Materiales utilizados en la policromía de la fachada de Pedro I (Real Alcázar de Sevilla, España)

This research has been conducted on the architectural decoration of the façade of the Palace of King Pedro I (The Royal Alcazar of Seville, Spain). The stratigraphic study of pictorial layers has revealed numerous interventions made on the polychrome decorations that have been related to those referenced in historical documents. Mineralogical and compositional studies of the natural and synthetic pigments and their alteration have provided an independent chronology for the polychrome decorations. Finally, this study has revealed the importance of colour of the decorative elements over the history of the palace.El estudio de la fachada del palacio de Pedro I ha puesto de manifiesto la existencia de un gran número de policromías realizadas con una amplia variedad de pigmentos de diferentes cronologías. Mediante diversas técnicas analíticas han sido diferenciadas y caracterizadas química y mineralógicamente. El estudio estratigráfico detallado de las diferentes policromías ha permitido relacionarlas con las sucesivas intervenciones documentadas, comprobando así la gran importancia que el color ha tenido en todas las épocas o momentos históricos del Palacio

Polysaccharide remains in Maya mural paintings: is it an evidence of the use of plant gums as binding medium of pigments and additive in the mortar?

A number of monosaccharides characteristic of plant gums were found in paint layers and preparation layers of samples of Maya mural paintings of 10 archaeological sites located in Campeche and Yucatan regions. This finding opens the question about the deliberate use of these organic polymers as additives for improving workability and mechanical properties in the preparation layer mortar and conferring cohesion to the pigments in the paint layer. The study performed by GC-MS has confirmed the presence, in significant amounts, of a series of monosaccharides, being glucose and mannose between the most abundantly found. Nevertheless, the low amount present in most of the samples hindered the quantification of the relative proportion of monosaccharides necessary for identifying the botanical species of the plant gum. According to the accepted methodology used by Maya artists for preparing painting materials, bark of trees containing plant gums was added to the slaked lime stored in pools and that should be consistent with the notable amounts of glucose, mannose and other monosaccharides forming the skeleton of hemicelluloses and cellulose found in most of the samples. Although organic matter can be present in paint samples exposed to the external environment in Mesoamerican region as result of the microbiological activity, marker compounds characteristic of products resulting from their metabolism were not found in the studied sample

Multi-technical approach for the characterization of polychrome decorative surfaces at Spanish Mission Churches in Nueva Vizcaya (Chihuahua, Mexico)

An interdisciplinary and multi-institutional group of science and art conservation specialists has provided new insight into the painting materials used in the polychrome walls and wooden ceilings in four seventeenth century Spanish colonial churches of Nueva Vizcaya (Chihuahua, Mexico). A multi-analytical study of the decorative surfaces was performed in situ using spectroscopic approaches (XRF, FORS), False Colour Infrared Reflectography - IRFC, as well as micro sampling (ATR-FTIR, LM, GC/MS). A survey of natural resources and study (ATR-FTIR, LM) was carried out to elucidate the natural occurrence of a select number of materials in the surrounding areas of the churches. The present paper presents a multi-analytical study and characterization of green, red-orange and black colour pigments and binders selected from the decorative surfaces. The aim of this study is to highlight relationships between local materials and those from the original polychrome ceilings, in order to understand the material and technological influences that converged in the Spanish colonial architecture of northern Mexico

The combined use of cross-section analysis and other stratigraphic recording systems in the cleaning of two panel paintings from the fifteenth- and sixteenth-century

Cross sections are frequently used in the stratigraphic study of pictorial structures. Thanks to cross sections, it is possible to study and record original and non-original strata that may provide important information regarding the artist's technique and later restoration processes. This information helps conservators design different strategies in processes such as cleaning. However, it is often in cleaning where the advantages and limitations of cross sections become obvious. When dealing with a complex structure, cross sections may not be enough to record in a comprehensive and accurate manner all the strata removed during cleaning. In some cases, the conservator may obtain during cleaning a great amount of stratigraphic information that is not visible in the cross sections. Therefore, it may be necessary to resort to other recording systems, such as the stratigraphic unit recording sheet and the stratigraphic diagram, which are frequently used in archaeological stratigraphy. This article demonstrates how cross-section analysis was combined with stratigraphic study during the cleaning of two panel paintings to gain an improved understanding of their complicated layer structure.Barros García, JM.; Reina De La Torre, A.; Pérez Marín, E. (2014). The combined use of cross-section analysis and other stratigraphic recording systems in the cleaning of two panel paintings from the fifteenth- and sixteenth-century. Studies in Conservation. 60(4):245-252. doi:10.1179/2047058414Y.0000000128S24525260

Evaluation of a gelatin-based adhesive for historic paintings that incorporates citronella oil as an eco-friendly biocide

[EN] The presented study focuses on evaluating the efficiency of a gelatin-based product that incorporates a plasticizer (glycerol) and a biocide (citronella oil), proposed as an eco-friendly adhesive for polychrome decoration applied in different parts of the architectural complex of the Longshan Temple in Lukang (eighteenth century, Taiwan). Seven laboratory physico-chemical tests were performed: (a) viscosity measurement; (b) drying curves; (c) moisture content determination; (d) water vapor permeability test; (e) mechanical test; (f) adhesion test; (g) susceptibility to fungi colonization test, which provide information on the workability, water content and water barrier properties, as well as mechanical, adhesion, and the biocide properties of the proposed product. The obtained results indicate that the workability, mechanical and adhesive properties of the new adhesive are adequate. Permeability in polychromies is slightly reduced due to the additional barrier effect of the adhesive incorporated into the paint film. The efficiency of citronella oil for preventing the growth of fungus Aspergillus niger on paintings consolidated with the adhesive was also probed. In parallel to these laboratory trials, the micro-invasive tests carried out, using nanoindentation combined with atomic force microscopy (NI-AFM), provided direct evidence for the improvement in the mechanical properties induced by applying the new adhesive to the original polychromies.This work was supported by the Spanish Ministerio de Economia, Industria y Competitividad (MINECO), the Fondo Europeo de Desarrollo Regional (ERDF), and the Agencia Estatal de Investigacion (AEI).Lee, Y.; Martín Rey, S.; Osete Cortina, L.; Martín-Sánchez, I.; Domenech Carbo, MT.; Bolivar-Galiano, F. (2018). Evaluation of a gelatin-based adhesive for historic paintings that incorporates citronella oil as an eco-friendly biocide. Journal of Adhesion Science and Technology. 32(21):2320-2349. https://doi.org/10.1080/01694243.2018.1477411S23202349322

Modification of Hydrophilic and Hydrophobic Surfaces Using an Ionic-Complementary Peptide

Ionic-complementary peptides are novel nano-biomaterials with a variety of biomedical applications including potential biosurface engineering. This study presents evidence that a model ionic-complementary peptide EAK16-II is capable of assembling/coating on hydrophilic mica as well as hydrophobic highly ordered pyrolytic graphite (HOPG) surfaces with different nano-patterns. EAK16-II forms randomly oriented nanofibers or nanofiber networks on mica, while ordered nanofibers parallel or oriented 60° or 120° to each other on HOPG, reflecting the crystallographic symmetry of graphite (0001). The density of coated nanofibers on both surfaces can be controlled by adjusting the peptide concentration and the contact time of the peptide solution with the surface. The coated EAK16-II nanofibers alter the wettability of the two surfaces differently: the water contact angle of bare mica surface is measured to be <10°, while it increases to 20.3±2.9° upon 2 h modification of the surface using a 29 µM EAK16-II solution. In contrast, the water contact angle decreases significantly from 71.2±11.1° to 39.4±4.3° after the HOPG surface is coated with a 29 µM peptide solution for 2 h. The stability of the EAK16-II nanofibers on both surfaces is further evaluated by immersing the surface into acidic and basic solutions and analyzing the changes in the nanofiber surface coverage. The EAK16-II nanofibers on mica remain stable in acidic solution but not in alkaline solution, while they are stable on the HOPG surface regardless of the solution pH. This work demonstrates the possibility of using self-assembling peptides for surface modification applications

Maya Blue: An Unsolved Problem in Ancient Pigments

The early peoples of Southern Mexico decorated pottery and painted pictures on walls with a stable blue pigment which is not found elsewhere in the world. Investigation of this blue was started over 30 years ago, but still the true nature of the blue color principle is unknown. Since the blue cannot be destroyed by boiling nitric acid, it does not seem to be vegetable or organic in origin. It is quite unlike azurite or natural ultramarine or other blue minerals which were employed as sources of blue pigment by other ancient peoples. The main obstacle in the investigation is the extreme scarcity of research material. The only samples of the blue available for testing are thinly painted films on potsherds and on wall painting fragments where it is mixed with lime plaster and other impurities. Although attempts to procure lump specimens of the blue, even in gram quantitives, have failed, some progress has been made. It is now known that the inorganic base of the blue pigment is a clay mineral called attapulgite. Ordinary attapulgite is nearly colorless. We still do not know what makes the clay blue; whether it is a special kind of attapulgite or if the Maya produced it artifically. In this paper all the evidence accumulated to date is reviewed