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Chemical Characterization of Pope Pius VII Ancient Ecclesiastical Vestment by a Multi-Analytical Approach

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Chemical Characterization of Pope Pius VII Ancient Ecclesiastical Vestment by a Multi-Analytical Approach heritage Article Chemical Characterization of Pope Pius VII Ancient Ecclesiastical Vestment by a Multi-Analytical Approach Donata Magrini 1,* , Susanna Bracci 1,†, Roberta Iannaccone 2 , Lucia Nucci 3 and Barbara Salvadori 1 1 CNR-ISPC, National Research Council, Institute of Heritage Science, 50019 Firenze, Italy; [email protected] 2 Department of Chemistry and Pharmacy, University of Sassari, 07100 Sassari, Italy; [email protected] 3 Textile Conservator, Lucia Nucci Restauri, 50100 Firenze, Italy; [email protected] * Correspondence: [email protected] † Dedicated to the memory of our beloved friend and colleague who suddenly passed away during the writing of this article. Abstract: This paper presents a multi-analytical investigation performed for the study of the ecclesi- astical vestment, with insignia, of Pope Pius VII, painted from the end of the 18th up to the beginning of the 19th century, made of five clothing elements: chasuble, stole, maniple, chalice veil and purse. The aim of this research was to assess the conservation state of the silk and painted backgrounds; to define the manufacturing technique of the work; to localize, if present, the underdrawing and any retouching; to identify the pigments and, where possible, the binders used. A diagnostic protocol was developed based on preliminary investigations through multiband imaging techniques known as MBI (visible, ultraviolet-induced visible luminescence (UVL), near-infrared reflected (NIR) and infrared reflected false color (IRRFC) photography). The images acquired with MBI techniques Citation: Magrini, D.; Bracci, S.; ensured a more specific choice of spots to be analyzed directly in situ by non-invasive techniques. In Iannaccone, R.; Nucci, L.; Salvadori, B. particular, portable digital optical microscopy and X-ray fluorescence (XRF) were performed. Two Chemical Characterization of Pope Pius VII Ancient Ecclesiastical Vestment by a fragments detached from the chasuble were also analyzed by microFT-IR, microRaman, scanning Multi-Analytical Approach. Heritage electron microscopy (SEM-EDS) and gas chromatography/mass spectrometry (GC-MS). Application 2021, 4, 1616–1638. https:// of the multi-analytical protocol enabled the materials used to be characterized and helped to define doi.org/10.3390/heritage4030090 the peculiar execution technique used. The presence of an underdrawing made with a carbon pencil was highlighted by MBI. Red lakes, iron-based pigments and copper-based pigments have been Academic Editors: Nikolaos Laskaris, identified on the painting palette, applied with arabic gum as a binder. Maria Kaparou and Artemios Oikonomou Keywords: liturgical vestment; chemical characterization; MBI; XRF; microFT-IR; microRaman; SEM-EDS; GC-MS Received: 22 June 2021 Accepted: 31 July 2021 Published: 6 August 2021 1. Introduction Publisher’s Note: MDPI stays neutral Several articles describe the characterization of ancient liturgical textiles, their man- with regard to jurisdictional claims in published maps and institutional affil- ufacturing process and dyeing techniques [1–13]. These studies are mainly devoted to iations. the characterization of the materials and are generally performed by micro-invasive an- alytical techniques [8–10,14]. This approach allows the identification of yarn types and the procedure used for preparation, both strictly related to the historical period. Despite the great interest in this kind of artifact, not many works are based on the application of non-invasive protocols [15–21]. Copyright: © 2021 by the authors. Ancient liturgical vestments are very often unique artworks; although several micro- Licensee MDPI, Basel, Switzerland. invasive techniques are available to investigate these objects, non-invasive methods should This article is an open access article distributed under the terms and always be preferred. In this way, the objects can survive and be left intact for future conditions of the Creative Commons generations. The non-invasive approach allows the examination of a virtually unlimited Attribution (CC BY) license (https:// number of measurements together with the possibility of performing the analysis in situ, creativecommons.org/licenses/by/ avoiding excessive handling of the object, in particular for very fragile artifacts. 4.0/). Heritage 2021, 4, 1616–1638. https://doi.org/10.3390/heritage4030090 https://www.mdpi.com/journal/heritage Heritage 2021, 4 1617 Heritage 2021, 4 FOR PEER REVIEW 2 TheThe liturgical liturgical set set under under study, study, shown shown in in Figure Figure1, 1, belongs belongs to to a descendenta descendent of of Pope Pope PiusPius VII, VII, count count Gregorio Gregorio d’Ottaviano d’Ottaviano Chiaramonti. Chiaramonti. TheThe setset is is made made up up of of five five clothing clothing elements:elements: chasuble, chasuble, stole, stole, maniple, maniple, chalice chalice veil veil and and purse. purse. It It is is a a rare rare example example of of a a chasuble chasuble andand its its accessories accessories made made in in the the eleven eleven years year froms from the the end end of theof the 18th 18 upth toup the to the beginning beginning of theof 19ththe 19 century,th century, after after the deaththe death of Pius of Pius VII [VII22]. [22]. Figure 1. Liturgical vestments analyzed (1795 e il 1806): (a1) recto of the chasuble; (a2) verso of the Figure 1. Liturgical vestments analyzed (1795 e il 1806): (a1) recto of the chasuble; (a2) verso of the chasuble; (b) purse; (c) chalice veil; (d1,d2) stole; (e) maniple. Credits Lucia Nucci. chasuble; (b) purse; (c) chalice veil; (d1,d2) stole; (e) maniple. Credits Lucia Nucci. TheThe neoclassic-style neoclassic-style decoration, decoration, painted painted on on pure pure silk silk ermesine, ermesine, was was created created by by the the priestpriest and and architect architect Saverio Saverio Caselli, Caselli, as as documented documented by by the the signature signature on on each each textile textile ele- ele- ment.ment. A A similar similar set set of of vestments vestments made made by by Caselli Caselli belongs belongs to to Victoria Victoria and and Albert Albert Museum Museum collections,collections, but but has has not not yet yet been been analyzed analyzed [ 23[23].]. The The decoration decoration of of the the five five handicrafts handicrafts is is similar,similar, but but not, not, however, however, identical identical in in all all the the pieces. pieces. It It consists consists of of very very refined refined geometric geometric patterns,patterns, organized organized around around a a Greek-style Greek-style freeze freeze with with sepia, sepia, grey grey and and green green tones, tones, and and insertedinserted squares squares in in which which flowered flowered garlands garlands and and ribbons ribbons of okraof okra gallons gallons are interwoven,are interwoven, re- ducingreducing the the rigidity rigidity of the of freeze.the freeze. These These three three components components are connected are connected with grey with elements grey ele- mimickingments mimicking sculpted sculpted figures. figures The composition. The composition of vegetal of vegetal garlands garlands varies invaries the differentin the dif- clothingferent clothing elements, elements, sometimes sometimes as a simple as a laurel simple motif laurel or motif with theor with addition the addition of flowers, of vineflow- leaves,ers, vine wheat leaves, sheaves, wheat ivysheaves, shoots, ivy pomegranate shoots, pomegranate branches branches or roses. or Each roses. element Each element has a differenthas a different symbolic symboli meaning.c meaning. The technique The technique used is a used preliminary is a preliminary drawing, underlineddrawing, under- with pastellined tonedwith pastel watercolors, toned watercolors, with grey, pink, with golden grey, pink, yellow golden andfaded yellow green and faded predominating. green pre- Thisdominating. type of decoration This type isof extremely decoration peculiar is extremely for ecclesiastical peculiar for clothes ecclesiastical dated to clothes this period. dated to thisA detailed period. description of the iconography, state of conservation and the conservative interventionA detailed is reported description in Appendix of the iconography,A. state of conservation and the conservative intervention is reported in Appendix A. 2. Materials and Methods 2. MaterialsA diagnostic and procedureMethods was developed in the conservation lab starting from a prelimi- nary inA situdiagnostic survey byprocedure portable was optical developed microscopy in the coupled conservation with photographic lab starting multibandfrom a pre- imagingliminary MBI in situ (VIS, survey UVL, by NIR, portable IRRFC) optical to provide microscopy a first recognitioncoupled with of photographic the state of conser- multi- vationband imaging of the unpainted MBI (VIS, and UVL, painted NIR, silkIRRFC) textiles to provide and to characterizea first recognition the materials of the state used of andconservation their distribution. of the unpainted Further and punctual painted analyses silk textiles were and performed to characterize by means the ofmaterials X-ray fluorescenceused and their (XRF). distribution. Two fragments Further detached punctual from analyses the chasuble were performed were also by analyzed means of in X the-ray laboratoryfluorescence by microFT-IR,(XRF). Two microRaman,fragments detached scanning from electron the chasuble microscopy were coupled also analyzed with energy in the dispersivelaboratory X-ray by microFT
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