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Francisco Pacheco (1564–1644) was one of the most important Spanish painters, the author of the famous treatise Art of Painting, and a founder of Seville art school. His painting La Inmaculada (1610) forms part of the important art collection in the Archbishop’s Palace in Seville and represents the first realization of a new iconography, established by Pacheco. Later, he carried out several paintings with the same subject which are today in different collections. As part of a larger project, La Inmaculada was recently restored and analysed. The characterization of materials and painting procedures was carried out applying noninvasive in situ analysis by ultraviolet fluorescence (UVF), infrared reflectography (IRR), and X-ray fluorescence spectrometry (XRF). Results revealed many retouches, probably from different periods, as well as some pentimenti in the composition. Chemical analysis indicates a preparation made of Seville clay, lead white and some calcite on an animal glue layer, according to Pacheco’s own treatise, and a corresponding pigment palette for the 17th century: lead white, yellow and red earths, lead–tin yellow, vermilion, azurite, smalt, a copper-based green, umber, and bone black. Furthermore, modern pigments such as titanium and zinc whites, chrome green, and cadmium yellow were also identified as results of later interventions.

The Archbishop’s Palace of Seville harbours an important art collection with mostly works by great Renaissance and Baroque artists. However, the authorship of some paintings is unknown, and, in a few cases, there is an interest in discovering the painter due to the quality of the artwork. As a first step for this purpose, a systematic analysis procedure has been established using non-destructive techniques, such as UV photography and IR reflectography, to locate interventions and underpaintings, as well as X-ray fluorescence to identify original pigments and those of later interventions. The study following this established protocol is presented with the example of two paintings by unknown authors. They were made in different centuries representing, consequently, different styles. UV images showed several retouches, while IR reflectography revealed under-drawing and composition corrections (pentimenti). Furthermore, XRF identified the pigments applied in the production of the different colours and tonalities, allowing to characterise the artist’s palette, whose pigments generally agree with the dates when the artworks were produced. This study resulted in valuable information on painting materials and techniques, which will be useful in the search for authorships, among others.

Francisco de Zurbarán was one of the greatest painters of the Spanish Golden Age, with artworks scattered all over the world. Unfortunately, there are hardly any exhaustive studies on the pigments that he used. In this work, four canvas paintings attributed to the Zurbarán Workshop were studied. Each of them presents the figure of a different saint in a particular isolation scene: Saint Bruno, Saint Francis of Assisi, Saint Dominic of Guzman, and Saint Peter Martyr. Nevertheless, the painting of Saint Peter Martyr shows superior quality in both technique and colours, so it is not clear whether this canvas was also made by the Workshop or by Zurbarán himself, as some art historians claim. Coinciding with conservation and restoration works, the paintings were initially analysed with non-invasive techniques such as ultraviolet photography (UV), infrared reflectography (IRR) and X-ray fluorescence (XRF) to determine the characterization of the pigments. Those studies were complemented by stratigraphic analysis of some extracted samples with optical microscopy (OM) and scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM–EDX). Among a number of results obtained, we found significant differences between the pigment palette used in Saint Peter Martyr and the other paintings, supporting the hypothesis that this painting was done by Zurbarán himself instead of his workshop. These results could also help to distinguish other authentic paintings by the master’s hand from very similar paintings by his workshop or by other artists.

Francisco Pacheco (1564–1644) was one of the most important Spanish painters, the author of the famous treatise Art of Painting, and a founder of Seville art school. His painting La Inmaculada (1610) forms part of the important art collection in the Archbishop’s Palace in Seville and represents the first realization of a new iconography, established by Pacheco. Later, he carried out several paintings with the same subject which are today in different collections. As part of a larger project, La Inmaculada was recently restored and analysed. The characterization of materials and painting procedures was carried out applying noninvasive in situ analysis by ultraviolet fluorescence (UVF), infrared reflectography (IRR), and X-ray fluorescence spectrometry (XRF). Results revealed many retouches, probably from different periods, as well as some pentimenti in the composition. Chemical analysis indicates a preparation made of Seville clay, lead white and some calcite on an animal glue layer, according to Pacheco’s own treatise, and a corresponding pigment palette for the 17th century: lead white, yellow and red earths, lead–tin yellow, vermilion, azurite, smalt, a copper-based green, umber, and bone black. Furthermore, modern pigments such as titanium and zinc whites, chrome green, and cadmium yellow were also identified as results of later interventions.

The Archbishop’s Palace of Seville harbours an important art collection with mostly works by great Renaissance and Baroque artists. However, the authorship of some paintings is unknown, and, in a few cases, there is an interest in discovering the painter due to the quality of the artwork. As a first step for this purpose, a systematic analysis procedure has been established using nondestructive techniques, such as UV photography and IR reflectography, to locate interventions and underpaintings, as well as X-ray fluorescence to identify original pigments and those of later interventions. The study following this established protocol is presented with the example of two paintings by unknown authors. They were made in different centuries representing, consequently, different styles. UV images showed several retouches, while IR reflectography revealed underdrawing and composition corrections (pentimenti). Furthermore, XRF identified the pigments applied in the production of the different colours and tonalities, allowing to characterise the artist’s palette, whose pigments generally agree with the dates when the artworks were produced. This study resulted in valuable information on painting materials and techniques, which will be useful in the search for authorships, among others.

Francisco de Zurbarán was one of the greatest painters of the Spanish Golden Age, with artworks scattered all over the world. Unfortunately, there are hardly any exhaustive studies on the pigments that he used. In this work, four canvas paintings attributed to the Zurbarán Workshop were studied. Each of them presents the figure of a different saint in a particular isolation scene: Saint Bruno, Saint Francis of Assisi, Saint Dominic of Guzman, and Saint Peter Martyr. Nevertheless, the painting of Saint Peter Martyr shows superior quality in both technique and colours, so it is not clear whether this canvas was also made by the Workshop or by Zurbarán himself, as some art historians claim. Coinciding with conservation and restoration works, the paintings were initially analysed with non-invasive techniques such as ultraviolet photography (UV), infrared reflectography (IRR) and X-ray fluorescence (XRF) to determine the characterization of the pigments. Those studies were complemented by stratigraphic analysis of some extracted samples with optical microscopy (OM) and scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX). Among a number of results obtained, we found significant differences between the pigment palette used in Saint Peter Martyr and the other paintings, supporting the hypothesis that this painting was done by Zurbarán himself instead of his workshop. These results could also help to distinguish other authentic paintings by the master's hand from very similar paintings by his workshop or by other artists.

The present study deals with the characterisation of pigments used in two overlaid gothic wall paintings from the former 13th century Minorite church of St. Francis of Assisi (Koper, Slovenia), in order to define differences in the technologies used. Paint layer samples were analysed via Raman microspectroscopy, supported by SEM/EDS and FTIR analysis, when necessary. The results revealed that the 14th century mural was painted mainly a fresco with final elements a secco, a technique typical of Italian mediaeval wall painting. In contrast, the 15th century painting was executed mostly a secco, a technique often applied in Northern Europe and the Alpine region. The differences between the two paintings are especially obvious in the pigments applied. While the earlier painting is characterised by azurite, carbon black, red and yellow ochres, lime white and green earth, the palette used for the younger painting is much broader. In addition to red and yellow ochres, carbon black and lime white, lead pigments such as lead white, red lead and lead-tin yellow type I were also determined, as well as a number of expensive pigments including cinnabar, azurite and malachite. Also found in the younger painting was the rare orange yellow pigment vanadinite. In both layers, azurite was applied a secco for the background area. Gilding was confirmed in both layers, carried out as application of gold leaves on red bole (in the earlier mural) and on mordant (on a younger, superimposed (overlaid painting), which is quite exclusive and rare for Slovene mediaeval painting. In the younger layer also a use of tin foil for secondary elements was discovered

Mural cycles in the churches of Plešivec, Čhyžné, and Štitnik from around 1400 were studied from the material and technical point of view. Stylistically, they show a mixture of Northern and Southern European stylistic currents, which were characteristic for the time around 1400 in East Central Europe. After a precise study in situ, an analysis of extracted samples was conducted by OM, SEM-EDX, and XRD. The plasters used for these murals were all made of lime and sand with different impurities; importantly, they different among each other in terms of their quality and stability. The pigments that were used in these murals were natural and organic: lime white, yellow and red earths, malachite, and azurite were identified, and some pigment degradations were also pointed out. The principal technique is a fresco, but all murals were finished a secco in different proportions, using an organic binder. Painting procedures and modelling were also studied, revealing a strong difference among all three cycles. The painting technique does not always correspond to the style.

Johannes Aquila is well known for his mural paintings from around 1400 in Velemér (Hungary), Turnišče and Martjanci (Slovenia), Bad Radkersburg and Fürstenfeld (Austria). In this research, materials and painting techniques used by him and his workshop were studied, applying differnet invasive and non-invasive techniques (OM, SEM-EDX, FTIR, XRD, XRF, VIS). Obtained results revealed a huge difference in the quality of technical execution between his early murals and his latter ones, where most of the work was carried out by his disciples.

Durante la reciente restauración de dos pinturas de gran tamaño de Murillo se llevaron a cabo varios estudios sobre los materiales empleados. Se utilizaron varias técnicas analíticas, como luz visible, UV, IRR, MA-XRF, XRF, SEM-EDX y GC-MS, con el fin de caracterizar los diferentes componentes de las pinturas –capa de preparación, pigmentos y aglutinantes–. Los métodos utilizados durante el estudio se describirán en este trabajo, prestando especial atención al dispositivo móvil MA-XRF, que proporciona imágenes elementales en tiempo real de las pinturas. Los resultados muestran que la preparación fue realizada de la manera habitual del artista, en dos capas, utilizando tierras, calcita y albayalde. La policromía está compuesta de albayalde mezclado con varios pigmentos: ocres rojo y amarillo, bermellón, azurita, esmalte, amarillo plomo-estaño, sombra y negro de carbón. El mapeo con MA-XRF permitió determinar la distribución espacial y la combinación de estos pigmentos a lo largo de la superficie de ambas obras

Origin and authorship of la Inmaculada, known also as Tota Pulchra, are unknown, but according to its style, the datecan be situated around 1600. It is probably a copy of a painting made by Giuseppe Cesari (1568-1640), an Italian Mannerist painter, much valued in Rome by the popes and high society[1].Most of his works are conserved in Italy, however one is in the collection of the „Real Academia de Bellas Artes de Santa Isabel de Hungría” in Seville. It was painted around 1600 in the technique of oil on canvas. Recently, the painting was sent to the „Instituto Andaluz de Patrimonio Histórico” for its restoration and material research.In general, the conservation state of the painting was very poor, principally due to a fracture in the lower part of the canvas, but also due to natural processes of ageing of the materials and to some unfortunate interventions in the past. Therefore, the restoration was principally directed towards removal and reparationof existing damagebut also to return to the painting its aesthetic presentation.During its restoration, material analyses were carried out, in order to identify pigments and painting preparation used by the artist. For this purpose, invasive and non-invasive techniques were used[2], such as UV luminescence to distinguish later interventions, radiography to see the internal structure of the painting,and X-Ray Fluorescence (XRF), used for the identification of inorganic materials. Besides, three samples of colour layers and one of textile fibres from the canvas were extracted and studied by optical microscope (OM) and scanning electron microscope (SEM) with energy dispersive X-Ray Spectroscopy (EDS). Organic fibers were studied under OM. For identification of organic materials, such as binders, varnishes and lakes, Gas Chromatography with Mass Spectroscopy (GC-MS) and Fourier Transform Infrared Spectroscopy (FTIR) in transmission and in ATR mode were also applied. The XRF was carried out directly in situ, in the restorati

The paper presents preliminary results of research of medieval wall paintings from three sites in Slovakia – Plešivec, Chyžné, Štítnik. This research was carried out within a larger international project framework, which included Austria, Slovakia, Hungary, Slovenia, and Croatia, and aimed at analysing of medieval wall paintings in terms of material composition and techniques. The preliminary evaluation of the analysis of used materials, painting procedures and techniques applied at these sites reveals interesting relations that have not yet been the subject of a more complex evaluation and they contribute greatly to clarify earlier art- historical interpretations., La ponencia muestra los resultados preliminares de una investigación sobre pintura mural medieval en Eslovaquia (Plešivec, Chyžné, Štítnik). Esta investigación se enmarca dentro de un proyecto más amplio que incluye Austria, Eslovaquia, Hungría, Eslovenia y Croacia. La evaluación preliminar del análisis de materiales usados, procedimientos y técnicas de pintura aplicadas en estos sitios revela interesantes relaciones que aún no han sido objeto de una evaluación más compleja y contribuyen en gran medida a aclarar interpretaciones histórico-artísticas anteriores.

With occasion of the “Murillo’s year” (fourth centenary of his birth), the Andalusian Institute for Cultural Heritage (Instituto Andaluz de Patrimonio Histórico) received the request from a private collector for the restoration and authentication of a bozzetto of the Murillo´s painting entitled Moses and the water from the rock of Horeb. During the intervention, several studies on the materials employed were carried out—on the bozzetto and on the final large dimension painting, to characterize the different components of the paintings (ground layer, pigments and binders), as well as to confirm/reject the authenticity of the bozzetto. After a detailed general inspection using multispectral techniques (visible, UV, IRR) some pentimenti were discovered. In addition, Macro X-ray fluorescence (MA-XRF) scanning technique was performed, complemented by point XRF and stratigraphic analyses. The results show that the ground layers were prepared in the usual fashion of the artist, using earths, calcium carbonate, iron oxide pigments and white lead. MA-XRF mapping allowed determining the spatial distribution and the combination of these pigments along the surface of both paintings. Results show that canvas, priming, binders, pigments and painting techniques of the bozzetto are compatible with those of the original painting, so we can conclude that most likely this is the original Murillo’s bozzetto.

En educación artística cada vez es más imprescindible y necesario establecer una colaboración entre profesionales de distintas disciplinas y áreas de conocimiento para enfocar determinados problemas desde diversos planteamientos y puntos de vista complementarios, conjugar conceptos de las distintas disciplinas y proponer metodologías en cooperación para llevar a cabo dentro de un equipo de tal modo que sea beneficioso para todos. De ahí el concepto de interdisciplinariedad como conjunto de disciplinas conexas entre sí y con relaciones definidas a fin de que sus actividades no se produzcan en forma aislada, dispersa y fraccionada.

During the recent restoration of two large-dimension paintings by Murillo, entitled “Miracle of the loaves and fishes” and “Moses and the water from the rock of Horeb,” several studies about the materials employed for their execution were carried out. Macro X-ray fluorescence scanning technique was performed on both works complemented by point X-ray fluorescence and stratigraphic analyses, in order to characterize the different components of the paintings (i.e., ground layer, pigments, and binders). The results allowed us to better elucidate Murillo painting technique and his creative process. Ground layer was prepared in the usual fashion of the artist, using earths, calcium carbonate, iron oxide pigments, and white lead. The polichromy is composed of lead white mixed with various pigments, depending on the colour tone to be obtained in the pictorial composition: Red and yellow ochres, vermilion, azurite, smalt, and lead-tin yellow were the main pigments identified during our study. Finally, the presence of previous conservation treatments was evidenced by detecting pigments (zinc white, Prussian blue, etc.) not coeval with the artist palette.

The Fine Arts Museum in Seville conserves an especially wide group of paintings from the 16th century Spanish art, among which one of the highest importance is a triptych attributed to Marten de Vos. One of the panels was recently restored, which opened a possibility for its material and technical analysis. For this research, only non-destructive techniques have been used: ultraviolet light, infrared reflectography, and X-ray fluorescence. The ultraviolet exam showed wide areas of later interventions, which were confirmed by X-ray fluorescence results. By infrared reflectography it was possible to observe under-drawings and some pentimenti. The X-ray fluorescence results identified inorganic pigments, common for that period of time: lead white, yellow, and red ochres, lead¿tin yellow, vermilion, a green copper based pigment, azurite, smalt as De Vos's basic blue pigment, umber, and an organic black pigment, probably bone black.

Juan de Espinal considerado uno de los pintores más importantes de la segunda mitad del siglo XVIII en Sevilla, es el autor de quince cuadros realizados para la escalera del Palacio Arzobispal de esta ciudad.

The panel painting San Telmo by an anonymous 16th century Spanish artist is part of the permanent exhibition at the Fine Arts Museum of Seville, one of the most important Spanish galleries. As part of a larger study on 15th and 16th century Spanish painting, the principal interest of this work was to obtain more information the materials applied in its creation. The research work was carried out in situ in the exhibition room; hence, only non-destructive analytical methods were applied. The painting was fi rst studied with UV light to observe later interventions. After this, a possible preparatory drawing was searched for with IR refl ectography (IRR). Finally, a portable X-Ray fl uorescence (XRF) equipment was applied for a material analysis. The UV image of the painting clearly revealed later interventions, which helped to select the points for the XRF analysis, to distinguish between original and modern pigments. The XRF analysis showed that the painter’s palette was common for the 16th century, and similar to those found in other panels from the same period in the Museum collection, namely: lead white (identifi ed by Pb), yellow and red ochres (Fe), vermilion (Hg), a copper based green pigment (Cu), azurite (Cu), and an organic black, probably bone black (Ca). Several retouches made on the bases of Zn and Ti whites were confi rmed. The presence of Ca and Pb in every analysed point shows that there must be a calcium based preparation, probably gypsum, with a lead based priming. Most interestingly, the IR images revealed not only a very precise and decisive artist’s brushstroke, observed in the modelling of the subject’s head or clothing, but also a change in the shape of the boat that the Saint holds in his left hand (pentimenti).

Investigadores del Centro Nacional de Aceleradores han analizado con técnicas nucleares el cuadro El Cristo Crucificado, en Sevilla. Los resultados han permitido conocer los daños y modificaciones que ha sufrido esta obra de arte sin deteriorarla, una información que facilita las tareas de restaruración. Lo que de momento no se ha podido confirmar es si el cuadro fue pintado por Juan de Espinal, como afirman la mayoría de los expertos.