Fungal deterioration of a Jesuit South American polychrome wood sculpture

Fazio, Antonella; Papinutti, Leandro; Gomez, Baltazar; Parera, S.D.; Romero, Antonio; Siracusano, Gabriela; Maier, Marta S.

doi:10.1016/j.ibiod.2010.04.012

Cited by 32 publications

(21 citation statements)

References 25 publications

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“…The inventories left by the Jesuits after their expulsion in 1767 give account of many materialspigments such as Prussian blue, vermillion, minium, carmine, verdigris, among others-that were used by them. Recently, we have identified the pigments minium, vermilion, red earth, madder lake, copper resinate and green earth, together with calcite and gypsum as plasters, in three of the sculptures studied [15,16].…”

Section: Open Accessmentioning

confidence: 99%

Identification of carbon-based black pigments in four South American polychrome wooden sculptures by Raman microscopy

et al. 2015

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Introduction: Carbon-based pigments are a group of dark-colored materials, which are classified according to the starting material used and their manufacturing process. Raman spectroscopy is an ideal technique for the identification of carbonaceous matter. Carbon-based pigments show broad bands between 1,300 and 1,600 cm −1 but they differ in position, width and relative intensity, allowing discrimination between them. The aim of the present study was the identification of carbon-based pigments in four polychrome wooden sculptures from the Jesuit Mission La Trinidad in Paraguay.Results: Analysis of the Raman spectral parameters of the polychrome samples and comparison with those of carbon-based pigment references allowed the identification of wood charcoal, lampblack, bistre and a black earth pigment. Complementary analysis by infrared spectroscopy and elemental analysis supported the assignments. Conclusions:In this study we have provided new evidence that Raman microscopy is a powerful technique for the discrimination of carbon-based pigments in works of art. This is the first time that bistre, lampblack and a black earth pigment are identified in colonial art. The chemical information obtained on the black pigments contributed to increase our knowledge on available resources and technology used in the manufacture of the polychrome sculptures at the Jesuit Mission. This information is relevant for our studies on Colonial art.

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Section: Open Accessmentioning

confidence: 99%

Identification of carbon-based black pigments in four South American polychrome wooden sculptures by Raman microscopy

et al. 2015

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“…Porém, esta atitude começa a mudar e surge a compreensão de que é necessária uma abordagem multidisciplinar que inclua os fatores ambientais e as propriedades do substrato para criar uma solução mais eficaz [9][10][11]. Considera-se também, cada vez mais, que a conservação preventiva e de manutenção devem ter um papel primordial, na medida em que permitem reduzir as intervenções de restauro [12].…”

Section: Conservar Património 17 (2013)unclassified

“…Perspetivam-se vantagem para os métodos de biorremediação [10,[14][15][16][17], bem como para os métodos que envolvem a incorporação de materiais antimicrobianos com propriedades de autolimpeza, como os fotocatalisadores heterogéneos [18].…”

Section: Conservar Património 17 (2013)unclassified

“…Os pavimentos observados (ver Figura 14) são correntemente constituídos por vigas colocadas paralelamente entre si, com afastamentos que variam aproximadamente entre os 0,40 m e os excepcionais 0,60 m. As secções transversais são também variáveis, tendo sido observados toros redondos de diâmetros variados (troncos apenas despidos da casca, ricos em borne e mais facilmente deterioráveis), associados aos edifícios de menor nobreza, e vigas e barrotes esquadriados, mais ou menos costaneiros conforme os edifícios a que se destinavam [10]; também as dimensões destas secções rectangulares são bastante variáveis, com as alturas dominantes a variam entre os 140 e os 160 mm, para as vigas correntes, e entre os 200 e os 220 mm, para as vigas de maiores vãos. Quanto à largura, apresentam normalmente valores a variar entre os 80 e os 140 mm.…”

Section: Caracterização Dos Pavimentos Em Madeiraunclassified

“…Nesse contexto, Rakotonirainy et al [6] Fazio et al [10] observaram a presença do fungo Nigrospora numa escultura de madeira jesuítica, exposta no Museu de Ciências Naturais, indicando que pouco se conhece sua ação sobre a madeira. Esta observação é indicativa da importância de se investigar a biodegradação da madeira/celulose em relação a novas espécies isoladas.…”

Section: Remoção De Pinturas Sobre Pinturas Originais Perdidas E Tingunclassified

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Atacamite as a natural pigment in a South American colonial polychrome sculpture from the late XVI century

Tomasini

Landa²,

Siracusano³

et al. 2012

J Raman Spectroscopy

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The image of Our Lady of Copacabana is a gilded polychrome sculpture manufactured in maguey wood at the end of the 16th century. It is a highly devotional image in the Andean region and her sanctuary lays at the shores of the Titicaca Lake in Bolivia. In this study, a green sample taken from the Virgin´s veil has been analyzed with the aim to identify the green pigment and the gilding technique. The green pigment layer covered completely the shiny color of the gilded area. First, the cross section of the sample was examined by optical microscopy revealing the presence of green crystals on a white layer; beneath it, a gold leaf on a red bole was observed. Scanning electron microscopy-energy dispersive spectroscopy analysis allowed the identification and quantification of copper and chloride in the green pigment layer. Analysis by micro-Raman spectroscopy indicated the presence of atacamite (Cu 3 Cl 2 (OH) 3 ) as the green pigment. Although this compound has been identified as a degradation product of copper pigments or of metallic objects containing copper, in this polychrome sculpture, atacamite was used as the green pigment and is identified for the first time as a mineral pigment in a colonial sculpture made in the Viceroyalty of Peru.

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Fungal deterioration of a Jesuit South American polychrome wood sculpture

Cited by 32 publications

References 25 publications

Identification of carbon-based black pigments in four South American polychrome wooden sculptures by Raman microscopy

Identification of carbon-based black pigments in four South American polychrome wooden sculptures by Raman microscopy

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Atacamite as a natural pigment in a South American colonial polychrome sculpture from the late XVI century

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