Insights into Masolino's wall paintings in Castiglione Olona: Advanced reflectance and fluorescence imaging analysis

Comelli, Daniela; Nevin, Austin; Valentini, Gianluca; Osticioli, Iacopo; Castellucci, E.; Toniolo, Lucia; Gulotta, Davide; Cubeddu, Rinaldo

doi:10.1016/j.culher.2010.06.003

Cited by 41 publications

(31 citation statements)

References 19 publications

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“…In 2010/2011, a lot of Raman studies dealing with mineral pigments were published: the complex gilt stucco surfaces of different monuments in Lombardia (Sansonetti et al); Pompeian wall paintings using EDS and SR‐HRPD and micro‐Raman (Duran et al); pigments in 15th century mediaeval and 16th century renaissance vault paintings in the Our Lady's Cathedral in Antwerp, Belgium (Deneckere et al); mural paintings from the Pyrenean Church of Saint Eulàlia of Unha (Clark et al); the wall painting ‘Historia de Concepcion’ by Gregorio De La Fuente in Concepcion, Chile (Aguayo et al); wall painting by Romans and Arabs (Garofano et al); fresco fragments at the Coriglia, Castel Viscardo, Orvieto, excavation site (Donais et al); wall paintings by Masolino da Panicale in the Baptistery of Castiglione Olona, Italy (Comelli et al); pigments from the Mortuary Temple of Seti I, El‐Qurna at Luxor, Egypt (Mahmoud); Roman and Arabic wall paintings in the Patio de Banderas of Reales Alcazares’ Palace (Duran et al); and the ceiling of the Gilded Vault of the Domus Aurea in Rome (Clementi et al).…”

Section: Introductionmentioning

confidence: 99%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

146

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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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Section: Introductionmentioning

confidence: 99%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

146

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“…Another approach to the imaging of the PL from works of art relies on the detection of the emission lifetime, which can be achieved by combining pulsed laser excitation with a time-gated imaging detector, known as fluorescence lifetime imaging or, more generally, TRPL Imaging [15]. Applications of TRPL imaging for the detection of organic materials on stone sculptures [16], wall paintings [17], and semiconductor pigments on paper [18] have been published, and demonstrate how TRPL imaging can map the chemical composition of surfaces based on significant differences in emission lifetime. In previous applications a ns Q-switched Nd:YAG laser emitting at 355 nm was employed as this wavelength can excite emissions from binding media and organic polymers and aforementioned fluorescent pigments.…”

Section: Introductionmentioning

confidence: 99%

Dual wavelength excitation for the time-resolved photoluminescence imaging of painted ancient Egyptian objects

et al. 2016

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Background:The scientific imaging of works of art is crucial for the assessment of the presence and distribution of pigments and other materials on surfaces. It is known that some ancient pigments are luminescent: these include pink red-lakes and the blue and purple pigments Egyptian Blue (CaCuSi 4 O 10 ), Han blue (BaCuSi 4 O 10 ) and Han purple (BaCuSi 2 O 6 ). Indeed, the unique near-infrared luminescence emission of Egyptian blue allows the imaging of its distribution on surfaces. Results:We focus on the imaging of the time-resolved photoluminescence of ancient Egyptian objects in the Burri Collection from the Civic Museum of Crema and of the Cremasco (Italy). Time-resolved photoluminescence images have been acquired using excitation at 355 nm for detecting the ns-emission of red lakes and binding media; by employing 532 nm excitation Egyptian blue is probed, and the spatial distribution of its long-lived microsecond emission is imaged. For the first time we provide data on the photoluminescence lifetime of Egyptian blue directly from objects. Moreover, we demonstrate that the use of a pulsed laser emitting at two different wavelengths increases the effectiveness of the lifetime imaging technique for mapping the presence of emissions from pigments on painted surfaces. Laser-induced luminescence spectra from different areas of the objects and traditional digital imaging, using led-based lamps, long pass filters and a commercial photographic camera, complement the results from photoluminescence lifetime imaging. We demonstrate the versatility of a new instrumental setup, capable of recording decay emission kinetics with lifetimes from nanosecond to microseconds. Conclusions:While the combined wavelength approach for the imaging of emissions from different materials has been demonstrated for the study of ancient Egyptian pigments (both organic and inorganic), the method could be extended to the analysis of modern pigments and paintings.

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“…Up to now the multispectral analysis is still applied at an experimental level, as the processing of the image set is not straightforward. Rarely multispectral VIS-IR application has been applied to frescos [20][21][22] , probably due to the lack, in most cases, of a scattering background. Fresco is a form of mural painting in which earth pigments are painted directly on fresh, wet, lime plaster.…”

Section: Introductionmentioning

confidence: 99%

Limewashed mural paintings as seen by VIS-IR reflectography

et al. 2015

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Near-Infrared (NIR) reflectography is a well-established technique for painting diagnostics, offering a fundamental contribution to the conservation of paintings. Since the '80s it has been routinely applied to study the execution technique of the author, as well as the presence of pentimenti, retouches, integrations or underdrawing. In the last decades IR reflectography has been extended to the visible (VIS) spectral range, providing information about the pigment composition. Up to now the multispectral analysis is still applied at an experimental level, as the processing of the image set is not straightforward. Rarely multispectral VIS-IR application has been applied to frescos, probably due to the lack, in most cases, of a scattering background. In this work we present the results provided by a multispectral scanning device based on single sensor acquisition, working in the 380-2500 nm spectral range, that is a laboratory prototype specifically built for research-grade imaging. The technique have been applied on a mock up simulating a mural painting substrate where an underdrawing, made of either carbon or iron-gall ink, was covered by different surface layers of limewash, the so-called scialbo.

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Insights into Masolino's wall paintings in Castiglione Olona: Advanced reflectance and fluorescence imaging analysis

Cited by 41 publications

References 19 publications

Raman spectroscopy of minerals and mineral pigments in archaeometry

Raman spectroscopy of minerals and mineral pigments in archaeometry

Dual wavelength excitation for the time-resolved photoluminescence imaging of painted ancient Egyptian objects

Limewashed mural paintings as seen by VIS-IR reflectography

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