Microanalysis of Gothic mural paintings (15th century) in Slovenia: Investigation of the technique used by the Masters (original) (raw)
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PIGMENT ANALYSIS OF ROMAN WALL PAINTINGS FROM TWO VILLAE RUSTICAE IN SLOVENIA
2016
The study deals with the characterisation of paint layers from the wall paintings that decorated two excavated Roman villae rusticae in Slovenia. The villa in Mošnje, located in the NW of Slovenia, was built in the 1st half of the 1st century AD and was in use until the end of the 2nd century AD, while the coastal villa in Ško-larice, built in the second quarter of the 1st century AD, remained in use until the mid-5th century. Stratigra-phy and painting techniques were studied using optical microscopy, with pigments identified via Raman microspectroscopy supported by FTIR microspectroscopy and SEM/EDS. The results of this analysis revealed that whereas the Školarice wall paintings were mainly executed using the fresco technique and some areas with the secco technique, both techniques were identified equally in the Mošnje paintings. Red ochre, lime white and carbon black pigments were identified in both the Mošnje and Školarice paintings, although the latter were also characterised by the use of yellow ochre and green earth.
Materials and Techniques of Selected Mural Paintings on the “Gothic Road” around 1400 (Slovakia)
Heritage
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 ...
This study concerns the investigation of mortar layers and pigments of wall paintings from the Roman town of Emona (Ljubljana, Slovenia). Fragments of wall paintings consist of up to three preserved mortar layers. The mineralogical–petrographic compositions of the mortars were determined by means of optical microscopy and FT–IR spectroscopy. The investigated samples were divided into several groups based on similar thicknesses of the mortar layer, the binder colour and the composition of an aggregate. Furthermore, the results of mercury intrusion porosimetry showed that mortar layers consisting of carbonate grains exhibited lower porosity with respect to layers with mainly silicate grains, which is attributed to the angular shapes of carbonate aggregate. This is in accordance with the drilling resistance measurement system test (DRMS), confirming that layers with angular carbonate grains are harder than those with addition of rounded silicate ones, due to the good packing effect. The wall paintings were mainly executed using the fresco technique, while for some details secco was used. The identified pigments were red and yellow ochre, green earth, Egyptian blue, carbon black and lime white; all of them belonged to the so-called austere pigment, which is quite common in Roman wall paintings.
ARHEOLOGIJA I PRIRODNE NAUKE, 2022
During the archaeological research of the Church of St. Nicholas, in Baljevac, Serbia, fragments of wall paintings were found in Pit no. 1, located in the nave area. The fragments were determined to be from the second phase of the construction of the church (13th century). Several fragments of different and pure tones were selected to examine the composition of the mortar and pigments, as well as the painting technique. Analytical techniques and the results obtained by their use during the examination of the selected fragments are presented in this paper. With a suitable selection of analytical techniques, all the pigments that had been used were identified, the chemical composition of the mortar determined and a parallel made with the materials analysed so far from wall paintings from similar periods. The importance of modern archaeometric tests in modern conservation-restoration practice is highlighted and guidelines for continuing research are presented.
Macedonian Journal of Chemistry and Chemical Engineering, 2017
This work presents the first comprehensive study of the wall painting in the “St. George” church accomplished mainly by means of Fourier Transform Infrared Spectroscopy using Diffuse Reflectance and Micro-Infrared method (FTIR/DRS/Micro-IR) and the other analytical techniques Optical microscopy (OM), X-Ray Fluorescence (XRF), X-Ray Diffraction (XRD) and Inductively Coupled Plasma – Mass Spectrometry (ICP-MS). The main research objective was characterization of the artistic palette and painting technique, but also determination of the degradation products and observed alterations to the wall painting. Additionally, the lime mortars (plaster and renders) located immediately behind the studied wall painting were analyzed. The analysis demonstrated that mainly natural/mineral pigments were used in the artwork and the majority of painting was executed in combination of fresco and lime-painting technique. The major risk factor in the painting deterioration was found to be the salt efflore...
III . 28 Investigation of 14 th Century Byzantine and Serbian Fresco Painting
2011
Representative samples of 14 century fresco paintings (renders and colour layers) from various Serbian monuments (Byzantine influence sphere) were examined, characterized and correlated with corresponding examples from the Byzantine area. In the present work samples from eight monuments (from frescoes created by Michael and Eutychios Astrapas or by the masters highly connected to their work) were examined, in order to achieve a comparison based on characterization and . For pigment analysis Scanning Electron Microscopy (SEM) with EDX and Fibre Optic Microscopy (FOM) was used. The mortar samples were examined by Fibre Optic Microscopy (FOM), X Ray Diffraction (XRD), FTIR Spectroscopy, Hg Porosimetry, Thermal Analysis (DT/TGA) and for their grain size distribution. All the mortars were lime mortars with aluminosilicates, calcite aggregates and organic additives like straw. The mortars from one monument displayed magnesian lime binder as well. All the identified pigments belong to the ...
X-Ray Spectrometry, 2008
During the restoration of the Altarpiece of Matejovce, Northern Slovakia, a unique example of the so-called Cracow school of painting of European 15th century, noninvasive handheld x-ray fluorescence was used for in situ measurements in restoration probes with the aim to distinguish original paints and repaints. The layer stratigraphy was then precisely described on cross-sections of microsamples by light and electron microscopes. Material composition of original Gothic layers was also investigated by powder x-ray microdiffraction and compared with materials used on different parts of the Altarpiece of Bardejov, North-East Slovakia, and on the unique canvas painting 'The death of St. Acacius and Ten Thousands Martyrs of Mt. Ararat' devoted by some historians to the same workshop. We found that Altarpiece of Matejovce was partially repainted maybe in 18th and namely in 19th centuries with no important influence to the original artistic composition of figures. We confirmed that only two triangular gables from the Altarpiece of Bardejov can be assigned to the workshop of the Master of Matejovce altarpiece. In the case of canvas painting, its belonging to the same workshop was definitely approved by this materials research. The most important feature was that Master of Matejovce altarpiece used Zn-dolomites containing iron red, which could come from oxidation zones of carbonate-hosted Zn-Pb deposits near Cracow, Poland, and azurite with admixtures of Cu and Zn arsenates possibly from the Slovak Cu deposit at L'ubietová. The preference of regional sources of pigments distinguishes the 'Cracow school' from other workshops acting simultaneously in the same region.
Spectroscopic analysis of XIV century wall paintings from Patriarchate of Peć Monastery, Serbia
Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy, 2018
The Church of the Holy Mother of God Hodegetria in Peć is decorated with wall paintings that date from the beginning of the 14th century. In terms of style they correspond to Byzantine wall paintings from the epoch of Paleologos. The painting technique and pigment pallete has been examined on micro fragments in thin crosssections by means of optical microscopy (OM), scanning electron microscopy-energy dispersive X-ray spectroscopy (SEM-EDS) and micro-Raman spectroscopy. Use of the fresco technique and two supporting plaster layers was noted on the majority of samples, while in large blue painted areas, a combination of fresco and secco techniques was used. The SEM-EDS results showed the presence of Ca as the main component of plaster besides the traces of Si and Mg. In some samples egg white as a binder was identified. The paint film is often multilayered. Twelve pigments were identified, mainly natural earth pigments such as red ochre, yellow ochre and green earth. A mixture of pigments was used for attaining desirable optical and aesthetical impressions. As decay product only weddelite was detected in many preparatory and painted samples.
Analysis of Mural Paintings in Istria
Annali di Chimica, 2007
Fragments of wall paintings from Istria, coming from the Basilica of Guran near Vodnjan, from the cemeterial Church of Saint Simeon in Guran and from the Benedictine monastery of Santa Maria Alta near Bale were studied.The analytical instrumental techniques used were Optical Microscopy, Scanning Electron Microscopy equipped with an EDS microanalysis detector, X Ray diffraction, FTIR infrared Spectroscopy and Raman Spectroscopy.Red and yellow pigments used in Guran and Bale have bean derived from red and yellow istrian bauxites, as already demonstrated for works from 11th to 15th century.The blue pigment found in the paintings of the Bale Chapel is a lapislazzuli blue; this fact confirms the literature data referring to the period from 11th to the 16th century.The materials and pigments used at Bale and Guran fit with the Istrian tradition and history of painting going back to the first Carolingian period.