Abstract
This work concerns the characterisation of a set of wall painting and stucco fragments collected during a rescue excavation carried out in 2013 by the Soprintendenza Archeologica in the Monte d’Oro area (Rome). Due to the contextless archaeological situation, analyses were performed to obtain more information about the collected materials. A multi-analytical approach has been applied including spectroscopic (FTIR, Raman and visible reflectance analyses) and elemental analysis (SEM-EDS) techniques. The chromatic palette has been in this way disclosed evidencing the use of pigments such as cinnabar, Egyptian blue, red and yellow ochre and green earth, but also the simultaneous use of them. The presence of a decoration achieved by using a gold leaf has been highlighted also, indicating the preciousness of the decorations. The convenience and advantages linked to the use of portable instrumentation have been also evidenced.
Highlights
IntroductionOne of the most important issues in the field of cultural heritage is the characterisation of the materials employed for the realisation of paintings of historical and artistic value, since it can provide information on old technological knowledge, for instance, the painting techniques, the capabilities in the supply and production of pigments from raw materials and ancient community connections [1].the study of materials can allow detecting possible restoration or conservation works, or in some cases, can even provide information on dating and/or authenticity of the artwork [2,3].In this context, the application of suitable archaeometric methodologies, aimed at the comprehensive characterisations of pigments and binders used for the realisation of the wall paintings, is of major relevance; the chemical characterisation of the materials, joined with the information gathered from historical and archaeological studies, can be both the starting point to reach a complete understanding of the piece of art, and more in general, a precious tool available for the art conservators for restoration work.In spite of the numerous studies having as a topic the characterisation of Roman pigments (about 250 papers in the last 20 years), due to the widespread presence of the Roman empire and the fact that new sites keep coming to light, the investigation of the pigments and of the artists’ palettes employed in Roman wall paintings is still an issue of great interest, as witnessed by the papers published in particular during the last two years.Appl
In spite of the numerous studies having as a topic the characterisation of Roman pigments, due to the widespread presence of the Roman empire and the fact that new sites keep coming to light, the investigation of the pigments and of the artists’ palettes employed in Roman wall paintings is still an issue of great interest, as witnessed by the papers published in particular during the last two years
This study showed that Raman spectroscopy is an extremely effective technique in pigment identification
Summary
One of the most important issues in the field of cultural heritage is the characterisation of the materials employed for the realisation of paintings of historical and artistic value, since it can provide information on old technological knowledge, for instance, the painting techniques, the capabilities in the supply and production of pigments from raw materials and ancient community connections [1].the study of materials can allow detecting possible restoration or conservation works, or in some cases, can even provide information on dating and/or authenticity of the artwork [2,3].In this context, the application of suitable archaeometric methodologies, aimed at the comprehensive characterisations of pigments and binders used for the realisation of the wall paintings, is of major relevance; the chemical characterisation of the materials, joined with the information gathered from historical and archaeological studies, can be both the starting point to reach a complete understanding of the piece of art, and more in general, a precious tool available for the art conservators for restoration work.In spite of the numerous studies having as a topic the characterisation of Roman pigments (about 250 papers in the last 20 years), due to the widespread presence of the Roman empire and the fact that new sites keep coming to light, the investigation of the pigments and of the artists’ palettes employed in Roman wall paintings is still an issue of great interest, as witnessed by the papers published in particular during the last two years.Appl. The study of materials can allow detecting possible restoration or conservation works, or in some cases, can even provide information on dating and/or authenticity of the artwork [2,3]. In this context, the application of suitable archaeometric methodologies, aimed at the comprehensive characterisations of pigments and binders used for the realisation of the wall paintings, is of major relevance; the chemical characterisation of the materials, joined with the information gathered from historical and archaeological studies, can be both the starting point to reach a complete understanding of the piece of art, and more in general, a precious tool available for the art conservators for restoration work.
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