Characterization of the organic materials used in the painting of the vaulted ceiling at the Saadian Tomb of Mulay Ahmed Al-Mansour (Marrakech) (original) (raw)
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GC/MS Characterization of Beeswax, Protein, Gum, Resin, and Oil in Romano-Egyptian Paintings
Heritage, 2019
This article presents results from a binding media survey of 61 Romano-Egyptian paintings. Most of the paintings (51) are the better-known funerary mummy portraits created using either encaustic or tempera paint medium. Samples from all the paintings (on wooden panels or linen shrouds) were analyzed with gas chromatography/mass spectrometry (GC/MS) to identify waxes, fatty acids, resins, oils, and proteins in one sample. Analytical protocols that utilized three separate derivatization techniques were developed. The first analysis identified free fatty acids, waxes, and fatty acid soaps, the second characterized oils and plant resins, and the third identified proteins. The identification of plant gums required a separate sample. Results showed that fatty acids in beeswax were present as lead soaps and dicarboxylic fatty acids in some samples was consistent with an oxidized oil. The tempera portraits were found to contain predominantly animal glue, revising the belief that egg was the...
Heritage
This article presents results from a binding media survey of 61 Romano-Egyptian paintings. Most of the paintings (51) are the better-known funerary mummy portraits created using either encaustic or tempera paint medium. Samples from all the paintings (on wooden panels or linen shrouds) were analyzed with gas chromatography/mass spectrometry (GC/MS) to identify waxes, fatty acids, resins, oils, and proteins in one sample. Analytical protocols that utilized three separate derivatization techniques were developed. The first analysis identified free fatty acids, waxes, and fatty acid soaps, the second characterized oils and plant resins, and the third identified proteins. The identification of plant gums required a separate sample. Results showed that fatty acids in beeswax were present as lead soaps and dicarboxylic fatty acids in some samples was consistent with an oxidized oil. The tempera portraits were found to contain predominantly animal glue, revising the belief that egg was the...
2013
The present research was carried out to obtain more information on materials and painting techniques used in Egyptian wall paintings during the 19th century. The Hawsh al-Basha courtyard, dating back to Mohammed Ali's family period (1805-1952,) was studied for this purpose. The obtained results will be used to set up a scientific plan for restoration and preservation. Pigments, including white zincite, earth green, blue synthetic ultramarine, yellow massicot, black a mixture of magnetite & graphite, brownish red lead and brass were identified. The binding medium in the painting was identified as animal glue. Two preparation layers were identified: the inner coarse ground layer, composed of gypsum as a major component, with calcite and small amounts of quartz and the outer, fine ground layer, composed of calcite only. Optical Microscopy (OM), Scanning Electron Microscopy coupled with Energy Dispersive X-ray Microanalysis (SEM-EDX), X-ray Diffraction (XRD) and Fourier Transform In...
A Multi-Analytical Approach for Characterizing Pigments from the Tomb of Djehutyemhab ( TT 194 )
2013
The present paper aims to characterize some ancient pigments from the painted reliefs of the tomb of Djehutyemhab (TT194), (Ramesside Period, ca. 1298–1064 BC), Nobles tombs, El-Qurna necropolis (Luxor), Upper Egypt. The analytical techniques used in this study were: optical microscopy (OM), scanning electron microscopy (SEM) equipped with an energy dispersive X-ray detector (EDS), X-ray diffraction analysis, microRaman and Fourier transform infrared spectroscopies (μ-Raman and FT–IR). Based on the results of these analyses, the stratigraphic structure, the morphology and the chemical composition of the paint layers were identified. The results revealed that the blue pigment is Egyptian blue (cuprorivaite, CaCuSi4O10), the turquoise-green pigment is Egyptian green (Cu-wollastonite) together with traces of cuprorivaite, the yellow pigment is yellow ochre, and the red pigment is red ochre. Moreover, the preparation layer was identified as a mixture of gypsum and calcite. FT−IR analysi...
Periodico di Mineralogia
This paper presents the outcomes of a restoration project started from 2009 and finalized in 2011 at the Pīr-i Hamza Sabzpūsh tomb of Abarqū, central Iran. The project comprised of analytical studies and restoration works on the architectural decorations of the tomb consisting of wall paintings and polychrome stuccoworks. Micro-Raman spectroscopy (μ-Raman) and micro X-ray fluorescence (μ-XRF) analysis were used to compare the chemical and mineralogical composition of the pigments used in the wall paintings and the stuccoworks of the mihrab. The results showed that atacamite, huntite and ultramarine were green, white and blue pigments respectively used on both wall paintings and the stuccoworks of the mihrab. Furthermore, while red lead was used as red pigment on the mihrab, the red pigment of the wall paintings was identified to be red hematite. In addition, the patterns of the wall paintings were delineated with a black paint composed of carbon black. The different trace elements associated with the paints established different sources of supplying pigments used in the decorations. It is also shown that red lead was partially blackened likely due to the action of air pollutants. Moreover, an omitted part of an inscription of the mihrab was discovered during restoration works that contributed to re-date the stuccoworks to the second half of the 12th century. Finally, rejecting the current assumptions, which attribute the wall paintings to the 14th century, it was proved that the wall paintings were the first decorations of the tomb created prior to the second half of the 12th century. The current work contains also a corrigendum to our previous study published on the decorations of the tomb.
A MULTI-ANALYTICAL INVESTIGATION OF AN ANCIENT EGYPTIAN PAINTED WOODEN COFFIN FROM THE LATE PERIOD
International Journal of Conservation Science, 2022
The focus of this study is to apply multi-scientific analytical techniques to identify the painted layers, ground layer, and previous restoration interventions of an ancient Egyptian painted polychrome coffin from the late period. A combination of multispectral imaging, optical microscopy (OM), X-ray diffraction (XRD), Fourier transform infrared spectroscopy (FTIR), and X-ray fluorescence (XRF) were utilized in a non-destructive and micro destructive technique to identify the painting materials and techniques and the condition of the object. There are three wooden species used in the coffin and identified as Ficus sycamores, Acacia albida, and Tamarix sp. Whereas, the identification of insects' species is included in this study. The primary results provide a strong suggestion of using cinnabar on the goddess Nephthys face, which is considered a rare pigment found in a late period collection.
Journal of Cultural Heritage, 2018
We investigated the cedar wood doors of the Bahia Palace in Marrakesh (Morocco), which are richly decorated with geometric motifs. A gas chromatographic mass spectrometric analytical procedure (GC/MS) was used to characterize the organic binders in micro samples collected from one of the doors. In order to examine the artist's palette, X-ray fluorescence (XRF), Raman and Fourier transform infrared spectroscopy (FTIR) and high performance liquid chromatography (HPLC-DAD), were applied to samples in fragments or on cross-sections of the embedded samples. This multi analytical approach effectively identified the polychrome decoration technique, mainly based on the use of animal glue as a proteinaceous binder, and characterized the superficial varnishes. Lastly many of the different pigments used for the creation of these works of art were identified. We believe that this study contributes significantly to the knowledge of Moroccan art from a material and technological point of view.
This study gives an account of the organic components (binders and coatings) found in the polychromy of some fragmented architectural reliefs from the Palace of Apries in Memphis, Egypt (26th Dynasty, ca. 589‑568 BCE). A column capital and five relief fragments from the collections of the Ny Carlsberg Glyptotek in Copenhagen were chosen for examination, selected because of their well‑preserved polychromy. Samples from the fragments were first investigated using Fourier transform infrared (FTIR) spectroscopy to screen for the presence of organic materials and to identify the chemical family to which these materials belong (proteinaceous, polysaccharides or lipid). Only the samples showing the potential presence of organic binder residues were further investigated using gas chromatog‑ raphy with mass spectrometry detection (GC–MS) targeting the analysis towards the detection and identification of compounds belonging to the chemical families identified by FTIR. The detection of polysaccharides in the paint layers on the capital and on two of the fragments indicates the use of plant gums as binding media. The interpretation of the sugar profiles was not straightforward so botanical classification was only possible for one fragment where the results of analysis seem to point to gum arabic. The sample from the same fragment was found to contain animal glue and a second protein material (possibly egg). While the presence of animal glue is probably ascribable to the binder used for the ground layer, the second protein indicates that either the paint layer was bound in a mixture of different binding materials or that the paint layer, bound in a plant gum, was then coated with a proteinaceous material. The surface of two of the investigated samples was partially covered by translucent waxy materials that were identified as a synthetic wax (applied during old conservation treatments) and as beeswax, respectively. It is possible that the beeswax is of ancient origin, selectively applied on yellow areas in order to create a certain glossiness or highlight specific elements.
Zenodo (CERN European Organization for Nuclear Research), 2021
Present work presents an analytical survey of the murals at the tomb of Iwrakhy/Hatia (1550 BC-1077 BC). The owner was a noble lived during the ruling era of king Ramses II (reigned 1279-1213 BC), discovered during the Cairo University excavation season of 2018 at Saqqara area. New evidence is produced for the use of lead ores abreast with hematite as a source of red pigments, moreover; as well as proof of the mixing process of goethite with orpiment to get a gold-like colour. Stones, mortars, plasters and pigments were investigated using the digital microscope and the scanning electron microscope, and X-ray diffraction, SEM-EDX, while the paint medium was examined using the FTIR and Raman spectroscopy. Mortars and rendering layers are composed of gypsum, the latter is the ideal arriccio for the tempera murals and for the dry Egyptian climate; crushed limestone and quartz were added to gypsum as fillers. The red pigment is hematite mixed with lead; this represents a new discovery in the new kingdom murals. Yellow pigment is goethite mixed with orpiment, a rare case of the ancient Egyptian trials for gaining the effect of gilding on the walls, trying to imitate the common tradition in painting coffins. Regarding the blue pigment it is Egyptian blue containing high amounts of wollastonite and atacamite, blue is turned into greenish due to the presence of halite, animal glue was used as a paint medium in the studied tomb.
Physicochemical and analytical studies of the mural paintings at Kariye Museum of Istanbul
Journal of Cultural Heritage - J CULT HERIT, 2008
Optical (OM) and Scanning Electron Microscopy (SEM-EDS), mFT-IR spectroscopy and Gas Chromatography-Mass Spectrometry (GC-MS) have been used to ascertain, at molecular, nano-or micrometric level, the state of conservation of the mural paintings at the Kariye Museum in Istanbul. The characterization of the original organic and inorganic materials used in the painting preparation and plaster layers allows to define the painting techniques. Furthermore, the nature and the extent of the degradation phenomena and the materials used in subsequent restorations have been identified. The poor state of conservation of the pictorial cycle, due to quite severe deterioration processes, noticeable detachments, presence of salts, etc., strongly calls for a prompt intervention, guided by an exhaustive and appropriate scientific approach.