The use of ultraviolet and visible diffuse reflectance spectrophotometry as a preliminary technique in the investigation of illuminated manuscripts is discussed. Because ancient manuscripts are amongst the most fragile and precious artworks, characterisation of the materials used in their decoration should be performed using non-invasive analytical methods. Ultraviolet and visible reflectance spectrophotometry with optical fibres (FORS) allows non-invasive identification of several colourants used by ancient illuminators, causing no damage or mechanical stress to the artworks subjected to analysis. Identification is usually based on the comparison of analytical data with a spectral database built from painted areas on parchment, created by preparing paints according to ancient recipes as described in medieval technical treatises. Such database and the spectral features of the colourants analysed are discussed, along with the benefits of extending the spectral range of analysis into the shortwave infrared (to 2500 nm). FORS can be best appreciated as a rapid preliminary tool that offers an overview on the main colourants employed and guides the selection of painted areas of manuscripts on which more selective techniques, such as X-ray fluorescence or Raman spectroscopy, can be employed for a more complete and accurate identification.

Characterisation of colourants on illuminated manuscripts by portable fibre optic UV-visible-NIR reflectance spectrophotometry

ConspectusDiffuse reflectance hyperspectral imaging, or reflectance imaging spectroscopy, is a sophisticated technique that enables the capture of hundreds of images in contiguous narrow spectral bands (bandwidth < 10 nm), typically in the visible (Vis, 400–750 nm) and the near-infrared (NIR, 750–2500 nm) regions. This sequence of images provides a data set that is called an image-cube or file-cube. Two dimensions of the image-cube are the spatial dimensions of the scene, and the third dimension is the wavelength. In this way, each spatial pixel in the image has an associated reflectance spectrum. This “big data” image-cube allows for the mining of artists’ materials and mapping their distribution across the surface of a work of art.Reflectance hyperspectral imaging, introduced in the 1980s by Goetz and co-workers, led to a revolution in the field of remote sensing of the earth and near planets (Goetz, F. H.; Vane, G.; Solomon, B. N.; Rock, N. Imaging Spectrometry for Earth Remote Sensing. Science, 1985, ...

Reflectance Hyperspectral Imaging for Investigation of Works of Art: Old Master Paintings and Illuminated Manuscripts

Since its introduction in the cultural heritage field, nearly 30 years ago, surface-enhanced Raman spectroscopy (SERS) has emerged as a promising analytical technique that is particularly suitable for the detection and identification of organic colorants. Its great molecular selectivity and specificity, and unparalleled sensitivity compared to other instrumental methods, have allowed researchers to successfully characterize a wide number of natural dyes and a few synthetic ones in microscopic samples from objects of artistic, historical, and archaeological significance. Continued research over the course of the past decade has led to the construction of comprehensive databases of dyes, whose adsorption and spectral properties have been investigated at length; to the comparative study of the efficiency and performance of various metal substrates; and to the evaluation of several sample treatment methods and ad-hoc analytical protocols. In addition, recent literature in the field of SERS for art and archaeology has described instrumentation and technique advancements aimed at solving the unique challenges posed by the analysis of irreplaceable objects, namely, quasi non-destructive sampling, spatial resolution improvement, examination of insoluble compounds, and resolution of dye mixtures. Reviewing the most salient methodological and technological milestones that have traced the history of SERS for cultural heritage to date, the present article is intended as a practical resource for those researchers who would like to undertake systematic characterization of organic colorants from artworks using this powerful technique. Copyright © 2015 John Wiley & Sons, Ltd.

Surface‐enhanced Raman spectroscopy in art and archaeology

The analysis of polychrome works of art: 40 years of infrared spectroscopic investigations

The π π* transition of conjugated double bonds is above ≈200 nm with typical intensities of the order of log e ≈ 4. Its position can be estimated with the Woodward– Fieser rule.

UV/Vis Spectroscopy

About one hundred significant spots (area = 0.5 cm2) that were homogeneously colored were selected on the frescoes "Resurrection of the son of Teofilo," "Saint Peter in pulpit," and "Saint Peter heals invalids by his shadow" in the Brancacci Chapel (Chiesa del Carmine, Florence). The reflectance spectra of these spots were recorded before and after restoration with the use of an external integrating sphere, which was connected through optical fibers to a UV/visible spectrophotometer, and the data were stored in a personal computer. Spectrophotometric investigations were also performed on small samples of frescoes, which were appropriately prepared, in a laboratory, with pure pigments. The results we obtained are discussed in the light of our main purposes: (1) to achieve nondestructive identification of pigments; (2) to help create time-unalterable color archives; (3) to establish a method for monitoring eventual color changes; and finally (4) to obtain useful information for the fields of art restoration and art history.

A color analysis of the brancacci chapel frescoes

About one hundred significant homogeneously coloured spots were selected on the frescoes “Resurrection of the son of Teofilo”, “Saint Peter in pulpit” and “Saint Peter heals invalids by his shadow” painted by Masaccio and Filippino Lippi in the Brancacci chapel (Chiesa del Carmine, Florence). The reflectance spectra of these spots were recorded before and after restoration using an external integrating sphere. Spectroscopic investigations were performed also on small samples of frescoes, which were appositely prepared in laboratory with pure pigments according to the technique described by Cennino Cennini in his “II libro dell'Arte”. The main purposes of our work are: a) non-destructive pigment identification; b) time unalterable colour archives; c) monitoring of eventual colour changes and finally d) useful information for restoration and art historical studies.

A colour analysis on the brancacci chapel frescoes

The restoration work of the frescoes in the Brancacci Chapel (Chiesa del Carmine, Firenze) offered us the opportunity of recording about one hundred reflectance spectra of selected areas on the frescoes before and after restoration. Our previous research was mainly devoted to pigment identification. In the present paper, color analysis is performed by computing chromaticity coordinates, purity, and dominant wavelength, starting from the reflectance spectra previously recorded. Afterwards, color difference between restored and not-restored fresco is evaluated and its distribution examined. The obtained results are then discussed in connection both to the causes which produced the color modification and to the possibility of performing electronic restoration on paintings.

Color Analysis of the Brancacci Chapel Frescoes: Part II

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A color analysis of the brancacci chapel frescoes

A colour analysis on the brancacci chapel frescoes

Color Analysis of the Brancacci Chapel Frescoes: Part II