Multi-analytical identification of a painting workshop at the Roman archaeological site of Bilbilis (Saragossa, Spain)

Cerrato, Emilio J.; Íñiguez, Lara; Cosano, Daniel; Guiral, Carmen; Ruíz, José Rafael

doi:10.1016/j.jasrep.2021.103108

Cited by 4 publications

(5 citation statements)

References 21 publications

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“…However, no graphite was detected from the XRD, so the carbon must be associated with noncrystalline phases. The µ-Raman spectrum for the less dark particles on the outer side of the stopper (Figure 6c,d) contained not only the previous bands, but also one at 1008 cm -1 and another at 960 cm -1 that were assigned to calcium sulfate [26] and calcium phosphate [27], respectively, and were consistent with the presence of sulfur and phosphorus, which were detected by SEM-EDS. Based on the previous results, the carbon compound detected by SEM−EDS and µ-Raman spectroscopy was probably used to seal the unguentarium.…”

Section: Analysis Of the Unguentarium Stoppermentioning

confidence: 58%

Archaeometric Identification of a Perfume from Roman Times

et al. 2023

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Although archaeological excavations have recovered a large number of vessels used to hold perfumes or ointments in ancient Rome, little is known about the chemical composition or origin of the substances they contained. Most available information pertains to ointment and/or cosmetic bases rather than to essences. The discovery in 2019 of an ointment jar (unguentarium) made of rock crystal (quartz) that was sealed with a stopper and contained a solid mass in a Roman tomb in Carmona (Seville, Spain) was a rather unusual finding. This paper reports the results of an archaeometric study of the unguentarium stopper and its contents. Based on them, and on comparisons with commercially available patchouli and nard oil standards, the perfume held in the unguentarium was probably patchouli. To our knowledge, this may be the first time a perfume from Roman times has been identified, which is a major advance in this field. The unguentarium stopper consisted of dolomite, a material also unknown in this type of use, and bitumen was used to seal the unguentarium with the stopper.

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Section: Analysis Of the Unguentarium Stoppermentioning

confidence: 58%

Archaeometric Identification of a Perfume from Roman Times

et al. 2023

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“…Their typical Raman bands at 1357 and 1577 cm −1 could be assigned to amorphous carbon, of which 1357 cm −1 originates from defects in the lattice of C‐atoms and 1577 cm −1 originates from the in‐plane stretching vibration of C‐atoms sp 2 hybridization. Considering the missing Raman band at 960 cm −1 excited by a 532 nm laser, it was presumed that the black pigments should be made of carbon black or vine black (carbon of vegetable origin) rather than bone black [7e,30] …”

Section: Resultsmentioning

confidence: 99%

Pigments, Dyes and the Restoration History of the Painted Figurines of the Tang Dynasty from the Astana Tombs Revealed by Comprehensive Chemical Analysis

Gao¹,

Zhao

Wang

et al. 2022

ChemistrySelect

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Comprehensive micro-analyses were conducted to identify different pigments and dyes used in painted figurines of the Tang Dynasty unearthed from Astana Tombs, located along the ancient Silk Road. Interestingly, a mixture of lazurite and indigo was first discovered on a painted figurine to create a special blue hue, demonstrating that ancient Gaochang craftsmen were already skilled in using mixed colorants. Moreover, superimposition techniques were as well applied in these painted figurines, such as hematite or cinnabar overlaid on red lead. Despite the lack of unambiguous restoration records in the last century, multiple synthetic organic colorants used for repainting the lokapala figurine were successfully identified by Raman spectroscopy and ultra-performance liquid chromatography-tandem mass spectrometry (UPLC-MS/MS), which should be helpful for the retrospective documentation of the restoration history of these artworks. These investigations towards archaeological materials can provide precise historical facts about the artworks and fundamental knowledge for their conservation.

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“…Although the data provided by Raman spectroscopy in relation to black, white, blue, yellow and green pigments do not differ from those generally documented in the Roman world, the last of these is shown to have been applied mixed with Egyptian blue crystals. This shows the use of a technique that we can document in a general fashion in the green pigments of late Republican and early Imperial productions with the aim of giving them a lighter, brighter tone [5,47]. However, we cannot rule out that this was an attempt to falsify malachite, as indicated by the sources (Pliny, Naturalis Historia, XXXIII, 86-91; XXXIV, 110-116 and XXXV, 30) and proposed for other assemblages [17].…”

Section: Discussionmentioning

confidence: 99%

“…Historical-archaeological studies have been complemented in recent years with physicochemical analyses of mortars and pigments, looking in-depth at issues related to craftsmanship, execution techniques, recipes and resource collection. This corresponds to an interest in undertaking comprehensive studies that are supported by the development of sampling criteria and the definition of archaeometric techniques useful for characterising Roman mural painting [5][6][7][8][9].…”

Section: Introductionmentioning

confidence: 99%

Archaeological and Archaeometric Insights into a Roman Wall Painting Assemblage from the Blanes Dump (Mérida)

Castillo Alcántara,

Cosano Hidalgo,

Fernández Díaz

et al. 2024

Heritage

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In this paper we describe the archaeological and archaeometric analysis of a Third Pompeian Style assemblage from the Blanes dump in Mérida (Spain). Based on the pottery context, the material would have been part of the decoration of a public or private space remodelled towards the end of the 1st century AD. Several samples from to the middle area of the assemblage, including panels, inter-panels and a frieze, were selected and studied using X-ray diffraction (XRD), X-ray fluorescence (XRF), Raman, gas chromatography and petrographic analysis. The results revealed the use of hematite, cinnabar, minium and goethite in different panels, as well as goethite, Egyptian blue, calcite, glauconite and carbon for the decorative motifs. They allowed us to define the painting techniques used and how they have affected the degradation of the pigments.

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Multi-analytical identification of a painting workshop at the Roman archaeological site of Bilbilis (Saragossa, Spain)

Cited by 4 publications

References 21 publications

Archaeometric Identification of a Perfume from Roman Times

Archaeometric Identification of a Perfume from Roman Times

Pigments, Dyes and the Restoration History of the Painted Figurines of the Tang Dynasty from the Astana Tombs Revealed by Comprehensive Chemical Analysis

Archaeological and Archaeometric Insights into a Roman Wall Painting Assemblage from the Blanes Dump (Mérida)

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