ABSTRACT
This study focused on identifying the effect of the laser wavelengths used in cleaning some manifestation damage appearing in pigments used on archaeological cartonnage preserved in the Egyptian Museum, Egypt. The manifestations of damage appear as mud, resin, color, dust and microbiological damage stains. Lasers were chosen as one of the modern applications that give good results when cleaning the pigment materials without making direct contact with the material. Accordingly, lasers with a wavelength of 532 and 1064 nm were tested to identify their effect on stains caused by pigments and to choose the best one for use in cases similar to those materials in the future. This study was conducted to identify the effect of the selected wavelengths and choose the best ones to apply to the archaeological model. The evaluations were conducted using several tests and analyses, such as digital microscopy, X-ray florescence, Fourier transform infrared spectroscopy, and Handy colorimetry to evaluate that effect of lasers with a wavelength of 532 and 1064 nm to remove stains. The experimental study demonstrated the good effect of the Nd:YAG laser with a wavelength of 1064 nm compared with that of the 532 nm laser. The results of using the Nd:YAG laser proved the good effect of removing all stains compared with the 532 nm laser, which caused big changes when used to clean the stains on the pigment's surfaces; it also did not help in removing or reducing some stains such as mud stains. According to these results, the good effect of the Nd:YAG laser (1064 nm) make it more suitable for cleaning than that of the Nd:YAG laser (532 nm), which is not recommended for use as it gave bad results when applied.
ABSTRACT
The discovery of an oil painting in seriously damaged condition with an important historical and a heterodox detail with possible origins in the late fifteenth century has afforded the opportunity for Raman microscopic analysis prior to its restoration being undertaken. The painting depicts a risen Christ following His crucifixion in a 'noli me tangere' pose with three women in an Italian terrace garden with a stone balustrade overlooking a rural landscape and an undoubted view of late-medieval Florence. The picture has suffered much abuse and is in very poor condition, which is possibly attributable to its controversial portrayal of a polydactylic Christ with six toes on His right foot. By the late sixteenth century, after the Council of Trent, this portrayal would almost certainly have been frowned upon by the Church authorities or more controversially as a depiction of the holy. Raman spectroscopic analysis of the pigments places the painting as being consistent chronologically with the Renaissance period following the identification of cinnabar, haematite, red lead, lead white, goethite, verdigris, caput mortuum and azurite with no evidence of more modern synthetic pigments or of modern restoration having been carried out. An interesting pigment mixture found here is that of the organic dye carmine and cinnabar to produce a particular bright red pigment coloration. Stratigraphic examination of the paint fragments has demonstrated the presence of an orange resin layer immediately on top of the canvas substrate, effectively rendering the pigment as a sandwich between this substratal resin and the overlying varnish. The Raman spectroscopic evidence clearly indicates that an attribution of the artwork to the Renaissance is consistent with the scientific analysis of the pigment composition.This article is part of the themed issue 'Raman spectroscopy in art and archaeology'.