TY - JOUR
T1 - Mural Paintings Characterisation Using X-ray Fluorescence and Raman Spectroscopy-A Case Study
T2 - Nossa Senhora das Neves Chapel, Vilar de Perdizes, Galicia-North Portugal Euroregion
AU - Freire-Lista, David M.
AU - Vázquez, Ezequiel
AU - Castro, Pablo Barreiro
AU - Salavessa, Eunice
AU - Costa, Maria do Rosário
AU - Moreira, Rafael de Faria Domingues
AU - López , Ana J.
N1 - info:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UIDB%2F04666%2F2020/PT#
info:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UIDP%2F04666%2F2020/PT#
info:eu-repo/grantAgreement/FCT/CEEC IND 2017/CEECIND%2F03568%2F2017%2FCP1418%2FCT0001/PT#
info:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UIDB%2F00073%2F2020/PT#
info:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UIDP%2F00073%2F2020/PT#
UIDB/04666/2020
UIDP/04666/2020
CEECIND/03568/2017
UIDB/00073/2020
UIDP/00073/2020
PY - 2023/12
Y1 - 2023/12
N2 - Sixteenth-century mural paintings of Nossa Senhora das Neves in Vilar de Perdizes (Galicia—North Portugal Euroregion) were analysed. An iconographic study has allowed us to understand the meaning of the seven scenes that constitute the mural painting. X-ray fluorescence (XRF) and Raman spectroscopies determined the compounds used in this mural painting, both in the original and in later repaintings. The black paint was bone black. Hydroxyapatite characteristic bands and those of the associated phosphates have been identified. White lime was used as white paint. Lepidocrocite and goethite were used to make yellows, and hematite was used to make red shades. Cinnabar has been used for a later red repaint. Carbon-based compounds and rutile were used to create different tonalities by darkening or lightening colours. It is of great significance to obtain accurate and reliable mural painting information through scientific means, since preservation, restoration, and repainting without detailed information can be harmful to mural paintings.
AB - Sixteenth-century mural paintings of Nossa Senhora das Neves in Vilar de Perdizes (Galicia—North Portugal Euroregion) were analysed. An iconographic study has allowed us to understand the meaning of the seven scenes that constitute the mural painting. X-ray fluorescence (XRF) and Raman spectroscopies determined the compounds used in this mural painting, both in the original and in later repaintings. The black paint was bone black. Hydroxyapatite characteristic bands and those of the associated phosphates have been identified. White lime was used as white paint. Lepidocrocite and goethite were used to make yellows, and hematite was used to make red shades. Cinnabar has been used for a later red repaint. Carbon-based compounds and rutile were used to create different tonalities by darkening or lightening colours. It is of great significance to obtain accurate and reliable mural painting information through scientific means, since preservation, restoration, and repainting without detailed information can be harmful to mural paintings.
KW - Tras-os-Montes
KW - Cinnabar
KW - Frescoes
KW - Hydroxyapatite
KW - Lepidocrocite
KW - Pigment
UR - https://www.webofscience.com/api/gateway?GWVersion=2&SrcApp=nova_api&SrcAuth=WosAPI&KeyUT=WOS:001169531300004&DestLinkType=FullRecord&DestApp=WOS_CPL
U2 - 10.3390/heritage6120382
DO - 10.3390/heritage6120382
M3 - Article
SN - 2571-9408
VL - 6
SP - 7277
EP - 7292
JO - Heritage
JF - Heritage
IS - 12
ER -