Multi-analytical investigation of panel, pigments and varnish of The Martyirdom of St. Catherine by Gaudenzio Ferrari (16th century)

Gargano, Marco; Bonizzoni, Letizia; Grifoni, Emanuela; Melada, Jacopo; Guglielmi, Vittoria; Bruni, Silvia; Ludwig, Nicola

doi:10.1016/j.culher.2020.06.014

Cited by 25 publications

(35 citation statements)

References 17 publications

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“…Moreover, although it was not possible to perform microscopic cross-section analyses, strictly avoided in the current project, the possible stratigraphy was deducted as the applied techniques, exploiting different wavelength, have different penetration depth (Bonizzoni et al, 2008(Bonizzoni et al, , 2007Colombo et al, 2011;Gargano et al, 2020). In particular, ED-XRF (Energy Dispersive X-Ray Fluorescence), FORS (Fiber Optics Reflectance Spectroscopy), Raman and Fourier Transform Infrared (FTIR) analyses are all spot techniques that have already proved to be more effective when applied in synergy (Bonizzoni et al, 2015).…”

Section: Methodsmentioning

confidence: 99%

Imaging and spectroscopic data combined to disclose the painting techniques and materials in the fifteenth century Leonardo atelier in Milan

et al. 2021

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The project "Leonardesque Artists beyond the Visible" was planned in the 500 th anniversary of the death of Leonardo da Vinci, with the occasion of an exhibition held in Milan in 2019, where more than twenty works made by Leonardesque masters have been put on display. Among them, five representative paintings made by his closest pupils were selected for a comprehensive and multidisciplinary project. Portable noninvasive imaging and spectroscopy techniques were applied to supply useful information to scholars but also to the wider public: description of the material composition of the pigments, of the preparation and of the binders, existence or absence of underdrawing, and identification of the painters' technique and style. Particular attention was paid also to the image processing techniques, mostly for hyperspectral and radiographic data, to get the most from both innovative and traditional techniques.

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Section: Methodsmentioning

confidence: 99%

Imaging and spectroscopic data combined to disclose the painting techniques and materials in the fifteenth century Leonardo atelier in Milan

et al. 2021

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“…The identification of that kind of materials is usually performed by the synergic employment of both elemental analyses and spectroscopic techniques (Bruni et al 2008;Fermo et al 2013Fermo et al , 2020Bonizzoni et al 2016;Gargano et al 2020;Tarquini et al 2020). In this case, scanning electron microscopy equipped with an energy dispersive X-ray emission detector (SEM-EDX), Raman, attenuated total reflectance-Fourier transform infrared (ATR-FTIR) and visible reflectance techniques have been applied.…”

Section: Introductionmentioning

confidence: 99%

The combined use of SEM-EDX, Raman, ATR-FTIR and visible reflectance techniques for the characterisation of Roman wall painting pigments from Monte d’Oro area (Rome): an insight into red, yellow and pink shades

Guglielmi

Andreoli

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et al. 2021

Environ Sci Pollut Res

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The aim of this work has been the identification of the painter’s materials employed in the wall decoration of some destroyed buildings dating approximately between the first century B.C. and the first century A.D. This research originates from a previously started joined archaeological and analytical investigation concerning a varied group of findings that resulted from a rescue excavation performed by Soprintendenza Archeologica in the area of Monte d’Oro in Rome. The focus of this study progression has been directed to a numerous selection of monochrome red, pink and yellow-pigmented fragments. The analyses were performed by means of scanning electron microscopy energy dispersive X-ray spectroscopy (SEM-EDX) combined with Raman and Fourier transform infrared (FTIR) spectroscopies; visible reflectance measurements have also been carried out and the relevance of this technique in such a kind of archaeological studies has been highlighted. Most attention has been given to the assessment of the performances of non-destructive techniques achieved by portable Raman, and visible reflectance instrumentation to test their diagnostic capabilities. In addition to the expected and well-known pigments such as cinnabar, red ochre, hematite for the reds and yellow ochre for the yellows, the study highlighted a diffuse use of mixed colours and in some cases the possible presence of overlapped painted layers and confirmed the presence of gildings. Among the mixtures of pigments, the most singular outcome concerns the pink fragments revealing the possible application of bone white, which seems to be rather uncommon as a pigment in Roman wall decorations.

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“…We first performed tests on a set of widely used pigments showing common features (single or multiple bands and s-shape), to verify whether the identification improves following automatic preprocessing. Then we tested the same procedure on real pigment layers belonging to a 16th century painting previously analysed with long-established methods able to determine the mixtures and layers composition [20], comprehending mixtures and layered pigments. Each single dataset is described in the following subsections.…”

Section: Preliminary Resultsmentioning

confidence: 99%

“…A real case study was also tested, starting from the spectra acquired on the painting "The Martyrdom of St. Catherine" by Gaudenzio Ferrari (16th century) held at the Pinacoteca di Brera in Milan [20] [Fig 1S]. About 75 analysis point were considered for FORS analyses, which results were synergistically compared with XRF and imaging techniques.…”

Section: Case Studymentioning

confidence: 99%

Pre-processing methods for automatic pigment recognition through Vis–NIR reflectance spectra

et al. 2021

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The present work presents the preliminary outcome of one of the tasks inside the MOBARTECH project, that is the creation of the prototype for a compact FORS spectrophotometer capable of automatically identifying pigments and dyes. On the road toward this goal, we concentrate on the automation of pigment identification, as aspect of great interest which would allow an in line analysis and could be useful also for unskilled operators. In this paper, we evaluate high order derivative approximation pre-processing and features extraction methods, strictly related to the way the database is built; we have chosen to use a dynamic database to be able to elaborate data and give an answer in real time, independently from the experimental set up, with an interface suitable for both non-skilled and expert users. The aim of the present research is to evaluate how spectra pre-processing affects the response and the ability of the search algorithm to correctly identify an unknown spectrum, in order to develop a totally automated pipeline for spectra identification or to prefer an interactive framework.

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Multi-analytical investigation of panel, pigments and varnish of The Martyirdom of St. Catherine by Gaudenzio Ferrari (16th century)

Cited by 25 publications

References 17 publications

Imaging and spectroscopic data combined to disclose the painting techniques and materials in the fifteenth century Leonardo atelier in Milan

Imaging and spectroscopic data combined to disclose the painting techniques and materials in the fifteenth century Leonardo atelier in Milan

The combined use of SEM-EDX, Raman, ATR-FTIR and visible reflectance techniques for the characterisation of Roman wall painting pigments from Monte d’Oro area (Rome): an insight into red, yellow and pink shades

Pre-processing methods for automatic pigment recognition through Vis–NIR reflectance spectra

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