Materials and Techniques of Cappadocian Wall Paintings

Andaloro, Maria; Pogliani, Paola

doi:10.1007/978-981-33-4161-6_4

Cited by 2 publications

(2 citation statements)

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“…This result makes it possible to specify the method of using white lime as a binder by distinguishing these brushstrokes from the frescoes. This is an element of the technical process known from the sources [28] and identified in the early medieval painting of the same period as our case study [14], but still little investigated systematically with scientific analyses. Together with the results obtained in relation to the characterization of pigments, this result contributes to enriching the knowledge of medieval wall paintings in terms of execution procedure.…”

Section: Stratigraphy and Executive Technique Of The Paintingmentioning

confidence: 99%

“…The investigations carried out in recent decades on a large group of medieval wall paintings have contributed to further clarifying the techniques and materials used, allowing the activity of the different workshops to be specified. These are the studies conducted, for example, on Byzantine painting in Cappadocia, that aim to demonstrate that the use and evolution of painting materials and techniques are also rooted in specific localities, defined by unique circumstances of time and place [14]. The mapping of the materials used in medieval painting in Rome [15] and southern Italy [16] provides data that will make it possible to recompose the geography of the painters' work and the origin of the materials with respect to eastern medieval painting as well [17].…”

Section: Introductionmentioning

confidence: 99%

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A Multi-Analytical Diagnostic on an Outdoor Wall Painting: The Study on the Déesis of St. Maria Annunziata’s Church, Motta San Giovanni (Reggio Calabria, Italy)

Salatino,

Zicarelli,

Ricca

et al. 2023

Applied Sciences

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This article concerns the diagnostic campaign aimed at analyzing the mural painting representing the iconographic theme of the Deesis of the Church of St. Maria Annunziata, Motta San Giovanni, in the province of Reggio Calabria. In 1951, a flood caused the collapse of the building and the consequent breaking of the apse into two parts. The present study focused on the left side of the apse, hosting the figures of Christ and Mary, in order to plan the best conservation intervention strategy. For this purpose, non-invasive investigations and laboratory analytical methods were conducted in order to characterize the constituent materials and to identify the forms of alteration and degradation present on the surface of the painting. In particular, Raman spectroscopy, optical microscopy, scanning electron microscopy coupled to the chemical analysis by an EDS probe, Fourier-transform infrared spectroscopy and ion chromatography were employed. The results highlighted the presence of a single layer of plaster made with a lime-based binder. The chromatic palette of the painting is characterized by ochres and carbon black mixed with lime to obtain the different shades. Finally, the definition of the nature of the deposits and of the overlaid materials was fundamental in order to identify the best products and methods to restore the readability of the work.

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Section: Stratigraphy and Executive Technique Of The Paintingmentioning

confidence: 99%