A Microcosm of Colour and Shine. The Polychromy of Chryselephantine Couches from Ancient Macedonia

The present work examines the polychromy applied to a number of fragmentary ivory small-scale sculptures that served as components of the luxurious decoration of chryselephantine couches from ancient Macedonia. The ivory fragments come from funerary contexts (the tomb of Philip II at Aigai, the Macedonian tomb II of Korinos at Pydna and the Macedonian tomb III of Aghios Athanassios near Thessaloniki), all of which are dated to the last quarter of the fourth century BC. The use of bright pigments on the laboriously executed faces of the figures and their garments, together with the gold leaf applied onto the hair and the background, conveys a powerful effect of polychromy that would have immediately caught the spectator’s eye, enhancing the overall aesthetic and material value of such lavishly decorated furniture. The identification of the pigments and the techniques of their application have been studied with the use of analytical methods (XRF, micro-XRF, XRD and SEM-EDS) and multi spectral imaging (Visible Induced Luminescence).Le présent article est consacré aux traces de polychromie retrouvées sur un certain nombre de sculptures fragmentaires en ivoire de petit format composant la somptueuse décoration des lits de banquets chryséléphantins de la Macédoine antique. Ces fragments en ivoire ont été découverts dans des sépultures (la tombe de Philippe II à Aigai, la tombe macédonienne II de Korinos à Pydna et la tombe III d’Aghios Athanassios près de Thessalonique, toutes datées du dernier quart du ive siècle avant Jésus-Christ.L’utilisation de pigments éclatants sur les visages soigneusement travaillés des figurines ainsi que sur leurs vêtements, tout comme la feuille d’or, appliquée sur la chevelure et sur le fond, leur confèrent une puissance de chatoiement qui devait immédiatement frapper le spectateur, renforçant l’impression esthétique comme la valeur matérielle de ce mobilier si fastueusement décoré.L’identification des pigments et les techniques de mise en œuvre employées ont été étudiées à l’aide d’analyses en XRF, micro-XRF, DRX, MEB-EDS et de l’imagerie multi-spectrale (photoluminescence

Architectural Polychromy on the Athenian Acropolis: An In Situ Non-Invasive Analytical Investigation of the Colour Remains

The preservation of the Athenian Acropolis monuments constitutes an ongoing top-priority national project of global significance and impact. The project concerning the analytical investigation of the polychromy of the Acropolis monuments presented in this paper was part of the Acropolis Restoration Service (YSMA) program (2011–2015), regarding the restoration of the two corners of the west entablature of the Parthenon, which exhibited severe static damage, and a parallel restoration program of the Propylaea. The scope of this research was to investigate the materials in the paint decoration remains on the monuments by applying, entirely in situ, numerous non-invasive techniques on selected architectural members of the Parthenon and the Propylaea. The research focused, mainly, on surfaces where traces of colour or decoration patterns were visible to the naked eye. Furthermore, surfaces that are referred to in the literature as decorated but that are currently covered with weathering crusts (of white or black colour) and/or layers of patina (of yellowish and orange-brown hue), were also examined. The techniques applied in situ on the Acropolis monuments were X-ray fluorescence, micro-Raman, and Fourier Transform InfraRed (FTIR) spectroscopic techniques, conducted with the use of handheld or portable instruments. The scientific data gathered in situ are discussed in this paper to enhance our knowledge of the architectural polychromy of the classical period. Further investigation by applying analytical techniques on a few selected micro-samples would be highly complementary to this present work

Architectural Polychromy on the Athenian Acropolis: An In Situ Non-Invasive Analytical Investigation of the Colour Remains

The preservation of the Athenian Acropolis monuments constitutes an ongoing top-priority national project of global significance and impact. The project concerning the analytical investigation of the polychromy of the Acropolis monuments presented in this paper was part of the Acropolis Restoration Service (YSMA) program (2011–2015), regarding the restoration of the two corners of the west entablature of the Parthenon, which exhibited severe static damage, and a parallel restoration program of the Propylaea. The scope of this research was to investigate the materials in the paint decoration remains on the monuments by applying, entirely in situ, numerous non-invasive techniques on selected architectural members of the Parthenon and the Propylaea. The research focused, mainly, on surfaces where traces of colour or decoration patterns were visible to the naked eye. Furthermore, surfaces that are referred to in the literature as decorated but that are currently covered with weathering crusts (of white or black colour) and/or layers of patina (of yellowish and orange-brown hue), were also examined. The techniques applied in situ on the Acropolis monuments were X-ray fluorescence, micro-Raman, and Fourier Transform InfraRed (FTIR) spectroscopic techniques, conducted with the use of handheld or portable instruments. The scientific data gathered in situ are discussed in this paper to enhance our knowledge of the architectural polychromy of the classical period. Further investigation by applying analytical techniques on a few selected micro-samples would be highly complementary to this present work

MOESM1 of A technical step forward in the integration of visible-induced luminescence imaging methods for the study of ancient polychromy

Additional file 1. Detail images of the areas of interest sampled for microanalysis

MOESM2 of A technical step forward in the integration of visible-induced luminescence imaging methods for the study of ancient polychromy

Additional file 2. Instructions for creating a false colour image from an overlay of the VIL/VIVL images in Nip2

An extensive non- destructive and micro-spectroscopic study of " the birth of St John the Baptist ".

The present work deals with an extensive non-destructive and micro-spectroscopic study of "The Birth of S' John the Baptist" ; a typical post-Byzantine icon painted during the second half of the 15* century. The icon was studied by both "non-destructive" and microanalytical techniques, such as, ultraviolet reflection and fluorescence photography, optical microscopy and stereo-macroscopic observation, X-rays radiography, infrared reflectography, colour measurements and representation, as well as, micro-Raman and micro-FTIR spectrosco- pies. By virtue of all the above mentioned methods, the present state of conservation was revealed, damage, and subsequent interventions that had occurred over time were recorded and a detailed identification of pigments and materials used was possible. The preparation layer consisted of gypsum with animal glue as the binding material. The pigments, detected in a proteinic vehicle, were : lead white, carbon black, cinnabar, indigo, limonite, red ochre and cochineal red lacquer. The background of the upper part was covered in gold leaf. The icon's painted surface was protected by a recent overlay of beeswax.Dans le présent travail, une étude extensive a été entreprise sur une icône post-byzantine typique : "La naissance de St Jean le Baptiste" peinte durant la seconde moitié du ISème siècle, en appliquant des méthodes d'analyse non destructives et des méthodes microscopiques telles que : photographie ultraviolette de réflexion et de fluorescence, microscopie et macroscopie optique, radiographie X, réflectographie infrarouge, colorimétrie ainsi que spectroscopies micro Raman et micro FT-IR. A l'aide de ces méthodes, l'état actuel de conservation a été révélé, les usures et les interventions postérieures survenues dans le temps ont été enregistrées ainsi que les pigments et les matériaux utilisés ont été identifiés. La couche de préparation contient du gypse et de la colle d'animal utilisée comme liant. Les pigments détectés dans un véhicule de nature protéinique sont : blanc de plomb, noir de carbone, cinabre, indigo, limonite, ocre rouge et une laque rouge de cochenille. Le fond de la partie supérieure a été couvert en feuilles d'or. La surface peinte de l'icône a été protégée par une couche récente de cire d'abeilles.Sotiropoulou Sophia, Daniilia Sister, Bikiaris Dimitris, Chryssoulakis Yannis. An extensive non- destructive and micro-spectroscopic study of " the birth of St John the Baptist ". In: Revue d'Archéométrie, n°23, 1999. pp. 79-89

Chromatic changes in the preparation layers of painted art works in unfavourable environmental conditions of conservation.

This study deals with colour changes measurements of various kinds of preparations, in unfavourable environmental conditions of conservation. The study of the behaviour of colour of a preparation, under unfavourable conditions of conservation, is significant given that any variation will affect both the overpainted pigment layer and consequently the aesthetic result of the work of art and will obstruct its conservation through time. The study of colour change in a preparation aims to understand the causes of deterioration of the art work in order, initially, to contribute to proper conservation and further to effective restoration when this is considered necessary. To this end, rectangular samples (2.8 cm x 3 cm) of seven white colour preparations were made, which include : white lead, chalk, plaster, zinc white, animal glue, linseed oil and dammar varnish. These correspond to the four basic categories of preparation : absorbent, semi absorbent, oil and casein. The samples were subjected to the following experimental tests : A. variations in temperature, B. humidity, C. exposure to ultraviolet radiation, D. cyclic variation in temperature and E. exposure to an SO2 environment The colour change was measured before, during and after the tests in the Uniform Colour Space Lucs&ucsbucs (based on the CMC(l :c) Colour-difference Formula) and the value of colour difference AECMC was calculated. The results of the measurements show that absorbent and casein preparations remain essentially unchanged, whereas the colour of oil and semi-absorbent preparations varies significantly.La présente étude a été effectuée sur quelques couches de préparation de nature différente et concerne l'altération de la couleur sous conditions d'environnement hostiles à la conservation des oeuvres d'art peintes. L'étude de l'instabilité chromatique des préparations sous conditions défavorables est importante compte tenu de l'impact qu'elle peut avoir aux couches de peinture et par conséquent à l'impression esthétique générale du tableau ainsi qu'à son état de conservation. L'étude de l'altération de couleur des préparations vise à expliquer les raisons qui sont à l'origine d'une détérioration d'une oeuvre d'art, afin de fournir les données contribuantes à la conservation appropriée et à une éventuelle restauration de l'oeuvre si nécessaire. L'étude comprend sept sortes de préparation, de couleur blanche, de composition correspondant aux quatre plus importantes catégories de préparation, de caractère absorbant, mi-absorbant, huileux et caséineux. A ce propos, 35 échantillons rectangulaires, de taille 2,8 cm x 3 cm, ont été préparés et ont subi les épreuves expérimentales suivantes : A. variations de température, B. exposition à l' humidité, C. exposition à la radiation ultraviolette, D. variations cycliques de température, E. exposition à une atmosphère SO2. Les mesures de couleur avant, durant et après chaque épreuve ont été effectuées au système colorimétrique uniforme L^, a^ b^. Le changement de couleur durant et à la fin de chaque épreuve a été mesuré selon la formule AE^ [CMC(I :c)]. Le bilan des résultats manifeste une résistance remarquable des préparations de caractère absorbant et caséineux, qui restent pratiquement inchangées, alors que celles de caractère huileux et mi-absorbant présentent une altération de couleur considérable.Astrapellou Marilena, Stavrakakis Manolis, Koutsouris Anastasios, Sotiropoulou Sophia, Chryssoulakis Yannis. Chromatic changes in the preparation layers of painted art works in unfavourable environmental conditions of conservation.. In: Revue d'Archéométrie, n°23, 1999. pp. 71-78

Review and New Evidence on the Molluscan Purple Pigment Used in the Early Late Bronze Age Aegean Wall Paintings

The production and use of the pigment extracted from the murex molluscs is discussed here in association with the purple textile dyeing industry in the Prehistoric Aegean. “True” purple has been identified in a number of archaeological finds dating from the early Late Bronze Age, found in old and recent excavations at three different but contemporary sites: Akrotiri and Raos on Thera, and Trianda on Rhodes. The chemical composition of the shellfish purple pigment either found in lump form or applied on wall paintings is discussed in relation to the archaeological context of several examined finds and with reference to Pliny’s purpurissum. The results of a comprehensive methodology combining new data obtained with molecular spectroscopies (microRaman and FTIR) and already reported data obtained with high performance liquid chromatography coupled with a diode array detector (HPLC–DAD) applied to samples of the murex purple finds are discussed in comparison to published data relating to few other instances of analytically proven murex purple pigment found in the Aegean over the timespan of its documented exploitation

Advanced analytical investigation on degradation markers in wall paintings

Understanding the original techniques in the creation of an artwork is a prerequisite for the selection of the most appropriate conservation method. This is particularly essential in wall paintings where control of potential agents of deterioration and efficient monitoring are limited due to the scale of the paintings and their exposure to uncontrollable environmental fluctuations. Analytical studies are increasingly focused on the investigation and study of degradation products of organic binders originally added in the paintings on a lime-based plaster ground. In the framework of IPERION-CH (Integrated Platform for the European Research Infrastructure ON Cultural Heritage) project, a collaborative task is dedicated to obtain knowledge about original organic materials used in wall paintings by evaluating and comparing different innovative methodologies and conventional diagnostic techniques used for the investigation of markers related to alteration mechanisms and degradation products. The non-invasive and microsampling methodology is first optimized on well-defined models that have been designed to simulate different painting techniques with limewater and five organic binders in different relative proportions. Future investigations will focus on the application of the optimized methodology on archaeological samples. In the present paper, preliminary results on a selected set of models, submitted in different stages of a well-established artificial ageing protocol, demonstrate the specific complementary input of each analytical technique included in the analytical approach (colour measurements, micro FTIR-ATR analyses in cross-sections, Evolved Gas Analysis-Mass Spectrometry and Gas Chromatography-Mass Spectrometry). The comparative evaluation and interpretation of the results is a step forward in the optimization of the approach and in relating the analytical findings detected on the analysed samples to the original compounds and the possible changes for each group of binders (proteins/gums) due to degradation or interaction depending on the pigment/metal ion present