Search Results (11)

This presented research examined the wall paintings in the Church-Ossuary Presentation of the Blessed Virgin, part of the most important Rila Monastery complex in Bulgaria, painted by the painters from Mount Athos in 1795. The painting materials used to create the unique murals were studied for the first time by optical microscopy (OM), attenuated total reflectance Fourier transform infrared (ATR–FTIR), scanning electron microscopy energy dispersive X-ray spectroscopy (SEM–EDS), and enzyme-linked immunosorbent assay (ELISA). The vibrational and elemental analysis showed that the color palette of the paintings is composed of pigments traditional for Orthodox church wall paintings such as natural pigments, including yellow ochre, red ochre, green earth, and calcite, as well as other historical pigments of synthetic origin, including smalt, red lead, cinnabar, and verdigris. The analysis of the binders by the ATR–FTIR spectroscopy and enzyme-linked immunosorbent assay (ELISA) analysis implied the use of the post-Byzantine egg tempera technique. Only the blue backgrounds in the murals were painted using a smalt-based paint mixed with a carbohydrate binder. Based on the current analysis and comparison with the successive paintings in the other churches of the Rila Monastery, it could be concluded that the technology of the painting process followed by the Athonite artists during the work in the Church-Ossuary became a point of reference for many Bulgarian icon-painters later. Full article

Baptism is the sacramental celebration of Christian initiation. Paul’s letter to the Romans, which is central to the understanding of baptism, characterizes this sacramental event as a dying with Christ and the beginning of a new existence. This new mode of existence gains an aesthetic-performative form in the liturgical rites. The design of the liturgical spaces can then be understood as “petrified rites”. The imperial church basilicas and baptisteries of the Byzantine period in Ravenna bear particular witness to such petrified manifestations of liturgy. What took place in the liturgical rites found an aesthetic counterpart in the interior design and in the rich mosaic art of the ancient buildings. The Ravennese color-intensive wall and ceiling motifs substantiate in a sensuous way the eschatological aesthetic, which is opened to believers through baptism. Biblical texts, architecture, rite, and pictorial program thus form an aesthetic ensemble whose elements mutually illuminate each other and only gain their full depth of meaning in the context of this performative dynamic. This contribution analyzes the interplay of these different registers, based on some selected examples of Ravenna’s sacred buildings, and explores how the baptismal event is conveyed in them as an aesthetic access to the world. Full article

The paper illustrates the results of a non-invasive characterisation of pigments and their mixtures in the pictorial surfaces of the wall paintings (10th century) found in the Byzantine church of Palazzo Simi in Bari (Italy). The investigation techniques included portable digital polarised microscopy, fibre optic reflectance spectroscopy (FORS) and X-ray fluorescence spectroscopy (XRF). Data comparison supported the recognition of red and yellow ochres, green earth, vine black, minium and Egyptian blue. The presence of some pigment mixtures demonstrated the recurrence of specific technical expedient used by local medieval artists in order to simulate more expensive pigments, which enabled contribution to the understanding of the valuable artistic tradition of the Apulian Middle Age. Both for purposes of conservation and fruition of the site, which is not always accessible, and due to the complexity in taking suitable photographs for the representation of results, the latter was performed on orthophotos extracted from a digital photogrammetric 3D model of the whole archaeological site. By means of chromatic overlapped layers, an interactive compositional map of the pictorial surfaces was produced. Full article

The mosaic in the apse of the Church of S. Agnese fuori le mura in Rome represents one of the most important examples of the wall mosaics of the Roman Middle Ages. Although it is associated with Byzantine figurative culture, no scientific study has addressed this important piece of Italian art history. One factor that has probably limited and created difficulties for its analysis is the poor legibility of the original parts, which are compromised by heavy restorations affecting the gold background, the faces of the two male side figures, and the lower band of the mosaic. The present work describes how multispectral imaging provided significant guidance in the preliminary identification of possible original areas in this ancient wall mosaic. Through an interdisciplinary approach, the art historical background and historical graphic documentation of known restorations supported the use of multispectral imaging to recognize original parts. The initial results of the lab analyses (SEM-EDS and EMPA) of supposed original tesserae validated the hypothesis made a priori thanks to multispectral acquisition, opening up new application possibilities for use of this noninvasive technique in the preliminary in situ identification of original parts in restored glass wall mosaics. Full article

The Castle of Melfi is placed on a hilltop overlooking the modern town and it includes many buildings that have been modified and expanded over time. Its Norman-era core was probably built between the end of the 11th and the start of the 12th century on top of an earlier Byzantine castrum; it was enlarged during the reign of Frederick II and additional alterations were undertaken during the reigns of the Angevin and Aragonese. Integrated ground-penetrating radar (GPR) and electrical resistivity tomography (ERT) surveys were carried out inside two courtyards of the westernmost part of the castle, the Cortile degli Armigeri and the Cortile del Mortorio, and in an external eastern wall area in order to identify ancient buried structures through two different methods of investigation and to compare the results. Full article

There is growing interest in bringing non-invasive laboratory-based analytical imaging tools to field sites to study wall paintings in order to collect molecular information on the macroscale. Analytical imaging tools, such as reflectance imaging spectrometry, have provided a wealth of information about artist materials and working methods, as well as painting conditions. Currently, scientific analyses of wall paintings have been limited to point-measurement techniques such as reflectance spectroscopy (near-ultraviolet, visible, near-infrared, and mid-infrared), X-ray fluorescence, and Raman spectroscopy. Macroscale data collection methods have been limited to multispectral imaging in reflectance and luminescence modes, which lacks sufficient spectral bands to allow for the mapping and identification of artist materials of interest. The development of laboratory-based reflectance and elemental imaging spectrometers and scanning systems has sparked interest in developing truly portable versions, which can be brought to field sites to study wall paintings where there is insufficient space or electrical power for laboratory instruments. This paper presents the design and testing of a simple hyperspectral system consisting of a 2D spatial spot scanning spectrometer, which provides high spectral resolution diffuse reflectance spectra from 350 to 2500 nm with high signal to noise and moderate spatial resolution (few mm). This spectral range at high spectral resolution was found to provide robust chemical specificity sufficient to identify and map many artists’ materials, as well as the byproducts of weathering and conservation coatings across the surface of ancient and Byzantine Cypriot wall paintings. Here, we present a detailed description of the hyperspectral system, its performance, and examples of its use to study wall paintings from Roman tombs in Cyprus. The spectral/spatial image processing workflow to make maps of pigments and constituent painting materials is also discussed. This type of configurable hyperspectral system and the imaging processing workflow offer a new tool for the field study of wall paintings and other immovable heritage. Full article

Among all geophysical techniques, electrical resistivity and magnetic surveying as an integrative approach has been used widely for archaeological prospection at different scales of investigations. In this study, DC resistivity (1D vertical sounding and/2D/3D ERT) and magnetic surveys (total and gradient) as a multi-scale approach was applied in a highly terraneous archaeological site (Tell) with a case study to characterize and image the various archaeological assets at different depths with different spatial resolutions. Four critical zones of great interest within the considered Tell were surveyed. At the heart of the study area, three layers were depicted clearly from 1D resistivity sounding. A thick conductive zone of mostly clay is sandwiched between two resistive layers. The topmost layer contains construction debris (dated back to the Islamic Era), whereas the deeper layer could be related to Gezira sand on which the probable Pharaonic temple was constructed. A long 2D ERT profile using Wenner Beta (WB) and Dipole–Dipole (DD) arrays with a 5-m electrode spacing identified shallow high resistivity anomalies that could be related to construction ruins from fired bricks. Additionally, it succeeded in imaging the turtleback-shaped deeper resistive layer of mostly sand. At an elevated rim to the east and west of the Tell, total and vertical magnetic gradient maps clearly delineated different archaeological structures: the walls of the rooms of ancient Islamic settlers and the walls of water tanks from the Byzantine Era. Magnetic modeling assuming 2.5-dimensional magnetic models constrained by the 2D ERT inversion models could be used to create a realistic representation of the buried structures. Toward the northern part of the Tell, the joint application of the quasi-3D ERT inversion scheme and the magnetic survey revealed an anomaly of a well-defined geometric shape of an archaeological interest thought to be a crypt or water cistern based on nearby archaeological evidence. The overall results of the geophysical survey integrated with the image of some partially excavated parts provided the archaeologists with a comprehensive and realistic view of the subsurface antiquities at the study area. Full article

For many decades the multispectral images of the earth’s surface and its objects were taken from multispectral sensors placed on satellites. In recent years, the technological evolution produced similar sensors (much smaller in size and weight) which can be placed on Unmanned Aerial Vehicles (UAVs), thereby allowing the collection of higher spatial resolution multispectral images. In this paper, Parrot’s small Multispectral (MS) camera Sequoia+ is used, and its images are evaluated at two archaeological sites, on the Byzantine wall (ground application) of Thessaloniki city (Greece) and on a mosaic floor (aerial application) at the archaeological site of Dion (Greece). The camera receives RGB and MS images simultaneously, a fact which does not allow image fusion to be performed, as in the standard utilization procedure of Panchromatic (PAN) and MS image of satellite passive systems. In this direction, that is, utilizing the image fusion processes of satellite PAN and MS images, this paper demonstrates that with proper digital processing the images (RGB and MS) of small MS cameras can lead to a fused image with a high spatial resolution, which retains a large percentage of the spectral information of the original MS image. The high percentage of spectral fidelity of the fused images makes it possible to perform high-precision digital measurements in archaeological sites such as the accurate digital separation of the objects, area measurements and retrieval of information not so visible with common RGB sensors via the MS and RGB data of small MS sensors. Full article

The recently discovered wall paintings of the Dominican church of St. Paul are perhaps the most fascinating part of the artistic heritage of Pera, the former Genoese colony at the Bosphorus. According to the researchers analyzing the fragments discovered in 1999–2007, they follow Byzantine iconographic tradition and were executed by Greek painters representing Paleologan style close to the decoration of the Chora church. After extensive discoveries in 2012 it was made possible to describe many more fragments of fresco and mosaic decoration and to make a preliminary identification of its iconography, which appeared to be very varied in character. Many features are typical of Latin art, not known in Byzantine tradition, some even have a clearly polemical, anti-Greek character. The analysis of its iconography, on a broad background of the Byzantine paintings in Latin churches, does not answer the question if it existed and what could be the goal of creating such paintings. There is a high probability that we are dealing with choice dictated by aesthetic and pragmatic factors, like the availability of the appropriate workshop. So, the newly discovered frescoes do not fundamentally alter the earlier conclusions that we are dealing with the work of a Greek workshop, perhaps primarily operating in Pera, which had to adapt to the requirements of Latin clients. It only seems that they should be dated a little later than previously assumed (around the mid-14th century). Full article

A microwave free space reflectometry technique with swept frequency measurements for the profiling of wall structures and the detection of hidden (covered) layers has been applied to the Hagia Sophia byzantine monument. Experimental measurement results are presented and compared with three-dimensional (3D) simulated results, exhibiting fair agreement in some (though not all) aspects. Based on the experimental results, the possibility of clear discrimination between regions with and without covered mosaic layers, and hence the detection of such layers, is demonstrated. Full article

It is well known that nowadays as well as in the past the vast majority of human habitation and activities are mainly concentrated in littoral areas. Thus the increased attention to coastal zone management contributed to the development and implementation of shallow-water mapping approaches for capturing current environmental conditions. During the last decade, geophysical imaging techniques like electrical resistivity tomography (ERT) have been used in mapping onshore buried antiquities in a non-destructive manner, contributing to cultural heritage management. Despite its increased implementation in mapping on-shore buried archaeological remains, ERT has minimal to non-existent employment for the understanding of the past dynamics in littoral and shallow off-shore marine environments. This work presents the results of an extensive ERT survey in investigating part of the Hellenistic to Byzantine submerged archaeological site of Olous, located on the north-eastern coast of Crete, Greece. A marine area of 7100 m² was covered with 178 densely spaced ERT lines having a cumulative length of 8.3 km. A combination of submerged static and moving survey modes were used to document potential buried and submerged structures. The acquired data from the marine environment were processed with two-dimensional and three-dimensional inversion algorithms. A real time kinematic global navigation satellite system was used to map the visible submerged walls and compile the bathymetry model of the bay. The adaptation of ERT in reconstructing the underwater archaeological remains in a shallow marine environment presented specific methodological and processing challenges. The in situ experience from the archaeological site of Olous showed that ERT provided a robust method for mapping the submerged archaeological structures related to the ancient built environment (walls, buildings, roads), signifying at the same time the vertical stratigraphy of the submerged sediments. The inherent limitation of employing ERT in a conductive environment is counterbalanced by the incorporation of precise knowledge for the conductivity and bathymetry of the saline water in the modelling and inversion procedure. Although the methodology definitely needs further refinement, the overall outcomes of this work underline the potential of ERT imaging being integrated into wider shallow marine projects for the mapping of archaeological sites in similar environmental regimes. Full article