8 resultados para micro-raman spectroscopy

em Repositório Científico da Universidade de Évora - Portugal


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In archaeometry, the advantages of a combined use of Raman spectroscopy and X-ray fluorescence spectroscopy are extensively discussed for applications such as the analysis of paintings, manuscripts, pottery, etc. Here, we demonstrate for the first time the advantage of using both techniques for analysing glyptics. These engraved gemstones or glass materials were originally used as stamps, to identify the owner, for instance on letters, but also on wine vessels. For this research, a set of 64 glyptics (42 Roman glass specimens and 22 modern ones), belonging to the collection of the museum ‘Quinta das Cruzes’ in Funchal (Madeira, Portugal), was analysed with portable Raman spectroscopy and handheld X-ray fluorescence (hXRF). These techniques were also used to confirm the gemological identification of these precious objects and can give extra information about the glass composition. Raman spectroscopy identifies the molecular composition as well as on the crystalline phases present. On the other hand, hXRF results show that the antique Roman glass samples are characterised with low Pb and Sn levels and that the modern specimens can be discriminated in two groups: lead-based and non-lead-based ones.

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Este trabalho de investigação centra-se no contributo dos exames de superfície e nas análises micro-analíticas no estudo de vinte e uma pinturas atribuídas à oficina de Frei Carlos, um dos grandes Mestres Luso-Flamengos ativos em território Nacional durante a primeira metade do século XVI. A "Pintura Luso-Flamenga" é uma expressão comummente usada na história da pintura Portuguesa do primeiro terço do século XVI e no seu sentido mais básico designa o trabalho de mestres flamengos que se instalaram em Portugal durante o reinado de D. Manuel I (1495- 1521) contribuindo decisivamente para o processo de renovação da pintura Portuguesa na época. O estudo integrado combina a pesquisa histórica em fontes documentais com exames de superfície e de caracterização material das obras de arte. O estudo material das pinturas foi realizado através de microscopia ótica, microscopia de infravermelhos com transformada de Fourier, espectroscopia de micro-Raman, microscopia eletrónica de varrimento acoplada com espectrometria de energia dispersiva de raios X, micro- difração de raios-X, cromatografia líquida de alta eficiência e pirólise acoplada à cromatografia gasosa /espectrometria de massa. Esta investigação envolveu técnicas complementares de análise de superfície e de ponto no estudo técnico e material das preparações, imprimitura, desenho subjacente, camadas pictóricas e sucessões estratigráficas, dando a conhecer os materiais utilizados na execução técnica das pinturas e evidenciando especificidades técnicas da produção artística. Este estudo pretende inclusivamente evidenciar alguns detalhes técnicos do artista que possivelmente estão relacionados com a herança das práticas Flamengas. O conhecimento de algumas particularidades da técnica deste Mestre também permitiu estabelecer comparações com duas pinturas que haviam sido atribuídas, com algumas reservas, a esta oficina de pintura Luso-Flamenga. Mais recentemente, como resultado de um estudo colaborativo, foi realizada uma ampla campanha de reflectografia infravermelhos, introduzindo novos dados acerca da execução técnica do desenho subjacente, o que contribuiu para diferenciar, nestas duas pinturas, outra "mão", atribuída então a um seguidor de Frei Carlos. Esta investigação introduz um novo e profundo conhecimento sobre a Oficina de Frei Carlos, permitindo estabelecer comparações com a obra do seu seguidor e com uma pintura também atribuída a esta oficina e que incorpora o Museu da National Gallery (NG5594), evidenciando os materiais utilizados na técnica de produção artística e especificidades técnicas aliadas aos processos criativos/ construtivos que permitem estabelecer os pontos de contacto e de diferenciação entre estas obras; Varieties and styles in the works attributed to Frei Carlos - new perspectives Abstract: This investigation is focused on the contributions of surface exams and micro-analytical research in the study of twenty one paintings attributed to Frei Carlos workshop, one of the most important Portuguese-Flemish painters active in our country during the first half of sixteen Century. "Portuguese-Flemish Painting" is a common expression used in the history of Portuguese painting of the first third of the sixteenth century and in its most basic meaning designates the work of Flemish masters who settled in Portugal during the reign of King Manuel I (1495-1521) contributing decisively to the process of renewal of Portuguese painting at the time. The integrated approach combines historical research on documental sources with surface examination and material characterization of the paintings by using state-of-art analytical techniques. Microanalysis was carried out by optical microscopy, micro-Fourier-transform infrared-spectroscopy, micro-Raman spectroscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry, micro-X-ray diffraction analysis, high performance liquid chromatography and Pyrolysis gas chromatography mass spectrometry. This complementary surface and analytical research was involved in the technical and material characterization of grounds, underdrawings, primings, paint layers and its multi-layered build-up, providing access to the painter´s materials used in the technical execution of the paintings and details of the technique of artistic production. This study also intends to expose some usual details of the artist’s technique which are possibly related to the Master´s Flemish influence. The knowledge of some particularities of the Master´s technique also allowed a new comparison with two paintings that had been attributed with some reserves to this Portuguese-Flemish workshop. More recently, as a result of a collaborative study, an extensive infrared reflectography campaign was made, giving new data concerning underdrawings technical execution and contributing to differentiate, in these two paintings, another “hand”, attributed to a follower of Frei Carlos. Complementary analytical research also added a new and deep insight into Frei Carlos workshop, his follower and a panel that still attributed to Frei Carlos workshop that integrates the National Gallery´s Museum (NG5594), evidencing the materials used in technical production, their models and sources of artistic inspiration, techniques and pictorial construction procedures that could specifically relate or distinguish between them.

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Neste trabalho foram estudadas quatro espécies fotográficas, dois ambrótipos do séc. XIX e dois negativos de gelatina do séc. XX. Estas espécies são suscetiveis a degradações, físicas, químicas e microbiológicas. Técnicas de análise não destrutivas como, a fotografia, a microscopia ótica, a microscopia eletrónica de varrimento e espetroscopia de raios-X por dispersão em energias, a micro-espetroscopia de infravermelho em modo de reflexão total atenuada, a micro-espetroscopia de Raman e a micro-difração de raios-X foram utilizadas na caracterização material. A colonização microbiológica das amostras foi estudada através do isolamento e caracterização dos microrganismos contaminantes. Foram ainda realizados estudos de determinação de atividade celulolítica para os isolados fúngicos provenientes dos ambrótipos bem como ensaios de simulação, nos quais se utilizaram estes isolados para induzir contaminação em ambrótipos contemporâneos e assim avaliar o seu potencial biodeteriogénico. Foi ainda avaliado o potencial biodeteriogénico de isolados bacterianos em negativos de gelatina contemporâneos; Abstract: Material and microbiological characterization of photographic specimens This work presents a scientific study of four photographic specimens, two ambrotypes and two gelatin-silver negative plates from 19th and 20th century, respectively. These specimens are susceptible to physical, chemical and microbiological degradations. A non-destructive approach was used based on techniques such as technical photography, optical microscopy, scanning electron microscopy, infrared micro-spectroscopy, micro-Raman spectroscopy and X-rays micro-diffraction. Microbiological colonization of the samples was studied by isolation and characterization of the contaminating microorganisms. Studies to evaluate cellulolytic activity of fungal isolates from the ambrotypes were carried out and also simulation assays in which were used these isolated to induce contamination in contemporary ambrotypes were done to evaluate their biodeteriogenic potential. It was also studied the biodeteriogenic potential of the bacterial isolates from gelatin-silver negative plates which were subsequently inoculated in contemporary gelatin-silver negatives.

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This article reports the preliminary results of a technical and material study carried out on a 17th century panel painting located at the Chapel of the Souls in the main church of Vila Nova da Baronia (30 km away from Evora city, in southern Portugal). This painting is attributed to Jose the Escovar, a painter that worked for Evora Archiepiscopate between 1583 and 1622. Jose the Escovar is known by his mural paintings all across the Alentejo region. This is the first time that a panel painting made by this artist was studied. Analytical methods used included in situ technical photography (visible (Vis), raking light (RAK), infrared (IR), and ultraviolet (UV)), optical microscopy of cross sections, scanning electron microscopy with energy dispersive X-ray spectrometry (SEM-EDS), micro Raman spectroscopy, and micro Fourier transform infrared spectroscopy (m-FT-IR). The goal was to ascertain the techniques and colored materials used by Escovar on this painting so that the data can be used in future comparisons with others works attributed to this painter based on stylistic aspects.

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Grego´rio Lopes (c. 1490–1550) was one of the most prominent painters of the renaissance and Mannerism in Portugal. The painting “Mater Misericordiae” made for the Sesimbra Holy House of Mercy, circa 1535–1538, is one of the most significant works of the artist, and his only painting on this theme, being also one of the most significant Portuguese paintings of sixteenth century. The recent restoration provided the possibility to study materially the painting for the first time, with a multianalytical methodology incorporating portable energy-dispersive X-ray fluorescence spectroscopy, scanning electron microscopy–energy-dispersive spectroscopy, micro-X-ray diffraction, micro-Raman spectroscopy and high-performance liquid chromatography coupled to diode array and mass spectrometry detectors. The analytical study was complemented by infrared reflectography, allowing the study of the underdrawing technique and also by dendrochronology to confirm the date of the wooden panels (1535–1538). The results of this study were compared with previous ones on the painter’s workshop, and significant differences and similitudes were found in the materials and techniques used

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This paper focusses on the study of the underdrawings of 16th century easel paintings attributed to the workshop of the Portuguese-Flemish Master Frei Carlos. This investigation encompasses multidisciplinary research that relates the results of surface exams (infrared reflectography, standard light photography and infrared photography) with analytical investigations. The surface analysis of Frei Carlos’ underdrawings by infrared reflectography has shown heterogeneous work, revealing two different situations: (1) an abundant and expressive underdrawing, revealing a Flemish influence and (2) a simple and outlined underdrawing. This preliminary research raised an important question related to this Portuguese-Flemish workshop and to the analytical approach: Is the underdrawing's heterogeneity, as observed in the reflectograms, related to different artists or is this rather an effect that is produced due to the use of different materials in the underdrawing's execution? Consequently, if different materials were used, how can we have access to the hidden underdrawings? In order to understand the reasons for this dissemblance, chemical analysis of micro-samples collected in underdrawing areas and representing both situations were carried out by optical microscopy, micro Fourier transform infrared spectroscopy (μ-FTIR), scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDX) and micro-Raman spectroscopy (μ-Raman). Taking into account the different possibilities and practical and theoretical limitations of surface and punctual examinations in the study of easel painting underdrawings, the methodology of research was adjusted, sometimes resulting in a re-analysis of experimental results. This research shows the importance of combining multispectral surface exams and chemical analysis in the understanding of the artistic creative processes of 16th century easel paintings.

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This paper presents the results of a multidisciplinary and multi-analytical study of the amber beads, red pigments, lithic arrowheads and selected ceramics from the Museum of Évora’s collection of the Zambujeiro Dolmen. Amber beads were studied by Attenuated Total Reflectance Fourier Transformed Infrared Spectroscopy (ATR-FTIR) and Pyrolysis coupled to Gas Chromatography and Mass Spectrometry (Py-GC/MS) to confirm their chemical nature and provenance. The red pigments, frequently found in funerary Neolithic context of the Iberian Peninsula, were studied with micro-Raman, and Scanning Electron Microscopy coupled to Energy Dispersive X-Ray Spectroscopy (SEM-EDS) to identify their chemical nature and provenance. The lithic arrowheads were analysed by portable X-Ray Fluorescence (p-XRF), micro X-Ray Diffraction (XRD), SEM-EDS, and Laser Ablation Inductively Coupled Plasma Mass Spectrometry (LA-ICP-MS). The ceramic materials were studied to infer provenance and production technology by p-XRF, XRD and SEM-EDS; ceramic contents were evaluated by GC/MS. The studies have shown that while some materials travel hundreds or thousands of kilometres to arrive to the Zambujeiro Dolmen, local materials were also used in the items selected by the communities to honour their deceased.

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The micro-chemical/mineralogical composition of samples of grey-paste imitations of Italic Late Republican black gloss tableware displaying a particular kind of lozenge-shaped decoration (“Losanga pottery”) from Portuguese and Spanish archaeological sites in SW Iberia has been analysed by BSEM + EDS, μXRD, Powder XRD, Portable XRF and μRaman spectroscopy. “Losanga” decorated ceramics have been found throughout the Western Mediterranean. Most of the sherds display a green-brown to greyish-black engobe at the surface resembling the gloss found in Attic pottery from Classical Greece. The overall chemical, mineralogical and fossiliferous homogeneities of the ceramic paste show common features (low K-feldspar/plagioclase ratio, high Ca content, abundance of well-preserved fragments of foraminifera microfossils) that indicate low firing conditions in the kiln ranging from 650 to 900 °C. With respect to the ceramic body, analytical results confirm an enrichment in the surface gloss layer of iron, potassium and aluminium and a depletion in silicon and calcium; the very fine grain size of the surface coating suggests elutriation of iron oxide-rich clays as confirmed by the presence of magnetite, maghemite and goethite in μ-XRD scan. Chemical and mineralogical data also suggest that the firing process was performed in a 600–850 °C temperature range, adopting the well-known technique of alternating oxidizing and reducing firing conditions largely employed at the time. The analytical results, while compatible with the archaeological hypothesis of a common provenance of the raw materials for pottery production from the Guadalquivir valley workshops cannot be considered conclusive due to the similarity in the geological substrate in the two SW Iberian regions under study.