1. Why are the Early Gothic murals in St. Jacob’s Church in Ormož, Slovenia, almost entirely black?Anabelle Križnar, Katja Kavkler, Sabina Dolenec, 2024, original scientific article Abstract: In St. Jacob’s parish church in Ormož, Slovenia, mural paintings from around 1350–1370 are partially conserved in the northeastern corner of the main nave. They are almost completely black, indicating a large-scale pigment degradation. They were studied as a part of a larger research project aiming to identify materials applied and their possible degradation. First, they were studied in situ, and next, extracted samples of plaster, pigments, and colour layers were analysed by optical microscopy, Raman spectroscopy, FTIR spectroscopy, SEM-EDS, and XRD. Haematite, green earth, malachite, azurite, and tenorite were identified, showing that azurite and perhaps also malachite degraded to black tenorite, probably due to their fine grinding and their application directly on the fresh plaster. The plaster is made with small and large amounts of aggregate with mostly quartz with some impurities, which makes it fragile. The original appearance of these murals was of bright blue and green colours.
Keywords: mural painting, medieval painting, Gothic art, St. Jacob's Church, Ormož, Slovenia, pigments, chemical structure, colour degradation, optical microscopy, Raman microspectroscopy, FTIR, XRD
Published in DiRROS: 17.04.2024; Views: 91; Downloads: 46
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2. Diketopyrrolopyrrole pigment core@multi-layer ▫$SiO_2$▫ shell with improved photochemical stabilityErika Švara Fabjan, Zineb Saghi, Paul A. Midgley, Mojca Otoničar, Goran Dražić, Miran Gaberšček, Andrijana Sever Škapin, 2018, original scientific article Abstract: A model organic pigment (diketopyrrolopyrrole) is encapsulated by a silica coating in order to improve its photochemical stability. Unlike in previous works where single-layer silica coatings were used for similar purposes, we here propose creation of a multi-layer silica shell synthesized via in-situ sol-gel method, which should significantly improve the homogeneity and thus the protection ability of the coating. This is done by repeating the basic two-step process (pigment surface modification and silica encapsulation) several times, creating the final protective shell in a layer-by-layer fashion. The compositional and structural properties of the prepared coatings is studied using Fourier-transform infrared spectroscopy, differential thermal and thermogravimetric analysis, nitrogen adsorption measurements and transmission electron microscopy. Photochemical stability of non-encapsulated and encapsulated pigment particles is evaluated via the so-called fast-irradiation method. Various correlations between the essential coating properties, such as thickness, porosity, SiO2 content, and the corresponding photochemical stability of the samples are established and discussed in detail. As a whole, our results confirm the basic hypothesis, that multiple-layered silica shells show improved pigment protection ability in comparison to the single-layer coatings.
Keywords: organic pigments, silica coating, encapsulation, morphology, photocemical stability
Published in DiRROS: 27.03.2024; Views: 121; Downloads: 54
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3. A Raman microspectroscopy-based comparison of pigments applied in two gothic wall paintings in SloveniaMaja Gutman, Ajda Mladenovič, Anabelle Križnar, Sabina Dolenec, 2019, original scientific article Abstract: The present study deals with the characterisation of pigments used in two overlaid gothic wall paintings from the former 13th century Minorite church of St. Francis of Assisi (Koper, Slovenia), in order to define differences in the technologies used. Paint layer samples were analysed via Raman microspectroscopy, supported by SEM/EDS and FTIR analysis, when necessary. The results revealed that the 14th century mural was painted mainly a fresco with final elements a secco, a technique typical of Italian mediaeval wall painting. In contrast, the 15th century painting was executed mostly a secco, a technique often applied in Northern Europe and the Alpine region. The differences between the two paintings are especially obvious in the pigments applied. While the earlier painting is characterised by azurite, carbon black, red and yellow ochres, lime white and green earth, the palette used for the younger painting is much broader. In addition to red and yellow ochres, carbon black and lime white, lead pigments such as lead white, red lead and lead-tin yellow type I were also determined, as well as a number of expensive pigments including cinnabar, azurite and malachite. Also found in the younger painting was the rare orange yellow pigment vanadinite. In both layers, azurite was applied a secco for the background area. Gilding was confirmed in both layers, carried out as application of gold leaves on red bole (in the earlier mural) and on mordant (on a younger, superimposed (overlaid painting), which is quite exclusive and rare for Slovene mediaeval painting. In the younger layer also a use of tin foil for secondary elements was discovered.
Keywords: wall paintings, pigments, Gothic, golding, Raman microspectroscopy
Published in DiRROS: 27.10.2023; Views: 396; Downloads: 159
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