Raman laser fibre optic strategy for non-destructive pigment analysis. Identification of a new yellow pigment (Pb, Sn, Sb) from the Italian XVII century painting

Ruiz-Moreno, Sergio; Pérez-Pueyo, R.; Gabaldón, Amador; Soneira, M. J.; Sandalinas, Carmen

doi:10.1016/s1296-2074(02)01213-x

Cited by 36 publications

(21 citation statements)

References 5 publications

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“…with the ternary yellow with silica (curve (d)). 5 It should be noted that owing to the heterogeneous nature of the pigment, the band at 658 cm 1 is more intense when the laser is focused on white points of the pigment. 6 Table 5 compares the spectral bands obtained in the pale yellow areas of both the plate and the 'albarello' with the .…”

Section: Resultsmentioning

confidence: 99%

“…2 At the same time, the authors of this paper identified a lead-tin-antimony yellow in seventeenth-century Italian paintings located in the Museu Frederic Marès of Barcelona on the basis of comparison with reference patterns made at the Universidad Alfonso X el Sabio of Madrid. 5,6 Here we present the molecular identification, in two sixteenth-century Italian ceramics, of the two aforementioned triple Pb-Sn-Sb yellow oxide. The Raman spectra obtained from two reference patterns are identical to the spectra obtained in two pieces of Italian majolica from the Museu de Ceràmica of Barcelona.…”

Section: Introductionmentioning

confidence: 99%

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Experimental confirmation by Raman spectroscopy of a PbSnSb triple oxide yellow pigment in sixteenth‐century Italian pottery

Sandalinas

Ruiz-Moreno

López-Gil

et al. 2006

J Raman Spectroscopy

104

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The sixteenth and seventeenth-century Venetian manuscripts on glassmaking contain a number of recipes on yellow pigment production, later named 'anime', based on Pb-Sn and/or Pb-Sb oxides. Since antiquity, these oxides have been employed intermittently as opacifying and colouring agents to obtain coloured glasses, enamels and pigments.In 1998, different laboratories provided evidence of the existence of a 'non-standardized' yellow pigment (Pb-Sn-Sb triple oxide) very close in composition and structure to both the Pb-Sn type II (silicoestannate) and Pb-Sb (antimonate) oxides. This Pb-Sn-Sb yellow pigment was identified by SEM-EDX in seventeenth-century Italian paintings.In previous studies, the authors of the present work have investigated with Raman spectroscopy the presence of Pb-Sn-Sb oxide (pyrochlore structure) in some Italian paintings of the seventeenth century, using as standard a synthesized pyrochloric triple oxide (Pb 2 SnSbO 6.5 ).In this paper, we provide evidence for the first molecular identification with Raman spectroscopy of said pigment in Italian pottery from the sixteenth century. We have identified this pigment in two pieces of decorated pottery: a 'plate' manufactured in Casteldurante and attributed to Andrea Negroponte style (c 1550), and a Venetian 'albarello' (pharmacy jar) attributed to Domenego (c 1570-1580). We have synthesized the reference compound in accordance with the theoretical formula of the pyrochloric triple oxide (Pb 2 SnSbO 6.5 ). The Raman spectra obtained with this material provided molecular information identical to the yellow pigment measured in the two Italian ceramics. To conclude, the experimental results presented here indicate one simple fact: Pb-Sn-Sb triple oxide yellow pigment has been used during the sixteenth and seventeenth centuries without distinction both in Italian ceramics and paintings.

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Section: Resultsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Experimental confirmation by Raman spectroscopy of a PbSnSb triple oxide yellow pigment in sixteenth‐century Italian pottery

Sandalinas

Ruiz-Moreno

López-Gil

et al. 2006

J Raman Spectroscopy

104

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“…Rather, Raman spectra indicates that it is similar to the ancient yellow ternary (Pb-Sn-Sb) pigment whose formulation was described as Pb 2 SnSbO 6.5 [26] and was later identified on Italian paintings "Lot and his daughters" by G.B. Langetti and "Entrance of Christ in Jerusalem" by Luca Giordano [29] as well as Italian pottery of the sixteenth century [30]. The yellow pigment on the tile appears to be a heterogeneous mixture of bright and darker shades of yellow, which in turn may reflect a heterogeneous pigment mixture, which may be of various structural forms.…”

Section: Yellow Pigmentsmentioning

confidence: 99%

Raman analysis of ancient pigments on a tile from the Citadel of Algiers

Kock

Waal

2008

Spectrochimica Acta Part A: Molecular and Biomolecular Spectros

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a b s t r a c tA micro-Raman spectroscopy study of a multi-coloured (yellow, blue, white, redish-brown and brownblack) tile shard from the Citadel of Algiers was undertaken. XRD and EDX were used as complementary techniques. The study shows that the heterogeneous three-shade yellow pigment on the tile is composed largely of the ancient ternary (Pb-Sn-Sb) pyrochlore oxide with a dominant Pb-O vibration at 127 cm

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“…However the paintings have been extensively repaired and repainted, so the exact date of the scheme is unknown. A multianalytical approach was chosen for the analysis of samples based on published methods used for the study of wall paintings [25][26][27][28][29][30][31][32][33]. Cross-sections were prepared and studied using optical microscopy, Raman spectroscopy, and scanning electron microscopy-energy dispersive x-ray spectroscopy.…”

Section: Introductionmentioning

confidence: 99%

A technical study of the materials and manufacturing process used in the Gallery wall paintings from the Jokhang temple, Tibet

et al. 2018

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Wall paintings from the Jokhang temple, Lhasa, Tibet, China cover over 4000 m 2 . In order to protect these valuable paintings and to provide more conclusive information regarding the date of the painting scheme from the outer north Gallery, painting materials and techniques have been studied using optical and scanning electron microscopy, X-ray diffraction and raman spectroscopy. Organic materials were analysed with pyrolysis-gas chromatographymass spectrometry. The wall painting technique is typical of Tibetan paintings and includes multiple layers of locally sourced materials. Analytical results demonstrate the presence of natural and synthetic pigments, including cinnabar (HgS), malachite (CuCO 3 ·Cu(OH) 2 ), azurite (2CuCO 3 ·Cu(OH) 2 ), orpiment (As 2 S 3 ), red lead (Pb 3 O 4 ), synthetic ultramarine blue (Na 3 CaAl 3 Si 3 O 12 S) and emerald green (Cu(C 2 H 3 O 2 ) 2 ·3Cu(AsO 2 ) 2 ) which allow us to date the paintings from the mid to late nineteenth century. The binding media is a kind of animal glue which is likely to be bovine or yak glue, the traditional medium used in Tibet. Gilding was applied as gold powder or gold foil. In the past a sealing material or varnish containing drying oil (maybe tung oil) and pine resin was applied to the surface to protect the paintings.

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Raman laser fibre optic strategy for non-destructive pigment analysis. Identification of a new yellow pigment (Pb, Sn, Sb) from the Italian XVII century painting

Cited by 36 publications

References 5 publications

Experimental confirmation by Raman spectroscopy of a PbSnSb triple oxide yellow pigment in sixteenth‐century Italian pottery

Experimental confirmation by Raman spectroscopy of a PbSnSb triple oxide yellow pigment in sixteenth‐century Italian pottery

Raman analysis of ancient pigments on a tile from the Citadel of Algiers

A technical study of the materials and manufacturing process used in the Gallery wall paintings from the Jokhang temple, Tibet

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