Ochre Research Articles

A novel carbon reducing natural composite phase change material for effective energy storage

The development of fatty acid made from natural composite materials Lac, Rosin, Flowers of silk cotton, Red ochre, Cinnabar, Beeswax, and Butter as a novel bio-based Natural Composite Phase Change Material (NCPCM) is the subject of the present study. This bio-based material was produced for the first time using natural, readily available, inexpensive, and eco-friendly with a peak phase transition temperature of 75 °C and 194 J/g as the latent heat capacity of fusion. Three distinct compositions, 2 %, 3 % and 5 % of NCPCM to the weight of the binder, were produced by the direct incorporation method into the natural hydraulic lime matrix. The newly developed NCPCM-incorporated lime mortar specimens were characterized based on their physical, mechanical, and thermal properties, and their results were compared with reference lime mortar (RLM). The compressive strength of NCPCM2 and NCPCM3 at 28 days increased by 22.64 % and 47.42 %, respectively. The produced NCPCM retains good thermal stability in its temperature operating range. The XRD findings showed that adding Lac and Rosin containing carboxylic acid esters of fatty acids increased the calcium carbonate formation. The produced FTIR validated the produced material's chemical stability, and SEM images demonstrated that the developed matrix's morphology successfully retains the added bio-additives. From an environmental perspective, the prepared NCPCM in lime mortar can reduce CO2 emissions by 296 kg·CO2/kg and 286 kg·CO2/kg. Furthermore, adding the produced NCPCM as bio-additives to lime mortar can explore the creation of sustainable mortar, which leads to environmental and economic benefits.

Scanning macro x‐ray fluorescence spectroscopy maps for matching 17th century paintings color areas to different earth pigments uses and for investigating attribution issues

AbstractFe and/or Mn‐containing yellow ochre, red ochre, and umber earth pigments are omnipresent in 17th century paintings. Less common in the materials used in historical paintings of this period is the Fe and Mn‐rich earth pigment sienna. Different uses of historical pigments in one painting by Georg Flegel (1566–1638) and another version of the same painting but of disputed attribution were recently uncovered by means of macro‐x‐ray fluorescence (MA‐XRF) scanning and other non‐invasive analytical techniques. In this paper, an approach solely based upon the correlation of Fe and Mn MA‐XRF maps with the optical image of the painting is compared to the use of Mn/Fe correlation plots. The identification of clusters within a plot of the Fe counts vs. the Mn counts can aid to infer whether an area with a certain color matches with the use of the earth pigments found in the two paintings and to ultimately shed light on the different usage of these pigments. The analytical thresholds found in the Mn/Fe correlation plots allowed to identify clusters differing in composition, which matched an area of a certain color with the earth pigments used therein. This highlighted the differences and similarities between the two paintings, ultimately ascertaining the lower value of the painting of disputed attribution. The analysis of single‐pixel spectra allowed refining the interpretation of specific Mn/Fe correlation plots. The purpose of these data evaluation steps is presented and the limitations of the proposed methodology are also discussed.

Characterization of art materials and degradation processes in the exterior wall paintings of the main church of Rila Monastery, Bulgaria

The present study focused on the characterization of the art materials and the degradation processes in the exterior (exonarthex) mural paintings of the main church of the Nativity of the Virgin in Rila monastery, Bulgaria, which is believed to be the last large-scale example of Eastern Orthodox wall painting. For the first time the art materials used to create a unique and colourful polychrome decoration of the outer gallery and the possible degradation products, caused by atmospheric influence - permanent exposure to open air and moisture - were revealed by a multi-technique approach. The mineral pigments were identified by means of attenuated total reflectance Fourier transform infrared (ATR-FTIR), micro-Raman spectroscopy, scanning electron microscopy energy dispersive X-ray spectroscopy (SEM-EDS) and X-ray diffraction (XRD). The natural yellow, red ochre, and green earth pigments, as well as some synthetic ones such as ultramarine and vermillion, were found in stable condition. Minium and emerald green pigments showed chemical transformations due to adverse environmental conditions which lead to chromatic changes of wall paintings. Black discolouration occurred due to the conversion of orange minium to black plattnerite (PbO2) and white discolouration – due to its transformation to white lead carbon oxide (PbCO3). The copper acetoarsenite (Cu(CH3COO)2.3Cu(AsO2)2) in the emerald green pigment showed partial transformation to arsen-containing mineral phases clinoclase and lindackerite, which fortunately did not affect much the colour appearance. Gypsum and calcium oxalate were found in the majority of the microsamples as decay products. Analysis of the binders by enzyme-linked immunosorbent assay (ELISA) implied the use of the Orthodox Church post-Byzantine egg-tempera technique. The registered Ca metal oxalates in accordance with ELISA results suggested binder chemical degradation induced by external factors. Most of the used painting materials are close to the those found in other Eastern Orthodox Byzantine and post-Byzantine monuments which indicates that the wall painting decoration of the main church of Rila monastery continues the post-Byzantine traditions. On the other hand, the study showed that the exonarthex wall paintings of the main charge of Rila monastery bear some new features as the religious artists supplemented the colourful scheme by emerald green as a new pigment and replaced smalt by the brighter synthetic ultramarine.

Blue Shades in Plasters: Archaeometric Role in Dating of the Casamassima (Southern Italy) Historical Facades

Casamassima old town, locally known as “blue town”, is widespread stratified blue paint covering the facades of the historical buildings, not reported in the archival data and historical sources. The archaeometric results presented in this study aimed to investigate raw materials, in particular pigments, used to cover the facades to contribute more precisely to the historical reconstruction of this local custom. A set of nine samples was collected from two representative historical buildings and observed by reflected light optical microscopy and scanning electron microscope (SEM-EDS) and their mineralogical characterisation was carried out by means of X-ray powder diffractometry (XRPD). The comparison of the mineralogical and elementary results and the stratigraphic, morphological, and microstructural observations made it possible to highlight a significant stratification of these plasters and to recognize the artificial ultramarine blue applied with lime, as the main mineral pigment, together with red ochre and blanc fixe. The identification of pigments was crucial to date the blue plasters.

Minerva in Colours: First Results on a Polychrome Roman Sculpture from Carnuntum (Pannonia)

This paper presents the first results of a current interdisciplinary research project on the polychromy of Roman provincial stone artefacts in selected areas of the Danubian provinces (PolychroMon). The statuary group of Minerva and the Genius immunium from Carnuntum (Archaeological Museum Carnuntinum inv. CAR-S-48) is dated to the second half of the second century AD and still retains traces of the original polychromy. The aim was to focus on non-invasive techniques and to employ micro-invasive methods for necessary cross-checking and gaining information otherwise not accessible. The investigation revealed that paint was applied on a layer of white lime wash. Additionally, the object shows several traces of Egyptian blue, which was mainly detected in Minerva’s and the Genius’ clothes. Other pigments whose traces were found on the sculpture include green earth, yellow and red ochre, as well as red lead and carbon black. Microscopic analysis confirms the presence of modern-age compounds as well (barium sulphate and zinc oxide) used for modern retouches. Gas chromatography–mass spectrometry revealed the use of egg as the major proteinaceous binding medium in the red lead polychromy.

Kapadokya’daki Post-Bizans (XIX yüzyıl) Kilisesindeki Duvar Resimlerindeki Pigmentlerin Arkeometrik Teknikler ile Araştırılması

Cappadocia region, rock churches, monasteries, houses, underground settlements, valleys and historical and geological formations have unique beauty. The region, which is rich with its cultural assets belongs to Christian culture in Anatolia, is generally known with its rock churches, and is a subject to researches. The purpose of this study is; to understand the wall painting technology of the 19th century church, and to make a comparison with the wall painting materials of the rock churches. The study material is composed of pigments in the wall paintings of the Church of St. Theodoros Trion, which is from the 19th century, and located in Nevşehir. Scanning Electron Microscope and Energy Distributed Spectrometer (SEM-EDX), X-Ray Diffraction Spectrometry (XRD) and Fourier Transformed Infrared Spectrophotometer (FTIR) are used to determine material characterization of pigments. X-Ray Fluorescence Spectrometer (XRF) analysis method was used in the analysis of the soil structure. As a result of analysis of the wall painting, it has been found that the ultramarine pigment is obtained from the lapis lazuli mineral and the covellite mineral of the covellite blue. In red, the red ochre and the caput mortuum pigment in purple color has been found. In the mineral of different pigment species, bauxite mineral belongs to the region have been detected. Green color, it has been determined that it is obtained from the glauconite and celadonite mineral in the region. According to the research carried out in the region in green color, it has been detected that only this pigment species has been used from the 6th century to the 19th century.

New Insight on Medieval Painting in Sicily: The Virgin Hodegetria Panel in Monreale Cathedral (Palermo, Italy)

The Virgin Hodegetria, located in the Cathedral of Santa Maria Nuova in Monreale, near Palermo (Italy), probably dating the first half of the 13th century, is one of the earliest examples of medieval panel painting in Sicily. A diagnostic campaign was carried out on the panel aiming to identify the constituting materials and the executive technique, as well as to assess the state of conservation for supporting the methodological choice of the restoration intervention. Both non-invasive (X-ray radiography, digital microscope, multispectral imaging, ED-X-ray fluorescence) and micro-invasive (polarised light microscopy, ESEM-EDX, ATR-FTIR spectroscopy and micro-Raman spectroscopy) analyses were performed. According to the results, the executive technique followed the 13th–14th-century Italian painting tradition. A complex structure was applied on the wooden support, consisting of a double layer of canvas and several ground layers of gypsum and glue-based binder. The underdrawing was made by a brush using carbonaceous black pigment. The original palette includes red ochre, red lead, azurite, carbon black and bone black. During the several restorations, mercury-based red, indigo, smalt blue, orpiment and synthetic mars were used. The original silver leaf of the frame was covered with red tin-based lake and subsequently regilded with gold leaf. Proteinaceous and oil binders were also detected.

True Blue? Locality of pottery decorations during the Middle Bronze: The case of Red, White and Blue Ware

Around 30 painted pottery sherds were selected for pXRF and Raman Spectroscopy testing to study the chemical and mineralogical composition of their pigments. These sherds originated from two significant Middle Bronze Age sites located in the Southern Levant, i.e., Ashkelon and Tel Azekah, and belong to a ceramic group referred to by scholars as Red, White, and Blue Ware (RWB). Examples of this type of ceramic ware have been unearthed at multiple sites during the last century. However, hitherto no analysis of the pigments’ composition has been performed. Our results demonstrate the use of three well-known pigment recipes: Red Ochre, White Lime, and Carbon Black and indicate that the pottery and pigments were locally made from available materials at each site. It is possible that the specific way in which Carbon Black was applied to the pottery was an attempt to imitate Egyptian decoration style.

Fulvifomes aurantiacus sp. nov. (Basidiomycota; Hymenochaetaceae) from Pakistan

The present study is the first report dealing with Pakistani Fulvifomes species. A new species, Fulvifomes aurantiacus, is identified on the basis of morpho-anatomical and phylogenetic analyses from Lahore, Pakistan. The species is characterized by pileate to sub-stipitate, basidiocarps having orange-brown pileal surface with yellow ocher wide zones and velutinous poroid hymenophore; 4–5 pores per millimeter, the presence of duplex context, dimitic hyphal system, absence of hymenial setae and the presence of contextual gleoplerous hyphae and highly pigmented ovoid to sub-globose basidiospores, 4.4–6.7 × 3.75–5.8 μm. Phylogenetically, our species formed a distinct clade with other Fulvifomes species, indicating its distinct position in the genus.

Non-Invasive Characterisation of the Wall Paintings in the Byzantine Church of Palazzo Simi (Bari, Italy) and Digital Photogrammetric Survey for a Pigment Mapping

The paper illustrates the results of a non-invasive characterisation of pigments and their mixtures in the pictorial surfaces of the wall paintings (10th century) found in the Byzantine church of Palazzo Simi in Bari (Italy). The investigation techniques included portable digital polarised microscopy, fibre optic reflectance spectroscopy (FORS) and X-ray fluorescence spectroscopy (XRF). Data comparison supported the recognition of red and yellow ochres, green earth, vine black, minium and Egyptian blue. The presence of some pigment mixtures demonstrated the recurrence of specific technical expedient used by local medieval artists in order to simulate more expensive pigments, which enabled contribution to the understanding of the valuable artistic tradition of the Apulian Middle Age. Both for purposes of conservation and fruition of the site, which is not always accessible, and due to the complexity in taking suitable photographs for the representation of results, the latter was performed on orthophotos extracted from a digital photogrammetric 3D model of the whole archaeological site. By means of chromatic overlapped layers, an interactive compositional map of the pictorial surfaces was produced.

Multi-Technique Characterization of Painting Drawings of the Pictorial Cycle at the San Panfilo Church in Tornimparte (AQ)

We present some results, obtained using a multi-scale approach, based on the employment of different and complementary techniques, i.e., Optical Microscopy (OM), Scanning Electron Microscopy-Energy Dispersive X-ray Spectroscopy (SEM-EDS), X-ray diffraction (XRD), Raman and µ-Raman spectroscopy, Fourier transform infrared (FT-IR) spectroscopy equipped with Attenuated Total Reflectance (ATR) analyses, Inductively Coupled Plasma–Mass Spectrometry (ICP-MS), and Thermal Ionization Mass Spectrometry (TIMS), of an integrated activity focused on the characterization of micro-fragments of original and previously restored paintings of the pictorial cycle at the San Panfilo Church in Tornimparte, sampled from specific areas of interest. The study was aimed, on one hand, at the identification of the overlapping restoration materials used during previous conservation interventions (documented and not), and, on the other hand, at understanding the degradation phenomena (current or previous) of the painted surfaces and the architectural structures. The study of stratigraphy allowed us to evaluate the number of layers and the materials (pigments, minerals, and varnishes) present in each layer. As the main result, the identification of blue, black, yellow, and red pigments (both ancient and modern) was achieved. In the case of blue pigments, original (azurite and lazurite) and retouching (Prussian blue and phthalo blue) materials were recognized, together with alteration products (malachite and atacamite). Traces of yellow ochre were found in the yellow areas, and carbon black in the blue and brown areas. In the latter, hematite and red ochre pigments were also recognized. The obtained results are crucial to support the methodological choices during the restoration intervention of the site, and help to ensure the compatibility principles of the materials on which a correct conservative approach is based.

On Devotional Artworks: A Non-Invasive Characterization of Pigments of the Madonna della Croce Wall Painting in Triggiano (Bari, Southern Italy)

Devotional artworks represent a valuable form of art, as they are evidence of religious worship and the demo-ethno-anthropological, as well as historical-artistic, heritage of a community, which is why they definitely belong to the cultural identity of a geographic area. The Madonna della Croce wall painting is an example of devotional art preserved today in the homonymous church in Triggiano (Bari, Italy). The presented study concerns the characterization of pigments used in the painting. The identification of pictorial materials had the aim of providing a contribution to knowledge about the painting, the history of restorations, and other historical events, and to increase the information about the Apulian painting to better reconstruct the social, cultural, and economic contexts of the region. Through a non-invasive and fast methodological approach, including portable digital microscopy, colorimetry, fibre optic reflectance spectroscopy (FORS), and X-ray fluorescence spectroscopy (XRF); 42 points considered on coloured areas were analysed in situ, and results on pigment identification were achieved. According to the local wall painting tradition, red and yellow ochres, green earth, vine black, massicot, and lead-tin yellow were found. Furthermore, both indigo-woad dye and a mixture of vine black and yellow ochre to obtain a blueish colour on the Virgin’s mantle were highlighted.

Multi-Analytical Investigation on a Renaissance Polychrome Earthenware Attributed to Giovanni Antonio Amadeo

This research aimed to characterise pigments used to decorate a polychrome earthenware bas-relief of the 15th century entitled “Madonna with Child, Saint Catherine of Siena, and a Carthusian Prior”, attributed to Giovanni Antonio Amadeo (Pavia, 1447–Milan, 1522) and owned by the Sforzesco Castle Museum of Milan. The artwork underwent a cleaning procedure whose aims were the removal of the dark coating that obscured its surface and restoration work that could bring back its original features. Before the cleaning, six microsamples were collected and analysed using optical microscopy (OM), scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM-EDXS), and Fourier-transform infrared microspectroscopy in ATR mode (ATR-FTIR), providing the restorers with decisive information on the materials underlying the coating. After the cleaning, the terracotta appeared vibrantly coloured, mainly with bright red, blue, green, black, and white tones. Then, some in situ, non-destructive, spectroscopic measurements were performed by a portable Raman spectrometer on some of the areas that could not otherwise have been sampled. The analyses revealed the presence of natural pigments, including lead white, azurite, yellow ochre, carbon black, calcite, cinnabar, and gypsum. For Madonna’s mantle, cobalt and Prussian blue were employed. Furthermore, the presence of barium sulphate was widely evidenced on the bas-relief. Albeit cobalt blue is of synthetic origin, its presence is compatible with the 15th-century palette, whereas Prussian blue and barium sulphate could be imputed to a previous restoration. Finally, the use of true gold for the background of the earthenware attests to the artwork’s importance and value.

A study by portable X-ray fluorescence (pXRF) of the painting “Still Life with Vase, Plate and Flowers” (1886–1888)

Portable energy-dispersive X-ray fluorescence spectroscopy (pXRF) was employed in the characterization of the pigments present in the painting “Still Life with Vase, Plate and Flowers”, of unknown authorship, but previously attributed to Vincent van Gogh, belonging to the collection of the São Paulo Museum of Art (MASP). In situ pXRF measurements were carried out by means of a portable system in order to provide the museum with a scientific documentation about the materials in the painting. Spectra were taken at different color regions and different hues in the pictorial layer. Some of the materials identified in the painting were chalk and/or gypsum, lithopone, lead white, zinc white, bone black, barium yellow, chrome yellow, yellow ochre, chrome green, Prussian blue, cobalt blue, vermilion and red earth. Besides that, it was possible to suggest the use of a lake pigment. The pigments whose use is suggested by this work are in total agreement with those available to European artists in the end of the 19th century.

Documentation, investigation and analysis of a rare archaeological cartonnage object from the Egyptian Museum in Cairo, Egypt, using non-invasive methods

Technical and analytical investigations were carried out on an overhead mask of woman cartonnage from the Egyptian Museum in Cairo (catalogue 33279), which dated back to the Greco-Roman Period. Various non-invasive techniques were used in this study such as: AutoCAD program, multispectral imaging with Ultraviolet and Infrared Rays, optical microscope, X-ray fluorescence spectrometry (XRF), and Fourier transform infrared spectroscopy (FTIR). The structure of the cartonnage was unique and consisted of three distinctive layers, from the bottom to the top; a double layer from linen, a calcite-based plaster layer, and finally a polychrome paint layer. The study of the paint layer revealed the presence of blue, red, white, yellow, orange, brown and black pigments. Yellow color was identified as orpiment (As2S3) and yellow ochre (goethite α-FeO.OH + clay minerals) and blue as Egyptian blue (CaCuSi4O10). Two red shades were also detected of which the lighter is red lead (Pb3O4) and the darker is a mixture hematite (α-Fe2O3), red lead (Pb₃O₄) and calcite (CaCO3). Orange was identified as a mixture of orpiment (As2S3) and red lead (Pb3O4), white as white lead (PbCO3)2•Pb(OH)2,and black as magnetite (Fe3O4). The brown pigment, made up of red hematite, red lead, and black manganese, was detected for the first time in the pigment palette of ancient Egyptian cartonnage. The binding medium in linen layer was identified as Arabic gum. The study showed that cartonnage dated back to the Graeco-Roman Period because of the appearance of red lead, orpiment, and Egyptian blue. Moreover, the presence of lead in the components of Egyptian blue is considered evidence that ovens contain lead resulting in changing the manufacturing techniques of Egyptian blue.

Iveron Icon of the Mother of God: reconstruction based on physical–chemical tests as an element of conservation

Recently art conservators tend to wonder which of the possible intervention paths to undertake while planning a conservation project and how deep their interference with the original substance should be. Limiting intervention to ceasing the ongoing degradation process and securing the object for the future without restoring any missing parts of the composition is just one of the many available approaches. Making a brand new copy of the painting where all the missing parts could be fully reconstructed and exposing it along with the original is a good alternative to traditional restoration practice. This method has been used by Danuta Stępień during conservation of a Russian icon entitled “Our Lady of Iver” (Moscow, 1908–1917, egg tempera on a wooden panel partially covered by a silver oklad, 10.8 × 13.2 × 0.8 cm). The silver oklad was executed by the workshop of Smirnow. Technology and materials have been identified via different analytical techniques: VIS, UV, IR and X-ray photography, microscopic photography, SEM–EDS analysis and FTIR. Specific medical radiological instruments have also been used as non-invasive analytical tools. The following materials have been identified: yellow ochre, cinnabar, cadmium red, red iron oxides, silver, gold and copper. The oklad is made of an Ag-rich silver–copper alloy. Its whole surfaces are richly engraved with traces of gold detected inside the engravings. Based on this fact, an assumption has been made that originally the upper part of the oklad might have been entirely covered with a layer of gold. The information gathered during research allowed to execute a fine copy of the icon using similar materials and techniques. An alternative to classic restoration approach is to create a faithful but fully reconstructed copy that could be exposed along with the original painting. This solution not only assures maximum respect for the original substance but also allows the recipients to better understand its history and technique.

Lacquer Techniques in the Late Joseon Dynasty

This study conducted scientific analyses on eight objects of wooden lacquerware to understand the manufacturing techniques of wooden lacquerware in the late Joseon Dynasty. The results of lacquer layer analysis with a microscope and scanning electron microscopy-energy dispersive X-ray spectrometry revealed that most samples were composed of 1–3 lacquer layers. Moreover, a red-colored layer was found to be red ocher and cinnabar, and Fourier-transform infrared spectroscopy analysis was carried out to determine the components of the lacquer layer. The detected components were mostly lacquer and partially cashew shell nut liquid.

Polychromy in Ancient Greek Sculpture: New Scientific Research on an Attic Funerary Stele at the Metropolitan Museum of Art

Polychromy in Ancient Greek Sculpture was the subject of the exhibition Chroma: Ancient Greek Sculpture in Color, held at The Metropolitan Museum of Art (The Met), New York, in 2022–2023. On this occasion, a multidisciplinary project involving The Met’s Departments of Greek and Roman Art, Objects Conservation, Imaging, Scientific Research, and colleagues from the Liebieghaus Polychromy Research Project in Frankfurt, Germany, was carried out to study an Attic funerary monument. The color decoration of the sphinx was reconstructed by combining non-invasive and minimally invasive techniques that provided information about surviving and lost pigments, original design, and painting technique. Results of multiband imaging, digital microscopy, and X-ray fluorescence spectroscopy guided the removal of minute samples from selected areas for examination by Raman spectroscopy and scanning electron microscopy, coupled with energy-dispersive X-ray spectroscopy, to shed light on the pigments and paint stratigraphy. The color palette included two varieties of blue, Egyptian blue and azurite, a carbon-based black pigment, two reds, cinnabar and red ocher, and yellow ocher, all painted directly over the marble without a preparation layer. The scientific findings informed the physical reconstruction of the sphinx made by archaeologists from the Liebieghaus Polychromy Research Project, featured in the exhibition.

Realizing sensations: analyzing Paul Cezanne’s watercolors and assessing their light sensitivity with microfade testing

The exhibition Cézanne Drawing at The Museum of Modern Art (MoMA) brought together an exceptional group of works on paper from public and private collections across the globe. Recognizing the inherent light sensitivity of both the paper and watercolors, controlling, and tracking light exposure was central to the exhibition planning. This concern also led to a systematic study of three watercolors in the museum’s collection, Foliage (1895), Study of Trees (1895), and Mont Sainte-Victoire (1902-06), to characterize the watercolor paints used by Cezanne in these works and their sensitivity to light exposure, and to better understand the condition of the drawings based on the palette’s chemistry. Examination and analysis were undertaken non-invasively and micro-invasively with the following techniques: Infrared Reflectography (IRR), Ultraviolet Fluorescence Photography (UVF), Raman and surface-enhanced Raman (SERS) spectroscopies in addition to X-Ray fluorescence analysis on small spots and large areas using portable (p-XRF) and XRF scanning, respectively. The palette for these three watercolor drawings includes lead white, bone black, vermilion, yellow ochre, chrome yellow, emerald green, viridian, cobalt blue, and synthetic alizarin and carmine lakes. Microfade testing (MFT) was performed on the paper support and spots with each identified pigment, and the data acquired was evaluated both for color change (ΔE00) and rate of color change (frac{partial Delta {E}_{00}}{partial t}). Together these techniques inform the future display and loan of these and similarly fugitive watercolors in Cézanne’s oeuvre.

Ancient Chromophores and Auxiliaries: Phrygian Colorants from Tumulus MM at Gordion, Turkey, ca 740 BCE

This paper discusses colorants found in Tumulus MM, the tomb of King Midas or his father, at Gordion, the capital of the Phrygian kingdom. Chromophores, colorants, and auxiliaries are preserved largely independent of the textiles they once colored. The Tumulus MM textiles are now fragmentary due to the degradation processes that occurred inside the tomb chamber. For DHA 26 (Vienna, Austria, 2007), we discussed a group of golden-yellow fragments from Tumulus MM that appeared to be tabby cloth but were skeletal lattices of goethite, αFeOOH (yellow ochre), as identified by FTIR, with SEM/EDS, XRD with molybdenum Kα radiation, NIR, and Raman spectroscopy. The “dyeing” has been replicated using a patented method; originally it may have involved a controlled redox reaction, based on our preliminary experiments. Amidst the goethite lattices, some skeletal fragments were green, with near-black lines within the yarn spiral, identified as indigo by FTIR at the time. Other masses with colorations of red, orange/brown, and purple with deep red veins did not yield identifiable inorganic coloration profiles with SEM/EDS. A purple fragment (2003-Tx-6 Front) was assayed by ICP-MS for mordants and for bromine, but neither could be found. Recently, direct analysis in real time mass spectrometry (DART-MS) enabled us to successfully detect organic colorants. For one fragment, indoxyl, isatin, indigo, and leuco-indigo were identified. One striated red-to-brown mass (2003-Tx-3) contained alizarin, purpurin, xanthopurpurin, lucidin, and other madder substituents; it also contained indigo/isatin but neither indoxyl nor leuco-indigo. Other beige-brown masses like 2003-Tx-5 sometimes contained alizarin, xanthopurpurin, rubiadin, and lucidin but rarely purpurin or indigo-related compounds. The purple (2003-Tx-6) shared the madder analogues with browner hues. The versatility appears related to that found in Anatolian pile carpets and flat weaves. Our new analyses confirm that the Phrygian textile colorists were indeed superb, versatile dyers.