Hues of Art
Hues of Art: Pigment Analysis of Unprovenanced Wall Painting Fragment from Pompeii
Tuuli Kasso 7KLV VWXG\ XVHV D QRQGHVWUXFWLYH DSSURDFK RQ IUHVFR IUDJPHQWV IURP 3RPSHLLIRFXVLQJRQWKHDUWLVW¶VSLJPHQWSDOHWWHXVHGLQWKHVWFHQWXU\ $' LQ 5RPDQ ZDOO SDLQWLQJV 7KH 7XNNLOD IUDJPHQWV ZHUH EURXJKW WR)LQODQGIURP3RPSHLLLQ LQWKHDIWHUPDWKRI:RUOG:DU,,DQG WKH SUHFLVH SURYHQDQFH KRXVH LQVXOD LV QRW NQRZQ +RZHYHU REMHFWV µWKLQJV¶ DQG HYHQ IUDJPHQWV SURYLGH XV ZLWK NQRZOHGJH WKURXJKWKH PDWHULDOVWKH\ZHUHPDGHIURPOLQNLQJWRWKHFKRLFHDQGLQWHQWLRQ E\ WKHPDNHU3LJPHQWVFDQEHLGHQWL¿HGE\WKHLUFKHPLFDOFRPSRVLWLRQ LQ DGGLWLRQ WR ZDOO SDLQWLQJ WHFKQLTXHV 7KH LGHQWL¿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
Institute for European and Mediterranean Archaeology 33 Tuuli Kasso
Introduction WKH ZDU HQGHG 3RPSHLL ZDV LQ D FKDRWLF VWDWH3KRWRJUDSKVVKRZWKHFUXPEOLQJ 7KHLPSDFWRIWKHGHYDVWDWLRQFDXVHGE\WKH YLOODH, and the surrounding mayhem. FDWDVWURSKLFHUXSWLRQRI9HVXYLXVLQ$' 6WUHHWV ZHUH VFDWWHUHG ZLWK SLHFHV RI ZDOO is most evident throughout the settlements paintings.5)LQQLVKDUFKLWHFW,LUR7XNNLOD DQGFLWLHVLWGHVWUR\HG7KHPRVWIDPRXV YLVLWHG3RPSHLLLQ DQGEURXJKWEDFN 3RPSHLLZDVUHGLVFRYHUHGLQDQG ZLWKKLPWZRZDOOSDLQWLQJIUDJPHQWV VLQFHKDVJUHDWO\LQÀXHQFHGDUWVDQGEHHQ GLVSOD\HGLQ)LJXUHVDQG,Q a continuous target of studies. Despite the 7XNNLOD¶V ZLGRZ GRQDWHG WKH IUDJPHQWV ORQJKLVWRU\RIUHVHDUFKLQJ3RPSHLLWKHUH WR (38+ (;3(',72 3203(,$1$ DUHVWLOOVLJQL¿FDQWJDSVLQRXUNQRZOHGJH 81,9(56,7$7,6 +(/6,1*,(16,6 about daily Roman life, represented not 7KH 3RPSHLL 3URMHFW E\ WKH 8QLYHUVLW\ by the literal evidence, but by the material of Helsinki. 67KHSURYHQDQFHRIWKHVH culture left behind.,QWKHODWH VLW IUDJPHQWVZKLFKDUHVWLOOLQH[FHOOHQW ZDVUHVROYHGWKDWQRPRUHH[FDYDWLRQV VKRXOG EH FDUULHG RXW LQ 3RPSHLL DQG WKH IRFXVRIWKHUHVHDUFKZRXOGEHWDUJHWHGWR the conservation and documentation of WKH DUHDV DOUHDG\ H[FDYDWHG Currently, QHZ H[FDYDWLRQV DUH LPSOHPHQWHG DJDLQ 7KHFKRLFHWRSHUWDLQIURPH[FDYDWLRQZDV LQÀXHQFHGGXHWRWKHUHDVRQWKDWWKHZDOO paintings discovered earlier from the ancient city are under a grave risk of disappearing completely. Current estimation is that QHDUO\SHUFHQWRIWKHZDOOSDLQWLQJV H[FDYDWHG DIWHU KDYH EHHQ GHVWUR\HG E\GHWHULRUDWLRQFDXVHGE\OLJKWH[SRVXUH ZHDWKHULQJ DQG HQYLURQPHQWDO FRQGLWLRQV
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carbonate (CaCO) in the plaster to turn to gypsum (CaSO4·+O)FDXVLQJWKHÀDNLQJ RIWKHVXUIDFHIXUWKHUSUHGLVSRVLQJWKHZDOO paintings to decay. Documentation plays a VXEVWDQWLDO UROH LQ SUHVHUYLQJ ZKDW LV VWLOO OHIWEXWPXFKNQRZOHGJHLVDOUHDG\ORVWZLWK the paintings faded beyond recognition.4
'HVSLWH WKH GLVFUHSDQF\ RI H[FDYDWLQJ 3RPSHLLFRQWULEXWLQJWRWKHORVVRIHYLGHQFH other human events such as the coming RI ZDU WR 3RPSHLL EURXJKW QHZ ¿QGLQJV albeit at a great price. During World War ,, WKH $OOLHV ERPEHG 3RPSHLL RQ VHYHUDO RFFDVLRQVUHVXOWLQJLQH[WHQVLYHGDPDJH WRWKHFLW\+RZHYHUERPESLWVRXWVLGHWKH FLW\ZDOOVH[SRVHGWKHORFDWLRQRIWKH9LOOD )LJDQG7KH³7XNNLODIUHVFRIUDJPHQWV´ ,PSHULDOH D SUHYLRXVO\ XQNQRZQ EXLOGLQJ 5HIHUUHGWRDV³)UDJPHQW$´ RQWKHWRS DQG³)UDJPHQW%´ ZLWK ULFK DQG HODERUDWH PXUDOV $IWHU RQWKHERWWRP 7KHUHVXOWVRIWKHDQDO\VLVRI)UDJPHQW$DUH presented in this study.
34 Chronika Hues of Art
FRQGLWLRQ LV XQNQRZQ LQFOXGLQJ ZKLFK VKRZVDQGWKHDVVRUWPHQWRIDZLQHVHUYLQJ UHJLR, LQVXOD, house or room they originated. WKHUPRSROLXP to the imperial villas and Research into the provenance has yet to be public temples. GRQH DV VXFK FRPSUHKHQVLYH ZRUN LQ VLWX has not been possible to implement. Although several names of painters, such as $ULVWRPHQHVRI7KDVRV$QGURQRI(SKHVXV 7KH6LJQL¿FDQFHRI3RPSHLLIRUWKH6WXG\ DQG3RO\FOHVPHQWLRQHGE\9LWUXYLXVKDYH of Roman Art VXUYLYHG WKH PDMRULW\ RI ZDOO SDLQWHUV UHPDLQ XQLGHQWL¿HG Institute for European and Mediterranean Archaeology 35 Tuuli Kasso 7KH7HFKQLTXHRI5RPDQ:DOO3DLQWLQJV WKDWD൵HFWHGWKHFKRLFHRIPDWHULDOVDV ZHOO$VWKHOLPHSODVWHULVKLJKO\DONDOLQH Artists employed various techniques of DONDOLQHWROHUDQW SLJPHQWV ZHUH SUHIHUUHG SDLQWLQJWKDWZHUHVSHFL¿FWRWKHW\SHVRI Ancient authors, such as Vitruvius in his materials used, the scale of the painting, and 'H DUFKLWHFWXUD %& DQG 3OLQ\ WKH the level of detail required. Most paintings Elder in 1DWXUDOLV +LVWRULD VWFHQWXU\ began DIUHVFRSDLQWHGZLWKKLJKDONDOLQH A.D.), describe the fresco technique quite WROHUDQWSLJPHQWVPL[HGLQZDWHURQZHW meticulously, and discuss the best pigments SODVWHU)URPWKLVGHWDLOVDQGWKH¿QLVKLQJ WREHXVHGLQIUHVFRHV7KHSRRUGXUDELOLW\ WRXFKHVZHUHDGGHGDVHFFR, on dry plaster. RIFLQQDEDULQIUHVFRHVZKHQH[SRVHGWR 7KLV ZDV GRQH XVLQJ ELQGLQJ DJHQWV VXFK VXQOLJKWDQGPRRQOLJKWZDVNQRZQLQ DVVDSRQL¿HGOLPHDQLPDORUSODQWEDVHG ancient Rome, the red color turning dark JOXHVZLWKORZDONDOLQHWROHUDQWSLJPHQWV over time. Vitruvius comments on treating 7KHUHIRUHWKHWHUPIUHVFR should be FLQQDEDUFRQWDLQLQJ ZDOO SDLQWLQJV ZLWK carefully used, as technically it is a false 3XQLFZD[PDGHE\EOHDFKLQJEHHVZD[LQ H[SUHVVLRQ RI WKH HQWLW\ RI 5RPDQ ZDOO WKHVXQ7KLVKHOSHGWRSUHVHUYHWKHFRORU paintings. In addition to technical matters, WKHGU\SDLQWLQJZRXOGEHEUXVKHGZLWKKRW HFRQRPLFDQGVRFLDOVWDQGDUGVLQÀXHQFHG 3XQLFZD[WKHQVPRRWKHGGRZQZLWKDKRW the artist’s palette. Certainly, the taste of WRRO$¿QDO¿QLVKZDVPDGHZLWKSROLVKLQJ the artist could not map out the choosing of WKHVXUIDFHZLWKOLQHQFORWKV WKH PDWHULDOV FRPSOHWHO\ VLQFH WKRVH ZKR commissioned the paintings must have been 7KHVHFRQGLVVXHZKLFKD൵HFWVWKHIUHVFR ZHOODZDUHRIWKHGL൵HUHQFHEHWZHHQXVLQJ technique is the dryness level of the rare and precious materials over easily plaster. It is fundamental that the painting accessed ones as common earth pigments is conducted on the plaster at the optimum ZLGHO\DYDLODEOHDQGFKHDS VWDWH,IWRRZHWWKHEUXVKSDZVWKHVXUIDFH ,I WRR GU\ WKH SLJPHQWV ZLOO QRW EHFRPH &RQFHUQLQJ WKH WHFKQLTXH RI 5RPDQ ZDOO ¿[HGWRWKHSODVWHU7KHSLJPHQWSDUWLFOHV SDLQWLQJ WKHUH DUH WZR PDWWHUV DERXW WKH DUHRQO\VHDOHGZKHQFDOFLXPFDUERQDWH technique of frescoes that must be addressed IURPWKHOLPHWUDYHOVWRWKHVXUIDFHZLWK )LJ6RXWKZDOODQGSDUWRIWKHHDVWHUQZDOORIWKHRHFXVLQ&DVDGHLSLWWRULDOODYRUR2QWKHOHIW WKHFHQWUHSLHFHRIWKHZDOOLVXQ¿QLVKHGZLWKDORWRIWKHEDFNJURXQGLVPLVVLQJLQFOXGLQJWKHVRFOH RIWKHZDOOV 36 Chronika Hues of Art HYDSRUDWLQJ ZDWHU IRUPLQJ D OD\HU RI vary greatly depending on the region, time FU\VWDOOL]HGFDOFLXPFDUERQDWHRQWRSRIWKH DQGSRVVLEO\RZLQJWRWKHDUWLVWDVZHOO paint. distinct study of the pigments is important. 8OOD.QXXWLQHQDOVRSRLQWVRXWWKDWDFFXUDWH Due to these processes the painters had to analysis is needed, as the terminology SUHSDUHWLPLQJIRUWKHZRUNGHSHQGLQJRQLWV and nomenclature of pigments can be VFDOHDOOWRJHWKHUWKHGD\¶VZRUNJLRUQDWD. unclear due to the variety of the chemical 7KHZHWSODVWHULQWRQDFRZDVDSSOLHGRYHU composition of a color carrying the same a rougher grounding layer, DUULFFLR, only a QDPH IRU H[DPSOH 3RPSHLDQ UHG ¿JV controllable area at a time. First the SDULHWDULL DQG &LQQDEDU PHUFXU\ ,, VXO¿GH SUHSDUHGWKHEDFNJURXQGDQGWKHZRUNZDV +J6 PLQLXPUHG OHDG 3EO4) and iron conducted piece by piece culminating in ,,, R[LGHVVXFKDVKHPDWLWHDQGUHGRFKUH WKHFHQWUHSLHFHZKLFKZDVSDLQWHGE\WKH KDYHDOOEHHQFDOOHG3RPSHLDQUHGEXWWKHLU LPDJLQDULL ¿JXUH SDLQWHUV 2I FRXUVH WKH consistency is dissimilar to one another. groups had members to perform the less artistic tasks, such as grinding the lime. 7KHGHVLJQHUDQGPDVWHUSDLQWHUUHGHPSWRU, ZDVLQFKDUJHDQGWKHPRVWDSSUHFLDWHG member of the painting group, but not even WKHPDVWHUVLJQHGWKHZRUNVWKDWKDGEHHQ so systematically made. It is possible that WKHWHFKQLTXHLWVHOIKDGDQLQÀXHQFHRQWKH VW\OHRIWKHZDOOSDLQWLQJVDVWKHWULSDUWLWH KRUL]RQWDOGLYLVLRQUHPDLQHGDVDGRPLQDQW IHDWXUH LQ WKH ZDOO SDLQWLQJV IURP WKH First to the Fourth Style. Archaeological evidence supports the manufacturing of the IUHVFRHVLQDGGLWLRQWRWKHH[DFWUROHVRIWKH painter groups. &DVDGHLSLWWRULDOODYRUR ¿J RU7KH+RXVHRIWKH3DLQWHUVZDV )LJ'HWDLORIDSV\FKHGHOLFIHPDOH¿JXUHRQD JLYHQLWVQDPHIURPWKHXQ¿QLVKHGIUHVFRHV ³3RPSHLDQUHG´EDFNJURXQGIURPWKHHDVWZDOOLQWKH DQGZRUNLQJWRROVIRXQGLQWKHRHFXV, the triclinium in Casa dei casti amanti. main hall. 7 KHW UDGLWLRQRIZDOOSDLQWLQJDQGWKHDQFLHQW literature give us some understanding of the pigments that may have been chosen for the IUHVFRHVEXWWKHSUHFLVHLGHQWL¿FDWLRQRIWKH historical pigments can be made through the analysis of their chemical composition. 3LJPHQWVKDYHVLJQL¿FDQWGL൵HUHQFHVLQ their capability to cover and dye, to tolerate light, to react and to absorb oil, not forgetting WKHGL൵HUHQFHVLQSDUWLFOHVL]HGHQVLW\DQG WR[LFLW\ 'HQVLW\ RI WKH FRORU KDV PXFK WR GR ZLWK WKH HOHPHQWV RI WKH SLJPHQWV IRU LQVWDQFHOHDG 3E KDVDKLJKGHQVLW\DQGLV WKHUHIRUHKLJKO\RSDTXHIRUZKLFKUHDVRQLW ZDVIDYRUHGWKURXJKKLVWRU\Considering Fig. 5. Modern day industrial red pigment sold as the fact that the choice of materials could 3RPSHLDQUHG Institute for European and Mediterranean Archaeology 37 Tuuli Kasso 7KHPDMRULW\RIKLVWRULFDOSLJPHQWVDUHRI compounds of the pigments. inorganic origin and have metal elements in WKHLU FRPSRVLWLRQ +RZHYHU VRPH RUJDQLF 7KH;5)DQDO\VLVZDVFRQGXFWHGZLWKD pigments can also have metal elements in %UXNHU67LWDQSRUWDEOHKDQGKHOGHQHUJ\ the form of salts, including magnesium GLVSHUVLYH;UD\ÀXRUHVFHQFHVSHFWURPHWU\ (Mg) and calcium (Ca). In some cases, a S;5) ZLWK DQ PP VSRW VL]H DW VSHFL¿FNH\HOHPHQWRQO\DSSHDUVLQFHUWDLQ the Department of Archaeology of the pigments or produces a certain color. 8QLYHUVLW\RI+HOVLQNL8VLQJWKHFDOLEUDWLRQ In spite of this, identifying the historical DSSOLFDWLRQ*HRFKHPDQG*HR*KHP7UDFH SLJPHQWV LV QHYHU VLPSOH VLQFH WKH REMHFW PHWKRG WKH VDPSOH DUHDV ZHUH PHDVXUHG studied may have been contaminated, ZLWKWKLVPRGHDFFRUGLQJO\ 3KDVH KHDY\ WUDQVIRUPHGGXHWRDJLQJDQGZHDWKHULQJRU HOHPHQWV N9 X$ ZLWK7L$O¿OWHU WKHRULJLQDOSDLQWFDQFRQVLVWRIDPL[WXUH 3KDVH OLJKWHOHPHQWV N9X$ QR of several pigments that complicate the ¿OWHU 7KHPHDVXUHPHQWWLPHIRUHDFKSKDVH VWXG\VXEVWDQWLYHO\%HVLGHVWKHFKHPLFDO ZDVVHFRQGVDOWRJHWKHUVHFRQGVIRU composition, pigments form crystal HDFKVSRW2QO\NH\HOHPHQWVD൶OLDWHGZLWK VWUXFWXUHV WKDW DUH LGHQWL¿DEOH DV ZHOO pigments are reported in this study, and the 7\SLFDOO\LURQR[LGHVKDYHDQRFWDKHGURQ ORZHVW OHYHOV XQGHU RU XQGHU OLPLW RI structure, but in contrast cinnabar form detection have been omitted. trigonal crystals.26 3LJPHQW$QDO\VLVRI7XNNLOD)UDJPHQW$ 7ZRSKDVH$SSURDFK 7KHSLJPHQWVDQGSDLQWLQJWHFKQLTXHRIWKH 7XNNLODIUDJPHQWVZHUHVWXGLHGXVLQJQRQ RU PLFURGHVWUXFWLYH PHWKRGV GXH WR WKH high historical value of the fragments, and the results of Fragment A are presented in WKLVDUWLFOH7KHVHTXHQFHRIWKHSDLQWOD\HUV ZDVH[DPLQHGIURPWKHVXUIDFHZLWKRSWLFDO PLFURVFRS\DVPDNLQJFURVVVHFWLRQVZDV found to be too damaging for the fragments. 7KH VSHFWURVFRSLF VWXG\ RI WKH SLJPHQWV Fig. 6. Measurements and sampling areas from ZDVFRQGXFWHGZLWKDPXOWLDQDO\WLFDOWZR Fragment A. SKDVHPHWKRG6WDUWLQJZLWKDQRQLQYDVLYH PHWKRG WKH IUHVFR IUDJPHQWV ZHUH ¿UVW pXRF-measurements: studied to determine the need for additional $:KLWH UHVHDUFKDQGWKHQFRQWLQXLQJXVLQJDPLFUR $ 38 Chronika Hues of Art $QDO\VHVZLWKWKH6(0(';ZHUHPDGH SKHQRPHQRQ RQ WKH ERUGHU RI \HOORZ DQG in the Nanomicroscopy Center at Aalto UHG 2Q WKH DUHDV ZKHUH WKH WRS OD\HU RI 8QLYHUVLW\ ZLWK 'U .ULVWD 9DMDQWR XVLQJ the red paint layer has vanished, some DQDO\WLFDO KLJKUHVROXWLRQ 6(0 -(2/ blackening process is clearly noticeable. -60)$2QO\WKHHGJHVRIWKH 7KLVPLJKWEHGXHWRWKHDJLQJSURFHVVRI IUDJPHQWVDQGDOUHDG\GDPDJHGDUHDVZHUH FLQQDEDUZKLFKUHVXOWVLQDJUH\LVKRUEODFN chosen for the samples, sampling carefully layer. Cinnabar is a precious pigment, not PP areas for the samples. In this case, XVHGIRUVHFRQGDU\SDLQWLQJV7RFRQFOXGH WKH VDPSOHV ZHUH SUHSDUHG RQ DOXPLQXP Fragment A seems to be painted DIUHVFR, VWXEVZLWKGRXEOHVLGHGFDUERQWDSHDQGQR ZLWK UHPDUNDEO\ WKLFN DQG VROLG FRORUV FRDWLQJZDVXVHG0HDVXUHPHQWVZHUHWDNHQ 7KHSDLQWLQJRUGHUFDQEHREVHUYHGDVZHOO ZLWK&2032PRGHZLWKWKHDFFHOHUDWLRQ ZLWKWKHPLFURVFRSH WRSDQGERWWRPVWULSV YROWDJHN9HPLVVLRQFXUUHQWN9 ZHUHSUHSDUHG¿UVWIROORZHGE\WKHDEVWUDFW DQGSUREHFXUUHQWN9LQPPZRUNLQJ ÀRUDOSDWWHUQLQWKHPLGGOH distance due to the backscattering detector. 2WKHUZLVHDQ6(,GHWHFWRUZDVXVHGIRUWKH 7KHUHVXOWVRIWKH;5)PHDVXUHPHQWVDUH VFDQQLQJ (DFK RI WKH PLFUR VDPSOHV ZDV GLVSOD\HG LQ 7DEOH 7KH ZKLWH FRORU RI scanned thoroughly, choosing particles for WKHIUHVFRLVPRVWOLNHO\MXVWOLPHZKLWH measurement that had most the appearance a calcium carbonate (CaCO ZLWK VRPH RIDSLJPHQWSDUWLFOH7KHUHVXOWVZHUHDOVR PDJQHVLXP SUHVHQW LQ WKLV VDPSOH $ FRPSDUHG ZLWK DQFLHQW 5RPDQ OLWHUDWXUH White. It might be SDUDHWRQLXP ZKLWH, and related research. ZKLFK ZDV D IDYRUHG ZKLWH FRORU IRU frescoes.7KHVWURQJSUHVHQFHRIPHUFXU\ During the inspection RI)UDJPHQW$ZLWK (Hg) in A4 Red indicates cinnabar (HgS) as the optical microscope, some areas of the the red pigment. As a preliminary study, fragment turned out to be surprisingly QRH[DFWUHVXOWVZHUHDVVXPHGZLWKWKH interesting in contrast to its simple style. S;5) NQRZLQJ WKH GLUHFWLYH TXDOLW\ RI )LJXUHVKRZVWKHSUHVHQFHRIVRPH WKLVPHWKRG$ )LJ%OXHFU\VWDOVRQ)UDJPHQW$ )LJ'DUNHQLQJRIFLQQDEDULQ)UDJPHQW$ Institute for European and Mediterranean Archaeology 39 Tuuli Kasso Sample ID %MgO %Al2O3 %CaO %SiO2 %Fe %Cu %K2O %P205 %Hg A1 White 9.3323 2.9306 56.0835 1.5561 A2 Yellow 6.178 1.1733 41.6878 13.405 A3 Purple 6.1246 3.0135 40.178 16.111 8.2069 A4 Red 11.2077 2.9884 15.0837 4.2694 1.385 1.8032 19.393 A5 Green 5.8612 1.1658 42.8942 16.8111 3.709 7DEOH7KHUHVXOWVIURP)UDJPHQW$ZLWKS;5)ZLWKNH\HOHPHQWV IUHVFRZHUHWRRVPDOOWREHVWXGLHGGXHWR ZLWKEODFNLURQR[LGHDQGRUDQRWKHUEODFN WKH VPDOO PHDVXUHPHQW DUHD RI WKH S;5) SLJPHQW7KHSUHVHQFHRIFDUERQ & GRHV WKH EOXH FRORU ZDV DGGHG IRU 6(0('; LQGLFDWHDFDUERQEDVHGEODFNSLJPHQWDQG DQDO\VLVWRDUJXHLI(J\SWLDQEOXHZDVde WKH SURPLQHQW FRQWHQW RI LURQ IDFWR used in this fragment. Displayed in PLJKWPDUNWKHSUHVHQFHRIDQLURQR[LGH 7DEOHH[DPLQDWLRQRIWKHSLJPHQWVZLWK pigment, such as red ochre (Fe2 $OO 6(0('; JDYH IDLUO\ FRPSDUDWLYH UHVXOWV WKHFRORUVPHQWLRQHGDUHFRPPRQO\NQRZQ to form an understanding of the pigments SLJPHQWV XVHG LQ 3RPSHLL If further used in Fragment A. DQDO\VHVFDQEHPDGHVWXG\LQJWKHOLJKW \HOORZ FRORU XVHG RQ D IHZ SODFHV LQ WKH :LWKWKHFRPELQDWLRQRIS;5)DQG6(0 fresco could be interesting, as it has a cooler (';WKHSLJPHQWSDOHWWHXVHGLQ)UDJPHQW WRQHFRPSDUHGWRWKHULFK\HOORZRFKUHXVHG $ FRXOG EH LGHQWL¿HG 3DLQWLQJ D IUHVFR so generously. DQG WKLFN PL[WXUHV RI SDLQW ZLWK JRRG TXDOLW\SLJPHQWVWKHDUWLVW¿UVWXVHGOLPH Conclusion ZKLWH EHIRUH SDLQWLQJ WKH WRS \HOORZ VWULS ZLWK \HOORZ RFKUH DQG WKH ERWWRP VWULS )UDJPHQW$LVDµWH[WERRN¶H[DPSOH ZLWK SUHFLRXV FLQQDEDU *UHHQ HDUWK OLPH RI WKH 3RPSHLDQ SLJPHQW SDOHWWH XVHG ZKLWH FLQQDEDU DQG (J\SWLDQ EOXH ZHUH LQWKHVWFHQWXU\$'SDLQWHGXVLQJ XVHG IRU WKH DEVWUDFW ÀRUDO SDWWHUQ 7KH good quality pigments common to the YLROHWFRORUZDVDFFRPSOLVKHGE\PL[LQJD DUHDDQGSHULRG7KRXJKVLPSOHLQVW\OH variety of pigments, in this case cinnabar Fragment A might be from a border lining ZLWK(J\SWLDQEOXHDQGSRVVLEO\GDUNHQHG to a more elaborate centerpiece in a room Sample ID Key elements Pigment(s) $ (J\SWLDQEOXH &D2[&X2[4SiO) %ODFNLURQR[LGH )H2[)HO) Charcoal black (C), Graphite (C), Lamp black (C) $5HG +J &LQQDEDU +J6 $*UHHQ )H6L.0J$O *UHHQHDUWK )H0J$O.K\GURVLOLFDWH $%OXH &X6L2 (J\SWLDQEOXH &D2[&X2[4SiO) 7DEOH6XPPDU\RIWKHNH\HOHPHQWVGHWHFWHGZLWK6(0(';DQGUHVXOWV 40 Chronika Hues of Art LPSRUWDQWWRUHVLGHQWVDVFLQQDEDUZDV $FNQRZOHGJHPHQWV DQH[SHQVLYHSLJPHQWFRPSDUHGWRRWKHU reds. As such, the pigment analysis ³7KHUHDUHWKHVH3RPSHLDQIUDJPHQWVLQD gives us information beyond the image GUDZHUWKDWZHGRQRWNQRZPXFKDERXW«´ DQG VW\OH +RZHYHU VWXG\LQJ KLVWRULFDO , ZDQW WR WKDQN WKH GLUHFWRU RI (38+ pigments – or even trying to identify them 'RFHQW$QWHUR7DPPLVWRIRUDOORZLQJPH RQDSULPDU\OHYHO±LVGH¿QLWHO\QRWLQ WRZRUNZLWKWKH7XNNLODIUDJPHQWVIRU DQ\FDVHDVWUDLJKWIRUZDUGRUDQHDV\WDVN P\UHVHDUFKDQGWKHHYHUODVWLQJVSDUNIRU Results depend greatly on the samples, 3RPSHLL8VLQJWKHVWDWHRIWKHDUW6(0 that can include contamination from past ('; PHWKRGV DQG LQVWUXPHQWDWLRQ ZDV conservation and restoration treatments. RQO\SRVVLEOHZLWKWKHJHQHURXVRSSRUWXQLW\ In addition, scientist should collaborate JLYHQE\3URIHVVRU-DQQH5XRNRODLQHQDWWKH ZLWK DUW KLVWRULDQV DQG DUFKDHRORJLVWV IRU 1DQRPLFURVFRS\&HQWHULQ$DOWR8QYLHUVLW\ a coherent picture of the human past, ever DQGWKHJXLGDQFHRI.ULVWD9DMDQWR3K', increasing the current interdisciplinary ZDQW WR WKDQN (OLVDEHWK +ROPTYLVW 3K' DSSURDFK7KRURXJKNQRZOHGJHDERXWWKH IRU OHWWLQJ PH ZRUN ZLWK WKH S;5) DW WKH VXEMHFW DQG NQRZLQJ WKH LQVWUXPHQWDWLRQ 8QLYHUVLW\RI+HOVLQNL,DPJUDWHIXOIRUWKH are both matters of great importance, as no VXSSRUWGXULQJP\ZRUNDQGWKHFRPPHQWV PHDVXUHPHQWLVDGLUHFWUHVXOWEXWVXEMHFW given on the early version of the manuscript WRLQWHUSUHWDWLRQ1HYHUWKHOHVVREMHFWVFDQ by friends and colleagues. Without it, the tell us more than is visible to the naked eye 3RPSHLDQSLJPHQWSDOHWWHLQWKLVFDVHFRXOG through their materials. 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