Mapping pigments and binders in 15th century Gothic works of art using a combination of visible and near infrared hyperspectral imaging

Material Characterisation of William Burges' Great Bookcase within the Disruption of a Global Pandemic

This contribution presents the results of a technical investigation on the pigments of William Burges' Great Bookcase (1859-62), preserved at the Ashmolean Museum. It is the first thorough material investigation of a remarkable piece of Gothic Revival painted furniture, notably an artwork by Burges, whose work has so far received little attention from a technical point of view. This study was developed during the Covid-19 pandemic, which significantly affected the planned research activities since the investigation relied extensively on collaborations with institutions within and beyond the University of Oxford. The disruption caused by the lockdown and other restrictions went far beyond any prediction and led us to redefine the project's outcome and methodology 'on the fly' while maintaining its overall vision. However, thanks to the timeliness of a substantial research grant received from the Capability for Collection Fund (CapCo, Art and Humanities Research Council), we could ultimately turn this research into a unique opportunity to test the potential of recently acquired instruments, namely the Opus Apollo infrared camera and the Bruker CRONO XRF mapping spectrometer. Therefore, besides reporting on the findings, this contribution outlines the strategy adopted and assesses the new equipment's capability for the non-invasive analysis of complex polychromies.

Artificial Intelligence for Pigment Classification Task in the Short-Wave Infrared Range

Hyperspectral reflectance imaging in the short-wave infrared range (SWIR, “extended NIR”, ca. 1000 to 2500 nm) has proven to provide enhanced characterization of paint materials. However, the interpretation of the results remains challenging due to the intrinsic complexity of the SWIR spectra, presenting both broad and narrow absorption features with possible overlaps. To cope with the high dimensionality and spectral complexity of such datasets acquired in the SWIR domain, one data treatment approach is tested, inspired by innovative development in the cultural heritage field: the use of a pigment spectral database (extracted from model and historical samples) combined with a deep neural network (DNN). This approach allows for multi-label pigment classification within each pixel of the data cube. Conventional Spectral Angle Mapping and DNN results obtained on both pigment reference samples and a Buddhist painting (thangka) are discussed.

Monitoring UV-accelerated alteration processes of paintings by means of hyperspectral micro-FTIR imaging and chemometrics

We explored the potential of infrared hyperspectral microimages to investigate the alteration of organic binders in pictorial layers after artificial UV light ageing. A set of paint mockups was prepared considering three different binders, namely, rabbit glue (a collagen-based proteinaceous binder), linseed oil (representative of drying oils) and egg tempera (a mixture of egg yolk and linseed oil). Four pigments (vermilion, orpiment, azurite and lead white) were considered in order to investigate the influence of pigment-binder interaction, following color changes by means of fiber optic reflectance spectroscopy (FORS). FTIR micro-images provided a representative picture of the complex and heterogeneous structure of paintings since each pixel contained the whole spectrum of the sample area from it was recorded. Principal component analysis (PCA) was used to analyze the FTIR images data in order to extract useful information about spectral changes taking place during UV induced ageing. Significant trends were observed, mainly depending on the binders and their degradation as a consequence of UV exposition in this pilot study on model samples. Several processes, such as the oxidation of proteins with the formation of carbonyl moieties and changes in amide band positions have been detected in the case of rabbit skin glue. The evaporation of linseed oil, probably due to the breakdown of the triacylglycerols, has been noticed for the binder alone but not when it was mixed with the pigments. In these cases, other spectral features depending on the pigment have been observed in the loading plots upon oxidation, namely the broadening of the carbonyl band, the appearance of carboxylic and dicarboxylic acids and the formation of metal carboxylates. For egg tempera, the main changes detected were related to the oxidation of lipidic components present in egg yolk fraction. Furthermore, in this case, the trend observed in the score graphs suggested that the presence of lead white accelerates its oxidation. It is interesting to note the major stability of the colored pigments when using this binder.

Surface and Interface Treatments on Wooden Artefacts: Potentialities and Limits of a Non-Invasive Multi-Technique Study

Wooden artefacts embrace wide-ranging types of objects, like paintings on panel, sculptures, musical instruments, and furniture. Generally, in the manufacturing process of an artwork, wood is firstly treated with organic and inorganic materials to make it nonporous and morphologically homogeneous, and, at last, the surface treatment consists of varnishes or coatings applied with the aims of conferring aesthetic properties and protecting wood from biological growth and external degradation agents, as well as mechanical damage. In this work, different wooden mock-ups were prepared by varying some parameters: concentration of filler and pigment, respectively, in the ground and paint layers, thickness of the protective varnish coat, and sequence of the layers. The mock-ups were subsequently exposed to time-varying artificial aging processes. The multi-analytical non-invasive approach involved spectroscopic (reflection FT-IR, Raman, and X-ray fluorescence), tomographic (optical coherence tomography) and colorimetric techniques. Data were interpreted using both univariate and multivariate methods. The aim was to evaluate potential and limits of each non-invasive technique into the study of different stratigraphies of wooden artworks. This approach was supported by microscopic observations of cross-sections obtained from selected mock-ups. The methodological approach proposed here would add valuable technical know-how and information about the non-invasive techniques applied to the study of wooden artworks.