Study of the frescoes in Ioneştii Govorii wooden church (Romania) using multi-technique investigations

Multitechnique Characterization of Pigments Used in Paintings by Léon Pallière

This study provides a microanalytical characterization of pigment fragments from the painting "Allegory to the Arts" and two portraits, "Rubens" and "Tintoretto," by Léon Pallière. The fragments were surface-analyzed using several near-surface methods to acquire information on the materials and determine the painting techniques utilized before the restoration. Scanning electron microscopy/energy-dispersive X-ray spectrometry (SEM/EDS), Raman spectroscopy coupled to an optical microscope (Raman microprobe), X-ray diffraction (XRD), and Fourier transform infrared spectroscopy (FTIR) revealed organic materials, hydrocerussite (Pb3(CO3)2(OH)2), cerussite (PbCO3), zincite (ZnO), chalcopyrite (CuFeS2), nepheline (K(Na,K)3AlSi4O16), calcite (CaCO3), brookite (TiO2), kinoshitalite (Ba3(Si2Al2)O10(OH)2), hematite (Fe2O3), barium magnesium silicate (Ba2Mg(Si2O7)), and aluminosilicates. Also identified were vermilion/cinnabar (HgS), copper phthalocyanine blue (C32H16CuN8), and mendipite (Pb3Cl2O2), in addition to the use of gold leaf in one of the artworks. SEM/EDS provided information on the chemical composition and surface morphology of the fragments, and XRD revealed crystalline raw materials (minerals or their synthetic analogs) used in the paintings. Raman microprobe was particularly useful in identifying pigments, providing a uniquely specific and sensitive means of identifying inorganic and organic compounds.

Microbiological, Health and Comfort Aspects of Indoor Air Quality in a Romanian Historical Wooden Church

Monitoring the indoor microclimate in old buildings of cultural heritage and significance is a practice of great importance because of the importance of their identity for local communities and national consciousness. Most aged heritage buildings, especially those made of wood, develop an indoor microclimate conducive to the development of microorganisms. This study aims to analyze one wooden church dating back to the 1710s in Romania from the microclimatic perspective, i.e., temperature and relative humidity and the fungal load of the air and surfaces. One further aim was to determine if the internal microclimate of the monument is favorable for the health of parishioners and visitors, as well as for the integrity of the church itself. The research methodology involved monitoring of the microclimate for a period of nine weeks (November 2020–January 2021) and evaluating the fungal load in indoor air as well as on the surfaces. The results show a very high contamination of air and surfaces (>2000 CFU/m³). In terms of fungal contamination, Aspergillus spp. (two different species), Alternaria spp., Cladosporium spp., Mucor spp., Penicillium spp. (two different species) and Trichopyton spp. were the genera of fungi identified in the indoor wooden church air and Aspergillus spp., Cladosporium spp., Penicillium spp. (two different species) and Botrytis spp. on the surfaces (church walls and iconostasis). The results obtained reveal that the internal microclimate not only imposes a potential risk factor for the parishioners and visitors, but also for the preservation of the wooden church as a historical monument, which is facing a crisis of biodeterioration of its artwork.

A pXRF In Situ Study of 16th–17th Century Fresco Paints from Sviyazhsk (Tatarstan Republic, Russian Federation)

Twenty frescoes from “The Assumption” Cathedral located in the island town of Sviyazhsk (Tatarstan Republic, Russian Federation)—dated back to the times of Tsar Ivan IV “the Terrible”—were chemically analyzed in situ with a portable X-ray fluorescence (pXRF) spectrometer. The investigation focused on identifying the pigments and their combinations in the paint recipes. One hundred ninety-three micropoints randomly chosen from the white, yellow, orange, pink, brown, red, grey, black, green, and blue areas were measured for major and minor elements. The compositional types separated within each color indicate different recipes. The statistical processing of the data unveiled the most important oxides (CaO, MgO, Fe2O3, PbO, SO3, Sb2O3, Al2O3, SiO2, and P2O5) and their relationships. The results allowed to infer the mineral composition of the paints, and, hence, the recipes used by the Russian artisans. Slaked lime and slaked dolomitic lime mixed with variable amounts of “antimony white” and “bone white” were used for white, pink, yellow, and orange paints and for preparing a basic batch for all other colors. Mostly yellow ochre, red ochre, and lead minerals, and occasionally blue ochre, green earth, realgar, orpiment, bone black, galena, stibnite, and magnetite were the pigments involved in various amounts in preparing the paints.