Raman Spectroscopy in Art and Archaeology

International audienceThis paper gives a short overview of the Special Issue on Raman Spectroscopy in Art and Archaeology with the papers collected after the “3rd International Conference on the Application of Raman Spectroscopy in Art and Archaeology” held at the University Pierre et Marie Curie-Paris 6, Paris, France, August 31-Spetember 3, 2005. The contributions present an extended view of works in the field, from technical developments, special analytical procedures to various applications

Non-destructive analysis of museum objects by fibre-optic Raman spectroscopy

Raman spectroscopy is a versatile technique that has frequently been applied for the investigation of art objects. By using mobile Raman instrumentation it is possible to investigate the artworks without the need for sampling. This work evaluates the use of a dedicated mobile spectrometer for the investigation of a range of museum objects in museums in Scotland, including antique Egyptian sarcophagi, a panel painting, painted surfaces on paper and textile, and the painted lid and soundboard of an early keyboard instrument. The investigations of these artefacts illustrate some analytical challenges that arise when analysing museum objects, including fluorescing varnish layers, ambient sunlight, large dimensions of artefacts and the need to handle fragile objects with care. Analysis of the musical instrument (the Mar virginals) was undertaken in the exhibition gallery, while on display, which meant that interaction with the public and health and safety issues had to be taken into account. [Figure: see text

On the way to the New Kingdom. Analytical study of Queen Ahhotep's gold jewellery (17th Dynasty of Egypt)

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« Color siderum ». La dorure des figurines en terre cuite grecques aux époques hellénistique et romaine

«Color siderum » . Η χρύσωσις των ελληνικών πήλινων ειδωλίων κατά την ελληνιστική και ρωμαϊκή εποχή. Η έρευνα που διεξάγεται εδώ και δεκαπέντε χρόνια στο Μουσείο του Λούβρου σχετικά με την πολυχρωμία των ελληνικών πήλινων ειδωλίων επικεντρώθηκε στη μελέτη της τεχνικής της χρύσωσης. Το άρθρο πραγματεύεται ένα σύνολο είκοσι ειδωλίων, που χρονολογούνται από τον 4ο αι. π. Χ. έως το 2ο αι. μ. Χ. και προέρχονται κυρίως από την ηπειρωτική Ελλάδα (Αττική, Βοιωτία) και τη Μικρά Ασία. Γίνεται προσπάθεια, μέσω της εξέτασης των επιφανειακών υπολειμμάτων μετάλλου, να αναγνωριστεί το μέρος της δουλειάς που αναλογεί στο ζωγράφο και/ ή στον επιχρυσωτή. Η ξέταση με βιντεομικροσκόπιο και η μη καταστροφική σωματιδιακή και δομική ανάλυση του φύλλου χρυσού, των στρωμάτων της βάσης και της προετοιμασίας οδηγούν στην αποκατάσταση των βημάτων της διαδικασίας της χρύσωσης και στην αναγνώριση της υψηλής εξειδίκευσης των εργατών. Η μελέτη αυτή επιτρέπει την επανεξέταση της σημασίας των έργων.“ Color siderum”. Gilding on Greek terracotta figurines in Hellenistic and Roman times. Research on the polychromy of Greek terracotta figurines has been carried out at the Louvre museum over the last fifteen years. The study has focused on the art of gilding (chrysôsis in Greek) and its ancient craftsmanship. Results are presented here on some twenty objects of Attic, Beotian, South-Italian and Eastern Greek production (Myrina, Smyrna), dated to the fourth century BC – second century AD. Through a careful autopsy of the remaining physical evidence, the aim is to better understand and characterize the degree of technicality involved (did it require the specific expertise of a gilder ?). The study includes an in-depth examination of the figurines with a digital video-microscope, and non-invasive elemental and structural analysis of the gold leaf, ground (“ bolus”) and preparation layers. It discusses processes in the gilder’s work and allows for a better appreciation of the high quality of workmanship involved. It concludes with reflections on the function of the objects.La recherche menée depuis quinze ans au musée du Louvre sur la polychromie des figurines grecques en terre cuite s’est attachée notamment à l’étude des pratiques artisanales de la dorure (en grec chrysôsis). L’enquête qui suit a porté sur un ensemble d’une vingtaine de figurines, datées du ive s. av. J.-C. au IIe s. apr. J.-C., fabriquées essentiellement en Grèce continentale (Attique, Béotie) et micrasiatique. Elle se propose, par l’examen des vestiges métalliques superficiels, de distinguer la part de travail qui revient au peintre et / ou au doreur. Le relevé précis par vidéo-microscopie et l’analyse non invasive élémentaire et structurale de la feuille d’or, de l’assiette («bol » ) et de la préparation permettent de retracer les différentes étapes du travail de la dorure comme de souligner la haute qualification de ces artisans. L’étude ainsi menée permet in fine de revisiter le statut de ces oeuvres.Bourgeois Brigitte, Jeammet Violaine, Pages-Camagna Sandrine. « Color siderum ». La dorure des figurines en terre cuite grecques aux époques hellénistique et romaine. In: Bulletin de correspondance hellénique. Volume 136-137, livraison 1, 2012. pp. 483-510

Raman Spectroscopy in Art and Archaeology II

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Contribution from SEM Studies in the Understanding of Degradation Mechanisms of Copper Green Pigments from the Louvre Museum’s 21st Dynasty Egyptian Coffins

M&M Student Scholar Award – Sponsored by the Microanalysis SocietyInternational audienceThe 21st Egyptian Dynasty marks a big change in funeral practices. Decorations with Gods’ representations and magic formulas to help the deceased in his journey to afterlife are no longer on walls but directly on the coffin itself; which acts as an entire grave. Coffins were stored in long corridors, resembling mass graves. Egyptian Yellow Coffins are therefore a very specific production only found in the Theban area and reserved for the priests and priestesses of the Amun Temple. The study of these objects, a part of the Vatican Coffin Project, has as a main goal to identify all the materials used in order to determine the manufacturing process. A global view of this characteristic production will allow us to isolate and maybe even identify specific workshops. For this purpose a multiscale and multispectral methodology for analysis has been developed at the Centre de Recherche et de Restauration des Musées de France. In cultural heritage studies analysis are done in two steps: in-situ ones and those done on micro-samples which are micro-flakes, having a size of less 1mm². Each sample is performed to answer a precise question about the object. As an invasive procedure, very few are done. They are then unique and also very fragile. A dozen funerary sets from the Egyptian Antiquities Department of the Louvre Museum are under study. SEM imaging and SEM-EDS analysis have proved to be very helpful for the chemical characterization and also the identification of degradation mechanisms of green pigments

Analyse de la perte de couleur des peintures au smalt par spectroscopie d’absorption X

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