Search Results (17)

In October 2021, a mural painting was discovered in the crypt of Parma Cathedral (Italy). It was covered by a wall, erasing it form historical memory. The painting, presumably from the 15th–16th century, depicts the Madonna and Child enthroned in the center, between Saints Peter and John. Before the restoration project, investigations were conducted with different techniques to identify the pigments and binders used, the nature of the surface finish and the efflorescence. Micro-Raman spectroscopy detected numerous pigments compatible with the presumed age. An interesting result concerns the presence of crocoite (lead chromate), an unusual and rare pigment for this period. These pigments were confirmed through investigation by means of Scanning Electron Microscopy coupled to Energy-Dispersive X-ray Spectroscopy (SEM-EDS). Fourier Transform Infrared Spectroscopy (FT–IR) and Gas Chromatography/Mass Spectroscopy (GC/MS) were used to identify the binder and the type of wax used in the finish layer. The rather widespread presence of egg, used to spread the paint, allows us to affirm that this mural painting was created as a fresco, with substantial parts a secco. 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 study applies both a minimal and an extended approach for a comprehensive picture of chemical components in wall paintings, including evidence of degradation. Pigments and ligands were characterized via a multi-methodological investigation, including optical microscopy, scanning electron microscopy, Raman micro-spectroscopy, GC-MS, and LC-MS/MS. Particularly, the procedure was tested on wall paintings recently excavated from a Roman domus in Santa Maria Capua Vetere. The hypothesis of a very wealthy owner is supported by the evidence of a multi-layer preparation, a rich variety of pigments, and organic ligands (both terpenic resins and animal glue). The absence of calcite in the pictorial layer (via optical and Raman microscopy) and the presence of organic binders (via GC-MS and LC-MS/MS) clearly indicates the a secco technique. Full article

Ancient Ardaxšīr Khwarrah, today known as Shahr-e Gur, situated near the modern town of Firuzabad in Fars, Iran, holds historical significance as the inaugural capital city of the Sasanian Empire. During archaeological excavations conducted in 2005 by an Iranian–German team directed by Mas‘oud Azarnoush and Dietrich Huff, a mud-brick complex was uncovered, revealing a remarkably well-preserved stretch of wall painting and a polychrome painted floor. The discovery prompted the hypothesis of a potential funerary context dating back to the Sasanian period. Both the wall painting and painted floor have suffered extensive deterioration attributed to the environmental conditions of the archaeological site, which was inscribed on the UNESCO World Heritage List in 2020. To address the urgent need for preservation and further understanding of the site’s artistic and structural elements, an emergency diagnostic project was initiated. Non-invasive investigations were carried out on the wall and floor by optical digital microscopy and portable energy-dispersive X-ray fluorescence. Additionally, representative minute samples underwent analysis through various techniques, including micro-X-ray fluorescence, polarised light microscopy, scanning electron microscopy with energy-dispersive X-ray spectroscopy, micro-Raman spectroscopy, micro-Fourier Transform Infrared Spectroscopy, gas chromatography-mass spectrometry and pyrolysis coupled with gas chromatography-mass spectrometry. The palette of the floor and mural paintings were identified to contain red and yellow ochres, lead-based pigments, carbon black and bone white. The unexpected presence of Egyptian blue mixed with green earth was recognised in the green hues of the wall painting. The detection of protein material in both the wall painting and polychrome floor indicates the use of “a secco” technique, thereby shedding light on the artistic practices employed in Ardaxšīr Khwarrah. Full article

Several medieval mural cycles in Austria were studied from the material and technical point of view, aiming to confirm (or reject) the art-historical hypothesis of their stylistic and workshop connection. These paintings can be found in the churches of Rust (“Fischerkirche”), Marz (Virgin’s Coronation parish church), Kobenz (St. Ruprecht parish church), Ofenbach (St. Veid parish church), and St. Johann am Steinfelde (St. John parish church). They were carried out around 1400 in the International Gothic style. Their workshop connections based on the style are doubtful, therefore, a material and technical study was carried out. Results showed different plaster composition, similar pigment palette, and diverse painting procedures. The murals in Marz, St. Johann, and the older register in Rust reveal important similarities such as plaster composition, predominant a fresco painting technique, the use of natural inorganic pigments, as well as many aspects of the painting procedure and modeling. On the contrary, those in Kobenz, Ofenbach, and the younger register in Rust differ considerably. The second group reveals lower quality in plaster composition, larger a secco parts, addition of synthetic pigments (Kobenz), and a rougher color modeling, indicating less skilled artists. The lower quality also results in a worse conservation state of these murals. The obtained results confirm the same workshop, but different artists in the first group, while in the second group no clear workshop/artist connection could be established. Full article

In this work, we present a diagnostic study carried out on 20th century wall paintings in the Chapel of the Fallen of the Great War in the Cathedral of Parma (Italy). The Chapel was painted in the two-year period of 1921–1922 and has been recently restored. The paintings were investigated in order to study the technique used by the painter, Biagio Biagetti (Porto Recanati, 1877–Macerata, 1948) and their state of conservation. A total of twelve micro-fragments of the painting layers were sampled and investigated using different techniques. Raman spectroscopy revealed the large amount of different pigments used for each hue, many of them being synthetic materials. SEM/EDS analysis showed that the mortar was an aerial lime obtained from calcium carbonate mixed with a small amount of clay. Organic materials were identified by FTIR spectroscopy. GC/MS investigations revealed lipid and proteinaceous materials in the examined specimens; the lipid fraction, however, is not attributable to the presence of drying oils. From the determination of the amino acid content, it became apparent that the proteinaceous fraction is due to the combination of egg and animal glue; this allowed us to infer the use of “a secco” techniques, confirming the visual impressions of the restorer. The results obtained have contributed to the definition of the conservation project in its various phases. Full article

This study presents the petrographic and chemical characterization of the frescoes in the Church of San Panfilo in Tornimparte (AQ, Italy) by Saturnino Gatti, a prominent painter of the late 15th–early 16th century, known for his exquisite technique, composition, and use of color. The characterization of the frescoes is essential for understanding the materials and techniques used by Gatti, as well as for identifying the stratigraphy and painting phases. Eighteen samples were collected from the original paint layers, later additions (17th century), and restored surfaces, and analyzed by optical microscopy, cathodoluminescence microscopy, scanning electron microscopy (SEM-EDS), μ-Raman, and electron paramagnetic resonance (EPR). The analyses revealed a microstratigraphy often made of three main layers: (1) preparation, consisting of lime plaster and sand; (2) pigmented lime, applied by the fresco technique; and (3) additional pigmented layer on the surface. The most often recurring pigments are black, red, yellow (all generally linked with the fresco technique), and blue (applied “a secco”). The presence of two painting phases was also noted in one sample, probably resulting from a rethinking or restoration. These findings contribute to the understanding of the history and past restoration works of this cultural heritage site, providing important insights not only for conservators and restorers, but also for a broader understanding of Italian fresco painting and art history of the late 15th and early 16th centuries. Full article

This study deals with the materials of the sub-arch painting of the Del Bono Chapel of the Abbey Church of S. Giovanni Evangelista in Parma, Italy, datable to around 1523. The artist is Antonio Allegri, known as Correggio (1489–1534), who is considered to be one of the greatest painters of the 16th century. Micro-Raman spectroscopy, micro-Fourier transform infrared spectroscopy and gas chromatography coupled with mass spectrometry were used as the main techniques to identify the pigments and binding media. The analysis enabled us to identify the pigments which were characteristic of the epoch. Correggio’s palette was composed by mineral pigments—sometimes expensive ones such as lapis lazuli, azurite and cinnabar—together with a wide range of earths, or by synthetic pigments like smalt blue. From the amino acid content determination, it was shown that, in the samples containing lazurite, smalt, hematite, green earth and goethite, the protein fraction was attributable to the presence of a mixture of egg and animal glue, from which the use of the a secco technique could be assumed, with pigments that did not need organic binding media on the wall. For the gilding sample, the study found that Au foil had been applied on a brown background (oil-based missione). Full article

Non-invasive techniques (X-ray fluorescence, XRF, and Raman spectroscopy) were used for the study of the Hispano Muslim wall paintings. Principal component analysis (PCA) was performed on the semi-quantitative XRF results directly provided by the in-built factory calibrations with minimum user manipulation. The results obtained were satisfactory and highlighted differences and similarities among the measurement points. In this way, it was possible to differentiate the decorations carried out on gypsum plasterwork and the wall paintings over lime plaster. The color palette, revealed by combining the results from XRF and Raman spectroscopies, comprised the pigments hematite, lapis lazuli, cinnabar (in poor conservation state), and possibly, carbon. Evidence of past interventions was also provided by PCA on XRF data, which detected the presence of Pb, Ba, and Zn in some areas. Furthermore, the preparation layers have been studied in detail on cross-sections of two microsamples. Several layers of lime plaster with a compact microstructure have been observed. The characteristic of the pictorial layer and the identification of calcium oxalate point to the use of a secco-technique. The main alteration identified was a gypsum surface layer covering the painting and signs of plaster deterioration due to gypsum migration to more internal areas. Finally, the comparison with the observations made by restorers in previous interventions on these paintings revealed the importance of the representativeness gained with the in situ study, which enabled the analysis of a high number of areas. Full article

Due to climate change, ceiling paintings in many historic buildings are subjected to increasingly high short-term temperature change, resulting in high thermal tension caused by the construction assembly. This article focuses on the combined use of timed IR imaging and numeric modelling to evaluate insulation measures on the upper side of a ceiling to reduce thermal tensions in the painting layers, overheating in summer as well as cooling down in winter. As a model room, the southern splendour stair hall in the Burgtheater Vienna was chosen. Famous ceiling paintings created from 1886 to 1888 by Gustav Klimt and his brother Ernst Klimt can be found on this ceiling. The results show that timed IR imaging is an adequate tool to study the transient thermal behaviour of ceiling paintings which are not accessible to standard sensor measurements. Moreover, it could be shown that the presented measurement technique is well suited to validate a numeric model. The latter was applied to evaluate the potential insulation on the top of the ceiling. It was shown that cooling loads and energy loss in the room underneath can be reduced and most importantly the thermal stress in painting layers is reduced. The findings are relevant as, due to global warming, the current situation in many buildings is worsening. Considering the great intangible cultural value of many ceiling paintings, the application of the presented evaluation strategy for building physical boundaries on a ceiling with paintings seems to be appropriate. Full article

Pagán is an ancient city located in Myanmar that is renowned for the remains of about 4000 pagodas, stupas, temples and monasteries dating from the 11th to 13th centuries. Due to a magnitude 6.8 earthquake in 2016, more than 300 ancient buildings were seriously damaged. As a part of the post-earthquake emergency program, a diagnostic pilot project was carried out on Me-taw-ya temple wall paintings to acquire further information on the materials and on their state of conservation. This article presents our attempts at characterising the painting materials at Me-taw-ya temple using non-invasive portable energy dispersive X-ray fluorescence (ED-XRF), portable Raman spectroscopy and micro-invasive attenuated total reflectance—Fourier transform infrared spectroscopy (ATR-FTIR), micro-Raman spectroscopy (µ-Raman), gas chromatography-mass spectrometry (GC-MS), polarized light microscopy (PLM) and environmental scanning electron microscope—X-ray energy dispersive system (ESEM-EDS) investigations with the aim of identifying the composition of organic binders and pigments. The presence of a proteinaceous glue mixed with the lime-based plaster was ascertained and identified by GC-MS. In addition, this technique confirmed the occurrence of plant-derived gums as binders pointing to the a secco technique. Fe-based compounds, vermillion, carbon black and As-compounds were identified to have been incorporated in the palette of the murals. Full article

Mural cycles in the churches of Plešivec, Čhyžné, and Štitnik from around 1400 were studied from the material and technical point of view. Stylistically, they show a mixture of Northern and Southern European stylistic currents, which were characteristic for the time around 1400 in East Central Europe. After a precise study in situ, an analysis of extracted samples was conducted by OM, SEM-EDX, and XRD. The plasters used for these murals were all made of lime and sand with different impurities; importantly, they different among each other in terms of their quality and stability. The pigments that were used in these murals were natural and organic: lime white, yellow and red earths, malachite, and azurite were identified, and some pigment degradations were also pointed out. The principal technique is a fresco, but all murals were finished a secco in different proportions, using an organic binder. Painting procedures and modelling were also studied, revealing a strong difference among all three cycles. The painting technique does not always correspond to the style. Full article

In this study, several wall painting fragments discovered in the Roman baths from the archeological site Alburnus Maior (Roşia Montană, Romania) were analyzed with the aim to investigate the material composition of both plasters and pictorial layers. Dated from the beginning of the second century AD, these rare findings stand among the oldest examples of preserved decorative polychrome paintings on plaster excavated thus far in the former territory of the Roman province of Dacia. A non-destructive multi-analytical approach based on complementary techniques was considered: Fourier transform infrared (FTIR) spectroscopy, X-ray fluorescence (XRF), X-ray diffraction (XRD), UV fluorescence, and hyperspectral imaging (HSI). The obtained results highlight a common Roman color palette mainly based on naturally occurring earth pigments. Red ochre, yellow ochre, manganese-rich ochres/wads, carbon black, and calcite were identified. A traditional two-layer sequence of plasters was found—arriccio (based on lime and siliceous sands), and intonaco (pure lime). The presence of an organic protein binder, identified via FTIR analysis, and sustained by combined imaging documentation, indicates that the pigments were applied a secco. The obtained results are discussed in relation to previous published data, and they can be considered as valuable archeological indicators that contribute to the understanding of the painting techniques and the materials used in the Roman provinces. Full article

This paper refers to the study of the Voyatzis mansion, in the port of Aegina, Greece. The building complex consists of two discrete structures, which were built at different times (before 1830, 1880 and 1890) and have housed either the Voyatzis family home or its business and work premises. The present research is focused on the documentation of the building, which was never published, and combines the architectural form and elements within its historical context as well as the physicochemical analysis of the painted decoration. The key hypothesis investigated is whether Konstantinos Voyatzis transferred the aesthetic approach and application techniques from Symi to Aegina, when he emigrated from his birthplace. The documentation of the ceiling decoration as well as the physicochemical study of the second floor’s internal wall painting decoration in the main rooms was carried out using in situ modern hyperspectral imaging in specific wavelengths of the visible and near-infrared region, as well as in false color infrared mode. Complementary SWIR imaging, using an InGaAs sensor at the range 900–1700 nm was also applied. The assumption was supported by the findings of the imaging techniques, which showed, apart from the secco method, the use of traditional pigments for the wall paintings, such as cobalt blue, brown, red and yellow earth pigments, chrome oxide green and black, sometimes in admixture with white. The use of guidelines and stencil in the case of the hallway was also recorded. Full article

The modern decoration of the Saint Nicolas de Myre Church at Semsales (1924–1926), is the first by renowned Italian artist Gino Severini in Switzerland. Following archival research and visual examination, the materials and the techniques used by Severini for the wall paintings of this church were examined through a multi-technique analytical approach that included both non-invasive and invasive investigations. Archival research revealed lists of some of the materials purchased for the church and notes of the artists. In situ investigations included imaging methods and point analyses (X-ray fluorescence and reflection FT-IR spectroscopy). Based on non-invasive results, a limited number of representative samples were collected for laboratory invasive analyses (SEM-EDS, FTIR-FPA imaging, μ-Raman and GC-MS) to characterize the stratigraphy and the composition of the paintings. Results were coherent with artist’s notes and revealed protein-based binders, i.e. animal glue and casein, exclusively on the Trinity mural (in the apse) confirming the use of a secco technique. All the other wall paintings analyzed at Semsales are painted without the use of organic binders. These findings, integrated with archival researches and the visual examination by conservators, provided significant insights into the materials and techniques used by Gino Severini in his first Swiss murals. Full article