Analysis of Roman wall paintings found in Verona

The present paper deals with the analysis of roman wall paintings fragments recovered from twelve buildings of Verona, Italy. The analytical techniques used were Optical Microscopy, Scanning Electron Microscopy (SEM) equipped with an EDS microanalysis detector, Xray powder diffraction (XRD) Fourier Transform infrared spectroscopy (FTIR) and Raman Spectroscopy. The wall preparation generally consisted of three layer: the pictorial layer, an intonachino layer of hydrated lime and a plaster one made of slaked lime and sand. The pigments found in the studied domus are different reflecting the taste and culture of Xa Regio of Italy but also the economical possibilities of the dominus and the building period.     

A micro-Raman archaeometric approach to Roman wall paintings

Infrared and Raman spectra have been recorded on the surface of plasters from Regium Lepidi (Reggio Emilia, Italy). A palette has been identified, that can be compared with the ones from the nearby towns of the Roman Empire, but some peculiarities can be outlined. Some of the pigments could come from the territory, even though the techniques could be ascribed to those usually present in the 1st century a.c.     

Analysis of pigments from Roman wall paintings found in Vicenza

The analysis of about 60 samples of wall paintings was carried out using different chemicophysical techniques: optical microscopy, scanning electron microscopy (SEM) equipped with an EDS microanalysis detector, X-ray powder diffraction (XRD) and Fourier transform infrared spectroscopy (FTIR). The identified pigments were cinnabar, hematite, red ochre, celadonite, cuprorivaite (Egyptian blue), yellow ochre, goethite and carbon. Only in one case some lead white was found instead. In general, the mortar preparation did not correspond to the complex structure suggested by Vitruvius (De Architectura), but it generally showed a porous layer, with crushed grains under the pigment layer. In certain cases two superposed pigment layers were found: yellow superimposed on both red and pink, black on pink, green on black.     

Analysis of Roman age wall paintings found in Pordenone, Trieste and Montegrotto

The aim of the present work is the study of many fragments of wall painting from archaeological excavations in three different Roman age sites dating back to the I Century before Common Era: Pordenone (località Torre); Trieste (Crosada) and Padova (Montegrotto). The techniques used were optical microscopy, scanning electron microscopy (SEM), equipped with a EDS microanalysis detector, X-rays powder diffraction (XRD), Fourier transform infrared spectroscopy (FT-IR), Fourier transform Raman spectroscopy (FT-Raman) and electron paramagnetic resonance (EPR) spectroscopy. The identified pigments were: cinnabar, hematite, celadonite, glauconite, cuprorivaite (Egyptian blue), yellow and red ochre, calcite, limonite, coal black.In general, the mortar preparation did not correspond to the complex procedure suggested by Vitruvius (De Architectura), but generally showed a porous layer, with crushed grains under the pigment layer. In some cases, two superimposed pigment layers were found: yellow superimposed on both red and pink, black on pink, green on black.The slight differences we found in the use of the pigments in the three studied sites might show that the same technology, culture and taste spread all over the Roman Empire in North Eastern Italy (X^a Regio Venetia et Histria).     

Analysis of bulk and inorganic degradation products of stones,mortars and wall paintings by portable Raman microprobe spectroscopy

This work reports the use of a portable Raman microprobe spectrometer for the analysis of bulk and decaying compounds in carbonaceous materials such as stones, mortars and wall paintings. The analysed stones include limestone, dolomite and carbonaceous sandstone, gypsum and calcium oxalate, both mono- and dihydrated, being the main inorganic degradation products detected. Mortars include bulk phases with pure gypsum, calcite and mixtures of both or with sand, soluble salts being the most important degradation products. The pigments detected in several wall paintings include Prussian blue, iron oxide red, iron oxide yellow, vermilion, carbon black and lead white. Three different decaying processes have been characterised in the mortars of the wall paintings: (a) a massive absorption of nitrates that reacted with calcium carbonate and promoted the unbinding of pigment grains, (b) the formation of black crusts in the vault of the presbytery and (c) the thermodecomposition of pigments due to a fire.     

Isotopic analysis of lead present in the cinnabar of Roman wall paintings from the Xth Regio "(Venetia et Histria)" by ICP-MS

The analysis of Roman wall paintings coming from Verona, Vicenza, Padova, Pordenone and Trieste evidentiated the presence of cinnabar. In this work, the isotopic composition (206)Pb, (207)Pb and (208)Pb of trace of lead present in cinnabar is reported, via ICP-MS measurements. The isotopic ratio values are compared with the values obtained from samples coming from Roman wall paintings of Pompeii and from the mines of Almaden (Spain) Monte Amiata (Grosseto Italy) and Idria (Slovenia). All the isotopic data can be represented by a "field" ranging from Huelva, to Almeria Spanish provinces. This trend could be due to the mixing of cinnabar products treated in Rome.     

Analysis of pigments from Roman wall paintings found in the "agro centuriato" of Julia Concordia (Italy)

The analysis of wall painting fragments recovered in the "agro centuriato" of Julia Concordia has been carried out by using Scanning Electron Microscopy equipped with an EDS microanalysis detector (SEM-EDS), Infrared Spectroscopy (FTIR) and X-Ray powder Diffraction (XRD). The pigments used have been identified and the data obtained suggest the presence of three rustic villas richly decorated also with Egyptian blue. The presence of white of aragonite suggest that these villas were decorated during the Imperial Age, in agreement with the recovery of high quality materials and a bronze statue.     

Ion chromatography characterization of polysaccharides in ancient wall paintings

Specific programming of automated HPLC systems allows total on-line qualification, validation and stability monitoring using the concept of deferred standards. Setting up such a process for routine analyses in an automated HPLC system requires specific autosampler programming as well as specific monitoring software. With an autosampler, a double injection procedure is programmed, the first introducing the sample, and the second, a few minutes deferred, the deferred control standard. Two additional compounds are therefore added to the sample before and during the chromatographic process: the intemal standard for sample quantification and the deferred standard for system control. Specific methodologies are described of how to obtain classical quantitative analysis information as well as system qualification validation stability information. Experiments were performed to develop specified methodologies to monitor the quality of quantitative analysis during the life of the column by using the deferred standard concept to probe the effects of column ageing on separation characteristics.     

Aragonite in Roman wall paintings of the VIII(a) Regio, Aemilia, and X(a) Regio, Venetia et Histria

In the Roman wall paintings different white colours were used, named Paraetonium, Melinum, Anularia, Eretria, Argentaria, etc. FTIR, Raman spectroscopy and X-Ray diffraction were applied to study different white pigments, such as calcite, aragonite, dolomite and huntite, white carbonates present in archaeological findings from Roman walls in the Mediterranean region. This study showed that it is possible to distinguish and identify these components in white colours. About 450 samples of Roman wall paintings were analysed and it was observed that often aragonite is associated to precious coloured pigments. On the basis of the obtained results some considerations about the period in which the different kinds of white pigments were used are proposed.     

Non-destructive in situ determination of pigments in 15th century wall paintings by Raman microscopy

Raman microscopy has been applied to the study of 15th century wall paintings in a chapel of St. Orso Priory palace (Aosta, Italy) in view of their restoration. The use of a transportable instrument has made it possible to work non-destructively in situ without sampling. The main inorganic pigments used by the unknown artist, namely mercury sulphide, azurite, white lead, red and yellow ochre, carbon black and lead tin yellow type I have been identified, and the presence of organic substances and of some decay products (calcium sulphate and oxalate) has been observed.     

The degradation of wall paintings and stone: Specific ion effects

Salts are ubiquitous both on the surface and in the porous network of works of art such as wall paintings and stone. Cyclic solubilization and crystallization takes place with fluctuating environmental conditions, inducing mechanical stress in the pores and the flaking of the artistic surface. The preventive conservation of precious cultural heritage would thus benefit from models able to describe quantitatively the behavior of electrolyte solutions. Besides the pore size distribution of the wall, cyclic crystallization depends on relative humidity and temperature. Whereas the behavior of single salts' solutions is known, that of mixed solutions (commonly found on artifacts) is still an open issue, owing to the specific interactions of counterions and coions. Classical theories of electrolytes need many fitting parameters to provide predictive and quantitative information, and research focuses on matching phenomenological set of rules with models that take into account quantum mechanical dispersion forces. Classical models have been used so far to describe the behavior of some mixed salts' solutions commonly found on murals and stone, in terms of their RH_eq, which is the relative humidity of air in equilibrium with the saturated solution. Results indicate that environmental conditions deemed safe in the presence of single salts, represent indeed a threat to artifacts in the presence of mixed solutions, with other deviations due to the fact that the crystallization of salts takes place within mesoporous networks. We hope that the reviewed results might contribute a stimulus for further reanalysis of the degradation of works of art, where the synergistic effect of counterions and coions are taken into account. Such interpretation of the artifacts' degradation has been so far overlooked in preservation studies.     

Analysis of egg-based model wall paintings by use of an innovative combined dot-ELISA and UPLC-based approach

The chemical analysis of egg-based wall paintings—the mezzo fresco technique—is an interesting topic in the characterisation of organic binders. A revised procedure for a dot-enzyme-linked immunosorbent assay (dot-ELISA) able to detect protein components of egg-based wall paintings is reported. In the new dot-ELISA procedure we succeeded in maximizing the staining colour by adjusting the temperature during the staining reaction. Quantification of the colour intensity by visible reflectance spectroscopy resulted in a straight line plot of protein concentration against reflectance in the wavelength range 380–780 nm. The modified dot-ELISA procedure is proposed as a semi-quantitative analytical method for characterisation of protein binders in egg-based paintings. To evaluate its performance, the method was first applied to standard samples (ovalbumin, whole egg, egg white), then to model specimens, and finally to real samples (Giotto’s wall paintings). Moreover, amino acid analysis performed by innovative ultra-performance liquid chromatography was applied both to standards and to model samples and the results were compared with those from the dot-ELISA tests. In particular, after protein hydrolysis (24 h, 114 °C, 6 mol L^?1 HCl) of the samples, amino acid derivatization by use of 6-aminoquinolyl-N-hydroxysuccinimidyl carbamate enabled reproducible analysis of amino acids. This UPLC amino acid analysis was rapid and reproducible and was applied for the first time to egg-based paintings. Because the painting technique involved the use of egg-based tempera on fresh lime-based mortar, the study enabled investigation of the effect of the alkaline environment on egg-protein detection by both methods.

Deuterium incorporation in biomass cell wall components by NMR analysis

A commercially available deuterated kale sample was analyzed for deuterium incorporation by ionic liquid solution (2)H and (1)H nuclear magnetic resonance (NMR). This protocol was found to effectively measure the percent deuterium incorporation at 33%, comparable to the 31% value determined by combustion. The solution NMR technique also suggested by a qualitative analysis that deuterium is preferentially incorporated into the carbohydrate components of the kale sample.     

Raman spectroscopic analysis of the Maya wall paintings in Ek'Balam, Mexico

Raman spectroscopy has been applied to the examination of wall painting fragments from the archaeological site of Ek'Balam (Yucatán, Mexico). Thirty-three samples have been studied, all originating from room 23 of the Acropolis, and being representative of the painting technique at Ek'Balam during the late Classic Maya period. Several pigments such as haematite, calcite, carbon, cinnabar and indigo were identified in these samples. The latter pigment was presumed to be present as 'Maya blue', which is an intercalation product of indigo and palygorskite clay. The observed Raman spectra are reported and some band assignments have been made. This survey is the first Raman spectroscopic examination of a whole set of pigments in archaeological Maya wall painting fragments.     

Study by thermal analysis of mortars belonging to wall paintings corresponding to some historical buildings of Sevillian art

Mortars taken from the walls of three historical buildings in Seville: Pond of Patio de las Doncellas in Real Alcazar of Seville, the Monastery of Santa Maria de las Cuevas and the Church of El Salvador were investigated. The techniques employed were thermogravimetry (TG), differential thermal analysis (DTA), XRD, FTIR, SEM with EDAX, Bernard calcimeter, granulometry, mercury intrusion porosimetry and mechanical strength tests. The majority of the studied mortars consist of calcite and silica. Gypsum was detected in samples of four mortars from the Santa Maria de las Cuevas Monastery and two from the El Salvador Church, whose samples were taken from the upper layers of the walls, but gypsum was not detected in the internal mortars layers. Only in two of the samples of the Monastery, the presence of cellulosic material as an organic additive was detected. All the studied mortars could be regarded hydraulic, so much by results from ratios between mass loss due to CO₂ and H₂O, hydraulic module and assays of compressive strength. The values obtained by these three techniques are related, providing good agreements between them. These results give useful information that aids in understanding the technology of historic mortars, and how to plan the restoration of these wall paintings.     

Collagen-protein interactions mapped by phototriggered thiol introduction

Accumulating evidence shows that collagen plays important roles in many biological systems by interacting with various proteins. The major limitation to determining protein-binding sites on collagen has been a lack of useful methods. We have developed a new strategy for mapping these sites using a photoreactive cross-linker, APDP. A unique -SH group can be introduced into collagen in the vicinity of the protein-binding sites by DTT reduction of the SS bond in the cross-linked product. To identify the sites of cross-linking in collagen, the strategy used was as follows: (i) derivatization of the free -SH group with fluorescein-5-maleimide (FM); (ii) fragmentation of collagen with an appropriate collagenase; (iii) separation of FM-labeled fragments by two-dimensional diagonal electrophoresis; and (iv) detection of cross-linked partners of collagen-binding protein as fluorescent spots under UV light. This strategy can be used to determine the binding sites of various proteins on collagen.     

TG,DTA and X-ray thermodiffraction study of wall paintings from the fifteenth century

Journal of Thermal Analysis and Calorimetry - In this work, it is reported that thermal analysis techniques such as TG, DTA and X-ray thermodiffraction, performed in air or nitrogen atmosphere, are...     

Near-crater discoloration of white lead in wall paintings during laser induced breakdown spectroscopy analysis

During Laser-Induced Breakdown Spectroscopy (LIBS) analysis of white lead pigment (basic lead carbonate, 2PbCO₃·Pb(OH)₂), used in wall paintings of historical interest, a yellow–brown discoloration has been observed around the crater. This phenomenon faded after a few days exposure under ambient atmosphere. It was established that the mechanism of this discoloration consists in lead oxides (PbO) formation. It was verified by further experiments under argon atmosphere that recombination of lead with oxygen in the plasma plume produces the oxides, which settle around the crater and induce this discoloration. The impact of discoloration on the artwork's aesthetic aspect and the role of atmosphere on discoloration attenuation are discussed. The mechanism is studied on three other pigments (malachite, Prussian blue and ultramarine blue) and threshold for discoloration occurrence is estimated.     

In situ analysis of mediaeval wall paintings: a challenge for mobile Raman spectroscopy

Raman spectroscopy is an analytical technique, which is gaining attention as a molecular technique for the investigation of objects of art. Especially the non-destructive properties of the method make this application suitable for the in situ analysis of artefacts. However, although using mobile, fibre optics Raman instrumentation for this type of research seems to be straightforward, some practical obstacles may hamper the investigation. In this paper, pitfalls and solutions are described when applying a dedicated spectrometer to the analysis of mediaeval wall paintings. It is shown how some practical problems may be overcome, and the results of the analysis are presented. Although the mediaeval wall paintings from the chapel of the castle of Ponthoz are well-preserved, still some interesting degradation phenomena could be observed: the identification of a black degradation product, likely to be meta-cinnabar, a degradation product of the red pigment vermilion (HgS); the formation of gypsum (CaSO₄·2H₂O) as a weathering product of calcium carbonate (CaCO₃); the observation of copper(II)hydroxychlorides.     

Non-invasive identification of organic materials in wall paintings by fiber optic reflectance infrared spectroscopy: a statistical multivariate approach

The aim of this study is to develop a method for the non-invasive and in situ identification of organic binders in wall paintings by fiber optic mid-FTIR reflectance spectroscopy. The non-invasive point analysis methodology was set-up working on a wide set of wall painting replicas of known composition and using statistical multivariate methods, in particular principal component analysis (PCA), for the interpretation, understanding, and management of data acquired with reflectance mid-FTIR spectroscopy. Results show that PCA can be helpful in managing and preliminary sorting of the large amount of spectra typically collected during non-invasive measurement campaigns and highlight further avenues for research. The developed PCA model was finally applied to the case of a Renaissance wall painting by Perugino assessing it predictability as compared to the interpretation of the single spectrum.