Spectroscopic analysis of XIV century wall paintings from Patriarchate of Peć Monastery, Serbia

The Church of the Holy Mother of God Hodegetria in Peć is decorated with wall paintings that date from the beginning of the 14th century. In terms of style they correspond to Byzantine wall paintings from the epoch of Paleologos. The painting technique and pigment pallete has been examined on micro...

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Published inSpectrochimica acta. Part A, Molecular and biomolecular spectroscopy Vol. 191; pp. 469 - 477
Main Authors Marić-Stojanović, M., Bajuk-Bogdanović, D., Uskoković-Marković, S., Holclajtner-Antunović, I.
Format Journal Article
LanguageEnglish
Published England Elsevier B.V 15.02.2018
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Summary:The Church of the Holy Mother of God Hodegetria in Peć is decorated with wall paintings that date from the beginning of the 14th century. In terms of style they correspond to Byzantine wall paintings from the epoch of Paleologos. The painting technique and pigment pallete has been examined on micro fragments in thin cross-sections by means of optical microscopy (OM), scanning electron microscopy-energy dispersive X-ray spectroscopy (SEM-EDS) and micro- Raman spectroscopy. Use of the fresco technique and two supporting plaster layers was noted on the majority of samples, while in large blue painted areas, a combination of fresco and secco techniques was used. The SEM-EDS results showed the presence of Ca as the main component of plaster besides the traces of Si and Mg. In some samples egg white as a binder was identified. The paint film is often multilayered. Twelve pigments were identified, mainly natural earth pigments such as red ochre, yellow ochre and green earth. A mixture of pigments was used for attaining desirable optical and aesthetical impressions. As decay product only weddelite was detected in many preparatory and painted samples. [Display omitted] •Multi-analytical identification of preparatory layer and pigments of wall paintings•Micro-Raman, FT-IR, SEM-EDS and optical microscopy were used to analyze ancient samples.•Fresco and the combination of fresco and secco techniques were observed.•The artist's palette was exceptionally limited; mainly natural pigments were identified.
ISSN:1386-1425
1873-3557
DOI:10.1016/j.saa.2017.10.043