The rarest blue: An exceptional find of lapis lazuli in the polychromy of a funerary portrait from ancient Palmyra

The current interdisciplinary study of a funerary portrait has provided the first identification of a blue pigment on Palmyrene sculpture. The exceptional attestation of lapis lazuli on the examined portrait confirms the use of this highly valuable semiprecious stone in ancient polychromy, which was previously thought to be a later addition to the painter's palette. Considering that the archaeological record contains numerous minor objects carved from lapis lazuli, there are astonishingly few known instances of its use as a pigment. This Palmyrene discovery is only the third known example from Antiquity.     

中国古代彩绘艺术中应用青金石颜料的产地之谜

青金石（1azrite;Lapislazuli）是中国古老的传统玉石之一,其化学组成为（Na,Ca）7-8（AlSi）12（O,S）24[SO4,C12（OH）2]。由于青金石具有美丽的天蓝色,所以,我国古代很早就把它作为彩绘用的蓝色颜料。据调查研究,我国现有10多个省、市、自治区的石窟寺等遗址中保存的彩绘艺术品中都应用了青金石颜料,例如新疆、甘肃、陕西、青海、宁夏、河南、山东、山西、辽宁、四川、重庆等。从发现青金石的石窟位置来看,大都是丝绸之路上的佛教文化遗址。丝绸之路也被称为宝石之路。通过对敦煌石窟所属莫高窟、西千佛洞、安西榆林窟、东千佛洞等石窟的北魏、西魏、北周、隋、唐、五代、北宋、回鹘（Uigur）、西夏、元等十余个朝代的洞窟中取样,经采用x一射线衍射（XIKD）、X荧光（XRF）分析,证明在北魏至元的石窟壁画、彩塑艺术中都应用了青金石颜料。采用扫描电镜（SEM）及其电子探针（EPMA）对历代青金石颜料的显微形貌、晶粒或颗粒大小、晶界情况、物相组成、晶相、微量元素等进行了分析。采用质子激发x荧光（PIXE）分析方法分析了敦煌、麦积山、炳灵寺石窟等不同石窟、不同朝代的青金石颜料,获得了该颜料的定性定量分析结果,对青金石颜料中所含的Mn、Cr、As、Ti、sr、Sb、Zn等微量元素作了讨论,又与XRF、XRD、SPMA分析结果作了对比,并与阿富汗、独联体等国外青金石矿产品分析结果进行对比研究。     

敦煌石窟艺术应用颜料的产地之谜

论述了敦煌石窟彩绘艺术颜料的研究背景、科学分析方法和结果。并根据史料所载以及现代科学的实际勘探考察,结合颜料的科学分析,对敦煌石窟艺术所用的朱砂、铅丹、赭石、绛矾、雄黄、雌黄、密陀僧、金粉、金箔、石绿、铜绿、石青、青金石、群青、铅粉、石膏、白垩、云母、二氧化铅等主要矿物质颜料的化学成分、应用及其产地进行了探索。     

Multidisciplinary analysis of a mummified cranium claimed to be that of a medieval execution victim

This article presents a multidisciplinary analysis of a human skull with preserved soft tissue curated by a small museum in Boscastle, Cornwall, UK. The skull lacks a mandible and is coated in a black tar-like substance. Records left by a previous museum curator (now deceased) claimed the skull to be the head of a medieval execution victim. The skull was purportedly recovered from a London church that was destroyed during the Second World War where it had been kept in a carved oak box. If these details are correct, the skull would appear to have been venerated as a relic. The skull and box have been analysed using a range of techniques including computerised tomography, laser scanning, microscopy, infrared spectroscopy and radiocarbon dating. These analyses demonstrated the skull in fact to be that of an Egyptian mummy dating from the Ptolemaic period. Other instances have been noted of parts of Egyptian mummies being presented as European saintly relics, and the ‘Boscastle skull’ would appear to be an example of such. A wider point illustrated by the work presented here is that sufficient application of modern analytical techniques may reveal considerable information regarding human remains which otherwise have little or no provenance. This point strengthens arguments for the retention of such remains by curating institutions.     

Lapis lazuli usage for blue decoration of polychrome painted glazed pottery: a recurrent technology during the Middle Ages in Apulia (Southern Italy)

Seven fragments of atypical proto-majolica from the archaeological site of Siponto (Manfredonia, Foggia) were analysed by chemical and physical methods. All fragments have blue, brown and yellow painted decorations. Raman microscopy and Scanning Electron Microscopy–Energy Dispersed Spectroscopy (SEM–EDS) investigations identified the blue pigment to lapis lazuli. We previously identified this mineral in the blue coloration of the tin–lead glaze of proto-majolica finds at other Medieval sites in Apulia (Castel Fiorentino and Lucera). The discovery of the fragments from Siponto, in spite of their peculiar technological-decorative features, proves that the use of lapis lazuli as a ceramic pigment was not an isolated occurrence, but was quite common in the Middle Ages in the production of typologically heterogeneous ceramics in Southern Italy.     

BLACK AND RED GRANITES IN THE EGYPTIAN ANTIQUITY MUSEUM OF TURIN: A MINERO‐PETROGRAPHIC AND PROVENANCE STUDY

A recent project to investigate the stone artefacts preserved in the Egyptian Antiquity Museum of Turin has been undertaken, with the aim of supplying their systematic classification and suggesting the provenance site of the original raw materials. This paper focuses on seven sculptures dating back to the New Kingdom (18th–19th Dynasties): the statue of Ramses II, three of the 21 sculptures of the goddess Sekhmet, the statue of the goddess Hathor, the Ram‐headed Sphinx and the sarcophagus lid of Nefertari. Petrographic observations have shown that all the sculptures are made of granitoid rocks, with variable composition from granite to granodiorite and tonalite. The observation of strong macroscopic analogies with the so‐called black and red granites outcropping in the Aswan area has suggested a common origin of all the raw materials used for their manufacture. In order to verify this provenance hypothesis, several samples were collected in the Aswan quarry districts. According to results of a minero‐petrographic and geochemical comparison between the statues and the Aswan quarry samples, it was possible to identify the source area of the stone sculptures and finally to highlight the importance of an archaeometric approach to the solution of archaeological problems.     

Application of magnetic susceptibility on polished stone tools from Western Hungary and the Eastern part of the Czech Republic (Central Europe)

A non-destructive method – magnetic susceptibility (MS, κ) measurement – was used to characterize about 360 Neolithic, Copper and Bronze age polished stone tools of the Miháldy collection (Laczkó Dezső Museum, Veszprém, Hungary), composed of artefacts from three Neolithic (Moravian Painted Ware) workshops around a source of greenschist at Želešice near Brno (Moravia, Czech Republic) and semifinished artefacts from workshops at Neolithic mines in the Jizerské hory Mts. (Bohemia, Czech Republic); in addition, rock reference samples collected from the possible provenance areas and rock outcrops in the Czech Republic, Slovakia and Hungary were analysed as comparative material with the same method. We elaborated a model experience to control the thickness correction factor (TCF) following Williams-Thorpe et al. (2000).Among various stone raw materials of polished artefacts we found basaltic rocks and greenschists-metabasites as the most common.     

新疆龟兹库木吐喇石窟壁画制作工艺与材料分析

壁画制作工艺与材料研究既是壁画病害原因与机理研究不可缺少的数据,更是筛选壁画保护修复材料与工艺的重要依据。本文利用X射线衍射、X射线荧光、剖面显微、激光拉曼分析了库木吐喇石窟第34、45 46、50、56、58、60、63窟壁画颜料、白粉层、地仗。结果表明,库木吐喇壁画制作工艺是先在陡峭的砂砾岩崖壁上开凿成形洞窟,之后在洞窟围岩上用掺有麦秸的黏土泥抹平砂岩壁面,待这层泥质地仗层完全晾干后用石膏涂刷;最后进行线描添彩。所用颜料红色颜料是铅丹,蓝色颜料使用的是青金石;绿色颜料是绿铜矿;白色颜料是白垩、石膏;均为常见壁画颜料。     

Chronologies in wood and resin: AMS C dating of pre-Hispanic Caribbean wood sculpture

This paper establishes a chronological framework for selected pieces of Caribbean (Taíno/Lucayan) wooden sculpture, enabling previously ahistoric artefacts to fit back into the wider corpus of pre-colonial material culture. Seventy-two ¹⁴C AMS determinations from 56 artefacts held in museum collections are reported, including 32 ceremonial duhos, or seats. Far from being constrained to the last few centuries prior to contact, the dates for these objects extend back to ca. AD 250, and include the artistic legacies of various cultures. Duhos in both low and high back styles are present from about AD 600, if not earlier, in a distribution that spans the Antillean island chain from Trinidad to Cuba. Complex, drug-related paraphernalia and elaborate ancestral reliquaries are in evidence by AD 1000, as are some distinctive regional styles – such as the unique iconography from the Bahamas and Turks and Caicos islands. This paper explores relevant methodological issues – from the challenges of working with museum pieces (e.g., uncertain provenance, discrete sampling techniques, impact of previous conservation treatments on dating results), to dealing with potential ‘in-built’ age in tropical hardwoods.     

5,000 years old Egyptian iron beads made from hammered meteoritic iron

The earliest known iron artefacts are nine small beads securely dated to circa 3200 BC, from two burials in Gerzeh, northern Egypt. We show that these beads were made from meteoritic iron, and shaped by careful hammering the metal into thin sheets before rolling them into tubes. The study demonstrates the ability of neutron and X-ray methods to determine the nature of the material even after complete corrosion of the iron metal. The iron beads were strung into a necklace together with other exotic minerals such as lapis lazuli, gold and carnelian, revealing the status of meteoritic iron as a special material on a par with precious metal and gem stones. The results confirm that already in the fourth millennium BC metalworkers had mastered the smithing of meteoritic iron, an iron–nickel alloy much harder and more brittle than the more commonly worked copper. This is of wider significance as it demonstrates that metalworkers had already nearly two millennia of experience to hot-work meteoritic iron when iron smelting was introduced. This knowledge was essential for the development of iron smelting, which produced metal in a solid state process and hence depended on this ability in order to replace copper and bronze as the main utilitarian metals.     

GEMSTONES FROM VIGNA BARBERINI AT THE PALATINE HILL (ROME,ITALY)*

This study investigates 25 gemstones (23 intaglios and two undecorated cabochon, used between the third quarter of the first century ad and the second century ad ) found in the archaeological excavations performed at ‘Vigna Barberini’, in the north‐east sector of the Palatine Hill in Rome. The analytical results obtained by means of SR‐XRD, Raman micro‐spectroscopy and PIXE measurements provided, in a totally non‐destructive mode, unambiguous characterization of the gemstones. The collection from Vigna Barberini consists of two colourless chalcedonies, 11 carnelians, one sard, three Cr‐bearing chalcedonies, two nicoli, two orange jaspers, one heliotrope, one almandine garnet, one peridote and one lapis lazuli. Given the lack of analytical data discriminating between different sources, the worldwide occurrence of all these gemstones makes it difficult to reconstruct preferential routes for their commercial trade. However, the methodological approach followed for this research should be of help for the identification of discrimination parameters for provenance investigation.     

SYNCHROTRON FTIR MICRO‐SPECTROSCOPY APPLIED TO THE STUDY OF POLISHED SERPENTINITE ARTEFACTS: A NON‐DESTRUCTIVE ANALYTICAL APPROACH

In prehistory, serpentinite was one of the most frequently used raw materials to produce polished stone artefacts. Several conventional analytical techniques can be applied to identify the serpentine minerals, but their application generally requires a powdered sample. This implies that the artefacts to be analysed must be damaged, and the possibility of analysing a mixture of different serpentine polytypes is high. The use of spatially resolved techniques is therefore a necessity to overcome this problem. Several thin sections of serpentinitic rocks and prehistoric axes have been analysed by synchrotron radiation Fourier transform infrared micro‐spectroscopy. The spectra were acquired directly on specific points of polished stone artefacts and this allowed the recognition of the different polytypes of serpentine minerals without causing any damage to the objects. The results show the infrared micro‐spectroscopy technique to be a useful tool for the characterization of archaeological lithic material.     

贵州省博物馆馆藏“贵州历代石刻拓片”选录

贵州省博物馆收藏有许多本省石刻拓片,广泛涉及到贵州历史和文化的各层面,是研究贵州历史文化的重要资料。许多刻石今已损坏或已消失,这些拓片更显珍贵。本文选录不同历史时期的拓片作一简要介绍,并对其历史背景进行考释,以备查考。     

OLDOWAN RAW MATERIAL PROCUREMENT AND USE: EVIDENCE FROM THE KOOBI FORA FORMATION*

Raw material availability has been shown to be a major factor affecting the material culture of Oldowan tool users. Studies of artefact provenance often focus on site‐specific raw material availability. Here, we use data from primary and secondary sources of raw material to develop a model of basin‐scale stone availability in the eastern Turkana Basin, during the KBS and Okote Members of the Koobi Fora Formation. ED‐XRF was used as a method of characterizing raw material sources and artefacts using trace elements. This model is applied to the site of FxJj 50 to investigate transport and discard patterns.     

Trace element discriminants between Egyptian and Mesopotamian Late Bronze Age glasses

The origins of Late Bronze Age glass artefacts found throughout the Mediterranean and Near and Middle East remain controversial. Previous analyses of major and minor elements in both Egyptian and Mesopotamian glasses have proven equivocal, revealing no significant compositional differences between glasses from these two regions. Here we present new Laser ablation-ICPMS analyses of 32 trace elements in 54 samples of both Egyptian and Mesopotamian blue and colourless glasses. Our results show that there are consistent differences between these two suites, which are not related to the colorant and clearly indicate the use of different raw materials and/or manufacturing processes. Compositional variations are related to geological controls, hence this method holds promise for the development of a minimally destructive technique for discriminating between archaeological glasses of different provenance, which will be essential in the interpretation of ancient trade patterns and contacts.     

Archeometric characterization of prehistoric grindstones from Milazzo Bronze Age settlement (Sicily,Italy)

The results of a petrographic and geochemical study carried out on archeological grindstones allow to provide new constraints on protohistoric commercial exchanges over the Mediterranean area. Eleven grindstones, discovered in an archeological site located in Milazzo (Messina, Sicily) and dated from the Early Bronze Age, have been investigated by geochemical and petrographic techniques. The raw materials are mainly volcanic rocks characterized by calc-alkaline and K-alkaline affinities with volcanic arc geochemical signature. Only one sample, made of basalt belonging to the Na-alkaline series, shows an intraplate signature. The comparison with the available literature data for similar rocks allowed constraining the volcanic origin of the exploited lavas. While the intraplate-type raw material came from Mt. Etna Volcano (Sicily), the arc-type volcanic rocks are mostly trachyandesites, basaltic andesites, and one rhyolite. Although most of them come from the Aeolian Arc, a provenance of some samples from the Aegean Arc cannot be excluded. This last region could represent the most probable provenance area for the rhyolite sample.     

Egyptian sculptures from Imperial Rome. Non-destructive characterization of granitoid statues through macroscopic methodologies and in situ XRF analysis

Aegyptiaca-like Domitian’s obelisk is now decorating Bernini’s fountain on Piazza Navona or the Egyptian lions flanking Michelangelo’s stairs towards the Capitol figure prominently amidst Rome’s cultural heritage. Motivations for the import, contextualization, and copying of these objects during the Imperial Roman period are as heavily debated as they are ill understood. Provenance determination plays an important role in these discussions in terms of a (supposed) dichotomy between Egyptian (real) versus egyptianising (copy) but has only been applied stylistically and never been tested analytically. A scientific characterization of the materials themselves is even lacking altogether, as is an investigation into the cultural and symbolic meaning of the materials used. This paper is a first attempt to address these important lacunae on the basis of an explorative study of a selected sample of Egyptian statues from Rome. The identification and provenance attribution of the materials used for these statues are often problematic due to their relatively fine-grained nature and dark color. Therefore, a full non-destructive analysis of Egyptian statues in dark-colored rocks is presented in this study, with the stones evaluated by macroscopic examination and handheld X-ray fluorescence (XRF) analysis. The implemented methodology has allowed a distinction between greywacke and several varieties of granitoid rocks. In order to evaluate the potential for source attribution, a comparison was made between the results of our analyses and geochemical data for several granitoid rocks from Egypt. This has suggested Aswan as most likely source. The results presented here indicate that handheld XRF analysis can be used for the assessment of compositional variability in and potentially for the provenance of granitoid rocks, provided that a fine-grained area of the material can be measured on multiple locations, and if these values can be assessed on (in)consistencies with other published reference materials.     

THE ESTABLISHMENT OF A DATA BASE OF NEUTRON ACTIVATION ANALYSES OF WHITE MARBLE*

The establishment of a data base of trace element analysis results obtained by neutron activation analysis of 183 marble samples, each weighing about 200 mg, from eight different quarrying localities for use in provenance studies is described and a summary of the results presented. The problems of sampling museum artefacts are discussed, and details of tests of the reproducibility of the technique are given together with those obtained from multiple-samples from single museum objects. Replicate analyses of a marble standard are also discussed. Thus these data are a measure of the accuracy and precision of the technique, as well as allowing an assessment of the variation in trace element composition within quarry sources and single blocks of marble, as used for artefacts.     

THE PROVENANCE OF OBSIDIAN ARTEFACTS FROM THE WĀDĪ ATH‐THAYYILAH 3 NEOLITHIC SITE (EASTERN YEMEN PLATEAU) BY LA–ICP–MS

The geological sources of obsidian in the Red Sea region provide the raw material used for the production of obsidian artefacts found in prehistoric sites on both sides of the Red Sea, as far afield as Egypt, the Persian Gulf and Mesopotamia. This paper presents the chemical characterization of five obsidian geological samples and 20 prehistoric artefacts from a systematically excavated Neolithic settlement in highland Yemen. The major element concentrations were determined by SEM–EDS analysis and the trace element concentrations were analysed by the LA–ICP–MS method, an almost non‐destructive technique capable of chemically characterizing the volcanic glass. A comparison of archaeological and geological determinations allows the provenance of the obsidian used for the Neolithic artefacts to be traced to definite sources in the volcanic district of the central Yemen Plateau.     

ANALYSIS OF NASRID POLYCHROME CARPENTRY AT THE HALL OF THE MEXUAR PALACE,ALHAMBRA COMPLEX (GRANADA,SPAIN), COMBINING MICROSCOPIC,CHROMATOGRAPHIC AND SPECTROSCOPIC METHODS*†

The pigments, binders and execution techniques used by the Nasrids (1238–1492) to polychrome carpentry in the Hall of the Mexuar Palace at the Alhambra (Granada, Spain) were studied using optical microscopy, scanning electron microscopy with EDX analysis, selective staining techniques and gas chromatography – mass spectrometry. This pioneering investigation presents the first results of a research project devoted to filling gaps in the knowledge of Nasrid art, traditionally approached by stylistic studies. Moreover, it is essential for the polychromy conservation of the studied artworks, and will help to clarify historical and painting uncertainties in the Alhambra monument. The palette consists of a limited range of colours: white (lead‐base pigment), red (cinnabar and red lead), blue (lapis lazuli), black (carbon‐based) and false gold (golden tin). Tempera grassa was the painting technique identified. Two types of grounds were used: (i) gypsum in calligraphy decoration for the false gold technique, and (ii) synthetic minium in geometric drawings in carpentry. Organic insulating layers of linseed oil were used between paint strata. Artists applied synthetic minium to protect the wood (Juglans regia and conifer) against attack by xylophages. To lighten the surface darkened by this ground layer, powdered tin was added to achieve a metallic lustre.