ANALYSIS OF ROMAN WALL PAINTINGS FROM THE THERMAE OF ‘IULIA CONCORDIA’

Twenty‐six wall painting fragments and some plaster, ‘intonachino’ and stucco samples, discovered at Iulia Concordia, have been studied by different analytical techniques to gain information about the pigment nature and the composition of the materials. The presence of calcite, dolomite and aragonite allow the distinction of four groups of wall samples varying in the nature of pigments and in the application technique. These differences can be attributed to different execution times or, more probably, to the arrangement of the rooms in the building structure. The nature of the pigments found in the Thermae of Iulia Concordia appears similar to that found in other Roman villas of Venetia et Histria, with the use of precious pigments such as Egyptian blue and cinnabar.     

DETERMINATION OF PIGMENTS AND BINDERS IN POMPEIAN WALL PAINTINGS USING SYNCHROTRON RADIATION – HIGH‐RESOLUTION X‐RAY POWDER DIFFRACTION AND CONVENTIONAL SPECTROSCOPY – CHROMATOGRAPHY

The employment of synchrotron techniques complemented by conventional laboratory systems has allowed us to deepen and improve our knowledge of Roman wall painting procedures. The palette identified in wall paintings from Pompeii and Herculaneum from the second century bc includes goethite, hematite, cinnabar, glauconite, Egyptian blue, and other components such as calcite and aragonite. Proof of the use of organic binders is provided by FTIR and PY–GC/MS. Therefore, the possibility of the use of ‘a secco’ techniques cannot be ruled out. Pigments in wall paintings are usually found in small percentages and conventional X‐ray diffractometers do not detect them. Synchrotron radiation – high‐resolution X‐ray powder diffraction has allowed identification with only a few micrograms of sample.     

UNIQUE PRE‐ROMANESQUE MURALS IN KOSTOĽANY POD TRÍBEČOM,SLOVAKIA: THE PAINTING TECHNIQUE AND CAUSES OF DAMAGE

Pre‐Romanesque murals at Kosto?any pod Tríbe?om, Slovakia, have been investigated by portable X‐ray fluorescence and by microanalytical methods to identify painting materials (pigments and binders), and to explain the degradation of colours. Today, missing green and blue shades have been reconstructed according to residual concentrations of Cu, which correspond to copper chlorides—products of salt corrosion of the copper carbonates azurite and/or malachite, accelerated by micro‐organisms. As confirmed by powder X‐ray microdiffraction, original minium (Pb₃O₄) has been transformed to brown–black plattnerite (PbO₂). In increased humidity, even insoluble pigments are washing down from the walls and the intensity of colours further diminishes.     

EVIDENCE FOR THE USE OF EGYPTIAN BLUE IN AN 11TH CENTURY MURAL ALTARPIECE BY SEM–EDS,FTIR AND SR XRD (CHURCH OF SANT PERE,TERRASSA, SPAIN)

The present study shows the analysis performed on pigment samples taken from Sant Pere (Terrassa, Catalonia, Spain), a remarkable church built in the Romanesque style. On the basis of the results obtained from the analysis, an interesting discussion arises after finding evidence of Egyptian blue in one of the samples, a discovery that was not expected due to the time period of the samples. The pigments were identified by the combined use of FTIR and SEM with an EDS facility. For the blue pigment, since the EDS and FTIR analyses suggested the possible presence of cuprorivaite, micro‐XRD experiments using synchrotron radiation were run.     

COMPLETION OF THE SEISMIC REFRACTION SURVEY TO LOCATE THE VALLUM AT VINDOBALA,HADRIAN'S WALL*

The vallum is a major earthwork along the south side of Hadrian's Wall. All surface traces of it have been obliterated over a 500-m-long stretch past the fort of Vindobala at Rudchester, Northumberland. To the west of the fort, the vallum's course had previously been delineated by running shear-wave seismic refraction lines to obtain depth profiles of rockhead. We have now run more seismic refraction lines, using both shear waves and compressional waves, to the south-west and south of the fort, and thereby located the complete course of the vallum at Vindobala. The seismic refraction technique is successful at this site because the glacial drift cover is thin, so the vallum ditch was cut down into bedrock. During the second phase of seismic work, compressional waves gave better results than shear waves. Previously, test profiles using compressional waves had failed to locate the vallum ditch west of the fort where the surface elevation is lower; we now interpret that failure as being due to a shallow water table within the drift, which would have eliminated the compressional-wave velocity anomaly. Although the vallum does not pre-date the fort at Vindobala, its asymmetrical course around the fort suggests that it may already have been under construction to the west when the decision to build the fort was taken.     

ORTHOIMAGE‐BASED DOCUMENTATION OF ARCHAEOLOGICAL STRUCTURES: THE CASE OF A MEDIAEVAL WALL IN PONTEVEDRA,SPAIN

During the completion of the expansion works at the Museum of Pontevedra (Spain), a stretch of about 60 m of the medieval walled enclosure surrounding the historic city centre was discovered. Due to its value as a heritage element, the discovery of this archaeological structure required the implementation of preservation activities and exhaustive documentation so that future generations will be able to know and enjoy this piece of history. This paper presents digital models that reproduce the original structure of the wall using close‐range digital photogrammetry, as well as orthophotos, which thoroughly document the dimensional and textural characteristics of the archaeological site. In addition to analysing the accuracy and validity of photogrammetry in the conservation of archaeological heritage, a methodology of data capture, processing and photogrammetry representation is evaluated.     

CHEMICAL AND MINERALOGICAL ANALYSES OF GALLO-ROMAN WALL PAINTING FROM DIETIKON,SWITZERLAND

Around 90 samples of Roman wall painting dating from the first to the third century AD were analysed using different analytical techniques: X-ray diffraction, X-ray fluorescence, infrared spectrometry, scanning electron microscopy, energy dispersive spectrometry, optical microscopy and physico-chemical tests. The identified pigments are: ash, calcite, carbon black, celadonite, cinnabar, Egyptian Blue, glauconite, goethite, hematite and red lead. Pigment mixtures were used to get other colours such as brown, pink or purple. Three types of plaster were used: a first, and most dominant, with river sand, a second with crushed tile for damp places and a third, to which cinnabar was exclusively applied, was prepared with crushed calcite crystals.     

FRESCO AND LIME‐PAINT: AN EXPERIMENTAL STUDY AND OBJECTIVE CRITERIA FOR DISTINGUISHING BETWEEN THESE PAINTING TECHNIQUES

Identification of the painting technique adopted by an artist is often debated in studies on the characterization, restoration and conservation of mural paintings. However, objective criteria to identify the two main lime‐based painting techniques, fresco and lime‐paint, have not yet been systematically verified on replicas. Replicas were painted following both fresco and lime‐painting techniques. A comparison of microstratigraphic sequences and distribution of chemical elements reveals systematic differences between the two techniques, providing objective distinguishing criteria. Samples from the Abbey of Chiaravalle (Milan, Italy) and Pompeii were also analysed, and the results were compared with experimental data to validate the recommended criteria.     

ARCHAEOLOGICAL,STYLISTIC AND SCIENTIFIC RESEARCH ON 11TH–13TH CENTURY AD PAINTED FRAGMENTS FROM THE SAN GIOVANNI BATTISTA CHURCH IN CEVIO (SWITZERLAND)

The painted fragments collected during the archaeological excavation campaign in the San Giovanni Battista church in Cevio represent a unique patrimony of Romanesque wall painting in Tessin, Switzerland, having a strong stylistic linkage with the Lombardic art of the same period. The archaeological and stylistic research allowed the fragments to be dated between the 11th and 13th centuries ad and to group them in three chronological phases. The scientific research (p‐XRF, OM, SEM–EDS, FTIR and XRD) was aimed at characterizing the pigments and the pictorial techniques used. Important changes occurred in terms of some pigments used during the 11th and 12th centuries: in particular, azurite was used to decorate the earlier wall paintings while lapis lazuli was used for the 12th‐century ones. During the second period, lead‐based pigments (lead white and minium) were introduced into the palette. The use of natural yellow and red ochres and green earth was common for the three periods. The fresco technique was generally used, except for the application of azurite and lead‐based pigments, where the a secco technique was adopted. The integrated research is a contribution to the knowledge of Romanesque art in the Insubric Region.     

DISTINCT,LATE BRONZE AGE (c. 1650 bc) WALL‐PAINTINGS FROM AKROTIRI,THERA, COMPRISING ADVANCED GEOMETRICAL PATTERNS*

This paper studies a set of wall‐paintings of the Late Bronze Age (c. 1650 bc ) initially decorating the internal walls of the third floor of the edifice called ‘Xeste 3’, excavated at Akrotiri, Thera, whose restoration is now in progress. It deals with the methods used for the drawing of the geometrical figures appearing in these wall‐paintings. It is demonstrated that most of the depicted configurations correspond with accuracy to geometrical prototypes such as linear spirals and canonical polygons. It is pointed out that the steady lines of the figures, their remarkable repeatability, the precision of the geometrical shapes and their even distribution in the wall‐paintings indicate a very distinctive use of the ‘Xeste 3’ third floor, which is now investigated.