On the origin of Goa Cathedral former altarpiece: Material and technical assessment to the work of Garcia Fernandes, Portuguese painter from 16th century Lisbon workshop

Goa Cathedral former altarpiece is one of the oldest set of paintings in India. The seven remaining paintings from the first altarpiece of Goa Cathedral, nowadays in the sacristy, are attributed by some art historians to Master Garcia Fernandes (act. 1514–1565), Portuguese painter from Lisbon workshop. The 16th century was the “Golden age” of Portuguese painting. In this context the Royal Lisbon workshop played a predominant role, where the activity of the painter Garcia Fernandes and his workshop can be distinguished. In this new approach, Goa paintings are being studied and compared with other works in Portuguese territory attributed to this same painter, as St. Bartholomew altarpiece from the chapel of Bartolomeu Joanes in Lisbon Cathedral. The stratigraphic study allowed to compare ground layers, pigments and binders which, were characterized using complementary analytical and imaging techniques: (X-ray Fluorescence spectrometry (XRF), Infrared Reflectography (IRR), Infrared Photography (IRP), Macro Photography (MP), micro-X-ray Diffraction (μ-XRD), Scanning Electron Microscopy with Energy Dispersive Spectroscopy (SEM-EDS), Raman micro-spectroscopy (μ-Raman), Fourier Transform Infrared micro-spectroscopy (μ-FTIR), Pyrolysis gas chromatography mass spectrometry (PY-GC/MS). This work brought a new insight on the techniques and materials used in this Masterpiece and highlighted the conclusion that Goa Cathedral former altarpiece must be a Portuguese production

Extracting natural dyes from wool—an evaluation of extraction methods

The efficiency of eight different procedures used for the extraction of natural dyes was evaluated using contemporary wool samples dyed with cochineal, madder, woad, weld, brazilwood and logwood. Comparison was made based on the LC-DAD peak areas of the natural dye’s main components which had been extracted from the wool samples. Among the tested methods, an extraction procedure with Na2EDTA in water/DMF (1:1, v/v) proved to be the most suitable for the extraction of the studied dyes, which presented a wide range of chemical structures. The identification of the natural dyes used in the making of an eighteenth century Arraiolos carpet was possible using the Na2EDTA/DMF extraction of the wool embroidery samples and an LC-DAD-MS methodology. The effectiveness of the Na2EDTA/DMF extraction method was particularly observed in the extraction of weld dye components. Nine flavone derivatives previously identified in weld extracts could be identified in a single historical sample, confirming the use of this natural dye in the making of Arraiolos carpets. Indigo and brazilwood were also identified in the samples, and despite the fact that these natural dyes were referred in the historical recipes of Arraiolos dyeing, it is the first time that the use of brazilwood is confirmed. Mordant analysis by ICP-MS identified the widespread use of alum in the dyeing process, but in some samples with darker hues, high amounts of iron were found instead

Análise comparativa do douramento e policromia de dois retábulos de Évora, Portugal

A dispute among the best five painters-gilders of Evora, for two of the most important contracts regarding the gilding of the altarpieces, gave rise to an extensive and detailed documentation on the technique, materials and prices used in 1729. The rivalry between the master Filipe de Santiago, responsible for the gilding of the whole set of the Church of Mercy (Igreja da Misericórdia de Évora), and the team led by Manuel da Maia, responsible for gilding the main altar of the Convent Church of Scala Coeli’s (Igreja do Convento de Scala Coeli, Cartuxa), forced the commissioners to redraft contracts with unusual rigor since both did not accept the possibility to be examined by the opponent. Physical-chemical characterization of the gilding and polychrome layers of samples from both altarpieces, performed within the GILT-Teller project (www.gilt-teller.uevora.pt), led to a comprehensive approach of the pictorial culture of this period. As it is reported in contracts, the gilded woodcarving was enriched with flesh-coloured tones, “estofado” and “regraxos”. These techniques were both used in the Church of Mercy and in the Church of the Convent of Scala Coeli, of the Carthusian monks of Evora. The documentation and the results of the phsyical-chemical analyses presented in this paper confirm the existence of a common and poorly differentiated artistic culture between the main workshops of Evora.Una disputa entre cinco de los mejores pintores doradores de Évora condujo a la realización de una amplia documentación sobre la técnica, los materiales y los precios vigentes en Évora, en el año 1729. La rivalidad entre el maestro Filipe de Santiago, responsable pela execución del dorado del retablo de la Iglesia de la Misericórdia de Évora, y el equipo dirigido por Manuel da Maia que realizó el dorado del retablo de la capilla principal de la iglesia de la Cartuja, obliga los comitentes a redactaren contratos con un rigor inusual, ya que ambos los maestros no aceptaron la posibilidad de seren examinados por el oponente. La caracterización fisicoquímica del dorado y policromía de los dos altares, que se realizó en el ambito del proyecto Gilt-Teller (www.gilt-teller.uevora.pt), permite acercarnos a la cultura pictórica de la época. Como se informó en los contratos, el dorado se ha enriquecido con tonos de carnacion, estofado y „regraxos“. Estas técnicas se utilizan de la misma manera tanto en la Iglesia de la Misericordia y en la iglesia de Scala Coeli del convento de los monjes cartujos de Évora. La documentación y los resultados de los análisis químicos presentados en este documento confirman la existencia de una cultura artística común y poco diferenciada entre los principales talleres de Évora.Uma disputa entre cinco dos melhores pintores douradores de Évora deu origem à realização de uma extensa documentação sobre a técnica, os materiais e os preços em vigor em Évora, no ano de 1729. A rivalidade entre o mestre Filipe de Santiago, responsável pelo douramento do conjunto de talha da Igreja da Misericórdia, e a equipa liderada por Manuel da Maia que executou o douramento do retábulo da capela-mor da Igreja da Cartuxa, obrigou os comitentes a redigirem os contratos com um rigor inusual, já que ambos os mestres não aceitavam a possibilidade de serem examinados pelo oponente. A caracterização físicoquímica do douramento e das camadas de policromia de ambos os altares, realizada no âmbito do projecto GILT-Teller (www.gilt-teller.uevora.pt), permite-nos uma aproximação à cultura pictórica do período. Como é reportado nos contratos, o douramento da talha dourada foi enriquecido com carnações, estofado e “regraxos”. Estas técnicas foram utilizadas de maneira muito semelhante em ambos os conjunto da Igreja da Misericórdia e no Convento de Scala Coeli dos monges cartuxos de Évora. Os resultados documentais e analíticos dessa investigação confirmam a existência de uma cultura comum e pouco diferenciada entre as principais oficinas de Évora

The early Christian Martyrs Martian, Victory and Leonora: studies on three ceroplastic reliquaries from Portugal

After the rediscovery of the Roman catacombs in 1578, thousands of skeletons attributed to the first martyrs of Christianity were massively exhumed from the subterranean galleries of Rome and displayed in sumptuous reliquaries, simulating the martyrs' bodies for public veneration in churches, convents, and oratories throughout the Christian world. Covered with silk, papier-mâché, plaster, wood or wax, the skeletons from the catacombs were splendidly dressed in ceremonial baroque clothes, representing Roman legionaries or virgins, and were exhibited with the signs of martyrdom inside polychromed and gilded wooden shrines. This type of devotional receptacles, as martyrs' simulacra, began to be produced in the late 17th century and were in use till the mid-19th century. In 2019-2020, an in-situ campaign was carried out to study three ceroplastic martyrs’ simulacra belonging to different Portuguese religious and cultural institutions. This was the first in-depth scientific study performed on simulacra reliquaries made of wax in Portugal. The focus of this project was to identify the materials and the manufacturing techniques adopted by pious craftsmen to unveil their complexity from material, technical and decorative points of view. Sampling of different materials was also carried out. Fibres, dyes, wax, and metal threads were analyzed for morphological and chemical characterization using a batch of analytical techniques that included optical microscopy (OM), attenuated total reflection Fourier transform infrared spectroscopy (ATR-FT-IR), liquid chromatography coupled with diode-array detection and mass spectrometry (LC/DAD/MS), pyrolysis coupled to gas chromatography and mass spectrometry (Py-GC/MS) and scanning electron microscopy coupled with X-rays microanalysis (SEM/EDS). This work aims to present the analytical results on the simulacrum of saint Martian from the parish Church of saint Sebastian (Óbidos), and the simulacra of saints Victory and Eleonora from the Chapel of Our Lady of Mercy from the Palace of Marquis of Pombal (Oeiras). Despite their probable Roman origin, as many other 18th and 19th century martyrs' simulacra already identified in the north and centre of Portugal, the results obtained support a probable national production.info:eu-repo/semantics/publishedVersio

A multi-analytical study of egyptian funerary artifacts from three portuguese museum collections

A diachronic, multi-analytical approach combining EDXRF, µFTIR, µRaman, SEM-EDS, and Py-GC/MS has been adopted with the aim to study for the first time the painting materials used to decorate Egyptian funerary masks and sarcophagi ranging from the Late Period to the Roman Period and stored in the Archaeological National Museum (MNA) and the Carmo Archaeological Museum (MAC) of Lisbon and the Natural History Museum of the University in Oporto (MNH-FCUP). Results indicate that yellow and red ochres, realgar, cinnabar, Egyptian blue, and Egyptian green were used as pigments while chalk served as the preparatory layer. Over the 1000-year time-line of the studied artifacts, the palette remained remarkably consistent with previous findings as exemplified by cinnabar being used for red pigments in samples only dated after the Ptolemaic period. The presence of Sn in Egyptian blue and Egyptian green pigments used in one sample sug-gests the use of recycled bronze scraps during pigment production. Black pigments in two Late Period masks were found to be produced by mixing Egyptian blue with red ochre suggesting either a hitherto unknown method for production of purple pigments in the Egyptian palette or, alterna-tively, an attempt to create a specific hue or shade of dark brown or black. The results of this study contribute to further expand the database of Ancient Egyptian painting materials while at the same time helping to valorize three important Egyptian collections in Portugal

Caracterização material das técnicas de douramento e pintura de um ícone pós-bizantino

This study aims to identify the materials used in the production of a post-byzantine icon from the Museum of Évora’s collection. The icon, representing the “Emperor Constantine and his mother Helen holding the Holy Cross” was once dated as being from the 10th century. Throughout a multi-analytical approach, combining area exams with spectroscopic techniques, this study tried to confirm its actual chronology. The results obtained revealed that it is most likely an icon from the late 17th or 18th century.El presente estudio tuvo como objetivo la identificación de los materiales utilizados en la producción de un icono pos bizantino perteneciente a la colección del Museo de Évora. Este icono tiene representado el “Emperador Constantino y su madre Elena manifestando la Cruz” y había sido datado del siglo X. A través de un abordaje diversificado, combinando exámenes de área con técnicas espectroscópicas, hemos intentado confirmar su datación. Los resultados obtenidos han revelado que será probablemente un icono de finales del siglo XVII o incluso del siglo XVIII.Este estudo teve como objetivo a identificação dos materiais utilizados na produção de um ícone pós-bizantino pertencente à coleção do Museu de Évora. Este ícone, representando o “Imperador Constantino e a sua mãe Helena manifestando a Cruz”, foi datado como sendo do século X. Através de uma abordagem analítica diversificada, combinando exames de área com técnicas espectroscópicas, tentámos confirmar a sua datação. Os resultados obtidos sugerem que será provavelmente um ícone dos finais do século XVII ou do século XVIII

Edvard Munch’s Collection of Drawing Materials: Crayon Characterization

This paper contains an interpretation of the results obtained from Fourier Transform Infrared micro-spectroscopy (µ-FTIR) and Pyrolysis - Gas Chromatography coupled with Mass Spectrometry (Py-GC-MS) techniques applied on the crayons used by Edvard Munch (1863-1944) and now stored at the Munch Museum (MUNCH). Around 100 of different brands from Edvard Munch’s collection of reference materials available at the Munch Museum were analyzed. Micro-destructive methods as µ-FTIR and Py-GC-MS were used to characterize the constituent materials of crayon samples, with a special focus on organic binding medium, to allow the classification of different brands of crayons. Two natural waxes (beeswax and carnauba wax) were identified by µ-FTIR, but the most specific chemical information on wax mixtures was attained by Py-GC-MS. The present study adds more analytical data on Edvard Munch’s legacy and was developed under the framework of the collaborative research project “THE SCREAM-Touchstone for Heritage Endangered by Salt Crystallization: a Research Enterprise on the Art of Munch” between the HERCULES Laboratory and the Munch Museum in Oslo

Archaeological evidence for the dietary practices and lifestyle of 18th Century Lisbon, Portugal. Combined steroidal biomarker and microparticle analysis of the carbonized faecal remains

The study of the urban context in the contemporary center of Portugal’s capital city uncovered traces of daily lives that were abruptly interrupted and utterly transformed by the Great Lisbon Earthquake on the morning of 1 November 1755. Charred organic residue was recovered from a cylindrical vessel excavated from the storage area of the town house at the Rossio square. The archaeological sample was studied through a multi-analytical approach based on microstructural, elemental and biomolecular characterization by attenuated total reflectance Fourier transform infrared spectroscopy (ATR-FT-IR), variable pressure scanning electron microscopy coupled to energy dispersive X-ray spectroscopy (VP-SEM-EDS), and gas chromatography coupled with mass spectrometry (GC-MS). The residue was identified as human faeces collected in the ceramic vessel for disposal, and further analysis provided additional information about diet and the living conditions in the 18th century

Multi‐analytical approach for the study of Neolithic pottery from the Great Dolmen of Zambujeiro (Evora, Portugal)– a preliminary study

The chemical and mineralogical composition of the Zambujeiro Dolmen ceramics was analysed using stereomicroscopy (SM), X‐ray diffraction (XRD), in‐situ X‐ray fluorescence spectroscopy (XRF) and scanning electron microscopy with X‐Ray energy dispersive spectroscopy detection (SEM‐EDS). Analyses have shown that quartz is the most abundant mineral in the ceramics, with feldspars, especially alkali feldspars (Na, K), being also present in the majority of the samples. Titanium‐iron oxide minerals, like ilmenite, were also detected in some samples. The nature of the clay minerals varies among the samples, but it was possible to identify illite/smectite which can help approximate the firing temperature of the ceramics. Overall, the ceramics’ composition is consistent with the geology of the area, confirming the local provenance of the materials used for its production. Analysis of the organic content was done using gas chromatography coupled with mass spectrometry (GC‐MS). The ceramic's organic content is likely from vegetable origin, which can be inferred from the presence of a high content of unsaturated fatty acids, various steroids of vegetable origin (campesterol, stigmasterol and beta‐sitosterol), absence of cholesterol (steroid of animal origin) and a ratio of fatty acids C16:C18 > 1. Biomarkers for the presence of resins from the genus Pinus, the diterpenoid derivatives such as dihydroabietic and isopimaric acids, were identified in some samples. The reason for the use of resinous materials can be attributed to their sealing or gluing properties, but they could also bring a characteristic flavour to the materials stored in the ceramic vessels

Millets and Cereal Meals from the Early Iron Age Underwater Settlement of “Gran Carro” (Bolsena Lake, Central Italy)

Archeobotanical materials recovered from pottery vessels originating from the underwater archeological site of “Gran Carro”, located in Central Italy on the shore of Bolsena Lake, were analyzed to obtain new insight into the agricultural habits present in this Iron Age settlement. The archeobotanical study of cereal remains was combined with analytical data obtained from an amorphous organic residue using optical microscopy, SEM-EDS, ATR/FT-IR and Py-GC/MS. The cereal remains of emmer wheat (Triticum dicoccum), barley (Hordeum vulgare), broomcorn millet (Panicum miliaceum), and foxtail millet (Setaria italica) were identified as the preferred crops used for food and/or fodder at the site. The presence of charred millets, which have been directly dated by AMS, confirms consumption at the site and adds to the little-known background of millet use in central Italy. The find of millets in a perilacustrine pile-dwelling during a period when the water level of the Bolsena Lake was several meters lower than at present, attesting to a general dry period, suggests that the cultivation of millets, complementing more productive crops of wheat and barley, may have been favored by the availability of a large seasonally dry coastal plain, characterized by poor and sandy soils unsuitable for more demanding cereals