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Felt-tip pens are frequently used for the realization of sketches, drawings, architectural projects, and other technical designs. The formulations of these inks are usually rather complex and may be associated to those of modern paint materials where, next to the binding medium and pigments/dyes, solvents, fillers, emulsifiers, antioxidants, plasticizers, light stabilizers, biocides, and so on are commonly added. Felt-tip pen inks are extremely sensitive to degradation and especially exposure to light may cause chromatic changes and fading. In this study, we report on the complete chemical characterization of modern felt-tip pen inks that are commercially available and commonly used for the realization of artworks. Three brands of felt-tip pens (Faber-Castell, Edding, and Stabilo) were investigated with complementary analytical techniques such as thin-layer chromatography (TLC), VIS-reflectance spectroscopy, μ-Raman spectroscopy, surface-enhanced Raman spectroscopy (SERS), pyrolysis–gas chromatography–mass spectrometry (Py–GC–MS), GC–MS, and Fourier transform infrared (FTIR) spectroscopy. The use of TLC proved to be very powerful in the study of complex mixtures of synthetic dyes. First derivatives of the reflectance spectra acquired on the TLC spots were useful in the preliminary identification of the dye, followed by Raman spectroscopy and SERS, which allowed for the unambiguous determination of the chemical composition of the pigments (phthalocyanines, dioxazines, and azo pigments) and dyes (azo dyes, triarylmethanes, xanthenes). FTIR spectroscopy was used especially for the detection of additives, as well as for confirming the nature of solvents and dyes/pigments. Finally, (Py–)GC–MS data provided information on the binders (styrene–acrylic resins, plant gums), solvents, and additives, as well as on pigments and dyes.

Comparative laser and thermal treatments were carried out on PG36, a green phthalocyanine-based pigment, permitted in European countries where legislation on tattoo composition was issued. Prior to the treatments, PG36 was characterized by SEM imaging, EDX, IR and UV–Vis spectroscopies, revealing an excess of Si and C and O as compared to the pure halogenated Cu-phthalocyanine. Laser treatments were carried out with a Nd:YAG device applied to H2O and propan-2-ol dispersions. Pyrolysis and calcinations were carried out in air or under N2 flow. The outcome of the different procedures was analyzed by UV–Vis spectroscopy, GC–mass spectrometry, X-ray diffraction of the solid residues, SEM microscopy and dynamic light scattering. The comparative analysis indicated the production of different fragment compounds depending on the treatment, (pyrolysis or laser), and, to some extent, to the solvent of the dispersion, with pyrolysis generating a larger number of hazardous compounds. Hydrocarbons and cyclic siloxanes present as additives in PG36 were stable or degraded depending on the treatment. The morphology of the products is also treatment-dependent with nanoparticles < 20 nm and fibers being produced upon laser treatments only. Based on the experimental findings, the equivalence of laser and thermal treatments is evaluated.

The most important painter from Urbino in the last decades of the 15th century (1439 ab.–1494) was Giovanni Santi, the father of Raphael. The lack of scientific literature about Santi’s practice and the possible peculiar role of Urbino in the development of painting techniques in northern Italy suggested in-depth investigations of the entire corpus of his paintings. A well-established sequence of multispectral imaging, spectroscopic and microscopic investigations was performed on 24 wood panel paintings and 2 canvases attributed by most scholars to Giovanni Santi (1439 ab.–1494) to collect a large set of significant data. This systematic research allowed his painting technique to be defined, starting from the type of supports he used and from the features of the underdrawing, which quite frequently included characteristic regular hatching. The pigments used were widely investigated by means of ED-XRF and reflectance spectroscopy (vis-RS); a meaningful multivariate statistical method (PCA and HCA analysis) was also applied to the ED-XRF dataset acquired for representative hues. In particular, the vis-RS technique proved to be a simple and effective diagnostic tool to detect many pigments, including indigo, and to distinguish between two different types of red lakes, avoiding sampling and more complex analyses. Santi used lead white, Fe-Mn-based pigments, vermilion, red lake, natural blue ultramarine, azurite, copper-based green pigments (particularly verdigris), lead-tin yellow, scarcely ever orpiment and, in a few green mixtures, also indigo. Despite the palette being linked to tradition, the master appeared to introduce some peculiarities, such as the addition of glass powder, and mixing pigments both in a traditional way and using them to create chromatic effects unusual for his time. This research confirmed that the systematic use of the integrated non-invasive methods is highly representative, and the results of this wide diagnostic campaign provided a significant dataset which allowed the implementation of a scientific database related to central Italy Renaissance paintings and materials.

Pagán is an ancient city located in Myanmar that is renowned for the remains of about 4000 pagodas, stupas, temples and monasteries dating from the 11th to 13th centuries. Due to a magnitude 6.8 earthquake in 2016, more than 300 ancient buildings were seriously damaged. As a part of the post-earthquake emergency program, a diagnostic pilot project was carried out on Me-taw-ya temple wall paintings to acquire further information on the materials and on their state of conservation. This article presents our attempts at characterising the painting materials at Me-taw-ya temple using non-invasive portable energy dispersive X-ray fluorescence (ED-XRF), portable Raman spectroscopy and micro-invasive attenuated total reflectance—Fourier transform infrared spectroscopy (ATR-FTIR), micro-Raman spectroscopy (µ-Raman), gas chromatography-mass spectrometry (GC-MS), polarized light microscopy (PLM) and environmental scanning electron microscope—X-ray energy dispersive system (ESEM-EDS) investigations with the aim of identifying the composition of organic binders and pigments. The presence of a proteinaceous glue mixed with the lime-based plaster was ascertained and identified by GC-MS. In addition, this technique confirmed the occurrence of plant-derived gums as binders pointing to the a secco technique. Fe-based compounds, vermillion, carbon black and As-compounds were identified to have been incorporated in the palette of the murals.

After a huge non-invasive diagnostic campaign performed on the corpus of Giovanni Santi’s artworks, three paintings were selected and investigated: the Martyrdom of Saint Sebastian panel, the Visitation altarpiece and the canvas with Tobias and the Archangel Raphael (c. 1487 and 1494). Micro-invasive investigations including optical microscopy, ESEM-EDX, micro-Raman spectroscopy, FTIR and FTIR-ATR spectroscopy and GC-MS were carried out on selected micro samples. The results of the integrated analyses confirmed the use of a Renaissance palette with oil and, only in a few cases, tempera techniques. Some significant peculiarities emerged in Santi’s practice, as he used localized off-white priming and colorless powdered glass with a siccative oil—in red, flesh, pinkish and green hues—confirming the influence of the Flemish painters in Urbino and, possibly, also in western central Italy. This innovative technical expedient compared to the traditional Italian painting technique was identified also in red and bluish samples collected from the Communion of the Apostles panel painted by Justus of Ghent around 1473–1474 for Urbino Corpus Domini Confraternity. The Flemish master was called to the court of Duke Federico to paint in oil and his presence at the ‘Urbino workshop’ probably contributed to the diffusion of this technique. Both in Giovanni Santi’s paintings and the Communion of the Apostles, the glass particles are related to a soda-lime glass typical of the Italian area, widely detected in Italian paintings from the late 15th and 16th centuries.

In this work, the technique and the pictorial materials employed by Claude Monet in Pink Water Lilies, presently housed at the National Gallery of Modern and Contemporary Art in Rome, were investigated. The painting underwent noninvasive investigations such as energy-dispersive X-ray fluorescence and visible reflectance spectroscopies. The combined use of these techniques allowed us to identify most of the inorganic pigments such as cobalt blue and violet, zinc oxide, cadmium yellow, vermilion, and mixtures. Particularly, the spectrophotometric curves allow for the detection of the anhydrous and hydrated chromium greens. Two micro-fragments of the painting were also examined with micro-Fourier transform infrared spectroscopy and the cross-sections obtained were analyzed with the optical microscope and with scanning electron microscopy (SEM) and energy-dispersive X-ray spectrometry (EDS). Fourier Transform Infrared spectroscopy analyses allowed us to recognize the animal glue used for priming the canvas, which was covered with a ground layer consisting of calcite and lead white mixed with an oil binder. A lipidic binder was also detected in the color layer. Optical microscopy and SEM-EDS were useful to retrieve information about the stratigraphy, the distribution of pigments, and a more complete palette identification of phosphate, arsenate, and magnesium arsenate cobalt violets, and the red lake was possible.

This paper focuses on an integrated approach to study the materials and the degradation issues in the urban mural painting Ama Il Tuo Sogno, painted by the famous street artist Jorit Agoch in Matera (Italy). The study was conducted in the framework of a conservation project, aiming to contrast a progressive decay affecting the artifact that started a few months after its creation. Multi-analytical techniques were used to investigate the stratigraphy and chemical composition of the pictorial film within a low-impact analytical protocol for sustainable diagnostics. They included polarized light microscopy in UV and VIS reflected light, FTIR spectroscopy, Py-GC-HRAMS, and SEM-EDS. The mineralogical–petrographic composition of the mortar employed in the pictorial support was also studied with optical microscopy of thin sections and X-ray diffractometry. To know the mechanism underlying the degradation, IR thermography was performed in situ to establish the waterways and the distribution of the humidity in the mural painting. In addition, ion chromatography and X-ray diffractometry were used to identify and quantify the soluble salts and to understand their sources. The overall results allowed us to determine the chemical composition of the binder and pigments within the pictorial layers, the mineralogical–petrographic characteristics of the mortar of the support, and the execution technique of the painting. They also highlighted a correlation between the presence of humidity in the painted mural and the salt damage. The mineralogical phases were detected in the mural materials by XRD, and the results of ion chromatographic analyses suggested a supply of soluble salts mainly from the mortar of the support. Finally, the study provided basic knowledge for planning appropriate sustainable conservation measures.

The paper deals with the archaeometric investigation of wall paintings in the Sant’Angelo in Criptis karst cave in Santeramo in Colle (Southern Italy) dedicated to St. Michel the Archangel. The investigated wall paintings portray the Virgin with Child, the Christ Pantocrator and Descent of the Holy Spirit, both consisting of two overlapped pictorial cycles, and St. Michael the Archangel slaying the dragon, containing a single painting. Archaeometric research focuses on the characterisation of 56 samples of mortars and pictorial layers in terms of raw materials, pigment mixtures and painting techniques and aims to provide a meaningful contribute to the historical and chronological knowledge of the site. The analytical approach involved microstratigraphic observation under reflected-light optical microscope and compositional characterisation through micro-Raman spectroscopy and scanning electron microscope-energy dispersive X-ray spectroscopy. Results indicated a colour palette involving shades of red, yellow and black, obtained using common pigments such as red and yellow ochres and carbon black frequently mixed to each other, or with lime, to produce secondary hues and most precious pigment, as cinnabar. Mortar analysis provided information on technological aspects and helped to validate chronological hypotheses. The most relevant aspect emerging from results was the custom and the ability of the workers to mix few pigments to obtain several shades and chromatic nuances and the competence in the overlapping of different coloured layers to produce specific chromatic effects. Such considerations suggested the modus operandi of the artists who worked in the Apulia region in the Middle Ages and helped to define technical procedures and material features of the Apulian rupestrian paintings.