Double pulse laser induced breakdown spectroscopy applied to natural and artificial materials from cultural heritages

Brai, Maria; Gennaro, G.; Schillaci, Tiziano; Tranchina, Luigi

doi:10.1016/j.sab.2009.07.027

Cited by 24 publications

(14 citation statements)

References 20 publications

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“…Today the composition of most materials can be qualitatively determined in a micro-destructive/non-destructive way using portable XRF instruments [141][142][143][144][145]. In some cases (homogeneous materials, flat surfaces) the measurement can be quantitative: LIBS instruments [145,146] allow profiling the composition from the surface to the bulk, by means of a few microns-sized laser beam that drills the sample.…”

Section: The Analytical Techniques Of Artwork: Toward Non-destructivmentioning

confidence: 99%

The Destructive/Non-Destructive Identification of Enameled Pottery, Glass Artifacts and Associated Pigments—A Brief Overview

Colomban

2013

Arts

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The birth of Chemistry can be found in two main practices: (i) the Arts du feu (ceramic and glass, metallurgy, i.e., inorganic and solid state chemistry) and (ii) the preparation of remedies, alcohols and perfumes, dyes, i.e., organic and liquid state chemistry). After a brief survey of the history of (glazed) pottery and (enameled) glass artifacts, the development of destructive and non-destructive analytical techniques during the last few centuries is reviewed. Emphasis is put on mobile non-destructive Raman microspectroscopy of pigments and their glass/glaze host matrices for chronological/technological expertise. The techniques of white opacification, blue, yellow, green, red, and black coloring, are used as examples to point out the interest of pigments as chronological/technological markers

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Section: The Analytical Techniques Of Artwork: Toward Non-destructivmentioning

confidence: 99%

The Destructive/Non-Destructive Identification of Enameled Pottery, Glass Artifacts and Associated Pigments—A Brief Overview

Colomban

2013

Arts

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“…In most cases, it is necessary to undertake an integrated approach consisting in the use of several analytical techniques in order to obtain a complete overview of the chemical composition of a painted layer. The careful analysis of semi‐quantitative data obtained from non‐invasive techniques permits to make hypotheses about the stratigraphy of the investigated pictorial materials …”

Section: Introductionmentioning

confidence: 99%

“…The careful analysis of semi-quantitative data obtained from non-invasive techniques permits to make hypotheses about the stratigraphy of the investigated pictorial materials. [3][4][5][6]…”

Section: Introductionmentioning

confidence: 99%

Gilding and pigments of Renaissance marble of Abatellis Palace: non‐invasive investigation by XRF spectrometry

et al. 2012

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Most of the artworks constituting the collection of Renaissance statuary of Abatellis Palace in Palermo (Sicily) show evidence of colour layers and fragments of gold foil that probably once covered the whole marble surface. The restoration of some of these statues has allowed to carry out archaeometric studies about the painting technique and to highlight the original materials and inclusion present on the precious marbles by two famous Italian sculptors of the Renaissance, Francesco Laurana and Antonello Gagini. The measurements have been performed in situ through the integrated use of two non‐invasive techniques: visible fluorescence stimulated by ultraviolet light and X‐ray fluorescence. The ultraviolet‐induced fluorescence analysis has provided additional information on the conservation status of marble surfaces by differentiating the pictorial materials and highlighting the presence of gilding and pigment traces through their characteristic fluorescence response. The observation in ultraviolet light has been used as valuable guide for the identification of the significant points to be analysed by X‐ray fluorescence to characterise the original materials. X‐ray fluorescence measurements have cast light about their chemical composition and stratigraphical structure. Pictorial layers were identified: vermilion for red layers, blue pigment based on copper for blue layers and pure gold leaf for gilding layers. Principal component analysis of the data was capable of clustering the different painting materials, discriminating through their chemical content. The results represent an important scientific support both to the hypotheses about the original look of the artworks and to the resolution of restoration and conservation questions still open. Copyright © 2012 John Wiley & Sons, Ltd.

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“…The comparison between XRF and LIBS techniques, here used, is particularly useful in the study of cultural heritage since their results are complementary in terms of both thickness and composition of the investigated surfaces [17,18]. According to this integrated investigative approach, bronze samples, that simulate the ancient Roman alloys [5,6,19,20] and whose corrosion has been induced by burial in the Roman archaeological site of Tharros along the west coast of Sardinia (Italy) [5], were analysed.…”

Section: Introductionmentioning

confidence: 99%

Integrated analytical methodologies for the study of corrosion processes in archaeological bronzes

Alberghina

Barraco

Brai

et al. 2011

Spectrochimica Acta Part B: Atomic Spectroscopy

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Double pulse laser induced breakdown spectroscopy applied to natural and artificial materials from cultural heritages

Cited by 24 publications

References 20 publications

The Destructive/Non-Destructive Identification of Enameled Pottery, Glass Artifacts and Associated Pigments—A Brief Overview

The Destructive/Non-Destructive Identification of Enameled Pottery, Glass Artifacts and Associated Pigments—A Brief Overview

Gilding and pigments of Renaissance marble of Abatellis Palace: non‐invasive investigation by XRF spectrometry

Integrated analytical methodologies for the study of corrosion processes in archaeological bronzes

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