A case study of renaissance wall paintings in Granada (Spain): historical–artistic analysis, materials characterization, and state of conservation

The research carried out on the wall paintings of Hernán Pérez del Pulgar’s Palace chapel in Granada (Spain) was aimed at determining its historical–artistic, stylistic, technical, and compositional aspects. For this, a 16th century frieze and an 18th century pendentive were studied. The mineralogical, chemical, and textural characterization of the constituent materials and the study of the state of conservation of the paintings have helped to determine the pictorial technique used, identify the nature of the salts present in the paintings, and other pathologies including a dormant fungal attack. To this end, optical microscopy (OM), X-ray diffraction (XRD), Field emission scanning electron microscopy with microanalysis (FESEM-EDS), and micro-Raman spectroscopy (MRS) were used. The information obtained helps clarify important aspects of the painting technique used, laying a basis to ensure effective and suitable conservation and restoration measures on the paintings that will ensure their durability over time.AERIMPACT | Ref. CGL2012-30729EXPOAIR | Ref. P12-FQM-1889Ministerio de Ciencia e Innovación | Ref. PID2020-119838RA-I00Grupo de Investigación de Andalucía | Ref. RNM-17

The fresco wall painting techniques in the Mediterranean area from Antiquity to the present: A review

Fresco wall paintings are one of the oldest artforms in our cultural heritage, dating back to the second millennium BC. In this work, we carry out a thorough review on the evolution of the fresco wall painting technique from Antiquity to the present day. Focused on the Mediterranean area, the aim is to gather in-depth information on different technological aspects of this decorative artform such as execution procedure, materials used and pictorial palette. Considering that the recognition of the pictorial technique (a fresco, a secco, or a mezzo fresco) is often difficult since the identification of organic binders can be a challenging issue, the assignment of well-known non-alkaline-resistant pigments to the fresco technique might not always be precise. With this in mind, this review aims to highlight the contradictions found between the bibliographical sources on the fresco technique and recent scientific studies in relation to the preparation of materials, the execution on the wall and the incompatibility of certain pigments with the alkaline environment created by this pictorial technique.Agencia Estatal de Investigación | Ref. PID2020-119838RA-I00Xunta de Galicia | Ref. ED431F 2022/07Agencia Estatal de Investigación | Ref. RYC2020-028902-IUniversidade de Vigo/CISU

SO₂-Induced Aging of Hematite- and Cinnabar-Based Tempera Paint Mock-Ups: Influence of Binder Type/Pigment Size and Composition

Hematite- and cinnabar-based paint mock-ups prepared with either rabbit glue or egg yolk binder were artificially aged in an SO2-rich atmosphere, as a model system for investigating the deterioration of tempera paints exposed to an industrial atmosphere. The overall research aim was to identify the type of degradation occurring in tempera paints and the different alteration mechanisms related to the physical, mineralogical and chemical characteristics of the paint. Tempera mock-ups were prepared by mixing binder (egg yolk or rabbit glue) and pigment (cinnabar of different particle sizes or hematite) and were then exposed to SO2 for 2 months in accelerated aging tests. The colour, gloss, reflectance, roughness and micro-texture of the surfaces of the mock-ups were determined before and after the tests. In addition, chemical and mineralogical changes were determined by X-ray Powder Diffraction (XRPD), Attenuated Total Reflection-Fourier Transform Infrared spectroscopy (ATR-FTIR) and Scanning Electron Microscopy with Energy-Dispersive X-ray Spectroscopy (SEM-EDS) analysis. Colorimetric changes were confirmed, mainly in the cinnabar-based paints containing egg yolk, and in the hematite-based paints containing rabbit glue. Neoformed mineral phases have not been detected by XRPD, but precipitation of gypsum on the exposed surfaces has been confirmed by SEM. For cinnabar-based paints, the amount of sulfate-rich deposits was higher on egg yolk mock-ups than on rabbit glue samples, though the opposite was observed for the hematite-based paints. This confirmed the influence of the binder composition and pigment-binder tandem in the susceptibility to SO2 deposition. Pigment particle size did not have a clear influence on the physical and chemical changes in the tempera mock-ups during the ageing tests