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Abstract Saint Demetrius of Stomion is a historical monastery placed in the geographical area of Larissa town, Greece, with a remarkable presence from its founding until nowadays. The monastery's present catholicon (main church) has been dated in the 16th century and its surviving wall paintings were constructed in 1758. In addition to the characterization of the materials applied, the purpose of this study is to determine the existence of a sole pictorial phase, that of the mid-18th century, or the occurrence of overpaintings. Additionally, the present study aims to begin the establishment of the documentation of materials and techniques of the late post-Byzantine iconographic guilds, which acted in Central and Northern Greece. The collected samples were analyzed by means of microscopic, spectroscopic and thermogravimetric methods. The use of fresco technique is implied by the major participation of calcium carbonate in all of the painting layers, its main contribution in the plaster layers and the microstratigraphic analysis of the samples' cross-sections, while the scarce and local presence of a proteinaceous material implies the limited use of egg-tempera technique for the highlights. The pigment analysis shows that mostly traditional pigments were used, including cinnabar, ferrous pigments (ochre, sienna, umber), minium, Naples yellow, massicot/litharge, green earth (celadonite), malachite, carbon and bone black, calcite, kaolinite and lead white. The absence of modern pigments, the consistency of all samples regarding microstratigraphy and applied materials, and the lack of the extensive use of an organic medium, strongly suggest the lack of overpaintings. [ABSTRACT FROM AUTHOR]

Cobalt blue is a famous pigment in human history. In the past decade it is widely reported that the cobalt aluminate has been detected in ancient ceramics as blue colorant in glaze, yet the acquired Raman spectra are incredibly different from that of synthesised references, necessitating a reassessment of such contradictory scenario with more accurate analytic strategies. In this study, micro-Raman spectroscopy (MRS) and scanning electron microscopy (SEM) in association with energy dispersive spectrometry (EDS) were performed on under-glaze cobalt pigments from one submerged blue and white porcelain shard dated from Wanli reign (1573–1620 CE) of Ming dynasty (1365–1644 CE) excavated at Nan'ao I shipwreck off the southern coast of China. The micro-structural inspection reveals that the pigment particles have characteristics of small account, tiny size, heterogeneously distribution, and more importantly, been completely enwrapped by well-developed anorthite crystals in the glaze, indicating that the signals recorded in previous publications are probably not from cobalt pigments themselves but from outside thickset anorthite shell. The further spectromicroscopic analyses confirm this presumption when the accurate spectra of cobalt aluminate pigment and surrounding anorthite were obtained separately with precise optical positioning. Accordingly, we reassess and clarify the previous Raman studies dedicated to cobalt blue pigment in ancient ceramics, e.g. cobalt blue in celadon glaze, and in turn demonstrate the superiority and necessity of coupling spectroscopic analysis with corresponding structure observation, especially in the characterization of pigments from complicated physico-chemical environment like antiquities. Thus, this study promotes a better understanding of Raman spectroscopy study of cobalt blue pigments in art and archaeology field. [ABSTRACT FROM AUTHOR]

New catalytic systems are still in development to meet the challenge of regulations concerning the emission of volatile organic compounds (VOCs). This is because such compounds have a significant impact on air quality and some of them are toxic to the environment and human beings. The catalytic combustion process of VOCs over non-noble metal catalysts is of great interest to researchers. The high conversion parameters and cost effective preparation makes them a valuable alternative to monoliths and noble metal catalysts. In this study, the cobalt catalyst was prepared by non-equilibrium plasma deposition of organic precursor on calcined kanthal steel. Thus prepared, cobalt oxide based microstructural short-channel reactors were tested for n -nonane combustion and the catalyst surfaces were examined by in situ μ-Raman spectroscopy and in situ infrared spectroscopy. The spectra collected at various temperatures were used in generalised two-dimensional correlation analysis to establish the sequential order of spectral intensity changes and correlate the simultaneous changes in bands selectively coupled by different interaction mechanisms. The 2D synchronous and asynchronous contour maps were proved to be a valuable extension to the standard analysis of the temperature dependent 1D spectra. [ABSTRACT FROM AUTHOR]

This case study illustrates the analytical characterization of 12 academic nude paintings by Veloso Salgado, made between 1883 and 1893. The study was done with in situ methods (infrared reflectography and EDXRF) and benchtop equipment (Raman and FTIR microscopes and SEM-EDS). Infrared reflectography revealed underdrawings, painting style, execution method and retouched/restored areas. Analytical techniques allowed the identification of gypsum, lead white, barium white, zinc white, yellow ochre, chrome yellow, zinc yellow, vermilion, synthetic ultramarine blue, cerulean blue, Prussian blue, viridian, green earth, Paris green, red ochre, raw umber and lamp black. These results provide valuable information on Salgado’s palette and his artistic production technique and allow the distinction between palettes used in Lisbon and Paris and consequently, technical interchanges between both Academies. Finally, this study intends to start a systematic analytical study of the Faculty of Fine Arts’ collection, allowing the characterization of many other authors and their influences for the development of painting methodology in this Academy. [ABSTRACT FROM AUTHOR]

Sherds representative of the three Portuguese faience production centers of the 17th century – Lisbon, Coimbra and Vila Nova were studied with the use of mostly non-invasive spectroscopies, namely: ground state diffuse reflectance absorption (GSDR), micro-Raman, Fourier-transform infrared (FT-IR) and proton induced X-ray (PIXE) or X-ray fluorescence emission (XRF). X-ray diffraction (XRD) experiments were also performed. The obtained results evidence a clear similarity in the pastes of the pottery produced Vila Nova and some of the ceramic pastes from Lisbon, in accordance with documental sources that described the use of Lisbon clays by Vila Nova potters, at least since mid 17th century. Quartz and Gehlenite are the main components of the Lisbon’s pastes, but differences between the ceramic pastes were detected pointing out to the use of several clay sources. The spectroscopic trend exhibited Coimbra’s pottery is remarkably different, Quartz and Diopside being the major components of these pastes, enabling one to well define a pattern for these ceramic bodies. The blue pigment from the Lisbon samples is a cobalt oxide that exists in the silicate glassy matrix, which enables the formation of detectable cobalt silicate microcrystals in most productions of the second half of the 17th century. No micro-Raman cobalt blue signature could be detected in the Vila Nova and Coimbra blue glazes. This is in accordance with the lower kiln temperatures in these two production centers and with Co 2+ ions dispersed in the silicate matrix. In all cases the white glaze is obtained with the use of tin oxide. Hausmannite was detected as the manganese oxide mineral used to produce the purple glaze (wine color “vinoso”) in Lisbon. [ABSTRACT FROM AUTHOR]

Abstract: The foral charter attributed by D. Manuel I of Portugal, in 1514, to the village of Sintra was studied using Energy Dispersive X-ray Fluorescence spectrometry, Raman and Infrared micro-spectroscopies. A complete characterization of the pictorial materials used in the production of this masterpiece allowed the identification of iron gall inks used in the written text; pigments such as malachite, azurite, lead white, cinnabar, yellow ochre, gold, silver and carbon black in the illuminations and letterings; filler and binder used in the production of coloring materials and inks. Gum and calcium carbonate were the most recurrent binder and filler identified in this study. Silvering and gilding were mostly obtained by applying ground silver and gold on parchment. [Copyright &y& Elsevier]

The study and the characterisation of modern and contemporary oil paintings is still a challenging issue, in particular considering the significant changes in paint production across the 19th and 20th centuries. This paper presents the results of the first physico-chemical integrated study of the artistic materials used in six paintings from the School of Art and Higher Design of Valencia (Escola d'Art i Superior de Disseny, EASD-Valencia), artworks created between 1871 and 1943 by four famous Valencian artists: Salustiano Asenso Arozarena, Salvador Abril I Blasco, Enrique Navas Escuriet and José Bellver Delmás. A wide range of inorganic and organic compounds was identified through a multi-analytical approach by means of visible reflectance spectroscopy, XRF, μ-Raman, FTIR and GC–MS. The investigation on the binding media suggests the use of commercial paint formulations including mixtures of drying, slow- and non-drying oils and the presence of Gum Arabic as well. Traditional pigments (such as vermillion, earth pigments, lead white) and modern pigments (such as zinc white, cobalt and chromium-based pigments) were identified together with fillers and extenders. Degradation products, in particular zinc and lead soaps having strong conservation implications, were also detected. This work, focusing on the identification of the palettes and the binding media used by the selected artists, aims at providing meaningful data and interesting case studies that are useful beyond the Valencian painters solely. This study provides new insight into the use of 19th–20th century commercial oil paints and the selection of painters' palette and their artistic production techniques. Besides, this work highlights the necessity of a multi-analytical approach to obtain valuable information for documentation and preventive conservation. Unlabelled Image • New insights into the knowledge of the composition of modern oil paints. • First holistic spectroscopic study on 19th–20th century Valencian painters. • Suitability of complementary non-invasive and micro-invasive analyses on modern paintings have been demonstrated. • The use of complex lipid mixtures in commercial paint formulations has been found. • The identification of pigments and fillers in Valencian artists' palettes are presented. [ABSTRACT FROM AUTHOR]