Fresco Technique Research Articles

Microanalytical investigations on a Byzantine fresco of the Dormitio Virginis from Sicily

Abstract This paper represents an interdisciplinary research focused on the microscopic and mineralogical investigations of the original fragments of a precious medieval painting, a rare byzantine Dormition of the Virgin in Italy. The painting has discovered in the rural monastery of Santa Maria del Rogato (Sicily), thanks to a recent restoration work. In order to obtain an exhaustive description of both the original mortars and pigments, several investigation methods are employed, from optical, polarization-fluorescence and electron microscopies, elemental analyses and X-ray diffraction as well. The experimental analyses, useful as a guideline in the restoration, allowed to the knowledge of the original materials as well as of the techniques used to realize the artwork. The paintings are realized by a fresco technique, by using lime and a simple color palette, based on natural earth, as typical of the Byzantine pictorial tradition.

Material characterization, stratigraphy, textures, and painting techniques of the mural painting The Allegory of the Industrial Development of São Paulo by Fulvio Pennacchi

ABSTRACTThis work presents a study of samples of the mural painting The Allegory of the Industrial Development of São Paulo (Alegoria ao Desenvolvimento Industrial Paulista), made in the city of São Paulo, Brazil, by the artist Fulvio Pennacchi. Using transmitted light petrographic microscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry, and X-ray fluorescence, the stratigraphy, the textures, the mineralogy, and the chemical compositions of the mural were established; therefore the painting techniques, pigments, and materials applied by the artist were identified. The mural was painted with the fresco technique and variations. This technique involves the use of materials of mineral origin, both in the support and for the pigments. About the artist’s relevance, Fulvio Pennacchi is considered an important muralist of his time, being one of the pioneers in the production of frescoes in Brazil. The mural, measuring approximately 11 × 6 m, painted in 1954, was removed from where it was originally made, in consequence of a fire that affected the place. Specialized engineers transported it, and today it is stored awaiting restoration. The data presented here can support the process of restoration of the mural, as well as contribute to the improvement of protocols for the analysis of works of art, and to the historical record of mural painting techniques over time.

Unraveling the materials and techniques of post-Byzantine wall paintings: Is there a sole pictorial phase at the catholicon of Stomion, Central Greece?

Saint Demetrius of Stomion is a historical monastery placed in the geographical area of Larissa town, Greece, with a remarkable presence from its founding until nowadays. The monastery's present catholicon (main church) has been dated in the 16th century and its surviving wall paintings were constructed in 1758. In addition to the characterization of the materials applied, the purpose of this study is to determine the existence of a sole pictorial phase, that of the mid-18th century, or the occurrence of overpaintings. Additionally, the present study aims to begin the establishment of the documentation of materials and techniques of the late post-Byzantine iconographic guilds, which acted in Central and Northern Greece. The collected samples were analyzed by means of microscopic, spectroscopic and thermogravimetric methods. The use of fresco technique is implied by the major participation of calcium carbonate in all of the painting layers, its main contribution in the plaster layers and the microstratigraphic analysis of the samples' cross-sections, while the scarce and local presence of a proteinaceous material implies the limited use of egg-tempera technique for the highlights. The pigment analysis shows that mostly traditional pigments were used, including cinnabar, ferrous pigments (ochre, sienna, umber), minium, Naples yellow, massicot/litharge, green earth (celadonite), malachite, carbon and bone black, calcite, kaolinite and lead white. The absence of modern pigments, the consistency of all samples regarding microstratigraphy and applied materials, and the lack of the extensive use of an organic medium, strongly suggest the lack of overpaintings.

Parasitosis Intestinal En Una Población De 5 A 14 Años Que Acuden A Unidades Educativas Escuelas Colegios Públicos De La Ciudad De Riobamba

The purpose of the current research was to determine the prevalence and risk factors linked to intestinal parasites in a population aged from 5 to 14 years who attend to public schools and high schools from Riobamba city, Riobamba-Chambo district. The prospection was carried out between October and November 2015. The population studied was identified and classified according to their age, gender, and educational institution they belong to. In addition, the relation of risk factors linked to the identified parasites was estimated. For this, it was necessary to apply a coprology examination to 2020 boys, girls and teenagers. The fecal samples collected were analyzed using the fresco technique with lugol and saline solution at 0.85%. The total intestine parasite prevalence found was 35.1%. The highest parasite prevalence was detected in groups aged 5 (12.84%), in groups aged 8 (11.71%) and in groups aged 11 (11.56%), while Combatientes de Tapi Educational Unit registered a 34% in both genders. Any significant parasite difference was found among p<0.05 ages. Nine parasite types were identified with Entamoeba coli prevalence (26%) Entamoeba histolytic (9.3%), Iodamoeba bütschlii (0.8%), Giardia lambia (4.3%), Chilomastix mesnilii (0.9%), Hymenolepis nana (1.4%), Ascaris lumbricoides (0.3%) Trichuris trichiura (0.5%), Endolimax nana (1.6%), from which protozoan were the predominant, some poly parasite samples were also found, it was determined that the sample studied reflects a high prevalence of intestinal parasites.

Spectroscopic analysis of XIV century wall paintings from Patriarchate of Peć Monastery, Serbia

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 cross-sections 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.

Prevalencia De Parasitosis Intestinales Y Su Posible Relaciòn Con Estados Anèmicos En Los Niños Que Acuden A Los Centros De Educaciòn Inicial

The purpose of this current research is to determine the parasites which has the highest prevalence in the children population in regards to anemia problems in boys and girls aged from 3 to 5 years. The study sample was chosen at random. It was represented by 600 boys and girls from the initial education centers of Riobamba-Chambo district located in Ecuador. From these children, it was possible to obtain 600 stool samples and 600 blood samples that were processed through the fresco technique with lugol and saline solution at 0.85% as well as an automated hematic biometry. The result shows that the total population with parasites was 44,7%. Boys represent the highest parasite prevalence with 51,5% related to the girls with 48,5%. The most frequent parasites were: Entamoeba coli (53,18%), Giardia Lambia (18,15%), Histolytic Entamoeba (14,01%), Endolimax nana (5,42%), lodamoeba butschlii (3,50%), Chilomastix mesnili (3,18%), Hymenolepis nana (1,91), and Ascaris lumbricoides (0,65%). It was concluded that there are no significant relationship between the anemic states and the intestinal parasites on boys and girls since the percentage was 4,5%. It was suggested to the principal of the Riobamba - Chambo District of the Ministry of Education to carry out promotion, prevention, and health care campaigns directed towards the authorities and teachers of the Initial Education Centers as well as parents and their children in order to improve the hygiene and food safety habits of students.

In-situ study of the consolidation of wall paintings using commercial and newly developed consolidants

Abstract This paper presents a comparison of consolidant effectiveness for a newly developed consolidant based on soluble calcium compound calcium acetoacetate and two nano-lime-based consolidants available on the market, i.e., CaLoSiL ® E15 and Nanorestore ® . Impressionist wall paintings made using the fresco technique in the Franciscan Church in Ljubljana were selected for in-situ studies. In order to monitor the colour differences and consolidation effectiveness before, and a few months after, the application of the consolidants, different non-destructive and micro-destructive methods were used. The colour differences were assessed visually and using spectrophotometry, while the consolidation effectiveness was monitored using three methods: the ultrasound velocity method, the surface hardness method and the DRMS method. We demonstrated the best recovery in terms of mechanical properties and with a negligible effect on the wall paintings’ appearances after the treatment with the new consolidant. Both nano-lime-based consolidants show a less pronounced reinforcement in the mechanical strength – smaller increase in the drilling-resistance and the surface hardness. The formation of a white haze with the nano-lime consolidants led to a considerable change in the colours of the wall paintings.

Multi-analytical study of techniques and palettes of wall paintings of the monastery of Žiča, Serbia

The present multi-analytical study concentrates on establishing the painting techniques and the identity of the wall painting materials used by the artists from the 13th and 14th centuries to decorate the Žiča monastery, Serbia. For this purpose, we demonstrate that micro-Raman spectroscopy is an efficient, non-destructive method with high spatial resolution which gives molecular and crystal structural information of a wide variety of both inorganic and organic materials. It is shown that elementary composition revealed through scanning electron microscopy with energy dispersive X-ray spectroscopy and energy dispersive X-ray fluorescence spectroscopy is necessary in some cases to confirm the identity of pigments and binders identified by micro-Raman spectroscopy. It was found that a fresco technique, in combination with mainly natural earth pigments such as red ochre, yellow ochre and green earth, was used. Expensive natural pigment lapis lazuli was exclusively used for obtaining blue colour while pure vermilion was used by the artists from the first period of decorations at the beginning of the 13th century. A mixture of pigments was used for attaining different colour shades. For the gilding of saint's haloes, thin golden foil was deposited over the tin sheet. In order to get a desirable optical and aesthetical impression, the metallic leaves were deposited over the yellow ochre preparatory layer. Deposits of gypsum on wall paintings as well as traces of weddellite are degradation products formed as a result of exposing wall paintings to environmental conditions.

The Structure and Chemical Composition of Wall Paintings From Islamic and Christian Times in the Seville Alcazar

Wall paintings from the Islamic epoch (10th to 12th centuries) and the Christian monarchy (14th to 16th centuries) have been recovered in discarded materials and on walls after reconstruction works in the Seville Alcazar. These paintings have spent centuries underground or under a plaster coat. Portable X‐ray fluorescence (XRF) and combined XRF/X‐ray diffraction (XRD) were employed in situ, as well as scanning electron microscopy (SEM–EDX), grazing angle incidence XRD and micro‐Raman spectroscopy, on cross‐section samples to fully characterize the materials in the wall paintings. Using these methods, the fresco technique was demonstrated, and many kinds of pigments were identified in accordance with the various periods of the history of the Alcazar, thus assessing the authenticity of all the wall paintings studied here.

Wall Paintings from the Roman Emona (Ljubljana, Slovenia): Characterization of Mortar Layers and Pigments

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.

Materials Surface Science Applied to the Investigation of Cultural Heritage Artefacts

The skill of ancient artisans manufacturing artistic or everyday artworks surprises the modern material scientists. We show, through the study of archaeological pieces, how laboratory research instruments use enlightens the fabrication processes of unique items at antic periods. The specificity of surface science research favouring non-invasive means for investigations on museum objects is emphasised. The examples concern:- Nanostructured layers on ceramic surface to obtain the so-called lustre effect, invented by ancient Islam potters;- Intentional coloration of metallic objects by chemical patination, attested in Egypt on 2nd millenary BC and still applied by Japanese artisans;- The history of gilding objects: leaf gilding, mercury gilding, and other processes;- The Fresco technique, a perennial wall painting, known by ancient Roman and propagated through centuries.The examples open new fields belonging to the modern materials science, to understand the mechanism involved in processes with the constraint that one does not know all the fabrication steps.

Analytical Study for Coptic Wall Painting in Mazar El-Khorogin Bagawat Tombs – Wady El Gaded – Egypt

This research is to study the chemical composition of the wall paintings in Mazar El- Khorog in Bagawat tombs for the first time. The paper presents the mineral structure for the support, plaster and pigments by using SEM- EDS, XRD, FTIR, and DTA. The results show that the support is a Kaolinite (Al2Si2O5(OH)4) as a major mineral and both of Quartz (SiO2) and Gypsum (CaSO4.2H2O) as trace minerals.The thin layer of the plaster was contained Quartz addition to Gypsum and a little of Calcite (CaCO3).The white pigment was containing of a mix of Gypsum and a Dolomite powder (CaMg(CO3)2, the orange pigment was containing from Geothite (FeOOH), the brown pigment was containing from Hematite (Fe2O3) and Graphite (C ), The Black Pigment was a Graphite , and the Green Pigment was from the Celadonite.The result shows that the wall painting was prepared without medium which means that the wall painting technique is a Fresco Technique.

A comparative study of wall painting materials and techniques used in fifteenth century Austria by Frederich of Villach and his followers

One of the most important artistic circles in the first half of the fifteenth-century in Austria was the so-called ‘Older Villach's workshop’, founded by Frederic of Villach, a painter who was considered a master of fresco technique. A technical study was made of a number of wall painting cycles by the workshop of Frederic of Villach, first, to gain a broader knowledge of the painting techniques employed, and second, to allow comparison with a further group of wall paintings in Slovenia, which are stylistically related to this workshop and have been studied previously. Of special interest were artworks attributed to Frederic's son Johannes of Ljubljana and a number of other anonymous painters that show important similarities to Frederic's works. Samples of plasters and pigments were analysed by optical microscopy, scanning electron microscopy with energy dispersive X-ray spectroscopy, Fourier transform infrared spectroscopy, and X-ray diffraction. An important difference in the composition of plasters was discovered between the selected artistic groups. The palette used comprised predominantly earth and other mineral pigments. The construction of the paintings from incisions and preparatory drawings to the final modelling is basically similar and shows workshop connections. The principal painting technique was a fresco. The results contribute to a wider knowledge concerning the materials and techniques employed in gothic wall paintings in the Alpine region and offer new information that can be used to inform the future conservation of these selected wall paintings.

Characterising the unique polychrome sinopia under the Lod Mosaic, Israel: pigments and painting technique

A sinopia, usually a monochrome preparatory drawing made on a mortar substrate, was used in the Graeco-Roman world either as a base for frescoes or to facilitate the application of coloured mosaic tesserae on walls or floors. In 2009, during the detachment of the Lod Mosaic (Israel), an unexpected and, for the Classical Roman era, a unique, polychrome sinopia was revealed under one of the floor panels. The palette of colours includes red and yellow ochre, green earth, carbon black and the valuable red pigment cinnabar, all applied with the fresco technique, as attested by microstratigraphy.

An exceptionally perennial surface artwork: fresco on lime or on cement

The paper describes the near‐surface microstructure of artistic frescoes and compares the traditional fresco technique in which the pigments are applied on a fresh lime intonaco with the more recent technique in which the lime intonaco is replaced by a fresh cement plaster. The study is performed on artworks produced at different periods: one Roman fresco fragment dated from the first century CE, samples from a Renaissance Botticelli fresco and two works by a 20th century artist, Henri Marret, one on a lime intonaco and the other on a cement plaster. A special attention is given to the nature of the pigments used, to their position and adhesion process near the surface and to the colorimetric analysis of the pieces. The characterization of the different objects (performed by optical microscopy, scanning electron microscopy and microanalysis, colorimetric measurements and X‐ray diffraction) gives full information on the influence of the artist's technique on the adhesion process and durability of the coloured decoration. It is proved that fresco painting on fresh cement, although considered at the beginning as not as efficient as fresco on lime, leads to a similar mechanism of pigment adhesion and probably to a similar durability. Copyright © 2014 John Wiley & Sons, Ltd.

The Artist’s Fingerprint. The manufa cturing technique in Johann Köler’s fresco Come unto Me, All…

Hilkka Hiiop: The Artist’s Fingerprint. The conservation and technical examination of Johann Koler’s fresco Come unto Me, All… Keywords: fresco painting, artist’s technique, artistic practice, technical conditions of th e painting, conservation Summary: The article focuses on the artist’s technique in Johann Koler’s apse painting in the fresco technique, and the resulting conservation problems. In 2013, a technical examination was made and conservation-restoration work carried out on the altarpiece by Johan Koler in the apse of Kaarli Church in Tallinn. This was the first complete conservation of the painting since its completion. In order to conduct the conservation work, scaffolding was installed in front of the painting, which is located at a height that is normally inaccessible. In addition to making the conservation work possible, this also made it possible to conduct a thorough technical examination of the work. Since, in the local context, this is a unique painting in fresco technique, the wet layer of plaster had stored a large amount of information. “Reading” of this information provides insight into the artist’s work methods and an interpretation of the marks left by the author. In the course of the research, the following features were identified: the artist’s handprint pressed into the wet plaster, the time sequence of the execution of the painting, the number of individual plaster areas, the location of the structural lines used in the preparation of the work, the various methods used to transfer the outlines from the 1:1 cartoons, etc. CV: Hilkka Hiiop (PhD) is head of Conservation Departement in Art Museum of Estonia and responsible of contemporary art conservation in Kumu Art Museum. She is also assistant professor and coordinator of the artefact conservation branch at the Estonian Academy of Art, Departement of Conservation. 2003–2009 she was working as a conservator of mural paintings in Rome. She has supervised many conservation and technical investigation projects in Estonia, cureated exhibitions made scientific research on topic of conservation and technical art history. Hiiop’s PhD theses (2012) treated the conservation management of contemporary art.

Study of the Painting Methods of Mural Paintings in Ancient Tombs of Goguryeo Using Scanning Electron Microscope

Disputes on the painting methods of Goguryeo murals can mainly be categorized into whether the murals adapted eastern secco or western fresco; however, the murals have their own unique methods as well. There are different viewpoints among experts on interpreting the painting methods. This study involved the creation of research samples to discover the painting methods under dispute and may help discover the methods based on scanning electron microscopy energy-dispersive X-ray spectroscopy (SEM-EDX) studies. Goguryeo murals introduced pseudo-fresco rather than buon fresco methods. Unlike fresco techniques in the West, Goguryeo painters mixed traditional soft binders and adapted typical secco painting techniques for paintings, borders, and corrections after drying. The disputed issues may be resolved by these techniques, and samples may be produced based on the analyzed data. Therefore, many questions can finally be answered through SEM-EDX elemental mapping.

La Asimilación Mexicana: Colombia en los años treinta – El caso de Ignacio Gómez Jaramillo

Durante la década de los treinta, artistas como Ignacio Gómez Jaramillo tomaron el muralismo mexicano como una parte importante de sus carreras y así mismo doptaron la iniciativa de realizar por primera vez en Colombia arte público. En 1936 Gómez Jaramillo viajó a México durante dos años con el in de estudiar el muralismo, aprender la técnica del fresco y transmitir la experiencia mexicana de las escuelas de pintura al aire libre. Gómez Jaramillo regresó a Colombia en 1938 y en 1939 pintó los murales del Capitolio Nacional. Aunque el trabajo de Gómez Jaramillo después de su regresoa Colombia es bien conocido, su tiempo en México ha sido escasamente explorado y pocos historiadores han analizado el trabajo del artista a la luz de su experienciamexicana. Durante su estadía en México, Gómez Jaramillo se incorporó al grupo de la LEAR (La Liga de Escritores y Artistas Revolucionarios) con la cual creó los murales en el Centro Escolar Revolución (CER). Estos murales son imágenes políticamente comprometidas que aparentemente poco tendrían que ver con su trabajo más histórico a su regreso a Colombia. Este texto propone una revisión cuidadosa al trabajo del artista en el CER y una relectura de los murales del Capitolio Nacional a la luz de una visión más politizada.

'Tomb with cupids' from Viminacium: A contribution to research of construction, iconography and style

The tomb G-160, known as the 'Tomb with Cupids', was discovered in 2003, during the excavations at the Pirivoj - Viminacium necropolis. The tomb has a trapezial section, characteristic for Viminacium tombs of the late antique period, and its interior was painted using the fresco technique. Scenes and motives are set on all four walls of the tomb. Since the western wall is damaged, the tomb is named after the depiction of cupids on the eastern wall. The wealth of the iconographic repertoire, together with an analysis of the geometry and symmetry, allowed the reconstruction of the conceptual context and it can be concluded that the tomb was dedicated to Venus, or Dionysus. The tomb painting could be dated to the beginning of the 4th century, owing to the analysis of the style, which combines an eclectic Eastern expressionism, classicism and illusionism of the Constantine era.

Organic materials in the wall paintings in Pompei: a case study of Insuladel Centenario

BackgroundThe present research concerns the Roman wall paintings preserved at Insula del Centenario (IX, 8), the important Pompeian block situated in the Regio IX, along Via di Nola.ResultsThe aims of this research are two: to verify the presence of lipidic and proteinaceous material to spread the pigments, and to identify organic matter in painting materials owing to previous restoration works. The samples collected from the wall paintings of different rooms have been investigated by Fourier Transform Infrared Spectroscopy (FT-IR), and Gas Chromatography/ Mass Spectrometry (GC/MS).ConclusionsThe analytical results show that these Roman wall paintings were realized without the use of lipidic and proteinaceous materials, supposedly in fresco technique. Moreover, it was detected that wax, egg, and animal glue were used in previous restoration works for protective purpose and to restore the wall paintings to their original brilliant colours.