Pigment Compendium: A Dictionary of Historical Pigments

Eastaugh, Nicholas; Walsh, Valentine; Chaplin, Tracey D.; Siddall, Ruth

doi:10.4324/9780080473765

Cited by 265 publications

(501 citation statements)

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“…An important insect dye from south Asia, lac, appears to have reached Europe by the Middle Ages, according to commercial records dating from 1222 (27,28). The historical document mentions that lac dye was imported into Southern Europe by Catalan or Provençal traders who procured it in Northern Africa (where presumably Muslim traders received it from India).…”

Section: Resultsmentioning

confidence: 99%

Microanalysis of organic pigments and glazes in polychrome works of art by surface-enhanced resonance Raman scattering

Leona

2009

Proc. Natl. Acad. Sci. U.S.A.

174

103

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Scientific studies of works of art are usually limited by severe sampling restrictions. The identification of organic colorants, a class of compounds relevant for attribution and provenance studies, is further complicated by the low concentrations at which these compounds are used and by the interference of the protein-, gum-, or oil-binding media present in pigment and glaze samples. Surface-enhanced resonance Raman scattering (SERRS) was successfully used to identify natural organic colorants in archaeological objects, polychrome sculptures, and paintings from samples smaller than 25 m in diameter. The key factors in achieving the necessary sensitivity were a highly active stabilized silver colloid, obtained by the reproducible microwave-supported reduction of silver sulfate with glucose and sodium citrate, and a non-extractive hydrolysis sample treatment procedure that maximizes dye adsorption on the colloid. Among the examples presented are the earliest so far found occurrence of madder lake (in a 4,000 years old Egyptian object dating to the Middle Kingdom period), and the earliest known occurrence in Europe of the South Asian dyestuff lac (in the Morgan Madonna, a 12 th century polychrome sculpture from Auvergne, France).archaeology ͉ dyes

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Section: Resultsmentioning

confidence: 99%

Microanalysis of organic pigments and glazes in polychrome works of art by surface-enhanced resonance Raman scattering

Leona

2009

Proc. Natl. Acad. Sci. U.S.A.

174

103

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“…Basic lead carbonate is the chemical equivalent of the natural hydrocerrusite. However, hydrocerrusite is extremely rare and consequently barely used as pigment source, which implements that already since the Roman period the synthetic equivalent was used as pigment [16].…”

Section: White Colourmentioning

confidence: 99%

“…Lead tin yellow type I is found widely in paintings throughout Europe from the 14th century until the first half of the 18th century. It does not appear to have been used in other places or cultures unless specific trade with Europe took place [16].…”

Section: Yellow Colourmentioning

confidence: 99%

“…The pigment used for this miniature is most likely natural ultramarine, as the first commercial production of synthetic ultramarine dates from 1828. Raman spectroscopy is not able to distinguish between natural and synthetic ultramarine in paint layers [16]. Raman spectra (6× objective, 1 × 60 s, 10% laser power) of: (a) the green colour, which is a mixture of ultramarine (Na8-10Al6Si6O24S2-4) and lead-tin yellow type I (Pb2SnO4); (b) the grey colour, which is a mixture of lead-tin yellow type I (Pb2SnO4) and lead white (2PbCO3·Pb(OH)2); and (c) the brown colour, for which massicot (PbO) was used.…”

Section: Blue Colourmentioning

confidence: 99%

“…5(c)). It occurs as soft yellow earthy masses in association with lead ore deposits worldwide [16]. Massicot is currently used to refer to the orthorhombic lead(II) oxide mineral with composition PbO.…”

Section: Brown Colourmentioning

confidence: 99%

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The use of mobile Raman spectroscopy to compare three full-page miniatures from the breviary of Arnold of Egmond

Deneckere

Leeflang

Bloem

et al. 2011

Spectrochimica Acta Part A: Molecular and Biomolecular Spectros

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General rightsIt is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulationsIf you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: http://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. Download date: 09 May 2018Spectrochimica Acta Part A 83 (2011) 194-199 a b s t r a c tThe Breviary of Arnold of Egmond is one of the most wealthily illuminated fifteenth century manuscripts in the Northern Netherlands. The manuscript originally contained a number of full-page miniatures, which were all removed at an unknown date before 1902. The three remaining miniatures studied here, are today part of different collections, but they were brought together for an exhibition. Although several historical and art historical details of this breviary have extensively been studied, no examination of the materials used was undertaken before. Analytical techniques, such as mobile Raman spectroscopy, can be used to characterise and identify these materials in a non-invasive way. This paper presents the results of the in situ Raman analysis of three full-page miniatures of the Breviary of Arnold of Egmond. During this study, different pigments could be identified, such as lead white (2PbCO 3 ·Pb(OH) 2 ), lead-tin yellow type I (Pb 2 SnO 4 ), ultramarine (Na 8-10 Al 6 Si 6 O 24 S 2-4 ), massicot (PbO), vermilion (HgS) and red lead (Pb 3 O 4 ). Next to identification of the pigments, visual analysis was used to detect differences and similarities between the stylistic elements of the three analysed folios.

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Standoff Mid‐Infrared Emissive Imaging Spectroscopy for Identification and Mapping of Materials in Polychrome Objects

et al. 2017

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Microscale mid-infrared (mid-IR) imaging spectroscopyi su sed for the mapping of chemical functional groups.T he extension to macroscale imaging requires that either the mid-IR radiation reflected off or that emitted by the object be greater than the radiation from the thermal background. Reflectance spectra can be obtained using an active IR source to increase the amount of radiation reflected off the object, but rapid heating of greater than 4 8 8Ccan occur,which is aproblem for paintings.Rather than using an active source, by placing ah ighly reflective tube between the painting and camera and introducing al ow temperature source,t hermal radiation from the room can be reduced, allowing the IR radiation emitted by the painting to dominate.Thus,emissivity spectra of the object can be recovered. Using this technique, mid-IR emissivity image cubes of paintings were collected at high collection rates with al ow-noise,l ine-scanning imaging spectrometer,whichallowed pigments and paint binders to be identified and mapped.

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Pigment Compendium: A Dictionary of Historical Pigments

Cited by 265 publications

References 0 publications

Microanalysis of organic pigments and glazes in polychrome works of art by surface-enhanced resonance Raman scattering

Microanalysis of organic pigments and glazes in polychrome works of art by surface-enhanced resonance Raman scattering

The use of mobile Raman spectroscopy to compare three full-page miniatures from the breviary of Arnold of Egmond

Standoff Mid‐Infrared Emissive Imaging Spectroscopy for Identification and Mapping of Materials in Polychrome Objects

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