Organic materials in the wall paintings in Pompei: a case study of Insuladel Centenario

Casoli, Antonella; Santoro, Sara

doi:10.1186/1752-153x-6-107

Cited by 26 publications

(22 citation statements)

References 2 publications

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“…Products identified from animal glue reference samples, such as L-alanine, N-methoxycarbonylpropyl ester, were also identified in the green sample. Compounds that can be attributed to the thermal decomposition of proline and hydroxyproline are markers of animal glue (Chiavari et al 1995;Casoli and Santoro 2012). The presence of palmitic, stearic and oleic acids along with a series of dicarboxylic acids indicates the use of drying oil, possibly linseed oil or niger seed oil (Guizotia abyssinica), a locally found polyunsaturated, slow-drying oil, in combination with the animal glue.…”

Section: The Painting Techniquementioning

confidence: 99%

Physico‐Chemical Characterization of Pigments and Binders of Murals in a Church in Ethiopia

2015

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Here, we report the physico‐chemical characterization of wall paintings from the Petros and Paulos church in Ethiopia. This work represents the first technical study of paintings located in Ethiopia, rather than paintings in museum collections outside the country, using diverse analytical techniques. In situ examination with a portable X‐ray fluorescence spectrometer (pXRF) was followed by analysis of samples using optical microscopy (OM), scanning electron microscopy coupled with energy‐dispersive X‐ray spectroscopy (SEM/EDS), micro‐Raman spectroscopy (MRS), attenuated total reflection – Fourier transform infrared spectroscopy (ATR‐FT–IR), X‐ray powder diffraction (XRD) and pyrolysis gas chromatography – mass spectrometry (Py‐GC/MS). The paint stratigraphy, the compositions of the support material, the preparatory and painting layers were studied, as well as the morphology of the pigment particles. The results revealed the use of earth pigments and carbon black. The preparatory layer was uncommon; composed of dolomite, clay rich in clinochlore and sand, in contrast to the more common gypsum and calcite. The binder and the stratigraphic analyses suggested a distempera technique.

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Section: The Painting Techniquementioning

confidence: 99%

Physico‐Chemical Characterization of Pigments and Binders of Murals in a Church in Ethiopia

2015

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“…However, organic binders have habitually used also in wall paintings by the artists to provide protective layers or varnishes and as final touches. Furthermore, the presence of organic compounds used in past restoration works can equally be found [1][2][3].…”

Section: Introductionmentioning

confidence: 99%

New Insights to Characterize Paint Varnishes and to Study Water in Paintings by Nuclear Magnetic Resonance Spectroscopy (NMR)

Tullio

Proietti

2020

Magnetochemistry

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Paintings are complex multi-layered systems made of organic and inorganic materials. Several factors can affect the degradation of paintings, such as environmental conditions, past restoration works and, finally, the type of painting technique and the art materials used over the centuries. The chemical–physical characterization of paintings is a constant challenge that requires research into and the development of novel analytical methodologies and processes. In recent years, solvents and water-related issues in paintings are attracting more attention, and several studies have been focused on analyzing the interaction between water molecules and the constitutive materials. In this study, recent applications applying different NMR methodologies were shown, highlighting the weakness and the strength of the techniques in analyzing paintings. In particular, the study of water and its diffusive interactions within wall and oil paintings was performed to prove how the portable NMR can be used directly in museums for planning restoration work and to monitor the degradation processes. Furthermore, some preliminary results on the analysis of varnishes and binders, such us linseed oil, shellac, sandarac and colophony resins, were obtained by 1H HR-MAS NMR spectroscopy, highlighting the weakness and strengths of this technique in the field of conservation science.

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“…Mass spectrometry was performed on the same sample used for cross-section preparation [46,47]. The pyrolysis was performed in two steps: a) desorption at 350°C and b) pyrolysis at 500°C.…”

Section: Mass Spectrometrymentioning

confidence: 99%

Non-invasive analytical techniques applied to characterize the components of ancient golden medallions

et al. 2013

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Background: The first stable material used to create a gilded surface was gold. False gold was also found in the form of copper-zinc powders or silver covered with resin. There are various ways to make gold leaf adhere to a large surface area. The identification of the materials and processes to make the gilding and the use of noninvasive techniques for gilding study is still an open problem. The gilding of the medallions from the Mudejar palace of Sevilla Alcazar was investigated, and their components were characterised using non-invasive (in situ and laboratory) techniques such as X-ray fluorescence, μ-Raman, infrared spectroscopy, X-ray diffraction and scanning electron microscopy coupled with energy dispersive X-rays. Cross-sections of golden support were also performed and studied by SEM-EDX. Results: The leaf adhered to the surface was primarily a gold alloy. However, copper, silver and zinc were also found. A layer of lead chromate with some lead sulphate was between the alloy and the support. This yellow pigment (lead chromate) and the layers of bole and white lead were characterised in cross-sections prepared from samples taken from the medallions in which the golden layer was missing. The support was composed of gypsum. Another golden layer applied in oldest time period was also found.

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Organic materials in the wall paintings in Pompei: a case study of Insuladel Centenario

Cited by 26 publications

References 2 publications

Physico‐Chemical Characterization of Pigments and Binders of Murals in a Church in Ethiopia

Physico‐Chemical Characterization of Pigments and Binders of Murals in a Church in Ethiopia

New Insights to Characterize Paint Varnishes and to Study Water in Paintings by Nuclear Magnetic Resonance Spectroscopy (NMR)

Non-invasive analytical techniques applied to characterize the components of ancient golden medallions

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