A combination of invasive and non-invasive techniques for the study of the palette and painting structure of a copy of Raphael's Transfiguration of Christ

Abstract The main objective of this study is to establish an appropriate method for the characterization of the pigments, materials and structure of the paint layers in a copy of the painting the Transfiguration of Christ by Raffaello Sanzio. A multi-technique approach that combines elemental, molec...

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Autores principales:	Eloísa Manzano, Rosario Blanc, J. Daniel Martin-Ramos, Giacomo Chiari, P. Sarrazin, Jose Luis Vilchez
Formato:	article
Lenguaje:	EN
Publicado:	SpringerOpen 2021
Materias:	Raphael Transfiguration copy pXRD µATR-FTIR µRS SEM–EDX Pigments Fine Arts N Analytical chemistry QD71-142
Acceso en línea:	https://doaj.org/article/f4e72364accd4407a28d5095adf8c97f
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spelling	oai:doaj.org-article:f4e72364accd4407a28d5095adf8c97f2021-11-14T12:11:03ZA combination of invasive and non-invasive techniques for the study of the palette and painting structure of a copy of Raphael's Transfiguration of Christ10.1186/s40494-021-00623-z2050-7445https://doaj.org/article/f4e72364accd4407a28d5095adf8c97f2021-11-01T00:00:00Zhttps://doi.org/10.1186/s40494-021-00623-zhttps://doaj.org/toc/2050-7445Abstract The main objective of this study is to establish an appropriate method for the characterization of the pigments, materials and structure of the paint layers in a copy of the painting the Transfiguration of Christ by Raffaello Sanzio. A multi-technique approach that combines elemental, molecular and structural analyses and involves optical microscopy (OM), scanning electron microscopy and energy-dispersive X-ray spectroscopy (SEM–EDX), μ-Attenuated Total Reflection–Fourier Transform InfraRed (µATR-FTIR), μ-Raman spectrometry (µRS) and non-invasive portable diffractometer (pXRD) was used. Our results revealed that this copy of the Transfiguration was executed with a palette, which includes white lead (cerussite and hydrocerussite), lazurite from lapis lazuli pigment, red and yellow earths (goethite, hematite and lepidocrocite), lead tin yellow, cinnabar, red lake, smalt and bone black, and fillers such as calcite, baryte (an impurity associated to some pigments), and traces of colorless powdered glass. A secondary objective of this research was the application of non-invasive in situ pXRD measurements, which do not require painting sampling and helped to confirm some inconclusive results obtained with other techniques regarding the artist's palette. The results showed the crystalline nature of all the pigments identified, which were known from ancient times and available during the 16th and 17th. Lastly, the used of 14C accelerator mass spectrometry determined that the canvas date was 1451–1633 AD (with a 95% confidence level). Although the main focus of the work was to improve the analytical methodology to better understand the artist’s palette, our results will further help us to explore the authorship of the copy or the school that executed it. Graphical AbstractEloísa ManzanoRosario BlancJ. Daniel Martin-RamosGiacomo ChiariP. SarrazinJose Luis VilchezSpringerOpenarticleRaphael Transfiguration copypXRDµATR-FTIRµRSSEM–EDXPigmentsFine ArtsNAnalytical chemistryQD71-142ENHeritage Science, Vol 9, Iss 1, Pp 1-14 (2021)
institution	DOAJ
collection	DOAJ
language	EN
topic	Raphael Transfiguration copy pXRD µATR-FTIR µRS SEM–EDX Pigments Fine Arts N Analytical chemistry QD71-142
spellingShingle	Raphael Transfiguration copy pXRD µATR-FTIR µRS SEM–EDX Pigments Fine Arts N Analytical chemistry QD71-142 Eloísa Manzano Rosario Blanc J. Daniel Martin-Ramos Giacomo Chiari P. Sarrazin Jose Luis Vilchez A combination of invasive and non-invasive techniques for the study of the palette and painting structure of a copy of Raphael's Transfiguration of Christ
description	Abstract The main objective of this study is to establish an appropriate method for the characterization of the pigments, materials and structure of the paint layers in a copy of the painting the Transfiguration of Christ by Raffaello Sanzio. A multi-technique approach that combines elemental, molecular and structural analyses and involves optical microscopy (OM), scanning electron microscopy and energy-dispersive X-ray spectroscopy (SEM–EDX), μ-Attenuated Total Reflection–Fourier Transform InfraRed (µATR-FTIR), μ-Raman spectrometry (µRS) and non-invasive portable diffractometer (pXRD) was used. Our results revealed that this copy of the Transfiguration was executed with a palette, which includes white lead (cerussite and hydrocerussite), lazurite from lapis lazuli pigment, red and yellow earths (goethite, hematite and lepidocrocite), lead tin yellow, cinnabar, red lake, smalt and bone black, and fillers such as calcite, baryte (an impurity associated to some pigments), and traces of colorless powdered glass. A secondary objective of this research was the application of non-invasive in situ pXRD measurements, which do not require painting sampling and helped to confirm some inconclusive results obtained with other techniques regarding the artist's palette. The results showed the crystalline nature of all the pigments identified, which were known from ancient times and available during the 16th and 17th. Lastly, the used of 14C accelerator mass spectrometry determined that the canvas date was 1451–1633 AD (with a 95% confidence level). Although the main focus of the work was to improve the analytical methodology to better understand the artist’s palette, our results will further help us to explore the authorship of the copy or the school that executed it. Graphical Abstract
format	article
author	Eloísa Manzano Rosario Blanc J. Daniel Martin-Ramos Giacomo Chiari P. Sarrazin Jose Luis Vilchez
author_facet	Eloísa Manzano Rosario Blanc J. Daniel Martin-Ramos Giacomo Chiari P. Sarrazin Jose Luis Vilchez
author_sort	Eloísa Manzano
title	A combination of invasive and non-invasive techniques for the study of the palette and painting structure of a copy of Raphael's Transfiguration of Christ
title_short	A combination of invasive and non-invasive techniques for the study of the palette and painting structure of a copy of Raphael's Transfiguration of Christ
title_full	A combination of invasive and non-invasive techniques for the study of the palette and painting structure of a copy of Raphael's Transfiguration of Christ
title_fullStr	A combination of invasive and non-invasive techniques for the study of the palette and painting structure of a copy of Raphael's Transfiguration of Christ
title_full_unstemmed	A combination of invasive and non-invasive techniques for the study of the palette and painting structure of a copy of Raphael's Transfiguration of Christ
title_sort	combination of invasive and non-invasive techniques for the study of the palette and painting structure of a copy of raphael's transfiguration of christ
publisher	SpringerOpen
publishDate	2021
url	https://doaj.org/article/f4e72364accd4407a28d5095adf8c97f
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A combination of invasive and non-invasive techniques for the study of the palette and painting structure of a copy of Raphael's Transfiguration of Christ

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