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Keywords = medieval wall painting

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24 pages, 7873 KiB  
Article
Diagnostics and Analytical Campaign as Support for the Restoration Activity of a 14th-Century Mural Painting Representing the Virgo Lactans
by Valery Tovazzi, Claudia Pelosi, Claudio Falcucci, Mark Gittins and Luca Lanteri
Heritage 2025, 8(2), 64; https://doi.org/10.3390/heritage8020064 - 7 Feb 2025
Viewed by 1409
Abstract
The restoration of medieval wall paintings often involves the combination of heterogeneous techniques and materials considering their nature and period. One of the many obstacles in the study of the restoration of these types of artifacts is the paucity of sources that remain [...] Read more.
The restoration of medieval wall paintings often involves the combination of heterogeneous techniques and materials considering their nature and period. One of the many obstacles in the study of the restoration of these types of artifacts is the paucity of sources that remain and the fragmentary nature of the paintings. As support, we can identify information about the modus operandi of the artists and artisans’ workshops that were active in the medieval period. Such information can be derived from important treatises-for example, Theophilus’ mid-12th-century treatise, the Diversarum artium Schedula, and chapter XV of Cennino Cennini’s Book of Art. These all coincide with the paintings presented in this paper, which represent the Virgo Lactans (or Madonna del Latte, Nursing Virgin) and a likely pre-existing figure of a praying woman. The investigated wall paintings are located in the porch of St. Andrew’s church, situated in the neighborhood of Pianoscarano (Viterbo, Central Italy). The historical context and the execution technique of the paintings were carefully studied, supported by a diagnostic and analytical campaign carried out by means of hypercolorimetric multispectral imaging, spot X-ray fluorescence spectroscopy using a portable instrument, Fourier transform infrared spectroscopy, and cross-section analysis. These analyses allowed us to characterize the original materials, the stratigraphic sequence of the paintings, and the previous interventions applied to the paintings’ layers, giving relevant data to support the recently concluded restoration. Full article
(This article belongs to the Section Materials and Heritage)
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18 pages, 32013 KiB  
Article
Imaging Based Techniques Combined with Color Measurements for the Enhancement of Medieval Wall Paintings in the Framework of EHEM Project
by Paola Pogliani, Claudia Pelosi, Luca Lanteri and Giulia Bordi
J. Imaging 2024, 10(7), 159; https://doi.org/10.3390/jimaging10070159 - 29 Jun 2024
Cited by 2 | Viewed by 1719
Abstract
(1) Background: This paper illustrates an innovative methodological approach chosen to study and map the colors of the medieval wall painting of Santa Maria Antiqua in the Roman Forum, one of the pilot sites of the EHEM project (Enhancement of Heritage Experiences: The [...] Read more.
(1) Background: This paper illustrates an innovative methodological approach chosen to study and map the colors of the medieval wall painting of Santa Maria Antiqua in the Roman Forum, one of the pilot sites of the EHEM project (Enhancement of Heritage Experiences: The Middle Ages). Digital Layered Models of Architecture and Mural Paintings over Time). (2) Methods: Two methods were employed to gather information about colors and mapping. Specifically, colorimetry was utilized for spot measurements, and hypercolorimetric multispectral imaging (HMI) was employed to map the same colors sampled through colorimetry. (3) Results: Chromatic data for all colors in the wall paintings were obtained in the CIELAB color space. Additionally, chromatic similarity maps were generated using the innovative HMI system, a multispectral imaging technique capable of obtaining color data information through advanced calibration software named SpectraPick® (Version 1.1). This comprehensive approach facilitates a thorough understanding of color characteristics and distribution. (4) Conclusions: The color measurements and mapping represent significant advancements in the interpretation of medieval wall paintings, which are often fragmentary and stratigraphically complex. This research sheds new light on the colors used and enhances our understanding of the original appearance of the iconographic patterns. Furthermore, it enables the reconstruction of colors that closely resemble the originals. Full article
(This article belongs to the Section Color, Multi-spectral, and Hyperspectral Imaging)
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16 pages, 18072 KiB  
Article
Medieval Holy Sepulchre Chapels: Experience and Memory of Jerusalem
by Cecily Hennessy
Religions 2024, 15(6), 741; https://doi.org/10.3390/rel15060741 - 18 Jun 2024
Viewed by 1760
Abstract
This paper explores the rituals enacted in or connected with two medieval churches, one walrus ivory cross and a central topic of medieval devotion, Christ’s passion. During Easter Week these memorialised the site in Jerusalem dedicated to the burial of Christ, the holiest [...] Read more.
This paper explores the rituals enacted in or connected with two medieval churches, one walrus ivory cross and a central topic of medieval devotion, Christ’s passion. During Easter Week these memorialised the site in Jerusalem dedicated to the burial of Christ, the holiest place in Christendom. It focuses on the physical elements, the spaces, the paintings and sculpture, the ceremonial objects and relics and the performative nature of rituals associated with them. The Regularis Concordia, composed in Winchester at the end of the 10th century for the use of Benedictine monasteries included sung liturgical enactments based on the gospel accounts of Christ’s burial and resurrection. At the same time, in Saxony, the Abbey at Gernrode was founded for the use of women, secular canonesses, with a space in the south aisle that seems to have represented Christ’s place of burial and was later incorporated into two chambers evoking the Holy Sepulchre Chapel in Jerusalem. In the 12th century in Winchester Cathedral, a Holy Sepulchre Chapel was decorated with wall paintings depicting Christ’s death and resurrection. Around this time, the walrus ivory cross known as the Cloisters Cross was created and appears to have been designed for use in the increasingly elaborate liturgical enactments. The paintings at Winchester Cathedral, the sculpture at Gernrode and the Cloisters Cross each evidence the significance of evoking Christ’s passion and how liturgical space and objects served to bring it to life. Full article
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17 pages, 4969 KiB  
Article
Correlation of Visible Reflectance Spectrometry and Portable Raman Data for Red Pigment Identification
by Anna M. Gueli, Rosaria Galvagno, Adriana Incardona, Eleonora Pappalardo, Giuseppe Politi, Giuseppe Paladini and Giuseppe Stella
Heritage 2024, 7(4), 2161-2175; https://doi.org/10.3390/heritage7040102 - 6 Apr 2024
Cited by 1 | Viewed by 2636
Abstract
The accurate identification of pigments is of principal relevance in the field of cultural heritage conservation and restoration practices. In this preliminary study, a first attempt to set up a procedure for accurate red pigment identification, based on the assessment of the correlations [...] Read more.
The accurate identification of pigments is of principal relevance in the field of cultural heritage conservation and restoration practices. In this preliminary study, a first attempt to set up a procedure for accurate red pigment identification, based on the assessment of the correlations existing between visible reflectance spectrometry (vis-RS) and Raman data, is presented. The proposed approach involved the realization of a library consisting of data acquired on a set of 35 pure red historical pigments supplied by ©Kremer Pigmente. In particular, vis-RS data, collected through a Konica Minolta CM-2600d spectrophotometer, were registered, together with the position of the Extrema Points (E.P.s) encompassing both the maximum and minimum points of the first derivative of the % spectral reflectance factor (SRF%) curves. Portable Raman spectroscopy measurements were collected by a B&W Tek Inc. portable Raman spectrometer equipped with a 785 nm laser. For each tested pigment, the positions and relative intensities of the characteristic Raman peaks were considered. The library was then tested for the characterization of the red/reddish painted areas of the medieval wall painting located within The Norman Castle of Aci Castello (Catania, Italy), and was shown to be essential for the unambiguous identification of the pigment used. It is worth noting that this study represents the first novel attempt to establish a reliable and efficient methodology for pigment identification, offering promising prospects in reducing uncertainties and ambiguities arising from the application of a single stand-alone approach. Full article
(This article belongs to the Special Issue Pigment Identification of Cultural Heritage Materials)
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16 pages, 8131 KiB  
Article
Interdisciplinary Research on Medieval Fresco Subjected to Degradation Processes in the Corbii de Piatră Cave Church
by Adriana Elena Vâlcea, Izabela Mariș, Aurelian Denis Negrea, Nicanor Cimpoeșu, Gheorghe Gârbea, Dorin Grecu, Sorin Georgian Moga, Bogdan Istrate, Flavio Nicolae Finta, Alin Daniel Rizea, Daniel-Constantin Anghel, Corneliu Munteanu, Mircea Ionuț Petrescu and Mărioara Abrudeanu
Materials 2023, 16(15), 5257; https://doi.org/10.3390/ma16155257 - 26 Jul 2023
Cited by 2 | Viewed by 1334
Abstract
This paper presents research on the degradation processes of the fresco painting in the cave church of Corbii de Piatră Hermitage under the influence of meteoric infiltration water and environmental factors. The medieval fresco dates from the end of the 13th century and [...] Read more.
This paper presents research on the degradation processes of the fresco painting in the cave church of Corbii de Piatră Hermitage under the influence of meteoric infiltration water and environmental factors. The medieval fresco dates from the end of the 13th century and the beginning of the 14th century, being painted on a sandstone wall. The infiltration of meteoric water through this wall, the temperature variations, the environment and the repeated wetting/drying processes determined the degradation of the fresco, resulting in its detachment from large surfaces. This research established correlations between the processes that take place, the structural transformations, the changes in composition and the adhesion of the fresco to the sandstone wall. The results have been made available to conservation and restoration specialists, in order to choose appropriate materials and technologies. This paper presents findings regarding the pictorial material and introduces new analysis techniques in research on the degradation processes of the fresco painting in the cave church of Corbii de Piatră Hermitage under the influence of meteoric infiltration water and environmental factors. Full article
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18 pages, 10421 KiB  
Article
Non-Invasive Characterisation of the Wall Paintings in the Byzantine Church of Palazzo Simi (Bari, Italy) and Digital Photogrammetric Survey for a Pigment Mapping
by Giovanna Fioretti, Gioacchino Tempesta, Salvatore Capotorto and Giacomo Eramo
Coatings 2023, 13(6), 996; https://doi.org/10.3390/coatings13060996 - 26 May 2023
Cited by 1 | Viewed by 1838
Abstract
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, [...] Read more.
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
(This article belongs to the Special Issue Syntheses, Properties, and Applications of Organic Dyes and Pigments)
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11 pages, 7868 KiB  
Communication
Non-Destructive Diagnosis on the Masaccio Frescoes at the Brancacci Chapel, Church of Santa Maria del Carmine (Florence)
by Giovanni Leucci, Lara De Giorgi, Ivan Ferrari, Francesco Giuri, Lucrezia Longhitano, Alberto Felici and Cristiano Riminesi
Remote Sens. 2023, 15(4), 1146; https://doi.org/10.3390/rs15041146 - 20 Feb 2023
Cited by 2 | Viewed by 1957
Abstract
The Basilica of Santa Maria del Carmine in Florence, in the Oltrarno area, was built in 1268 (pre-Renaissance low medieval context) and consecrated in 1422. Following a devastating fire in the interior of the original church, in 1771, very little remained. Among the [...] Read more.
The Basilica of Santa Maria del Carmine in Florence, in the Oltrarno area, was built in 1268 (pre-Renaissance low medieval context) and consecrated in 1422. Following a devastating fire in the interior of the original church, in 1771, very little remained. Among the parts that were saved were the Corsini and Brancacci chapels. The architect Giuseppe Ruggeri was responsible for the reconstruction of the church, which was completed in 1782 (with the exception of the gabled façade which remained unfinished, as can still be seen today). Geophysical investigations were undertaken into the Brancacci chapel in order to have information on the structure of the wall that contains wall paintings by Masaccio, Masolino, and Filippino Lippi, to understand the stratigraphy of the mortars, and to formulate some hypotheses on the causes of their detachment. The results are interesting. Full article
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16 pages, 3610 KiB  
Entry
Ladislaus II Jagiełło (1386–1434)
by Mateusz Grzęda
Encyclopedia 2022, 2(1), 514-529; https://doi.org/10.3390/encyclopedia2010034 - 15 Feb 2022
Viewed by 4778
Definition
Ladislaus II Jagiełło (1386–1434). Ladislaus II Jagiełło is the founder of the Jagiellonian dynasty that had ruled over Poland and the Grand Duchy of Lithuania (until 1572), Bohemia (1471–1526) and Hungary (1440–1444, 1490–1526). A Grand Duke of Lithuania from 1377, and from 1386 [...] Read more.
Ladislaus II Jagiełło (1386–1434). Ladislaus II Jagiełło is the founder of the Jagiellonian dynasty that had ruled over Poland and the Grand Duchy of Lithuania (until 1572), Bohemia (1471–1526) and Hungary (1440–1444, 1490–1526). A Grand Duke of Lithuania from 1377, and from 1386 a king of Poland and lord of Lithuania, which he ruled jointly with his cousin Witold (Vytautas), the son of Kęstutis. Five medieval portraits of Jagiełło survive, four of which date from the period of his reign in the Polish–Lithuanian state and one was executed posthumously. The earliest image, on Jagiełło’s Great Seal, was made in connection with his coronation as king of Poland (1386). Two portraits in the Holy Trinity Chapel at the Castle of Lublin (1418) are part of a wall paintings scheme commissioned by the monarch and executed by a team of painters brought from Ruthenia. Furthermore, the sumptuous tomb (before 1430) in Cracow was commissioned by the king. Its top slab bears an effigy of Jagiełło with his suggestively rendered countenance, which undoubtedly reflects the actual facial features of the elderly monarch. An image of the king represented as one of the Three Magi in a panel of an altarpiece in the tomb chapel of Casimir IV Jagiellonian, Jagiełło’s son and his successor on the Polish throne, dates from 1470. The chapel dedicated to the Holy Cross, erected at Cracow Cathedral, was in all likelihood commissioned by Casimir himself and his consort Elizabeth of Austria. Full article
(This article belongs to the Collection Encyclopedia of Medieval Royal Iconography)
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26 pages, 6290 KiB  
Article
“Pro Honore et Libertate Ecclesiae Invicta Fortitude Sustinuit”—The Oratory of St Thomas Becket in the Cathedral of Anagni
by Claudia Quattrocchi
Arts 2021, 10(4), 69; https://doi.org/10.3390/arts10040069 - 12 Oct 2021
Cited by 1 | Viewed by 5010
Abstract
On the 9th of October, 1170 Pope Alexander III resided in Anagni, which had been the ancient residence of the court of the Popes for at least two centuries. He wrote to two influential local archbishops for help in pacifying King Henry II [...] Read more.
On the 9th of October, 1170 Pope Alexander III resided in Anagni, which had been the ancient residence of the court of the Popes for at least two centuries. He wrote to two influential local archbishops for help in pacifying King Henry II and Archbishop Thomas Becket, who had been in dispute for six years. Sensing Becket’s looming tragic fate, Alexander III began slowly to encircle the archbishop with rhetoric of the new martyr of Libertas Ecclesiae. When he had to flee from Rome besieged by factions led by Frederick I, the pope found refuge in Segni, where he canonised Thomas Becket on 21 February 1173. However, it was in faithful Anagni that he settled on and off from March 1173 through the following years (November 1176; December 1177–March 1178; September 1179). It was here that he decided to elaborate a powerful speech in images. In an oratory in the crypt of the grandiose cathedral, Alexander III had the last painful moments of the Archbishop’s death painted in a program imitating that of St. Peter’s in the Vatican. Becket thus became the new imitator of Christ, the new Peter, the new martyr on the altar of the Church of Rome. Full article
(This article belongs to the Special Issue St. Thomas Becket in Art: Image, Patronage and Propaganda)
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31 pages, 81407 KiB  
Article
A Multi-Analytical Study for the Enhancement and Accessibility of Archaeological Heritage: The Churches of San Nicola and San Basilio in Motta Sant’Agata (RC, Italy)
by Dario Giuffrida, Viviana Mollica Nardo, Daniela Neri, Giovanni Cucinotta, Irene Vittoria Calabrò, Loredana Pace and Rosina Celeste Ponterio
Remote Sens. 2021, 13(18), 3738; https://doi.org/10.3390/rs13183738 - 17 Sep 2021
Cited by 24 | Viewed by 5159
Abstract
In the coming years, Italy will need to take on a great challenge concerning the digitization of its archaeological and architectural heritage, one of the richest and most problematic in the world. The aim is to improve the knowledge, conservation, enhancement and accessibility [...] Read more.
In the coming years, Italy will need to take on a great challenge concerning the digitization of its archaeological and architectural heritage, one of the richest and most problematic in the world. The aim is to improve the knowledge, conservation, enhancement and accessibility of cultural assets and to make them a resource for national and local development. In this process, the next generation of 3D survey methods (laser scanning and photogrammetry), in combination with diagnostic techniques (spectroscopy analyses) and GIS/BIM (Geographic Information System/Building Information Modeling) solutions, represent a valid support. This work, part of a broader intervention launched by the Municipality of Reggio Calabria for the requalification of some archaeological sites located within its urban and metropolitan area, is focused on the study case of Motta S. Agata. The ancient settlement is located 8 km from Reggio C. in a hilly area difficult to reach and preserves numerous structures in a state of ruin. Among these, two interesting medieval churches are proposed for examination: the church of San Nicola, characterized by five hypogeal funeral crypts, and the chapel of San Basilio, which preserves the traces of a wall painting. A multi-methodological approach including close-range photogrammetry, laser scanning and chemical and thermal analyses was adopted in order to fulfill different tasks: creating a topographic model of the hillfort, mapping the archaeological evidence, digitizing and returning 3D models of the churches, characterizing materials through chemical analyses and monitoring the surfaces with thermal imaging. These combined applications have contributed to reaching the planned goals, i.e., study, conservation, diagnostics, preparation for restoration interventions, development of digital media and dissemination. In this way, a type of interactive museum (made up of virtual tours and informative digital models) has been made available in order to improve the site’s accessibility and inclusivity as well as to test the effect of digitization in attracting tourists and local people toward a place located outside of the usual tourist circuits. Full article
(This article belongs to the Special Issue Laser Scanning and Point Cloud Processing in Urban Environments)
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19 pages, 11544 KiB  
Article
The Lunette with St. Thomas Becket at the Sacro Speco in Subiaco: An Unexpected Presence?
by Roberta Cerone
Arts 2021, 10(3), 58; https://doi.org/10.3390/arts10030058 - 30 Aug 2021
Cited by 1 | Viewed by 3265
Abstract
The painting with St. Thomas Becket, St. Stephen and St. Nicholas of Bari that decorates one of the lunettes in the so-called lower church at the Sacro Speco in Subiaco is an enigma from an art-historical point of view, for two reasons. First, [...] Read more.
The painting with St. Thomas Becket, St. Stephen and St. Nicholas of Bari that decorates one of the lunettes in the so-called lower church at the Sacro Speco in Subiaco is an enigma from an art-historical point of view, for two reasons. First, on an iconographical level, the lunette interrupts the flow of the story of Benedict’s life unfolding systematically on all the walls of the lower church. Second, from the formal point of view, the fresco clearly presents more archaic features than the surrounding Stories of St. Benedict, dating to the end of the thirteenth/beginning of the fourteenth century, and was therefore probably executed in a phase prior to the cycle of Benedict. In the paper, therefore, I will analyse the motivations that led to the preservation of this painting when the hall was renovated and later redecorated in the late thirteenth century, and discuss the hypotheses surrounding patronage. Both aspects will help to better contextualize the reasons for the presence of the image of St. Thomas Becket in a pre-eminent position in the sanctuary of Benedict in Subiaco, a papal bulwark on the borders of the Kingdom. Full article
(This article belongs to the Special Issue St. Thomas Becket in Art: Image, Patronage and Propaganda)
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12 pages, 7332 KiB  
Article
Spectroscopic Investigation of Wall Paintings in the Alhambra Monumental Ensemble: Decorations with Red Bricks
by Paz Arjonilla, María José Ayora-Cañada, María José de la Torre-López, Elena Correa Gómez, Ramón Rubio Domene and Ana Domínguez-Vidal
Crystals 2021, 11(4), 423; https://doi.org/10.3390/cryst11040423 - 14 Apr 2021
Cited by 4 | Viewed by 2640
Abstract
The Alhambra Monumental Ensemble (Granada, Spain) is a unique well-preserved palatine city from the medieval Islamic period, and it constitutes the best example of Nasrid architecture. In this work, we focus on the study of one of its most unknown decorations: Wall paintings [...] Read more.
The Alhambra Monumental Ensemble (Granada, Spain) is a unique well-preserved palatine city from the medieval Islamic period, and it constitutes the best example of Nasrid architecture. In this work, we focus on the study of one of its most unknown decorations: Wall paintings with the appearance of red bricks. These faux-brick decorations are found in many different locations within the Alhambra complex, including both exterior and interior walls, arches and vaults. We have considered locations from different Nasrid reigns to gain information about their characteristics in terms of materials, execution techniques and conservation state. They have been studied combining a non-invasive methodology using portable equipment (X-ray fluorescence (XRF) and Raman spectroscopy) with complementary studies on selected samples (Scanning Electron Microscopy-Energy Dispersive X-ray Spectroscopy (SEM-EDS) and Raman microimaging). In general, those located in the exterior are poorly preserved, in contrast with the good conservation state of the interior motifs. The red rectangles of these decorations were painted over a white finishing layer, which acted also as the edge lines between these false bricks. The red colour was always due to hematite (α-Fe2O3), as revealed by its characteristic Raman bands. The use of a natural red ochre pigment (very abundant in the region) could be hypothesised considering XRF and SEM-EDS results. In general, the white layer was made of lime mortar and the presence of CaCO3 in the painting layers suggests the use of lime-based techniques (either fresco or mezzo fresco). Only in one of the indoor locations, a different execution technique, based on gypsum (CaSO4·2H2O) plaster, was used. The identification of calcium oxalate in this location, in the form of weddellite (CaC2O4·2H2O), can be interpreted as the result of organic binder degradation. Furthermore, superficial contamination with gypsum was always detected in outdoor locations. Full article
(This article belongs to the Section Inorganic Crystalline Materials)
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17 pages, 4185 KiB  
Article
Evaluation of Cleaning Processes Using Colorimetric and Spectral Data for the Removal of Layers of Limewash from Medieval Plasterwork
by Miguel Ángel Martínez-Domingo, Ana Isabel Calero Castillo, Eva Vivar García and Eva M. Valero
Sensors 2020, 20(24), 7147; https://doi.org/10.3390/s20247147 - 13 Dec 2020
Cited by 13 | Viewed by 2928
Abstract
In the cultural heritage preservation of medieval buildings, it is common to find plaster walls covered in lime, which previously were painted in polychromy. The conservation interventions usually try to remove the whitewash, whilst maintaining the original color of the painted wall as [...] Read more.
In the cultural heritage preservation of medieval buildings, it is common to find plaster walls covered in lime, which previously were painted in polychromy. The conservation interventions usually try to remove the whitewash, whilst maintaining the original color of the painted wall as much as possible. However, there is no agreement on which cleaning technique best preserves the original appearance of the colored plaster. Different pigments found below the lime layer may behave differently depending on the cleaning technique used. Usually, colorimetric or photometric area-based measurements are carried out to study the color of the cleaned areas to compare with their original color, obtained from pre-made plaster probes. However, this methodology fails when the mean color difference is not enough to fully characterize the changes in texture and color appearance. This study presents a set of experiments carried out using two different pigments (cinnabar and malachite) covered with lime, and treated with nine different cleaning techniques on plaster probes prepared according to medieval techniques. We have studied the effect of the cleaning process on the color and the homogeneity of the samples using a hyperspectral imaging workflow. Four different analysis methods are presented and discussed. Our results show that the proposed analysis is able to provide a much more comprehensive and diversified characterization of the quality of the cleaning method compared to the commonly used colorimetric or photometric area-based measurements. Full article
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19 pages, 7436 KiB  
Article
Preservation of Distemper Painting: Indoor Monitoring Tools for Risk Assessment and Decision Making in Kvernes Stave Church
by Tone Marie Olstad, Anne Apalnes Ørnhøi, Nina Kjølsen Jernæs, Lavinia de Ferri, Ashley Freeman and Chiara Bertolin
Climate 2020, 8(2), 33; https://doi.org/10.3390/cli8020033 - 14 Feb 2020
Cited by 8 | Viewed by 5207
Abstract
During the Medieval period, over 1000 stave churches were thought to have been constructed in Norway. However, currently, only 28 of these churches remain and only 19 still have distemper wall paintings. The cultural significance of these structures, and more specifically their elaborate [...] Read more.
During the Medieval period, over 1000 stave churches were thought to have been constructed in Norway. However, currently, only 28 of these churches remain and only 19 still have distemper wall paintings. The cultural significance of these structures, and more specifically their elaborate distemper wall paintings, has changed over time, as have the means and methods for preserving these monuments. Deeper knowledge of the current state of these structures, along with environmental monitoring and modeling will open the way to a better understanding of preservation. This paper presents a case study for unheated Norwegian wooden churches based on data collected from Kvernes stave church. There are three aims for this paper: (i) to describe the typical indoor conditions similar to the historic climate of stave churches; (ii) determine the common characteristics of distemper paint found within stave churches; (iii) and develop a risk assessment tool to evaluate the climate-induced risk factors in stave churches. The outcome of this work will contribute to research performed within the Sustainable Management of Heritage Buildings in a Long-term Perspective (SyMBoL) project which aims to develop a better understanding of climate induced risks for stave churches, and ultimately to better manage environmental risk. Full article
(This article belongs to the Special Issue World Heritage and Climate Change: Impacts and Adaptation)
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