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Abstract The unique pre-Mongolian twelfth century wall painting from the Christ's Transfiguration Cathedral of the Mirozhsky Monastery in Pskov (Russia) have been investigated. A little less than 200 XRF spectra were collected in situ by portable spectrometer. Moreover 19 samples were subjected to additional in-depth laboratory analysis by six complimentary physico-chemical methods: neutron activation analysis, Fourier transform infrared spectroscopy, micro-Raman spectroscopy, polished cross-sections, polarized microscopy, and chemical microanalysis. Pigments and plasters from the interior painting, fragments found during archaeological excavations, samples from exterior murals, and sample of salt efflorescence were analyzed. The samples included the author's twelfth century painting as well as late repaintings. The composition of pigments and the number of painting layers were determined. Conclusions about organic binder presence or absence, and the painting technique were drawn. The results obtained will be used for restoration and conservation works.

The unique pre-Mongolian twelfth century wall painting from the Christ's Transfiguration Cathedral of the Mirozhsky Monastery in Pskov (Russia) have been investigated. A little less than 200 XRF spectra were collected in situ by portable spectrometer. Moreover 19 samples were subjected to additional in-depth laboratory analysis by six complimentary physico-chemical methods: neutron activation analysis, Fourier transform infrared spectroscopy, micro-Raman spectroscopy, polished cross-sections, polarized microscopy, and chemical microanalysis. Pigments and plasters from the interior painting, fragments found during archaeological excavations, samples from exterior murals, and sample of salt efflorescence were analyzed. The samples included the author's twelfth century painting as well as late repaintings. The composition of pigments and the number of painting layers were determined. Conclusions about organic binder presence or absence, and the painting technique were drawn. The results obtained will be used for restoration and conservation works. [ABSTRACT FROM AUTHOR]

Abstract Recently found historical jewellery (Czech Republic) was subjected to detailed analyses to determine the gem inlays and the gold framework in which they are embedded. Such find fits into European jewellery archaeological artefacts containing similar stones from around the fifth century CE. The gemstones were analysed with optical microscopy and Raman micro-spectroscopy to determine their mineralogical characteristics and to find out typical structural-chemical differences based on which their provenance can be found. The results of this measurement discovered two main types of minerals from the garnet group, almandine and pyrope, where pyropes have been identified as Bohemian garnets thanks to the typical photoluminescence (PL) of chromium and vanadium impurities. The craftsmanship and processing of the goldsmith work were studied using X-ray computed tomography. Such a technique is an excellent contribution for detecting and visualising the internal parts hidden behind the placement of the stones. For this reason, 3D visualisation was used to describe and better understand all preserved parts. According to this object's very high cultural and historical value, the chosen methods are suitable for non-destructive study while proving to be essential to deepen our knowledge in archaeometric investigations focused on jewellery from Late Antiquity (with possible application to the jewellery from other periods). Based on the findings presented in this study, it is one of the world's oldest documented items using Bohemian garnets in jewellery. These findings underscore the tremendous economic and political importance of Bohemian garnet mineral resources altogether, with a second completely different type of garnet believed to have originated in distant India or Sri Lanka that was used in jewellery across Europe in Late Antiquity.

Abstract In this work, pigments of majolicas made between the sixteenth century and eighteenth century from Gerace have been characterized by micro-Raman spectroscopy. Majolica, known also as pottery, was originally used to identify all objects made from clay materials. In this work, ten samples were analyzed: two vases, six majolica fragments made in Gerace, one vase of uncertain origin (probably Gerace or Caltagirone) and one vase of Venetian origin. The Raman spectroscopic analysis allowed to identify most of the pigments present on the studied cultural heritage pottery above described. Pigments white, yellow, orange, red, blue, and green have been characterized and their attribution allowed to divide the artwork made in Gerace with those made wherever. Graphical Abstract

Recently found historical jewellery (Czech Republic) was subjected to detailed analyses to determine the gem inlays and the gold framework in which they are embedded. Such find fits into European jewellery archaeological artefacts containing similar stones from around the fifth century CE. The gemstones were analysed with optical microscopy and Raman micro-spectroscopy to determine their mineralogical characteristics and to find out typical structural-chemical differences based on which their provenance can be found. The results of this measurement discovered two main types of minerals from the garnet group, almandine and pyrope, where pyropes have been identified as Bohemian garnets thanks to the typical photoluminescence (PL) of chromium and vanadium impurities. The craftsmanship and processing of the goldsmith work were studied using X-ray computed tomography. Such a technique is an excellent contribution for detecting and visualising the internal parts hidden behind the placement of the stones. For this reason, 3D visualisation was used to describe and better understand all preserved parts. According to this object's very high cultural and historical value, the chosen methods are suitable for non-destructive study while proving to be essential to deepen our knowledge in archaeometric investigations focused on jewellery from Late Antiquity (with possible application to the jewellery from other periods). Based on the findings presented in this study, it is one of the world's oldest documented items using Bohemian garnets in jewellery. These findings underscore the tremendous economic and political importance of Bohemian garnet mineral resources altogether, with a second completely different type of garnet believed to have originated in distant India or Sri Lanka that was used in jewellery across Europe in Late Antiquity. [ABSTRACT FROM AUTHOR]

In this work, pigments of majolicas made between the sixteenth century and eighteenth century from Gerace have been characterized by micro-Raman spectroscopy. Majolica, known also as pottery, was originally used to identify all objects made from clay materials. In this work, ten samples were analyzed: two vases, six majolica fragments made in Gerace, one vase of uncertain origin (probably Gerace or Caltagirone) and one vase of Venetian origin. The Raman spectroscopic analysis allowed to identify most of the pigments present on the studied cultural heritage pottery above described. Pigments white, yellow, orange, red, blue, and green have been characterized and their attribution allowed to divide the artwork made in Gerace with those made wherever. [ABSTRACT FROM AUTHOR]

Abstract Historically, sutras played an important role in spreading Buddhist faith and doctrine, and today these remain important records of Buddhist thought and culture. A Mahamayuri Vidyarajni Sutra with polychrome paintings was found inside the cavity on top of the Nanmen Buddhist pagoda, built in the early Tang dynasty (618–627 CE) and located in Anhui Province, China. Textile was found on the preface which is strongly degraded and fragile. Unfortunately, the whole sutra is under severe degradation and is incomplete. Technical analysis based on scientific methods will benefits the conservation of the sutra. Optical microscopy (OM), micro-Raman spectroscopy combined with optical microscope (Raman), scanning electron microscopy in combination with energy dispersive X-ray analysis (SEM–EDS) and Fourier Transform Infrared Spectroscopy (FTIR) were used to characterize the pigment and gilded material, as well as the paper fiber and textile. Pigments such as cinnabar, minium, paratacamite, azurite, lead white were found. Gilded material was identified as gold. A five-heddle warp satin, made of silk, was found as the textile on the preface of the sutra. The sutra’s preface and inner pages were made of paper comprised of bamboo and bark. As a magnificent yet recondite treasure of Buddhism, the sutra was analyzed for a better understanding of the material. A conservation project of the sutra will be scheduled accordingly.

Abstract The Andean church of San Andrés de Pachama is located in the highland of the northernmost of Chile, near the limit with Bolivia and next to the Ruta de la Plata. This commercial route contributed in the past to the transport and commerce of various raw materials, such as silver, from the Andean mountains region to the Pacific Ocean coast and then to the European market. The walls inside the church are decorated with paintings from the end of the eighteenth century that reproduce religious motivs together with flowers, fruits, and birds. In this study, micro samples taken from one of the mural paintings have been analysed to acquire information on the artistic materials and the painting technique previous to the restoration of the paintings. Analysis by micro-Raman spectroscopy complemented with scanning electron microscopy–energy dispersive X-ray spectroscopy, attenuated total reflection infrared spectroscopy, X-ray diffraction, and high-performance liquid chromatography with diode-array detection allowed the identification of orpiment, vermilion, indigo, smalt, antlerite, hematite, carmine lake, and wood charcoal as pigments as well as gypsum as the ground layer. Lipidic and proteinaceous materials extracted from the microsamples were identified by gas chromatography coupled to mass spectrometry and indicated the use of a mixture of egg and siccative oil as binders and a secco painting technique involving animal glue as the plaster primer. Smalt and the prized cochineal lake are reported for the first time in an Andean colonial mural painting.

A multi-analytical investigation of Japanese woodblock prints ranging in date from 1864 to 1895 and covering essentially the time span between the very end of the Edo period and the middle of the Meiji period showed a widespread use of arsenic sulfides for yellow and green colored areas (the latter obtained by mixing Prussian blue to the yellow arsenic sulfides). Analysis by optical microscopy, X-ray fluorescence spectroscopy, Raman microscopy, and Scanning Electron Microscopy confirmed that the yellow pigment is usually a compound belonging to the solid solution series (AsS)-(AsS). The poor crystallinity of the pigment as shown by Raman microscopy, the non-stoichiometric As/S ratio, as well as the presence of excess uncombined sulfur point to a synthetic origin for the pigment. Period literary sources suggest that synthetic arsenic sulfide pigments manufacture might have started in the Iwashiro province in 1846. This is to our knowledge the first conclusive evidence for the use of synthetic arsenic sulfides in woodblock prints in Japan. [ABSTRACT FROM AUTHOR]

The micro-Raman spectroscopy was used to identify manganese oxides, pyrolusite, manganite and cryptomelane in archaeological sites in northern Atacama Desert, Chile. The present micro-Raman data allow us to compare and expand the origins of raw materials used by archaic groups of the Atacama Desert. In the Andean highlands, pyrolusite and manganite were identified while in the coastal lowlands manganite and cryptomelane were found. The present results complement the data obtained from the lithic materials and rock art painting analyses pointing to a better understanding of the daily life of ancient populations and minerals use in this region. [ABSTRACT FROM AUTHOR]

Background: "The Plague in Lucca", a masterpiece of the contemporary painter Lorenzo Viani, was studied by multianalytical techniques (Multiband, IR and UV fluorescence imaging, micro-Raman spectroscopy, direct exposure-mass spectrometry, gas chromatography-mass spectrometry and energy dispersive X-ray fluorescence) in view of its restoration at the Gallery of Modern and Contemporary Art (GAMC) of Palazzo delle Muse in Viareggio (Lucca, Italy). The analysis allowed to obtain a better understanding of the artistic technique of the painter and to underline critical conservation aspects. Results: At first, non-invasive techniques, such as the Multiband Imaging, Infrared Reflectometry, UV Fluorescence and X-ray Fluorescence, have been applied in order to characterize the conservation state of the painting surface and determining the more representative zones of the painting for the taking of micro-samples to be analysed in the laboratory. The destructive chemical analysis of these micro-samples, performed using mass (DEMS and GC/MS) and infrared spectroscopy (micro-Raman), permitted to reveal the nature of the organic and inorganic materials present in the painting. Conclusions: The use of different physical and chemical diagnostic techniques allowed us to obtain precious information about the palette and the technique used by Lorenzo Viani for the realization of "La Peste a Lucca". Furthermore, this approach permit to characterize paintings, to understand the nature and origin of materials used by the artist and to develop the appropriate restoration procedure. [ABSTRACT FROM AUTHOR]