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1.
Interactions of lead-based pigments with a number of inorganic salts, one of the most dangerous degradation agents of wall paintings, were studied under laboratory conditions. The results were used to interpret colour changes observed in 11th century frescoes from the church of Saint George in Kostoľany pod Tríbečom, the oldest preserved wall paintings in Slovakia. Interactions of selected pigments (lead white, massicot, red lead) with different salt solutions were performed within long-term laboratory experiments. We used a selection of naturally occurring salts (Na2SO4, MgSO4, CaSO4, NaCl, NaNO3, Ca(NO3)2, Na2CO3, K2CO3 and urea) and, additionally, a range of synthetic salts that are often applied to the wall paintings during their cleaning and conservation (NaHCO3, KHCO3, (NH4)2CO3, NH4HCO3). The reaction products were identified by X-ray powder diffraction. Red lead (Pb3O4) has a tendency to darken in all salt solutions containing dissolved atmospheric CO2 due to disproportionation to plattnerite (PbO2) and cerussite (PbCO3). Massicot (PbO) in a wet state reacts with atmospheric CO2 to form hydrocerussite and finally cerussite. Lead white (PbCO3 and Pb2CO3(OH)2) reacts with sulphates, carbonates and chlorides to form their respective salts in high yield and, sometimes, without any apparent colour change. Samples taken from the dark brown parts of the wall paintings in Saint George's church were analysed using laboratory X-ray powder microdiffraction. The presence of hydrocerussite, cerussite, plattnerite and lead magnesium carbonate was revealed. According to the results of laboratory experiments, the original lead-based pigment of the now darkened parts was red lead.  相似文献   

2.
Giovanni Fattori (Livorno 1825–Firenze 1908) is the most representative artist of the Macchiaioli's current, an early group of Italian plein-air artists, whose work anticipates, in the xixth century, that of their younger contemporaries, the French Impressionists. The study, performed by a multidisciplinary team made up of scientists and conservators, presents the results of the scientific characterization carried out on a group of 10 paintings made by Fattori between 1854 and 1893 and shows the way he used complex mixtures of a large variety of traditional and synthetic pigments, ranging from lead white, found pure and also extended with calcium carbonate, natural barite and gypsum to zinc white, from red ochre to cinnabar and vermilion, from yellow ochre and Naples yellow to chrome yellow, cadmium yellow and zinc yellow, combined with many other ones reported in details. This paper highlights the evolution of his painting technique during a time of great technological and social innovations and puts forward some hypothesis on his awareness about manufactured pigments, i.e. tube paints recently introduced into the artists’ circles. The wide range of pigments and their different quality among the same synthetic products suggest that the artist used all the available materials, and that picking out the pigments he retained the early xixth century artists techniques, such as the use of mineral earths and Prussian blue, similarly to his contemporary Italian artists Federico Zandomeneghi and Telemaco Signorini, but he also experimented new and peculiar pigment mixtures in the making of “colored darks” and an innovative use of the grounds in the final composition, that are also distinctive features of the French Impressionists. This work is aimed at contributing to overcome the lack of a comprehensive overview on the widespread historical and scientific data collected up to now on the Italian paintings in the xixth century, which has been severely underestimated with respect to previous art movements.  相似文献   

3.
近代舟山     
展览中,一幅出自《中国国家地理》“浙江专辑”的图画,引起了我们的关注。图画中,大小船舶云集,钟楼、民居、教堂、码头、商铺等中西建筑鳞次栉比,卸货的码头工人、赶着马车的车夫、巡逻的警察、做买卖的生意人、挑担的挑夫等南来北往。再细看图画说明,这竟然是“极盛时期的双屿港：世界各地的商品和数不清的白银在这里交换、中转和集散”。  相似文献   

4.
A new possible methodology for recognizing the nature of gypsum in artworks, in particular for wall paintings, was developed. Calcium sulfate can be an alteration product of the calcium carbonate, or a component used by the Artist himself; the problem of identification of the presence and the nature of gypsum could be found detecting the presence of strontium. This element could be used as a marker since, differently from the alteration form, in mineral gypsum simultaneous presence of calcium and strontium occurs. The correlation between these two elements may be recognized using non-invasive in situ X-ray fluorescence measurements. In the present work, we tested this occurrence in various mineral samples of gypsum and alabaster as well in tempera, fresco and Egyptian paintings. Considering the new possible role of strontium indicating the presence of natural gypsum, we expect to provide a valuable tool for conservation scientists, restorers and art historians.  相似文献   

5.
This paper reports results derived from a chemico-physical characterisation study undertaken on an important ensamble of early 20th century stained glass windows from Madrid and signed by the prestigious and well-known Maumejean Fréres company. The study is part of an on-going project of restoration and conservation carried out by the National Glass Centre Foundation (FCNV, La Granja de San Ildefonso, Segovia, Spain). The basic aim of the research was to assess their current state of conservation and to study the degree of damage suffered throughout the last century by different materials employed in their production, namely colourless and coloured glasses, grisailles, lead cames, and putties used to fix glass pieces into the lead cames. Selected samples from these materials were characterised through optical microscopy (OM), X-ray fluorescence (XRF), scanning electron microscopy (SEM), energy dispersive X-ray microanalysis (EDX), VIS spectrophotometry, and X-ray diffraction (XRD). As a general rule, most of them presented an acceptable state of conservation, without any of the known degradation phenomena of more ancient stained glasses (e.g. Medieval, Renaissance, etc.). However, some remarkable alterations were observed. Important deposits of soot and dirt particles coming from a polluted urban environment were detected, producing a slow blackening of the panels. Resulting data have been useful to design and optimise a combined conservation and restoration strategy in the recovery of this valuable legacy of early 20th century stained glass windows from Madrid.  相似文献   

6.
The application of total reflection X-ray fluorescence (TXRF) to the analysis of inorganic pigments used in five Albanian icons painted by Onufri Qiprioti, in the period from the end of 16th to the beginning of 17th century is presented. After removing the protective varnish with a solvent, a dry cotton-wool bud (Q-tip) was rubbed over the painted surface to collect the micro-samples. Samples, covering the main colors and their hues, were collected of each icon. A part of the small amount of the sample was transferred to a glass carrier and analyzed by TXRF. Main types of inorganic pigments used for different colors could be identified. The results indicate a palette which included white lead, calcium white, gold, orpiment, yellow and red ochre, vermilion, red lead; a cooper based green pigment (malachite or verdigris) and smalt.  相似文献   

7.
Laser induced breakdown spectroscopy was used to investigate the composition of a gun found in the Adriatic seabed and kept in the “S. Castromediano” Provincial Museum in Lecce (Italy). Optical emission spectra of the laser-induced plasma from the surface of the piece of ordnance were recorded before and after its restoration. The metal alloy of the gun was determined through the identification of characteristic atomic emissions and confirmed through microanalysis carried out by energy dispersion X-ray spectroscopy. Experimental results evidenced that the gun is of bronze and revealed that elements composing the encrustation and noxious for the object conservation, such as calcium, were removed successfully during the cleaning operation. Performed elemental analyses confirmed that laser induced breakdown spectroscopy is a useful diagnostic tool to test the restoration degree of artworks.  相似文献   

8.
Three-dimensional (3D) digital preservation aims at generating 3D models of objects that have cultural or scientific value. It allows realistic visualization of objects through virtual museums or scientific applications, and the restoration of the preserved object in case of natural wear or accidents. This work contributes to this research area by presenting a method to improve color texture quality of 3D models obtained from color and depth images of a laser scanner. Although this device offers precise depth information, the resulting color information is still poor and limits the generation of realistic textures. Our approach is to capture photographs of the object with a high-resolution digital camera and use them to generate a new color texture for the 3D model. Our work proposes a practical technique, easy to replicate, to generate high quality textures for 3D models from photographs. The method is composed by three main steps: (1) calibration of the image acquisition devices; (2) data acquisition; and (3) texture generation. In this paper, we detail our color texture generation method and apply it on the digital preservation of many artworks made by native Brazilians (indians) from the Wauja and Karaja communities. These indigenous communities are acknowledged as great ceramic artists, each bearing their own main themes, using a very rich symbolism in their paintings. Their artworks represent important aspects of the native South American culture and their digital preservation is motivated by three main reasons: (1) their fragility; (2) the paintings loose their original appearance with time; and (3) the possibility of extinction of these communities. We present several results of preserved artworks with enhanced quality realistic texture maps. Also, we present a methodology to analyze the quality and accuracy of texture maps. The resulting 3D models can be visualized through a tool we developed to support the virtual exhibit of 3D preserved heritage.  相似文献   

9.
This articles reports new discoveries relating to ground glass and silica in European easel paintings from the 15th to the 17th centuries that were created by various German, Italian and Netherlandish artists. The earliest known additions of these extenders date to the early 1430s. Glass powder of varying fineness, prepared from vessel or window cullet, is often found in red lake glazes as well as in other colours or preparatory layers of paintings. SEM/EDX analyses of the glass particles reveal a variety of chemical compositions (soda ash, wood ash, wood ash-lime, wood ash-lead, mixed alkali), which are discussed with respect to the provenance of the paintings. Historical sources on painting techniques mention glass additions most frequently to accelerate drying of oil paints, but also occasionally to facilitate grinding of pigments. Another possible function of powdered glass and silica, especially in oil-bound red lake glazes, is that of a transparent filler, as will be here discussed based on paint trials.  相似文献   

10.
The use of coloured pastes for inlaying marble and limestone wall panels is one of the ornamental techniques that were widely used during the Mamluk period in Egypt (1250–1516 AD). Red and black pastes from Qijmas El-Eshaqe mosque (1482 AD) in Cairo were studied to identify their main components. The study of the samples involved the identification of the pigments, additive materials and organic binding media. The study was performed using various analytical methods such as polarising microscopy (PLM), scanning electron microscopy equipped with energy dispersive X-ray analyser (SEM-EDX), inductively-coupled plasma (ICP-AES), X-ray diffraction (XRD) and Fourier-transform infrared spectroscopy (FTIR). These complementary analytical techniques provide precise identification of inorganic and organic substances used in the pastes. The results indicated that the red pigment is mainly obtained from red ochre containing hematite, whereas amorphous carbon (bone black and charcoal) was used to obtain the black colour. Both samples contain calcium sulphate, which was used to give some hardness to the pastes. Beeswax was used as an organic medium in both pastes. The study provides the information required for the conservation of the coloured paste ornaments.  相似文献   

11.
The pigments, organic materials and techniques used on a post-Byzantine icon of St Nicholas were determined by means of several micro-analytical techniques. The icon painter covered the leather support with silver leaf about 3 μm thick to create a smooth working surface. Animal glue was used to secure the leaf to the leather, and FTIR spectroscopy has identified another layer, 30–60 μm thick, of the same material applied as a primer above the silver. Above that, a layer of lead white covering the entire surface creates a white substratum serving the same purpose as the gesso on a wood panel. The colour palette, determined by means of scanning electron microscopy and FTIR spectroscopy, is very simple. Only seven colours were identified: lead white, caput mortuum, red and yellow ochre, cinnabar, carbon black and smalt. As far as we know, this is the first time that smalt has been found on a Byzantine icon. Since smalt was chemically synthesised only after 1500 AD, it may be concluded that this icon was painted after the end of the 15th century. Beeswax was used as a protective varnish.  相似文献   

12.
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13.
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14.
Optical and SEM-EDS microscopy, X-ray powder diffraction and micro FT-IR spectroscopy investigations of the funerary klinai (couches) of Tomb 1 from Amphipolis and a stone sarcophagus from ancient Tragilos—two painted monuments made by Macedonian craftsmen of the Early Hellenistic period—identified the original materials and painting technique, as well as synthetic materials used as consolidants during past restoration treatments. The original organic binders and the superficial modern coatings have been identified by micro FT-IR spectroscopy applied directly to the sampled powders or tiny fragments and to their solvent—soluble fractions. The pigments identified on the couch of Amphipolis are: red and yellow ochre, cinnabar, Madder lake, paratacamite and antlerite, carbon black, calcium carbonate, kaolin and gypsum. The identification of egg and animal glue confirms the application of tempera and secco techniques. The detection of polymers such as polydimethylsiloxane, polyvinyl acetate and alkyd resins, is related to modern restoration products. The pigments attested on the paintings of the Tragilos' sarcophagus are: red and yellow ochre, Egyptian blue, malachite, carbon black, calcium carbonate and gypsum. The absence of organic binders combined with the constant presence of calcium carbonate in all the examined samples suggests the use of lime as the binding medium in the painted decoration of the sarcophagus. The presence of Paraloid B72 is related to recent conservation treatments.  相似文献   

15.
The present work reports on a spectroscopic study of white colour samples collected from Etruscan polychromes on terracotta from the Cerveteri area. In particular, both white-on-red potsherds of the Orientalising period and high-value polychromes of the Archaic period were considered. The white pigment, a fundamental element in this class of artworks, was not clearly identified in previous archaeological and analytical studies, although the use of kaolin was tentatively proposed. Therefore, samples from the Monte Sughereto kaolin quarry in the Cerveteri area were also studied. The results of detailed analyses carried out using micro-Raman spectroscopy, X-ray diffraction, and Fourier transform infrared spectroscopy first show that the quarry material is a high-purity kaolin containing quartz. Raman results strongly suggest that the same kind of kaolin was employed in the polychromes of the Archaic period. As to white-on red potsherds, infrared results have a key role in showing that the white pigment is a kaolin closely corresponding to the quarry material since a particular kaolin polytype (dickite) is dominant in both cases. The present work thus provides the first definitive identification of the white pigment used in Etruscan polychromes on terracotta from the Cerveteri area, and suggests that the source of kaolin might be the Monte Sughereto quarry.  相似文献   

16.
Historical plasters on light thin vaults, usually made by mats of reeds nailed to an upper wooden framework, were used in several historical and monumental Italian buildings and churches built between the 16th and the 19th century and almost all of the historical Italian theatres built between the 18th and the 19th century to cover the theatre-hall and to improve its acoustic properties. The non-destructive inspection of these structures is very important, but traditional inspection techniques are usually limited in resolution, which may be a problem for detection of defects at a very early stage. The paper presents the development and application of a high-resolution inspection technique based on a hybrid ultrasonic method, where a contact emitter probe and a non-contact air-coupled receiver probe are used. Results show the effectiveness of the method on laboratory samples and propose an inspection procedure for in-field application.  相似文献   

17.
During the past two decades, thanks to the rapid development of solid-state-based sensor technology, digital imaging emerged as one of the most attractive research areas for the noninvasive investigation of paintings and flat artworks. In particular, the commercial availability of high-performance digital cameras opened up new perspectives to transmitted imaging techniques, such as trans-illumination and trans-irradiation, which are based on the acquisition of the visible (Vis) and near infrared (NIR) radiation, respectively, transmitted through the object. Until recently, these techniques were indeed considered to be unsuitable for applications on artefacts, because of the risks of overheating and overexposure to the light of the object under analysis. Nowadays, with the new-generation digital cameras, transmitted imaging can be reconsidered as a possible tool for noninvasive diagnostics on paintings on canvas. These techniques have been proven to be effective for the examination of hidden details, such as underlying drawing, for a study of the pictorial style or the executive techniques, as well as for assessing the state of conservation of the supports. Both trans-illumination and trans-irradiation can be easily implemented by means of professional photographic digital cameras, and therefore offer a valuable alternative to the more expensive well-established methodologies, such as X-ray radiography. In some cases, they are found to be complementary to the conventional techniques in revealing details of the underlying paint layers. Potentials and limits of transmitted imaging techniques are discussed in this paper, starting from three case studies of oil-paintings on canvas that belong to the permanent collection of the Gallery of modern art at the Pitti Palace in Florence.  相似文献   

18.
Telemaco Signorini (Florence 1835-1901), one of the most important Italian painters of the 19th century, was particularly famous among his colleagues for his way of depicting dark details and shadows by using primarily blue colors. The restoration of his painting Pascolo a Pietramala (c. 1889, Galleria di arte moderna, Palazzo Pitti, Florence) gave the authors the opportunity to study Signorini's blue palette using non-invasive fiber optics reflectance spectroscopy (FORS) in the ultraviolet (UV), visible (vis), and near infrared (NIR) regions (350-1700 nm). Furthermore, to help in the identification of the pigments used, a suitable spectroscopic database was created for Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue), and cerulean blue modern blue pigments, in masstone and in mixtures with lead white as well as zinc white. The main pigments used by the artist in the aforesaid painting were found to be Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue).  相似文献   

19.
Pollutants and their potential degradation of paintings have been measured for the first time in microclimate frames (mc-frames), which are used to protect paintings. The pollutants that were measured include both inorganic pollutants, which originate mainly from external sources, and organic pollutants from mainly internal sources. Those originating from the outdoors enter rooms and subsequently mc-frames at a rate depending on the ventilation rates (air exchange rates) of the mc-frames. The concentration of gaseous pollutants emitted within the mc-frames will depend on net emission rates of the materials used to make the mc-frames, their design, and their ventilation rates. In the EU PROPAINT project measurements of gaseous air pollutants and climatic conditions were performed at various locations both inside and outside different state-of-the-art mc-frames. Diffusive passive pollution gas samplers were used together with different types of dosimeters. Results show that the dosimeters respond to either the photo-oxidizing conditions or the level of volatile organic acids in the environments both in the museums and within the mc-frames. Two dosimeters, the Early Warning Organic (EWO) made from a synthetic polymer and the Resin Mastic coated Piezo electric Quartz Crystals (RM-PQC) respond to photo-oxidation and showed higher values outside than inside the mc-frames. Two other dosimeters, the Glass Slide Dosimeter (GSD) and the Lead coated Piezo electric Quartz Crystals (L-PQC) respond to volatile organic acids and yielded higher values inside than outside the mc-frames. This study emphasizes the need for further work to determine environmental damage functions for paintings, in particular for the effects of organic acids. Such information is essential for the evaluation of the protective effects of mc-frames for paintings. The use of mc-frames is increasing and it is very important to know that this protective measure does not introduce new risks.  相似文献   

20.
Piperno, a Late Quaternary magmatic rock cropping out on the eastern side of the Campi Flegrei (Italy), is probably the most important building stone of Naples, used over a time-span from at least the Roman age until the beginning of the 20th century. Despite its wide diffusion in the monumental architecture of Naples, very little is known about this rock, as regards its technical features, as well as the geological aspects. This paper aims at providing a first overall contribution towards a rediscovery of this long-time-used material, in view of careful restoration works, which nowadays at Naples only take into account the proper geological features of the stone in a few peculiar cases. Thus, it seems of extreme importance to understand the basic parameters of Piperno and, above all, its response to weathering agents. Main mineralogical, petrographical and engineering–geological properties are presented here for the first time, with specific reference to two sampling areas, located at Pianura and Soccavo, in the western sector of the Neapolitan urban area. As far as many of its physico–mechanical features are concerned, Piperno extends over a wide range of values, which allow different varieties of the rock to be identified. This preliminary result is seemingly in accordance with data from old historical literature, which stated the existence of six horizons in the Piperno formation.  相似文献   

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