Search Results (41)

This article presents a comprehensive analysis of the polychrome paintings on the Flower Peking Opera Theatre in Bozhou, Anhui Province, China. A multi-technique approach was employed, including polarized light microscopy (PLM), X-ray fluorescence (XRF), micro-Raman spectroscopy, X-ray diffraction (XRD), Fourier transform infrared spectroscopy (FT-IR), scanning electron microscopy with energy-dispersive spectrometry (SEM-EDS), and Herzberg staining to determine the composition and methodologies involved in the formation of the pigment layer, the white primer, and the ground layer. The analysis identified cinnabar (red), both artificial ultramarine and Prussian blue (blue), a mixture of barite and gypsum (white), a mixture of chromite and Prussian blue (green), and carbon black (black) in the pigment layer. The ground layer was found to consist of clay and plant fibers (cotton and hemp), while the white prime layer was primarily composed of barite and gypsum. This research provides insights for future conservation and restoration efforts. Full article

Aerinite is a rare blue aluminosilicate mineral whose identification as a pigment in Pyrenean medieval artworks typically requires invasive microsampling. This study evaluates portable X-ray fluorescence spectroscopy (pXRF) as a noninvasive screening tool for aerinite in Alto Aragón (Spain) cultural heritage. Elemental compositions of aerinite and lapis lazuli references, ceramics, polychromed capitals, and thirteenth- to fifteenth-century painted panels were measured with a Niton XL3t GOLDD+ spectrometer. Data were analyzed using log-ratio linear discriminant analysis (LDA), with silicon as an internal normalizer. Aerinite references showed Cu and Co levels below instrumental detection limits, along with Fe (6.99 ± 1.04 wt%), Al (4.91 ± 1.38 wt%), and Si (15.95 ± 1.60 wt%). High-confidence aerinite classifications were obtained for Cu-free and Co-free blue pigments in the Barbastro Chrismon, the Buira altar frontal, and other panels. Extension of the protocol to green pigments revealed that two samples—from the Saint Anthony Abbot panel and Portaspana retable—were also classified as aerinite, providing the analytical evidence for “verde de Juseu” as a naturally occurring greenish aerinite variety. Despite known pXRF limitations, this technique effectively screens candidate aerinite-containing passages for subsequent microanalytical confirmation. Full article

This contribution illustrates the research focused on the process of securing and the transportation prior to the conservation treatment of a wooden Crucifix—severely damaged in 2016 during the earthquake of Central Italy—through the application of menthyl lactate. The preparatory and paint layers of the polychrome sculpture are extremely fragile due to decohesion issues and the presence of unstable cleavages and losses linked to severe thermo-hygrometric variations. Many scientific and application tests were carried out in the laboratory and then, later, on a fragment of the Crucifix in order to identify the volatile binder best-suited to this case study: menthyl lactate was selected among six binders as the most appropriate compound due to its effective consolidation, lower sublimation rate, negligible residue, and non-hazardousness. Lastly, a very specific transportation system was designed and realised to move the work, without further loss and damage, from the storage building where it was kept in Spoleto to the conservation department of the Opificio delle Pietre Dure in Florence. The volatile binder will continue to be locally applied to allow the mechanical cleaning, in order to remove the thick deposits of debris without damaging the colour. The conservation treatment will be carried out in the future, in parallel with further scientific tests. Full article

In this work, molecular and elemental spectroscopic analyses were carried out on the preparation base, the paintings, the repaintings, and the gilding of an 18th century sacred sculpture of Our Lady found on Anhatomirim Island, where the Santa Cruz fortress was built in 1739 in the state of Santa Catarina, southern Brazil. The preparation base of the sculpture was characterized as gypsum (calcium sulfate dihydrate, (CaSO₄.2H₂O) [µ-Raman, SEM-EDS], applied directly to the wooden support. The blue paint comprised a mixture of Prussian blue (Fe₄[Fe(CN)₆]₃) and ultramarine (Na_xAl₆Si₆O₂₄S_x) [µ-Raman, FTIR, SEM-EDS]; hematite (Fe₂O₃) was identified in the brown paint [µ-Raman, SEM-EDS]; and the white paint consisted of lead white (2 PbCO₃·Pb(OH)₂) [µ-Raman, FTIR, SEM-EDS]. Repainted areas were identified by the presence of lithopone (ZnS + BaSO₄) [µ-Raman, SEM-EDS, FTIR], likely resulting from later interventions. In the gilded areas, gold was identified along with traces of iron [SEM-EDS], indicating a lower-quality gilding compared to, for example, silver alloys. Lead white was also identified in the polychrome areas, where it served to produce different tones in the painting. FTIR analyses revealed traces of aged oil used as a binder in the older layers. Mineral oil was detected in some samples, which may indicate that wax was used as a protective layer on the sculpture. The results will assist professionals in the iconographic characterization of the sacred image of Our Lady and in the conservation and restoration processes based on the identified constituent materials. Full article

Polychrome paintings on wooden artifacts are vital elements of cultural heritage, where plant-derived binders play a crucial role in color formation and durability. This study aims to systematically compare the chemical, optical, and surface characteristics of two traditional natural adhesives—acacia gum (AG) and tragacanth gum (TG)—to better understand their influence on the preservation and reproduction of wood-supported polychrome coatings. Fourier-transform infrared spectroscopy (FTIR) confirmed their polysaccharide-rich structures, with distinct ester and glycosidic linkages, while rheological tests demonstrated that TG exhibited higher viscosity at 1–3% concentrations, whereas AG showed a sharper increase at 5%, reflecting different molecular architectures. Colorimetric analysis combined with two-way ANOVA revealed that gum type significantly influenced color development in blue and red coatings (p < 0.001), while yellow and green coatings remained largely unaffected. Gum concentration (1–5%) generally showed no significant effect on color. All coatings exhibited a matte appearance (<3 GU), with statistical analysis indicating that gloss was mainly determined by pigment particle distribution rather than adhesive type. Surface roughness increased notably with gum concentration (p < 0.001), demonstrating that binder content strongly affects coating microtexture. Overall, pigment type was the dominant factor for color, whereas gum concentration critically influenced surface morphology. These findings provide practical guidance for optimizing natural adhesives in the conservation of traditional polychrome artifacts. Full article

This study presents the first scientific characterization of the white preparatory layer and polychrome pigments on painted wooden figurines excavated from the Mawangdui Tomb No. 1, dating to the Han dynasty. A combination of analytical techniques, including XRF mapping, SEM, ATR-FTIR, XRD, and Raman spectroscopy, was used to investigate the composition, structure, and potential additives in the white layer. The results reveal that the preparatory layer is primarily composed of gypsum (CaSO₄·2H₂O) and calcite (CaCO₃), with minor phases such as anhydrite and larnite. SEM observations show a porous microstructure of needle-like crystals, while spectroscopic data suggest possible traces of organic binders. The preparatory layer was likely applied to smooth surface irregularities and support polychrome decoration, such as cinnabar and carbon-based pigments, and may have also functioned as a putty in localized areas. This represents the first confirmed use of gypsum-based plaster in ancient Chinese woodcarving, showing unexpected parallels with surface preparation techniques used in New Kingdom Egypt. However, the presence of organic additives and the internal structure of the figurines remain unresolved due to equipment limitations. These findings provide new insights into ancient material practices and highlight the importance of environmental control and material-specific conservation strategies for fragile gypsum-based heritage objects. Full article

Cultural heritage objects, including traditional Chinese polychrome paintings on architectures (Caihua) and wooden architectural components, frequently exhibit surface defects that are highly sensitive to environmental factors, resulting in progressive deterioration. However, due to limited data acquisition methods and quantitative analysis models, the stability and risks of defects such as cracks during environmental changes remain unclear. This study integrates photogrammetry and digital image processing to investigate through-cracks and craquelures on the surface of a well pavilion within the Palace Museum, Beijing. We confirmed the activity of these cracks, quantified crack widths, and studied the environmental influences on their development. Over a monitoring period of more than 15 months, the widths of seven cracks on four beams were measured alongside various environmental factors. Correlation analyses identified air humidity as the most significant factor influencing crack width fluctuations (p < 0.01). Numerical simulations revealed that short-term humidity exposure induces surface swelling and crack closure, whereas prolonged humidity leads to internal moisture transport and crack reopening. Furthermore, fitting parameters indicating the severity of crack variation correlated well with the degradation levels of the wooden components. In summary, this study establishes a monitoring and quantification procedure for assessing crack activity, explores the influence of humidity through numerical simulations, and identifies a potential indicator for the non-destructive assessment of timber component stability. The proposed framework offers an exploratory approach to addressing critical challenges in the health monitoring of wooden architectural components. Full article

Hangzhou was the political and economic center of the Southern Song Dynasty (1127–1279 AD) and also the southern end of the Beijing-Hangzhou Grand Canal during the Ming and Qing Dynasties (1368–1644 AD). This historical position allowed the city’s economy to develop rapidly and influenced the form of its polychrome paintings with the imperial official style of the north China. However, due to the high temperature and rainy natural preservation conditions, southern polychrome paintings have always been a weak link in Chinese architectural polychrome painting craftsmanship. This study focuses on two well-preserved official-style architectural polychrome paintings in the grand halls from the late Qing period in Hangzhou. Through multi-techniques such as optical microscopy (OM), scanning electron microprobe with energy dispersive X-ray spectroscopy analysis (SEM-EDX), micro-Raman spectroscopy, micro-Fourier Transform Infrared spectroscopy (μ-FTIR), and pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS), it was found that there is a significant difference from the reported common non-ground architectural paintings in the south, typically having four-layer structures with a white base and ground plaster layer in preparation for painting. The appearance of pigments such as artificial ultramarine (Na₆Al₄Si₆S₄O₂₀) and emerald green (Cu(C₂H₃O₂)₂·3Cu(AsO₂)₂) indicates that the paintings were made at least after the 1830s, and the use of malachite green dye and copper phthalocyanine blue (PB 15:X) suggests that unrecorded restorations were also performed after the 20th century. All samples are coated with a layer of alkyd resin, which may have been added during the repairs in the latter half of the 20th century, leading to the black discoloration of the present paintings, especially in areas where emerald green was used. This study provides an important case for the study of the official style of polychrome painting craftsmanship in the southern region of China and also offers important references for the future protection and restoration of traditional architectural polychrome painting. Full article

The interior of Orthodox churches is entirely decorated with paintings, icons, and frescoes, to help create a special environment for the prayers and visitors. The paintings have religious, esthetic, and historical value, being created in the Byzantine tradition and following recommendations on style and materials according to old church canons. Particular importance is attributed to the Iconostasis decorated with icons on several registers, as well as to polychrome wooden ornaments and imperial doors. This work presents the scientific investigation results of three royal icons, theoretically dating to the 19th century, from the Iconostasis of the Runcu church, an important 19th-century Romanian historical monument, aiming to answer questions regarding their age and constituent materials, especially what were the mineral pigments used in the color palettes for their painting and if there were any old repainting interventions, in order to assist their restoration and conservation. Methods of characterization employed were optical microscopy, SEM-EDX spectrometry, ATR/FTIR spectroscopy, and X-ray fluorescence spectrometry. Results obtained allowed us to date, attribute, and evaluate the conservation state of the Royal icons; to our knowledge, this study is among the very few research studies carried out so far on the religious heritage conservation field in Romania. Full article

On the surface of the Cave of Altamira’s prehistoric paintings, a series of active deterioration processes are evident, leading to significant alterations of this invaluable heritage. This study proposes a comprehensive methodology for the systematic recording and management of these alterations. To achieve this, advanced microphotogrammetric monitoring techniques are employed, allowing for the acquisition of very high-resolution images that provide objective and quantifiable data that let us determine the evolution of the alterations. By comparing these images with those from earlier campaigns, the study tracks changes. The data collected through this protocol has helped with the development of new research avenues to understand, among the many alteration processes that impact paintings, the dynamics of water and fluid mechanics affecting the conservation of Cave of Altamira. These investigations help clarify how, why, and at what rate degradation processes such as pigment migration, washing, and bacterial colonization occur. The insights gained from these techniques inform indirect conservation measures aimed at reducing the deterioration of the cave art, located both on the Polychrome ceiling and throughout the rest of the Cave of Altamira. The results underline the importance of regular monitoring and the application of precise, non-invasive techniques to protect rock art from continued degradation. This research provides a model for similar conservation initiatives at other vulnerable heritage sites. Full article

This study addresses the features of the internal structure of the geological layers adjacent to the Polychrome Hall ceiling of the Cave of Altamira (Spain) and their link to the distribution of moisture and geological discontinuities mainly as fractures, joints, bedding planes and detachments, using 3D Ground Penetrating Radar (GPR) mapping. In this research, 3D GPR data were collected with 300 MHz, 800 MHz and 1.6 GHz center frequency antennas. The data recorded with these three frequency antennas were combined to further our understanding of the layout of geological discontinuities and how they link to the moisture or water inputs that infiltrate and reach the ceiling surface where the rock art of the Polychrome Hall is located. The same 1 × 1 m² area was adopted for 3D data acquisition with the three antennas, obtaining 3D isosurface (isoattribute-surface) images of internal distribution of moisture and structural features of the Polychrome Hall ceiling. The results derived from this study reveal significant insights into the overlying karst strata of Polychrome Hall, particularly the interface between the Polychrome Layer and the underlying Dolomitic Layer. The results show moisture patterns associated with geological features such as fractures, joints, detachments of strata and microcatchments, elucidating the mechanisms driving capillary rise and water infiltration coming from higher altitudes. The study primarily identifies areas of increased moisture content, correlating with earlier observations and enhancing our understanding of water infiltration patterns. This underscores the utility of 3D GPR as an essential tool for informing and putting conservation measures into practice. By delineating subsurface structures and moisture dynamics, this research contributes to a deeper analysis of the deterioration processes directly associated with the infiltration water both in this ceiling and in the rest of the Cave of Altamira, providing information to determine its future geological and hydrogeological evolution. Full article

Since the Hellenistic period, preparatory drawings known as sinopiae were employed as guidelines for mosaicists in creating mosaics. The sinopiae served as the basis for style and content, facilitating the placement of colored tesserae in the supporting mortar. The technology of the mosaic and pigments used reflect the capacity of the mosaic workshop and its master. This work explores a polychrome sinopia that was found under a Byzantine mosaic of an Armenian Chapel in Jerusalem, by a multi-analytical characterization of mineralogical and chemical properties. The composition of the pigments in the black and red areas of the sinopia include carbon black and red ochre, respectively, utilized in the fresco technique. Since colored tesserae are placed in wet mortar, it can be deduced that mosaicists worked together with painters during the executionary steps. This has corresponding implications for historical and artistic specializations at mosaic workshops, with deeper understanding of mosaic production processes. This research also highlights the importance of studying sinopiae under floor mosaics, which is a source of information on the pigments, paintings techniques, and the people who executed the work, all embedded in mortar which is well protected below the stone tesserae. Full article

A group of wall painting fragments discovered at Ulpia Traiana Sarmizegetusa, an important Roman archeological site located in the former Roman province of Dacia (Romania), have been investigated with the aim of defining the material composition of their pictorial layers and exploring the pictorial technology used. In order to preserve the integrity of the murals and minimize sampling, an array of non- and micro-invasive techniques has been employed, including X-ray fluorescence, laser-induced breakdown spectroscopy, Fourier transform infrared spectroscopy, and hyperspectral imaging. In accordance with previous studies, the identified color palette was mainly based on iron-rich earth pigments (red and yellow ochres, green earth) and carbon-based blacks (soot/charcoal, bone black). Egyptian blue, lazurite, some lead-based pigments, and potentially indigo were also identified (in complex mixtures) on the uppermost paint layers, typically applied a secco over the a fresco background. The presence of expensive pigments and the existence of a red preparatory drawing, documented for the first time in the region, indicate that the original wall paintings had elaborate schemes and, secondly, reflect the patron’s wealth and social status. Hyperspectral imaging was able to retrieve some faded paint layers in certain cases, helping to recover lost decorative details, an indicator of a more complex polychromy compared to what we see today. The obtained results add important contributions to the limited corpus of data regarding the technical know-how of decorative polychrome painting on plaster found in Roman archeological sites in Romania. Full article

The conservation of Cultural Heritage in cave environments, especially those hosting cave art, requires comprehensive conservation strategies to mitigate degradation risks derived from climatic influences and human activities. This study, focused on the Polychrome Hall of the Cave of Altamira, highlights the importance of integrating remote sensing methodologies to carry out effective conservation actions. By coupling a georeferenced Ground Penetrating Radar (GPR) with a 1.6 GHz central-frequency antenna along with photogrammetry, we conducted non-invasive and high-resolution 3D studies to map preferential moisture pathways from the surface of the ceiling to the first 50 cm internally of the limestone structure. In parallel, we monitored the dynamics of surface water on the Ceiling and its correlation with pigment and other substance migrations. By standardizing our methodology, we aim to increase knowledge about the dynamics of infiltration water, which will enhance our understanding of the deterioration processes affecting cave paintings related to infiltration water. This will enable us to improve conservation strategies, suggesting possible indirect measures to reverse active deterioration processes. Integrating remote sensing techniques with geospatial analysis will aid in the validation and calibration of collected data, allowing for stronger interpretations of subsurface structures and conditions. All of this puts us in a position to contribute to the development of effective conservation methodologies, reduce alteration risks, and promote sustainable development practices, thus emphasizing the importance of remote sensing in safeguarding Cultural Heritage. Full article

During the Ming Dynasty, the Five-Dragon Palace functioned as a royal Taoist temple set atop one of China’s holiest Taoist mountains, Wudang Mountain. Two tower polychrome sculptures with exquisite craftsmanship have remained over the centuries. In this study, the painting materials and the techniques used to construct these sculptures were analyzed through multiple characterization methods, including optical microscope (OM) observations, micro-Raman spectroscopy, scanning electron microscopy–energy-dispersive X-ray spectroscopy (SEM−EDS), X-ray diffraction (XRD), micro-Fourier-transform infrared spectroscopy (μ−FTIR), and pyrolysis–gas chromatography/mass spectrometry (Py−GC/MS). The results revealed that the pigments used in these sculptures included red pigments, which were composed of mercury (II) sulfide (cinnabar or vermillion), minium (Pb₃O₄), and hematite (Fe₂O₃); green pigments, which included atacamite and botallackite (Cu₂Cl(OH)₃), and blue pigments, which comprised smalt (CoO·nSiO₂) and azurite (Cu₃(CO₃)₂(OH)₂). The white base layer was composed of quartz and mica minerals combined with gypsum or plant fiber, and the gold foil was adhered to the surface using heated tung oil. In addition, a special multi−layer technique was applied, with red under the golden gilding, white under the blue layer, and gray and black under the green layer. Drying oil was used as a binder for lead-containing pigments. This study offers substantial proof of reliable techniques to use in the continuing conservation of these sculptures, and it also serves as a foundation to determine if they can be dated to the late Ming or early Qing Dynasty (17th century). Full article