A diagnostic study on folium and orchil dyes with non-invasive and micro-destructive methods

Canvas Painting Analysis Using Spectroscopic Analysis and Microcharacterisation Techniques

Raman spectroscopy is a well-recognised tool for the analysis of materials in canvas paintings. However, it can be difficult to interpret the peaks of the spectra without the additional context of the artwork such as the age, provenance, or colour. Reflectance spectrophotometry can be used to capture the colour of pigments, dyes, and lacquers, but is seldom used to complement Raman data. Additionally, reflectance spectrophotometry results can be influenced by the surface profile of the painting. To overcome these limitations, this work brings together three different analysis modalities to provide a singular, analytical map of the artwork. Raman spectroscopy was used to conduct the chemical identification of pigments, binding media, and varnish present in a synthetic painting sample. Reflectance spectrophotometry was applied to obtain colour information of the surface paint of the sample. Three-dimensional optical profilometry data was used to characterise the micro topology of the paint surface. These three data sets were spatially matched allowing the recorded spectroscopic data to be displayed with the corresponding colour and surface topography across the paint surface.

The dependence of the spectroscopic properties of orcein dyes on solvent proticity: insights from theory and experiments

The electronic spectral properties of α-hydroxy-orcein (α-HO), one of the main components of the orcein dye, have been extensively investigated in solvents of different proticity through UV-Vis spectrophotometry combined with DFT and TDDFT calculations. The results highlight the occurrence of an acid-base equilibrium between the neutral (absorption maximum at 475 nm) and the monoanionic (absorption maximum at 578 nm) forms of the molecule. The position of this equilibrium was found to be sensitively dependent on solvent proticity, solution concentration and pH. Quantum mechanical calculations support the rationalization of the experimental data, confirming the key role of the protic solvent in shifting the acid-base equilibrium, through the establishment of hydrogen bond interactions on specific functional groups of the dye. Both deprotonation and dye coordination with protic solvent molecules determine the reduction of the HOMO-LUMO energy gap (0.71 eV), that can be related with the bathochromic effect envisaged both experimentally (0.59 eV) and theoretically (0.50 eV).

Integrating liquid chromatography mass spectrometry into an analytical protocol for the identification of organic colorants in Japanese woodblock prints

Three Japanese woodblock prints from the Edo period (1603–1868) underwent a scientific investigation with the aim of understanding the changes in the colorants used in Japanese printing techniques. A multi-analytical approach was adopted, combining non-invasive techniques, such as fiber optic reflectance spectroscopy (FORS), Raman spectroscopy, multispectral imaging (MSI), and macro X-ray fluorescence (MA-XRF) with minimally invasive surface-enhanced Raman spectroscopy (SERS). The results enabled many of the pigments to be identified and their distribution to be studied, apart from two shades of purple of organic composition. Consequently, the potential of high-pressure liquid chromatography tandem mass spectrometry (HPLC–MS/MS) was explored for the first time with application to Japanese woodblock prints. The intrinsic sensitivity of the instrument and an effective extraction protocol allowed us to identify a mixture of dayflower (Commelina communis) blue and safflower (Carthamus tinctorius) red in purple samples constituted of 2–3 single fibers. In addition to the innovative integration of MA-XRF and HPLC–MS/MS to investigate these delicate artworks, the study concluded on the use of traditional sources of colors alongside newly introduced pigments in late Edo-period Japan. This information is extremely important for understanding the printing practices, as well as for making decisions about display, conservation, and preservation of such artworks.

A 1000-year-old mystery solved: Unlocking the molecular structure for the medieval blue from Chrozophora tinctoria, also known as folium

The molecular structure of the medieval watercolor known as folium has finally been solved in the 21st century. The interdisciplinary approach taken was the key to producing extracts that had been prepared following medieval instructions, and shows the blue/purple chromophore as the major dye in Chrozophora tinctoria fruits (shell). A multi-analytical characterization of its structure was made using HPLC-DAD-MS, GC-MS, NMR (¹H, ¹³C, COSY, HSQC, HMBC, INADEQUATE), and computational studies. The results demonstrate that the blue compound corresponds to 6'-hydroxy-4,4'-dimethoxy-1,1'-dimethyl-5'-{[3,4,5-trihydroxy-6-(hydroxymethyl)tetrahydro-2H-pyran-2-yl]oxy}-[3,3'-bipyridine]-2,2',5,6(1H,1'H)-tetraone, a hermidin derivative, which we named chrozophoridin. Experimental data and computational modeling studies show that this mono-glycosylated dimer is represented by two stable isomers (atropisomers). This is an indispensable piece of knowledge for the characterization of this medieval dye in works of art such as medieval manuscript illuminations and for testing its stability and contributes to the preservation of our cultural heritage.

It's Only a Part of the Story: Analytical Investigation of the Inks and Dyes Used in the Privilegium Maius

The Privilegium maius is one of the most famous and spectacular forgeries in medieval Europe. It is a set of charters made in the 14th century upon commitment by Duke Rudolf IV, a member of the Habsburg family, to elevate the rank and the prestige of his family. These five charters, now kept at the Österreichisches Staatsarchiv in Vienna, have been subjected to a thorough interdisciplinary study in order to shed light on its controversial story. The charters are composed of pergamenaceous documents bound to wax seals with coloured textile threads. The present contribution concerns the characterisation of the inks used for writing and of the dyes used to colour to the threads: Are they compatible with the presumed age of the charters? Though showing only a part of the whole story of the charters, dyes analysis could contribute in assessing their complex history from manufacturing to nowadays. The dyes were characterised with non-invasive in situ measurements by means of fibre optic (FORS) and with micro-invasive measurements by means of Surface Enhanced Raman Spectroscopy (SERS) and High-Performance Liquid Chromatography with Mass Spectrometry (HPLC-MS) analysis. The results showed that the threads of four of the charters (three dyed with madder, one with orchil) were apparently coloured at different dyeing stages, then re-dyed in the 19–20th century.

Mythic dyes or mythic colour? New insight into the use of purple dyes on codices

The traditional knowledge concerning the use of Tyrian purple in Late Antique and Medieval purple codices - those precious biblical texts written with noble metal inks on parchment dyed or painted with purple colourants - is here updated in view of new analytical evidence. Recent literature reports the analysis carried out on some purple codices, suggesting that Tyrian purple has not, if ever, been used in their making. A large number of purple codices has been considered in this work to elucidate the nature of the purple colour. Results have been discussed within the frame of previous information, thus covering a vast majority of the purple codices presently identified. In most of the instances the use of less expensive dyes such as folium or orchil is suggested. Moreover, analytical results from a non-invasive spectroscopic approach have been definitely confirmed by micro-invasive surface-enhanced Raman analysis performed on micro samples of purple parchment taken from two 6th century codices.

Effect of hydrogen bonding interaction on the photophysics of α-amino-orcein

This paper reports for the first time a detailed spectroscopic investigation into the ground- and excited-state properties of α-amino-orcein (α-AO), one of the main components of the orcein dye, in solvents of different proticity and water at different pHs. In order to gain insight into the nature of the involved transitions and excited state deactivation pathways, the study was carried out by means of UV-Visible steady state and ultrafast spectroscopic techniques with the support of quantum mechanical calculations (DFT and TDDFT). The results highlight that the photophysical and photodynamic behaviour of α-AO are highly sensitive to the solvent proticity and pH. In particular, protic environment induces a red shift (55 nm) of the absorption spectrum together with a relevant decrease of the fluorescence quantum yield (from 0.19 in acetonitrile to 6.6 × 10^-3 in methanol) and radiative rate constant (two orders of magnitude). A notable red shift is also caused by increasing the pH leading the molecule from monocationic to neutral and then monoanionic form through two deprotonation steps (pKa = 3.539 ± 0.006 and 11.180 ± 0.006). Following deprotonation, the molecule assumes spectral and photophysical properties very similar to those retrieved in protic media. The observed behaviour has been rationalized through the occurrence of hydrogen bonding, likely involving to a greater extent the carbonyl oxygen of α-AO and the protic solvent, that favours the charge delocalization on the whole chromophore as well as fast non-radiative excited state deactivation. The ultrafast spectroscopic investigation revealed in fact the presence, in protic solvent, of a short living component (tens of picoseconds), assignable to solvent complexed S₁ state, alongside the long living component (few nanoseconds) observed in aprotic media and attributed to the solvent free S₁ state. The results achieved in this study for α-AO provides an important contribution to the interpretation of absorption and fluorescence features of orcein dye mixture in more complex systems (protein based substrates within the many aspects of the cultural heritage and biomedical field) where hydrogen bonds are expected to play a crucial role in mediating the interaction with the environment.

Analytical investigations on the Coronation Gospels manuscript

The Coronation Gospels or Krönungsevangeliar is a manuscript kept in Vienna at the Kunsthistorisches Museum Wien, datable to the end of VIII century A.D. and produced at Charlemagne court. It is an example of a purple codex, i.e. its parchment is coloured in purple. It has to be considered as one of the most important medieval codices, according to its use to take oath in the coronation ceremony of kings and emperors of the Holy Roman Empire up to 1792. In order to gather information of the manufacture of the manuscript and its present conservation state, a diagnostic investigation campaign has been carried out in situ with totally non-invasive techniques. X-ray Fluorescence Spectrometry (XRF), UV-visible diffuse reflectance spectrophotometry with optical fibres (FORS), spectrofluorimetry, optical microscopy and multispectral analysis have been applied in order to identify the colourants used in the decoration of the manuscript, with the main concern to the dye used to impart the purple hue to the parchment. The information collected was useful in order to address some of the questions raised by art historians concerning its history.

On the identification of folium and orchil on illuminated manuscripts

The identification of the two purple dyes folium and orchil has rarely been reported in the analysis of painted artworks, especially when analysing illuminated manuscripts. This is not consistent with the fact that ancient literary sources suggested their use as substitutes for the more expensive Tyrian purple dye. By employing non-invasive spectroscopic techniques, the present work demonstrates that these dyes were actually widely used in the production of ancient manuscripts. By employing UV-visible diffuse reflectance spectrophotometry with optic fibres (FORS) and spectrofluorimetry, the abundant identification of both dyes on medieval manuscripts was performed by comparing the spectra recorded on ancient codices with those obtained on accurate replicas of dyed or painted parchment. Moreover, examples are also reported whereby the considered purple dyes were used in mixtures with other colourants. The overall information obtained here allowed us to define new boundaries for the time range in which orchil and folium dyes were used which is wider than previously thought, and to focus on their particular uses in the decoration of books.

Organic dyes in illuminated manuscripts: a unique cultural and historic record

In this study, we successfully addressed the challenges posed by the identification of dyes in medieval illuminations. Brazilwood pigment lakes and orcein purple colours were unequivocally identified in illuminated manuscripts dated by art historians to be from the thirteenth to the fifteenth centuries and in the Fernão Vaz Dourado Atlas (sixteenth century). All three works were on a parchment support. This was possible by combining Raman microscopy and surface-enhanced Raman spectroscopy with microspectrofluorimetry. To the best of our knowledge, this is the first time that brazilein, the main chromophore in brazilwood lake pigments, has been unequivocally identified by surface-enhanced Raman spectroscopy in an illuminated work (the Dourado Atlas). Complementing this identification, through microspectrofluorimetry and micro-Fourier transform infrared spectroscopy, it was possible to propose a complete paint formulation by comparison with our database of references; the dark pink hues, in the three case studies, were produced by combining brazilwood pigment lakes and gypsum in a protein- and gum arabic-based tempera. Orcein purple, also known as orchil dye, has been previously identified in medieval manuscripts, dated from the sixth to the ninth centuries. Our findings in fourteenth-sixteenth century manuscripts confirm the hypothesis that this dye was lost during the High Middle Ages, to be later rediscovered.This article is part of the themed issue 'Raman spectroscopy in art and archaeology'.