynasty (525-404 BC) and was completed during the Ptolemaic period. The samples were analyzed by optical microscopy (OM), environmental scanning electron microscopy (ESEM) coupled with an energy dispersive X-ray analysis system (EDX), Raman microscopy and Fourier transform infrared-attenuated total reflectance spectroscopy (FTIR-ATR). The chromatic palette used in the temple was identified as Egyptian blue (cuprorivaite), red ochre (haematite), yellow ochre (goethite) and carbon black (from a vegetable origin). The green pigment was identified as green earth, however, a green tonality was also obtained through a mixture of Egyptian blue and yellow ochre, and in some samples, carbon black was also found. Several amounts of anatase and carbon black were found in the red and yellow ochre samples, respectively. The analysis showed that the preparation layer is almost made of pure gypsum, while the plaster layer based mainly on gypsum with variable amounts of quartz, calcite and clay minerals. The results showed that the painting materials and techniques used in the temple are almost the same of those used in the Egyptian temples with respect to the stratigraphy of paint layers, chromatic palette and the painting technique employed.

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Section: Research Aimsmentioning

confidence: 99%

Investigations by Raman microscopy, ESEM and FTIR-ATR of wall paintings from Qasr el-Ghuieta temple, Kharga Oasis, Egypt

Mahmoud

2014

herit sci

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“…However, when applied on a fresh lime plaster, its soap content reacts with the lime quickly transforming it into an insoluble calcium soap and making the paint water-resistant. 8 Components of this paint medium have been identified in Roman wall paintings from Pompeii, Herculaneumunrestored [60], some unrestored [56], Oplonti, Romesome of them unrestored- [58,59], Gijón [65], and, as previously mentioned, in unrestored samples from Marsala, Mérida, Complutum, Ampurias, Cartagena and Baelo Claudia. Beeswax has also been identified in Thracian wall paintings in Bulgaria dating from the fourth century BC [66], in Nabataean wall paintings from Petra (Jordan) from the first century BC-first century AD [67], in Romano-British murals from Verulamium (second century AD) [68], and in Byzantine wall paintings from Deir el Suriam [69] and Baouit (Egypt) [70] from the seventh century AD, suggesting a huge geographical and chronological range of this wax technique in ancient wall painting.…”

Section: Painting Techniques On Fresh Lime Plastermentioning

confidence: 99%

“…While a number of analyses identified Roman murals as not having been painted in fresco [56][57][58][59][60][61], these results proved unable to open a debate on the validity of the prevailing theory-a situation which has continued up to the present day.…”

Section: Introductionmentioning

confidence: 98%

What do we know of Roman wall painting technique? Potential confounding factors in ancient paint media analysis

Cuní¹

2016

Herit Sci

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The theory of fresco as the standard painting technique in Roman wall paintings, formulated in the mid-1960s by Paolo Mora and Laura Mora and Paul Philippot, has enjoyed general acceptance among specialists to the present day. However, the fresco theory is based on a series of postulates-such as the feasibility of fresco on pontate, the presence of giornate, or the use of alkali-sensitive pigments-which appear to be unsupported by physical or experimental evidence and which would require further assessment in order to validate the theory. Additionally, chemical analyses of Roman murals have identified the presence of various types of organic binders. A comparative study of these analyses reveals a remarkable difference between results obtained by the different researchers. The clustering of results by research group appears highly unlikely, suggesting the possible presence of confounding factors which could lead to distorted results. These factors might be related both to the difficulty in extracting ancient paint media and the influence of biological contamination. If the extraction method used is not adequate for an ancient binding medium, then part of the binder may not be extracted, producing an incomplete characterization of its composition. The lack of data on both the efficiency of the methods used and the possible influence of microbial contamination in the organic material may cause uncertainty in the degree of reliability of the different results obtained, fomenting uncertainty around the techniques used in ancient paintings as well as the treatments suitable for their conservation. Therefore, in the analysis of ancient paint media, the implementation of a protocol of assessment of both the efficiency of the extraction methods and the influence of biological contamination seems advisable.

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“…The cross-sections were prepared following the methodology described by Duran and Duran et al [29,42] and Khandekar [43]. They were observed and photographed with a Nikon OPTIPHOT optical microscope (25×, 50× and 100× magnification).…”

Section: Cross-sections Preparationmentioning

confidence: 99%

“…Small plain pieces or fragments of artwork can be easily transported to a laboratory and studied directly by noninvasive XRD, micro-Raman, micro-FTIR, and SEM/EDX without altering the samples [27][28][29][30][31], that are then returned to their original location.…”

Section: Introductionmentioning

confidence: 99%

Non-invasive analytical techniques applied to characterize the components of ancient golden medallions

et al. 2013

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Background: The first stable material used to create a gilded surface was gold. False gold was also found in the form of copper-zinc powders or silver covered with resin. There are various ways to make gold leaf adhere to a large surface area. The identification of the materials and processes to make the gilding and the use of noninvasive techniques for gilding study is still an open problem. The gilding of the medallions from the Mudejar palace of Sevilla Alcazar was investigated, and their components were characterised using non-invasive (in situ and laboratory) techniques such as X-ray fluorescence, μ-Raman, infrared spectroscopy, X-ray diffraction and scanning electron microscopy coupled with energy dispersive X-rays. Cross-sections of golden support were also performed and studied by SEM-EDX. Results: The leaf adhered to the surface was primarily a gold alloy. However, copper, silver and zinc were also found. A layer of lead chromate with some lead sulphate was between the alloy and the support. This yellow pigment (lead chromate) and the layers of bole and white lead were characterised in cross-sections prepared from samples taken from the medallions in which the golden layer was missing. The support was composed of gypsum. Another golden layer applied in oldest time period was also found.

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Determination of Pigments and Binders in Pompeian Wall Paintings Using Synchrotron Radiation – High‐resolution X‐ray Powder Diffraction and Conventional Spectroscopy – Chromatography

Cited by 80 publications

References 38 publications

Investigations by Raman microscopy, ESEM and FTIR-ATR of wall paintings from Qasr el-Ghuieta temple, Kharga Oasis, Egypt

Investigations by Raman microscopy, ESEM and FTIR-ATR of wall paintings from Qasr el-Ghuieta temple, Kharga Oasis, Egypt

What do we know of Roman wall painting technique? Potential confounding factors in ancient paint media analysis

Non-invasive analytical techniques applied to characterize the components of ancient golden medallions

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