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

The study deals with the characterization of pigments from the newly discovered wall painting at the Dominican Monastery in Ptuj (Slovenia) in order to acquire detailed information about the technology used, as well as to identify the deterioration products. The uncovered wall painting, depicting a vivid procession of riders, is dated to the late 14th century. Painting techniques and pigments were analysed by optical microscopy and Raman microspectroscopy. The optical microscope revealed that the wall painting was executed in a lime technique characteristic of the Central‐European artistic expression. Several natural and synthetic inorganic pigments, such as azurite, red and yellow ochres, cinnabar, red lead, lead white, lime white, lead–tin yellow type I and carbon black were identified. Surprising identification of the type I of lead–tin yellow used already in the 14th century is of high importance, since, until now, it was considered that it appeared on the market only in the first half of the 15th century. Plattnerite was observed as a result of degradation of lead pigments. The use of expensive azurite and cinnabar could indicate a wealthy client. Copyright © 2014 John Wiley & Sons, Ltd.

Section: Resultsmentioning

confidence: 99%

Raman microspectroscopic analysis of pigments of the Gothic wall painting from the Dominican Monastery in Ptuj (Slovenia)

Gutman

Lesar-Kikelj

Mladenović

et al. 2014

“…In previous in situ analysis campaigns of manuscripts, the equipment was typically provided with a single excitation source . Nevertheless, the ability to switch between different lasers is extremely useful, as absorption of the scattered light by the sample may result in a reduced spectral quality of the Raman spectrum .…”

Section: Introductionmentioning

confidence: 99%

Pigment identification of an illuminated mediaeval manuscriptDe Civitate Deiby means of a portable Raman equipment

Lauwers

Cattersel

Vandamme

et al. 2014

Direct identification of pigments in mediaeval illuminated manuscripts was one of the first applications of Raman spectroscopy in art and archaeology. In previous in situ analysis of handwritings, the equipment was typically provided with a single excitation source. In this work, a portable Raman spectrometer (EZRAMAN-I-DUAL Raman system) is introduced to characterise the pigments used in an important illuminated mediaeval manuscript, De Civitate Dei (Library in Bruges, Ms.106). Characteristics important for these in situ measurements were discussed. We introduce a set-up that allows stable positioning of the equipment and point out the advantage of the availability of two lasers, which are part of the instrument. Good performance of the introduced Raman spectrometer, to allow pigment identification in a short time, is proved. Finally, pigments such as lead white (2PbCO 3 · Pb(OH) 2 ), lead-tin yellow type I (Pb 2 SnO 4 ), malachite (Cu 2 CO 3 (OH) 2 ), mosaic gold (SnS 2 ), vermillion (HgS), carbon black (C), red lead (Pb 3 O 4 ) and azurite (Cu 3 (CO 3 ) 2 (OH) 2 ) could be identified. These pigments were often used in mediaeval artworks and contribute to the enrichment of information of the materials used by the illuminator.

“…, SA.1.2 layer) showed a Raman signal at 1050 cm −1 , most likely because of lead white (hydrocerussite), [2PbCO 3 ·Pb(OH) 2 ], (Fig. , SA.1.2.b trace), and the two broad Raman spectral features at approximately 1580 (G band) and 1330 cm −1 (D band) were attributed to carbon‐based pigment (Fig. , SA.1.2.a trace) .…”

Section: Resultsmentioning

confidence: 99%

“…The Raman spectrum of the yellow layer (Fig. , SA.4.4 trace) was characterized by bands due to the mixture of pigments, such as lead white (at 1050 cm −1 ), vermilion (at 344, 285, and 255 cm −1 ), and most likely lead tin yellow type I [2PbO·SnO 2 ], (at 196 and 130 cm −1 ) …”

Section: Resultsmentioning

confidence: 99%

Micro‐Raman spectroscopy analysis of the 17th century panel painting ‘Servilius Appius’ by Isaac van den Blocke

Pięta

Proniewicz

Szmelter-Fausek

et al. 2014

Micro‐Raman spectroscopy and optical microscopy under visible and ultraviolet light were applied to characterize the pigments, state of conservation, and painting techniques used in the 17th century panel painting ‘Servilius Appius’, attributed to Isaac van den Blocke. This Golden Age work of art is located at the Gdańsk History Museum. Briefly, individual layers of six samples from different parts of the aforementioned painting were analyzed. A rich palette of white, yellow, red, blue, and black pigments was identified using micro‐Raman spectroscopy. Optical microscopy was also employed to observe and analyze these layers. The obtained results were compared with the art history knowledge of the painting. Consequently, these studies enabled precise characterization of the type of lead tin yellow, the admixture of pigments used in the painting layers, and the type of ground layers, as well as the determination of the pictorial technique used in the process of creating this work of art. Copyright © 2014 John Wiley & Sons, Ltd.