Spectroscopic investigation on a XVII-XVIII century terracotta slab from Calabria, Southern Italy

Abstract

In this paper the elemental composition of a XVII-XVIII century terracotta slab, preserved in the Gerhard Rohlfs Museum of the Calabrian Greek Language of Bova, Reggio Calabria, Southern Italy, was investigated through the X-Ray Fluorescence (XRF) spectroscopic technique. The investigation allowed us to detect elements closely related to the manufacture of the slab. In addition, Principal Component Analysis (PCA) statistical method was applied to experimental data in order to recognize the provenance of the artefact through a comparison with local clay materials collected from historical buildings of Bova.

Measurement of the natural radioactivity content of earth pigments and evaluation of radiological health risks

“…The scientific research strongly affects the field of archaeological and historical studies for many years now, especially those referred to the physical and chemical characterization of materials [1][2][3]. The knowledge of the characteristics of the materials used in the creation of works of art represents a further means towards understanding the works of art themselves, as well as their intrinsic value and the historical and social context to which they belonged [4][5]. In view of the aforementioned considerations, the compositional analysis of artifacts of many typologies, at different spatial scales and employing a variety of micro-and/or non-invasive techniques, represented the focus of much interest in archaeometry, as testified by the wide existing literature [6][7][8][9].…”

“…The knowledge of the characteristics of the materials used in the creation of works of art represents a further means towards understanding the works of art themselves, as well as their intrinsic value and the historical and social context to which they belonged [4][5]. In view of the aforementioned considerations, the compositional analysis of artifacts of many typologies, at different spatial scales and employing a variety of micro-and/or non-invasive techniques, represented the focus of much interest in archaeometry, as testified by the wide existing literature [6][7][8][9]. In particular, as far as natural minerals and earths with colouring properties are concerned, i.e.…”

X-ray fluorescence analysis of bronze sculptures by Giuseppe Renda

“…As in the case of the "Scugnizzo", the bronze "Non mi toccare" also lacks information about the commissioner, place and period of execution. In this study, the elemental compositional analysis of the three aforementioned bronze sculptures was performed, for the first time, on representative fragments taken during restoration operations, by means of portable X-ray fluorescence (XRF) spectroscopy [3][4][5][6][7][8][9][10][11][12][13], with the aim: (i) of knowing the constituent elements of the bronze alloy of the three works now preserved in Polistena, in order to verify the hypothesis that the bronzes came from a single foundry, probably the same one that made "La Fortuna" in the second half of the 20 th century; (ii) of identifying the most appropriate methodologies to carry out the cleaning during the restoration of the three artifacts, particularly of the bronze sculpture of "La Fortuna", which is composed of several metal elements welded together [14][15][16][17][18][19]. Indeed, evident are the chromatic and material differences in the bronze that constitutes the allegory of "La Fortuna", represented as a naked woman, compared to the wheel that provides its base, executed by making use of an alloy with a decidedly darker tone.…”

X-ray fluorescence analysis of bronze sculptures by Giuseppe Renda

“…As in the case of the "Scugnizzo", the bronze "Non mi toccare" also lacks information about the commissioner, place and period of execution. In this study, the elemental compositional analysis of the three aforementioned bronze sculptures was performed, for the first time, on representative fragments taken during restoration operations, by means of portable X-ray fluorescence (XRF) spectroscopy [3][4][5][6][7][8][9][10][11][12][13], with the aim: (i) of knowing the constituent elements of the bronze alloy of the three works now preserved in Polistena, in order to verify the hypothesis that the bronzes came from a single foundry, probably the same one that made "La Fortuna" in the second half of the 20 th century; (ii) of identifying the most appropriate methodologies to carry out the cleaning during the restoration of the three artifacts, particularly of the bronze sculpture of "La Fortuna", which is composed of several metal elements welded together [14][15][16][17][18][19]. Indeed, evident are the chromatic and material differences in the bronze that constitutes the allegory of "La Fortuna", represented as a naked woman, compared to the wheel that provides its base, executed by making use of an alloy with a decidedly darker tone.…”