The Servilia tomb: an architecturally and pictorially important Roman building

Villar, Susana E. Jorge; Temiño, Ignacio Rodríguez; Edwards, Howell G. M.; Hernández, Alejandro Jiménez; Cecilia, José Ildefonso Ruiz

doi:10.1007/s12520-016-0450-9

Cited by 13 publications

(6 citation statements)

References 36 publications

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“…Lazurite has been found as part of a brown colour and of a blue colour in The Servilia Tomb (Spain) in admixture with haematite and goethite for the brown colour and goethite and carbon for a dark blue hue [ 24 ] ; in Roman wall paintings in Colchester by Edwards et al [ 19 ] ; Aliatis et al [ 25 ] have found this pigment in Roman wall paintings in the Vesuvius area. Sciuti et al [ 26 ] have suggest the presence of lapis lazuli and associate it with the ancient name of caeruleum .…”

Section: Resultsmentioning

confidence: 99%

“…In violet and purple hues, some authors have found Egyptian blue mixed with red minerals such as haematite, with goethite (yellow) and haematite, [17,24,30] and with minium and haematite in the wall painting at Avenches. [31] Edreira et al [22] have found it with small amounts of cinnabar, and Béarat [29] has described its use for achieving a brown colour together with haematite and goethite.…”

Section: Egyptian Bluementioning

confidence: 99%

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Green and blue pigments in Roman wall paintings: A challenge for Raman spectroscopy

Villar

Edwards

2021

J Raman Spectroscopy

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In Roman wall paintings, blue and green colours are less commonly encountered than red and yellow and were more expensive. Despite this, Pliny and Vitruvius describe the more common compounds used for these pigments, translated today as azurite, lazurite, chrysocolla, indigo and Egyptian blue for blues and verdigris, malachite, celadonite, glauconite and chlorite for greens.A confusion in their nomenclature is often found in the most common blue pigment that is the first manufactured compound, Egyptian blue. For greens, celadonite and glauconite were usual and called generically 'green earths', but they prove to be difficult to characterize analytically. In this paper, we evaluate the Raman spectroscopic identification of the characteristic Roman blue and green pigments as used in wall paintings using two different laser wavelengths (green and near infrared) and clarify their nomenclature. K E Y W O R D S blue pigments, green pigments, Raman spectroscopy, Roman wall paintings 1 | INTRODUCTION 1.1 | The pigments used by Roman artists

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Section: Resultsmentioning

confidence: 99%

Section: Egyptian Bluementioning

confidence: 99%

Green and blue pigments in Roman wall paintings: A challenge for Raman spectroscopy

Villar

Edwards

2021

J Raman Spectroscopy

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“…Spectral data were compared with the literature, [ 9–12 ] and our own spectral database for assignment of the Raman bands. [ 13–15 ]…”

Section: Methodsmentioning

confidence: 99%

A spectroscopic analysis of late 16th century domestic wall paintings in the Saracens Head Inn, Nottinghamshire, UK

Brooke

Edwards

Oliveira

et al. 2021

J Raman Spectroscopy

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The mural paintings in the late medieval Saracens Head Inn, Southwell, Nottinghamshire, UK, represent an unusual survival of domestic Tudor artwork in this region. Stylistic dating puts the range of the paintings as c. 1580-1620. The artistic design and archaeological context of the paintings has been studied and paint samples extracted for microscopic, SEM-EDXS, and Raman spectroscopic analysis. In addition, portable Raman analysis was utilized. The paintings, which were only discovered in the 1980s and 1990s, hidden below later plaster, were conserved and a degree of undocumented retouching was applied. The analysis, though restricted by excessive fluorescence from many of the samples, has revealed the broad pigment palette used by the original Tudor artist(s) as well as identifying the modern pigments introduced during conservation work.

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“…In the Mediterranean world, yellow organic colourants have been rarely identified. Considering the most important class of yellow dyes as far as textile dyeing is concerned, that is the flavonoids, there is one case reported in the scientific literature: in the Roman necropolis of Carmona, Sevilla (Spain), datable from the first century BC to the second century AD, in a recent study on the wall paintings (Jorge- Villar et al 2018), the authors identified weld, the dye extracted from the Reseda luteola plant, in admixture with blue for obtaining a green colour, as suggested by Vitruvius (De Architectura VII, 14, 2). Akrawi and Shekede (2010) reported a generic "yellow organic matrix" in their study of first century Nabatean wall paintings at Petra (Jordan).…”

Section: Yellowsmentioning

confidence: 99%

Pigments—the palette of organic colourants in wall paintings

Aceto

2021

Archaeol Anthropol Sci

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The present contribution deals with the use of organic colourants in wall paintings, polychrome pottery and painted stone artworks, i.e. painted artworks on inorganic supports. The term organic colourants is referred to the chemical nature of these compounds but not to the way of application; therefore, organic colourants can be dyes, lakes or pigments. The use of organic colourants in wall paintings has been given little attention in the past, perhaps on the assumption that they were rarely used by ancient artists. Recent diagnostic studies, however, brought evidence that their use was not fragmentary; on the contrary, there seems to be continuity in the centuries, at least with regard to the most widely used such as madder, Tyrian purple and indigo. Sources, alteration phenomena, identification methods and analytical evidence is given for the main organic colourants with concern to red, yellow, green, purple and blue hues. Drawbacks and issues are discussed with concern to the identification techniques.

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The Servilia tomb: an architecturally and pictorially important Roman building

Cited by 13 publications

References 36 publications

Green and blue pigments in Roman wall paintings: A challenge for Raman spectroscopy

Green and blue pigments in Roman wall paintings: A challenge for Raman spectroscopy

A spectroscopic analysis of late 16th century domestic wall paintings in the Saracens Head Inn, Nottinghamshire, UK

Pigments—the palette of organic colourants in wall paintings

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