Microanalytical study of luster glazed gilding and silvering from Baroque altarpieces

Salvadó, Nati; Butí, Salvador; Clemente, Carme; Beltrán, Victoria; Cinque, Gianfelice; Juanhuix, Jordi; Pradell, Trinitat

doi:10.1515/pac-2017-0602

Cited by 7 publications

(5 citation statements)

References 36 publications

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“…So, other analytical techniques with the high spatial resolution provided by SEM, or higher, must be envisaged to study the degradation mechanism of silver based paints, concerning the interface layers, in medieval illuminations. Synchrotron based techniques will be considered for future work as has been carried out by Salvadó's team [54,55]. Knowing that, it is possible that in the literature it was possible to detect silver degradation compounds in ageing studies [56], we will further pursue studies based on Raman microscopy.…”

Section: Discussionmentioning

confidence: 99%

Silver paints in medieval manuscripts: a first molecular survey into their degradation

et al. 2018

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The lack of comprehensive studies on silver paints in manuscripts is a handicap to new stabilization strategies and treatments. This work develops and tests a methodological approach for the study of the degradation of silver paints, at the molecular level, using as a case study a French Book of Hours dated from the 15th century from Mafra National Palace collection. In this paper, we show that the global equation commonly used by the cultural heritage community to describe the tarnishing of silver proves to be insufficient to understand the main factor causing its severe and extensive darkening in medieval illuminated manuscripts. This equation depicts the degradation of silver instantly with a sulphide containing species as H 2 S. Recent research has solidly proved that the first intermediate of silver oxidation is Ag 2 O. This theme will be presented in a forthcoming review. Within this framework, we selected four typologies of silver paints, all analysed by in situ techniques and four as microsamples; due to the very small size and fragility of the microsamples, new methods of sample preparation were developed and tested. The main research questions include: (1) understanding how silver-based colour are formed, disclosing its full stratigraphy; (2) define if the other compounds present, such as colour paints and the ground, may affect silver oxidation by stabilizing or accelerating it; (3) comprehend if it is possible to characterize the degradation products of silver paints with the methodology developed in this work, both in the bulk and at the interfaces between layers. Overall our results show that silver-based colours exhibit a complex stratigraphy that impacts its conservation condition. Further research at the molecular level is required on the correlation of the main components of the ground (binder and filler such as gypsum and calcium carbonate) and the paints that are applied as layers over or under the silver leaf. Our case studies have shown that both in situ analytical techniques and scanning electron microscopy with energy dispersive spectroscopy analysis in the microsamples, provide relevant information on the silver colour stratigraphy. However, the information obtained studying cross-sections is more accurate. We consider that the study of the degradation mechanism of silver in medieval illuminated manuscripts will require the combination of both approaches; in situ methodologies support the relevance of the data acquired on the microsamples. Microsamples studies will make possible the acquisition of data that is fundamental to understand the darkening of silver paints and this, in turn, is essential to develop informed and sustainable conservation policies.

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Section: Discussionmentioning

confidence: 99%

Silver paints in medieval manuscripts: a first molecular survey into their degradation

et al. 2018

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“…Moreover, the results also demonstrated the great advantages of the preparation of thin sections for the analysis by O‐PTIR. This technique can be applied to non‐embedded fragments however, the preparation of thin sections allows the compatibility of the obtained dataset with other complementary techniques, such as transmission μSR‐FTIR spectroscopy and SEM‐EDX, but also Raman spectroscopy or μSR‐XRD [38, 39] . This is extremely relevant, since it means that these techniques are fully compatible and can be implemented in the same multi‐analytical approach.…”

Section: Resultsmentioning

confidence: 99%

Nanoscale Analysis of Historical Paintings by Means of O‐PTIR Spectroscopy: The Identification of the Organic Particles in L′Arlésienne (Portrait of Madame Ginoux) by Van Gogh

et al. 2021

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Optical‐photothermal infrared (O‐PTIR) spectroscopy is a recently developed technique that provides spectra comparable to traditional transmission FTIR spectroscopy with nanometric spatial resolution. Hence, O‐PTIR is a promising candidate for the analysis of historical paintings, as well as other cultural heritage objects, but its potential has not yet been evaluated. This work presents the first application of O‐PTIR to the analysis of cultural heritage, and in particular to an extremely small fragment from Van Gogh's painting L′Arlésienne (portrait of Madame Ginoux). The striking results obtained, including the detection of geranium lake pigments as well as the complete analysis of the stratigraphy, failed with other state‐of‐the‐art techniques, highlight the potential of this method. The integration of O‐PTIR to the study of cultural heritage opens to the possibility of decreasing the amount of sample extracted, therefore contributing to the preservation of the integrity of artworks while providing a complete characterization of the materials.

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“…However, through rational examination, Cantonese architecture boldly absorbs and learns from both sources. The artistic features noted above are in fact inspired by Baroque architecture [33][34][35]. For example, the corridor of Chen Clan Temple changes the traditional column style and adopts Western-style cast-iron columns.…”

Section: Traditional Cantonese Buildingsmentioning

confidence: 99%

Structural Materials, Ventilation Design and Architectural Art of Traditional Buildings in Guangdong, China

Song

Liao

2022

Buildings

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Due to its special geographical conditions, Guangdong has absorbed the essence of the Central Plains Han culture and characteristics of foreign cultures, resulting in architecture in which traditional buildings exhibit unique regional cultural connotations. The architectural design is adapted to the needs of nature and ecology and the arts and humanities. This paper investigates the technical process of using local materials to obtain structural materials. Traditional Guangdong buildings use patios, cold alleys and doors as well as windows in a comprehensive manner to create an energy-saving and environmentally friendly ventilation design, which was analyzed here. In addition, we study the floor plans and artistic characteristics of traditional buildings in different regions of Guangdong. Traditional Guangdong buildings realize the harmonious coexistence of humans and nature, as well as embody the concept of sustainable development. Traditional buildings integrate benefits and efficiency while condensing the surpassing wisdom and rich experience of craftsmen from ancient times to the present. Thus, it is worthwhile to research the connotation of traditional buildings to develop modern architectures.

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Microanalytical study of luster glazed gilding and silvering from Baroque altarpieces

Cited by 7 publications

References 36 publications

Silver paints in medieval manuscripts: a first molecular survey into their degradation

Silver paints in medieval manuscripts: a first molecular survey into their degradation

Nanoscale Analysis of Historical Paintings by Means of O‐PTIR Spectroscopy: The Identification of the Organic Particles in L′Arlésienne (Portrait of Madame Ginoux) by Van Gogh

Structural Materials, Ventilation Design and Architectural Art of Traditional Buildings in Guangdong, China

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