Francisco de Zurbarán was one of the greatest painters of the Spanish Golden Age, with artworks scattered all over the world. Unfortunately, there are hardly any exhaustive studies on the pigments ...that he used. In this work, four canvas paintings attributed to the Zurbarán Workshop were studied. Each of them presents the figure of a different saint in a particular isolation scene: Saint Bruno, Saint Francis of Assisi, Saint Dominic of Guzman, and Saint Peter Martyr. Nevertheless, the painting of Saint Peter Martyr shows superior quality in both technique and colours, so it is not clear whether this canvas was also made by the Workshop or by Zurbarán himself, as some art historians claim. Coinciding with conservation and restoration works, the paintings were initially analysed with non-invasive techniques such as ultraviolet photography (UV), infrared reflectography (IRR) and X-ray fluorescence (XRF) to determine the characterization of the pigments. Those studies were complemented by stratigraphic analysis of some extracted samples with optical microscopy (OM) and scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX). Among a number of results obtained, we found significant differences between the pigment palette used in Saint Peter Martyr and the other paintings, supporting the hypothesis that this painting was done by Zurbarán himself instead of his workshop. These results could also help to distinguish other authentic paintings by the master's hand from very similar paintings by his workshop or by other artists.
Francisco Pacheco (1564–1644) was one of the most important Spanish painters, the author of the famous treatise Art of Painting, and a founder of Seville art school. His painting La Inmaculada (1610) ...forms part of the important art collection in the Archbishop’s Palace in Seville and represents the first realization of a new iconography, established by Pacheco. Later, he carried out several paintings with the same subject which are today in different collections. As part of a larger project, La Inmaculada was recently restored and analysed. The characterization of materials and painting procedures was carried out applying noninvasive in situ analysis by ultraviolet fluorescence (UVF), infrared reflectography (IRR), and X-ray fluorescence spectrometry (XRF). Results revealed many retouches, probably from different periods, as well as some pentimenti in the composition. Chemical analysis indicates a preparation made of Seville clay, lead white and some calcite on an animal glue layer, according to Pacheco’s own treatise, and a corresponding pigment palette for the 17th century: lead white, yellow and red earths, lead–tin yellow, vermilion, azurite, smalt, a copper-based green, umber, and bone black. Furthermore, modern pigments such as titanium and zinc whites, chrome green, and cadmium yellow were also identified as results of later interventions.
The material characterization of nineteenth-century artifacts is of great interest, due both to the breakthrough technological advances and to the unprecedented spread of forgeries of antiquities ...which took place in that period. However, this type of artifacts has been largely overlooked in the past. In this paper we present the compositional analysis of gold jewels by the Castellani, one of the most important families of goldsmiths in nineteenth-century Europe. The use of a portable micro-XRF spectrometer, specifically developed for jewellery analysis at the Centro Nacional de Aceleradores (Seville), allowed us to analyse, in a completely non-invasive way, the alloys, joining techniques and surface treatments of the jewels of the Castellani collection at the National Etruscan Museum of Villa Giulia in Rome. The addition to the spectrometer of a second X-rays detector with a zinc filter allowed us to check the possible presence of low amounts of cadmium, a metal added to gold soldering only from the nineteenth century and often used in authenticity studies. Moreover, the relative intensities of the Au X-ray lines were studied in order to check non-invasively the presence of surface enrichments in gold.
The Archbishop’s Palace of Seville harbours an important art collection with mostly works by great Renaissance and Baroque artists. However, the authorship of some paintings is unknown, and, in a few ...cases, there is an interest in discovering the painter due to the quality of the artwork. As a first step for this purpose, a systematic analysis procedure has been established using non-destructive techniques, such as UV photography and IR reflectography, to locate interventions and underpaintings, as well as X-ray fluorescence to identify original pigments and those of later interventions. The study following this established protocol is presented with the example of two paintings by unknown authors. They were made in different centuries representing, consequently, different styles. UV images showed several retouches, while IR reflectography revealed under-drawing and composition corrections (pentimenti). Furthermore, XRF identified the pigments applied in the production of the different colours and tonalities, allowing to characterise the artist’s palette, whose pigments generally agree with the dates when the artworks were produced. This study resulted in valuable information on painting materials and techniques, which will be useful in the search for authorships, among others.
With occasion of the “Murillo’s year” (fourth centenary of his birth), the Andalusian Institute for Cultural Heritage (Instituto Andaluz de Patrimonio Histórico) received the request from a private ...collector for the restoration and authentication of a
bozzetto
of the Murillo´s painting entitled
Moses and the water from the rock of Horeb
. During the intervention, several studies on the materials employed were carried out—on the
bozzetto
and on the final large dimension painting, to characterize the different components of the paintings (ground layer, pigments and binders), as well as to confirm/reject the authenticity of the
bozzetto
. After a detailed general inspection using multispectral techniques (visible, UV, IRR) some
pentimenti
were discovered. In addition, Macro X-ray fluorescence (MA-XRF) scanning technique was performed, complemented by point XRF and stratigraphic analyses. The results show that the ground layers were prepared in the usual fashion of the artist, using earths, calcium carbonate, iron oxide pigments and white lead. MA-XRF mapping allowed determining the spatial distribution and the combination of these pigments along the surface of both paintings. Results show that canvas, priming, binders, pigments and painting techniques of the
bozzetto
are compatible with those of the original painting, so we can conclude that most likely this is the original Murillo’s
bozzetto
.
Not many manuscript maps have been the object of material analysis so far. A portolan chart, signed and dated by Juan Vespucci in 1520, was studied in this research, conserved at the Archivo General ...de Indias in Seville (Spain). It is made on parchment and depicts the coasts and islands of Europe and Africa. It is the oldest portolan chart made in Seville, being unusual in applying hand stamp for decorative figures. The map was analysed by different non-invasive techniques: infra-red and ultraviolet light, digital microscope and X-ray fluorescence (XRF). The main goals of this study were to identify the materials used, as well as to detect retouching or restoration work. Results showed that the entire parchment was first covered with a white layer made of lead white (Pb), calcite or gypsum (Ca). The principal pigments used were vermilion (Hg), yellow ochre (Fe), azurite (Cu) and a copper-based green pigment (Cu) and carbon black. The letters were probably written with an iron-gall ink (Fe, Cu). Very thin golden leaves were applied on a mixtion glue for gilded wind roses. Several retouches from the 19th/20th centuries were found using zinc and titanium whites and probably cobalt blue.
During the recent restoration of two large‐dimension paintings by Murillo, entitled “Miracle of the loaves and fishes” and “Moses and the water from the rock of Horeb,” several studies about the ...materials employed for their execution were carried out. Macro X‐ray fluorescence scanning technique was performed on both works complemented by point X‐ray fluorescence and stratigraphic analyses, in order to characterize the different components of the paintings (i.e., ground layer, pigments, and binders). The results allowed us to better elucidate Murillo painting technique and his creative process. Ground layer was prepared in the usual fashion of the artist, using earths, calcium carbonate, iron oxide pigments, and white lead. The polichromy is composed of lead white mixed with various pigments, depending on the colour tone to be obtained in the pictorial composition: Red and yellow ochres, vermilion, azurite, smalt, and lead‐tin yellow were the main pigments identified during our study. Finally, the presence of previous conservation treatments was evidenced by detecting pigments (zinc white, Prussian blue, etc.) not coeval with the artist palette.
Confocal micro X-ray fluorescence (CXRF) is gaining considerable interest due to its ability to provide compositional and spatial information that are typically obtained using standard micro-invasive ...and/or micro-destructive techniques (e.g., SEM-EDX), without the need of sampling. In this work, the specifics of the new CXRF device named μXRF-CONCHA from the Centro Nacional de Aceleradores of the University of Seville will be presented. The development of this equipment is intended to the study in situ of paintings in order to obtain depth profiles of pictorial layers by a no-destructive way. This investigation consists in studying the viability of this device for the study of pictorial layers of old paintings. The challenge consists in determining if the results obtained allow distinguishing the sequence of the paint layer and their composition. Several experimental paint multilayers have been analyzed to evaluate this setup. This paper shows that μXRF-CONCHA will be able to provide important information in order to understand and interpret the choice, palette, and technique of painters from the past.
•Non-destructive in situ portable CXRF setup was built for the study of old paintings.•The CXRF technique consists of the placement of a polycapillary X-ray lens at the exit of micro-focus X-ray tube and a polycapillary lens at the entrance of the X-ray detector.•Lateral and depth resolutions of the μXRF-CONCHA was characterized.•A series of experimental paint multilayers made like that of old paintings were prepared and studied successfully with the μXRF-CONCHA setup.•It shows that CXRF provides complementary results to the classical extraction of stratigraphic micro-samples.
The Alcazaba de Almería is one of the most impressive mediaeval remains in Al-Andalus. Its defensive walls are expression of the economic and strategic relevance of Almeria City during middle Ages. ...In the course of archaeological excavations in this monumental area, several glazed ceramic remains were found in the palatine area so-called second enclosure. They are dated back between the 10th and the 15th centuries and correspond to small fragments on which different decorative techniques can be identified: green and manganese, green glazed, cuerda seca total, Nazarí Black and White, lustreware and blue and lustre earthenware. Although only seven samples out of 35 selected samples have been analyzed, their interest lie on that they are the first analytical approach to the ceramics of this important archaeological site and the group is representative some of most typical decorative procedures employed in Al-Andalus.
The combination of ion beam and nuclear non-destructive analytical techniques performed on these ceramics have allowed the discussion on several aspects of the production technology, as the use of raw materials, and the degradation processes suffered by them. Glaze composition is discussed first. It is characterized by high values of Pb, Sn, Na, K and Mg. Chromophores are identified and some raw materials are discarded (psilomelane for manganese black) or proposed (absolite, skutterudite and trianite for blue). Secondly, the most degraded samples are found to be characterized by high values of Cl, in an inverse relation with the content of Si. The surface of two samples with lustre decorations, one with Cu particles and one with Cu+Ag particles, are studied finding a progressive decrease of Pb in the surface. Finally, the pastes of the samples are characterized by high values of Ca with respect to other ceramics of the area. Similar values are found in ceramics from Manises and Sevilla. The case of a possible imported sample is also discussed.
•First analytical approach to the glazed ceramics from Almeria (Spain), 10-15th CE, using IBA and micro-XRF techniques.•Representative group of some of most typical decorative procedures employed in Al-Andalus.•Results show high values of Ca and Al, and low values of Si in the pastes. Similarities are found with samples from Manises.•Blue, green and black glaze chromophores are identified and some raw materials are discussed.•Lustre samples surfaces are affected by depletion in Pb. Lustres are characterized by Cu particles and by Cu+Ag particles.
