In the last decades, many efforts have been devoted at developing non-invasive analytical tools and methodologies able to provide an in depth characterization of the artwork constituent materials without any contact with the surface of the object thus preserving its integrity. Moreover, in order to carry out non invasive measurements directly in situ where the objects are conserved, state-of-the-art researches have been aimed at developing portable equipment avoiding numerous disadvantages connected to the artwork transportation. For the examination of ancient manuscripts, the non-invasive approach especially using portable instrumentations, is particularly adapt. Book heritage, in fact, is generally too precious and too fragile to be moved or sampled for diagnostic investigations. This PhD thesis, addressed to in situ multi-technique study of ancient manuscripts, fits well with this context. The thesis is divided into two parts dealing with a different typology of manuscript and related analytical issues. The part I is focused on the study of pre-Columbian codices to whom we have had access through the MOLAB facility of Eu-Artech and CHARISMA European project. The work is divided into three phases: i) the study of the bibliographical sources reporting Mesoamerican artistic materials and techniques; ii) the in situ non invasive investigation of four precious Mesoamerican books; iii) the study of laboratory standards and replica in order to answer and solve questions arose from the non invasive measurements. A big part of the pre-Columbian codicological production was lost because of the destruction of the Spanish conquistadores. Only fifteen pre-Columbian codices have survived, they are spread throughout the continents (mainly in Europe where they were brought as presents to the European sovereigns). With respect to other artistic expressions, such as mural painting or ceramic, the scientific study of the material components and of the codices painting technique is still in its infancy mainly due to the fact that for such unique and precious artefacts the use of traditional micro-destructive approach has not been advisable. In this context, a valuable role can be played by non-invasive methods which proved for different type of artefacts to give important information while fully respecting their integrity. The results gained studying in situ four pre-Columbian codices, namely Codex Cospi and Codex Fejérváry Mayer (Borgia Group Codices), Codex Zouche-Nuttall (Mixtec Group Codices) and Codex Tro-Cortesianus (Maya Group Codices), are discussed in Chapter 2. The laboratory study discussed in Chapter 3 focused, in particular, on the spectroscopic characterization of organic-inorganic hybrid colouring materials found on the various codices not only to obtain blue colour (the well known Maya blue) but also for yellow, green and grey hues. The part II of this PhD thesis is dedicated to the non-invasive study of coloured materials used in illuminated manuscripts with the focus on copper-based green pigments. Diagnostic analyses addressed to the study of constituent material of ancient manuscripts, in particular to the miniature, have a solid background. The first scientific studies carried out on manuscripts, in fact, date from the 70s of the XIX century. On the base of previous direct experiences but also diagnostic campaigns carried out on manuscripts and reported in the literature, it appears evident that the identification of copper-based pigments is challenging, especially with portable non-invasive instruments. In the first chapter of part II, a case study concerning two Umbrian illuminated manuscripts of the late XIII century is reported. The obtained results show the validity of the non invasive approach in the identification of artistic materials and their utility to the historical/artistic considerations. But, above all, the study points the attention on the identification problems of copper-based green pigments that are the object of this second part. Chapter III of part II handles with the laboratory study of the above mentioned pigments and their recognition on real manuscripts. Firstly, the possibility of discriminating among different Cu-based green pigments by non-invasive reflection infrared spectroscopy was discussed. The pigments, chosen since their historical widespread use in artworks, were investigated as pure powders and applied on painting models by transmission and reflection FTIR spectroscopy. Secondly, to complete the non-invasive identification protocol, the characterization of the same pigments and mock-ups using portable Raman spectroscopy and portable XRD was carried out, evaluating the applicability and limitation of each one. Afterwards, the knowledge acquired studying pure compounds and painting models was applied in the interpretation of spectra collected from several original manuscripts.

Multi-technique approach for the in situ study of ancient manuscripts / D. Buti. - STAMPA. - (2012).

Multi-technique approach for the in situ study of ancient manuscripts

BUTI, DAVID
2012

Abstract

In the last decades, many efforts have been devoted at developing non-invasive analytical tools and methodologies able to provide an in depth characterization of the artwork constituent materials without any contact with the surface of the object thus preserving its integrity. Moreover, in order to carry out non invasive measurements directly in situ where the objects are conserved, state-of-the-art researches have been aimed at developing portable equipment avoiding numerous disadvantages connected to the artwork transportation. For the examination of ancient manuscripts, the non-invasive approach especially using portable instrumentations, is particularly adapt. Book heritage, in fact, is generally too precious and too fragile to be moved or sampled for diagnostic investigations. This PhD thesis, addressed to in situ multi-technique study of ancient manuscripts, fits well with this context. The thesis is divided into two parts dealing with a different typology of manuscript and related analytical issues. The part I is focused on the study of pre-Columbian codices to whom we have had access through the MOLAB facility of Eu-Artech and CHARISMA European project. The work is divided into three phases: i) the study of the bibliographical sources reporting Mesoamerican artistic materials and techniques; ii) the in situ non invasive investigation of four precious Mesoamerican books; iii) the study of laboratory standards and replica in order to answer and solve questions arose from the non invasive measurements. A big part of the pre-Columbian codicological production was lost because of the destruction of the Spanish conquistadores. Only fifteen pre-Columbian codices have survived, they are spread throughout the continents (mainly in Europe where they were brought as presents to the European sovereigns). With respect to other artistic expressions, such as mural painting or ceramic, the scientific study of the material components and of the codices painting technique is still in its infancy mainly due to the fact that for such unique and precious artefacts the use of traditional micro-destructive approach has not been advisable. In this context, a valuable role can be played by non-invasive methods which proved for different type of artefacts to give important information while fully respecting their integrity. The results gained studying in situ four pre-Columbian codices, namely Codex Cospi and Codex Fejérváry Mayer (Borgia Group Codices), Codex Zouche-Nuttall (Mixtec Group Codices) and Codex Tro-Cortesianus (Maya Group Codices), are discussed in Chapter 2. The laboratory study discussed in Chapter 3 focused, in particular, on the spectroscopic characterization of organic-inorganic hybrid colouring materials found on the various codices not only to obtain blue colour (the well known Maya blue) but also for yellow, green and grey hues. The part II of this PhD thesis is dedicated to the non-invasive study of coloured materials used in illuminated manuscripts with the focus on copper-based green pigments. Diagnostic analyses addressed to the study of constituent material of ancient manuscripts, in particular to the miniature, have a solid background. The first scientific studies carried out on manuscripts, in fact, date from the 70s of the XIX century. On the base of previous direct experiences but also diagnostic campaigns carried out on manuscripts and reported in the literature, it appears evident that the identification of copper-based pigments is challenging, especially with portable non-invasive instruments. In the first chapter of part II, a case study concerning two Umbrian illuminated manuscripts of the late XIII century is reported. The obtained results show the validity of the non invasive approach in the identification of artistic materials and their utility to the historical/artistic considerations. But, above all, the study points the attention on the identification problems of copper-based green pigments that are the object of this second part. Chapter III of part II handles with the laboratory study of the above mentioned pigments and their recognition on real manuscripts. Firstly, the possibility of discriminating among different Cu-based green pigments by non-invasive reflection infrared spectroscopy was discussed. The pigments, chosen since their historical widespread use in artworks, were investigated as pure powders and applied on painting models by transmission and reflection FTIR spectroscopy. Secondly, to complete the non-invasive identification protocol, the characterization of the same pigments and mock-ups using portable Raman spectroscopy and portable XRD was carried out, evaluating the applicability and limitation of each one. Afterwards, the knowledge acquired studying pure compounds and painting models was applied in the interpretation of spectra collected from several original manuscripts.
2012
E.M. Castellucci
D. Buti
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