Prehistoric Anasazi ceramics studied by micro‐Raman spectroscopy

This paper gives a short overview of the Special Issue on Raman Spectroscopy in Art and Archaeology, with the papers collected after the ‘3rd International Conference on the Application of Raman Spectroscopy in Art and Archaeology’ held at the University Pierre et Marie Curie‐Paris 6, Paris, France, from 31 August to 3 September, 2005. The contributions present an extended view of the work in the field, from technical developments and special analytical procedures to various applications. Copyright © 2006 John Wiley & Sons, Ltd.

Section: Colours Pigments and Technologiesmentioning

confidence: 99%

Raman spectroscopy in art and archaeology

Bellot‐Gurlet

Pagès-Camagna

Coupry

2006

“…8 Moreover, its use as a non-destructive and non-invasive microprobe investigation method for ceramic materials has been profusely discussed. 3,4,9,10 This peculiarity would also meet all the conditions for a micro-scale investigation of hematite within the slip layer: a study aimed to identify spectral markers imputable to structural modifications and thus to a firing and/or compositional effect. Another advantage is represented by the lack of sample preparation and the fast response, so that a statistical survey could be conducted in a reasonably short time.…”

Section: Introductionmentioning

confidence: 99%

Micro‐Raman study of aluminium‐bearing hematite from the slip of Gaul sigillata wares

Zoppi

Lofrumento

Castellucci

et al. 2006

impure crystallites in the slip of sigillata wares from La Graufesenque (southern France) has recently been demonstrated by micro-structural analyses, posing new questions about manufacturing processes and technological skills. To clarify the chemical composition and the spatial distribution of such phases within the slip, five representative sigillata wares were investigated by micro-Raman spectroscopy. The recorded spectra show the typical hematite bands, though the Raman peaks are broadened and shifted, which agrees with a disordered phase. This is also reflected in a signal at 670 cm −1 , while a shoulder close to 430 cm −1 is attributed to point defects, in agreement with the substitution of Fe atoms by Al atoms. A corundum spectrum was not detected indeed, probably hidden by the more intense hematite one. Spectral parameters were then estimated by a curve-fitting analysis. Their comparison indicates a similarity among the investigated slips as well as uniformity within the slip layer. This suggests an awareness of the control of the production process among the local craftsmen. The spectral interpretation was assisted by reference spectra acquired on artificially doped hematite and corundum powder samples, which were used for probing the doping effect on the vibrational features of the pure crystallites.

“…Carbon materials, of mineral, vegetable or animal origin, composed ideally of pure carbon, were largely employed during prehistory [1][2][3][4][5][6][7][8] and were never abandoned by artists and artisans. [9] Carbon-based materials are suitable for both dry and liquid drawing (in the form of graphite, charcoal sticks, black chalk, pastels and inks, respectively [1] ) and have been used as pigments for paintings, [2,5,[10][11][12][13][14][15][16][17][18] for polychrome objects [9,19] and for pottery. [8,20] The continuity of use through time and the worldwide distribution of this kind of materials require the establishment of a welldefined terminology that could be easily used for archaeometrical applications, but that keeps into account the major contributions of geological and industrial research to the study of carbon-based materials, along with the information from artistic literature (treatises [1,21,22] ).…”

Section: Introductionmentioning

confidence: 99%

Raman spectroscopy for the investigation of carbon‐based black pigments

Coccato

Jehlička

Moëns

et al. 2015

186

136

a Raman spectroscopic studies of carbonaceous materials are, until now, mainly devoted to geological and industrial materials. On the other hand, it is known from artistic literature that many varieties of carbon-based black pigments were produced and used in different places and times, and according to the artist's preferences. The ability of Raman spectroscopy to analyse particles down to 1 μm and its non-destructiveness make it an ideal tool for pigments investigation. Anyway, the discrimination among different types of carbon-based black pigments is affected by various aspects, one of which is the lack of reference spectra as well as of specific nomenclature. In this paper, reference materials have been studied by means of Raman spectroscopy to provide reference spectra. All the pigments showed two broad bands of carbon, but sometimes specific excitation conditions were required to record a good quality Raman spectrum. The obtained Raman signatures are discussed, on the basis of the specificities of the pigment (natural or artificial origin; structural implications related to the raw materials used or to production processes; etc.). Therefore, on the basis of the Raman spectra of painting materials, further knowledge can be obtained on the type of carbon-based black pigments in works of art.