http://http://dspace.unitus.it:80 The DSpace digital repository system captures, stores, indexes, preserves, and distributes digital research material. Thu, 23 May 2013 13:23:16 GMT 2013-05-23T13:23:16Z http://hdl.handle.net/2067/1323 Title: I gialli di piombo, stagno, antimonio: le opere di Poussin a Saraceni Authors: Pelosi, Claudia; Santamaria, Ulderico; Morresi, Fabio; Agresti, Giorgia; De Santis, Alberto; Mattei, Elisabetta Abstract: In order to characterize the yellow pigments utilized by Carlo Saraceni in The Martyrdom St Erasmus (1612-14), Cathedral of Gaeta (Lt),and by Nicolas Poussin in The Gedeone’s Victory over Madianiti (1623-26) and The Martyrdom St Erasmus both finding at Vatican’s Museum had been applied: micro-Raman spectroscopy, fluorescence X, SEM with micro-analysis EDS, observations at optic-mineralogical microscope and spectro colorimetric analysis; some of these methods were applied on artworks directly, others by micro-pattern taken over paintings. The same investigations had been applied also over others patterns of yellow pigments having the same typology of materials employed by painters and that had been retrieved by commerce from the firms of Kremer and Zecchi. Fri, 31 Aug 2007 22:00:00 GMT http://hdl.handle.net/2067/1323 2007-08-31T22:00:00Z http://hdl.handle.net/2067/1233 Title: Artificial yellow pigments: production and characterization through spectroscopic methods of analysis Authors: Pelosi, Claudia; Agresti, Giorgia; Santamaria, Ulderico; Mattei, Elisabetta Abstract: Artificial yellow pigments (lead-tin yellow type I and type II, lead antimonate yellow and lead-tin-antimony yellow) have been produced, starting from various recipes and from pure chemicals, in different experimental conditions. The products were analysed using micro-Raman spectroscopy. Differences in stoichiometric ratios, in melting temperatures and in crucible typologies were examined. Other analytical techniques were required to characterize the stoichiometric ratios of the obtained products (X-ray diffraction, scanning electron microscopy with energy dispersive spectroscopy and differential thermal analysis).The results are analysed and discussed in terms of correlations among chemical composition, melting conditions and colour hue. Thu, 31 Dec 2009 23:00:00 GMT http://hdl.handle.net/2067/1233 2009-12-31T23:00:00Z http://hdl.handle.net/2067/1335 Title: Colore e materia: i gialli di piombo, stagno, antimonio Authors: Pelosi, Claudia; Santamaria, Ulderico; Agresti, Giorgia; Morresi, Fabio; Cibin, Francesca; De Filippo, Barbara Abstract: The aim of this work is to investigate the methods used for producing artificial yellow pigments (‘type I’ and ‘type II’ lead-tin yellow, lead antimonate yellow or Naples yellow, and lead-tin-antimony yellow), starting from various recipes and the more recent literature, and to characterize the materials produced by utilising different analytical techniques. The artificial yellow pigments were obtained from pure chemicals (PbO, Pb3O4, SnO2, Sb3O4). The effects produced were tested by varying the stoichiometric ratios, melting temperatures and times, and crucible typologies. The powders obtained were characterized by means of SEM-EDS, XRD, XRF and DTA analyses. In order to evaluate the colour changes due to different melting temperatures and stoichiometric ratios, the colour measurements were taken using CIExy 1931 and CIE 1976Lab coordinates. Sat, 31 May 2008 22:00:00 GMT http://hdl.handle.net/2067/1335 2008-05-31T22:00:00Z http://hdl.handle.net/2067/1329 Title: Production and characterisation of lead, tin and antimony based yellow pigments Authors: Pelosi, Claudia; Santamaria, Ulderico; Agresti, Giorgia; Mattei, Elisabetta; De Santis, Alberto Abstract: This study deals with the preparation of yellow pigments (lead-tin yellow type I and II, lead antimoniate yellow and lead-tin-antimony yellow), which are affected by terminological confusion in the historical references. Through the centuries, yellows of different compositions, based on lead, tin and antimony, have been used either as agents that turn glasses, glazes and majolica opaque or as paint-pigments. Some types of yellow pigments were described in written sources. These sources are very hard to discover because production methods and formulas of artistic compounds were handed down to new generations in oral way. Sometimes, they were collected in secret books of pigments. In addition, artists and writers, during the utilization and production of lead-tin-antimony yellows, introduced some changes both in recipes and terminologies. All this produced great confusion in the nomenclature that changes the country tradition and, sometimes, for the writer’s inaccuracies. By analyzing the various recipes concerning lead-tin-antimony yellows, it was possible to reconstruct the original production methods of these pigments. We produced lead-tin yellow type I (Pb2SnO4) and lead-tin yellow type II (PbSnO3 or PbSn1-x SixO3) following the indication of the recipes 272 and 273 of the fifteenth century Bolognese Manuscript, lead antimonate yellow, called Napoli yellow, according to the treatises written by Piccolpasso, Passeri and Mariano from Pesaro, and lead-tin-antimony yellow from the Darduin, Mariani da Pesaro and other recipes authors. The production of lead-tin-antimony based yellow pigments was obtained by pure chemicals oxides (PbO, Pb3O4, SnO2 and Sb2O3). In synthesizing the yellow pigments, the effects produced by changes in stoichiometric ratios, in melting temperatures and in the crucible typologies were tested. The obtained products were characterized by SEM-EDS, XRD and micro-Raman analyses. To evaluate colour changes due to different melting temperatures and stoichiometric ratios, the colour measurements were taken in CIE 1931 and CIE 1976 coordinates. The results are analysed and discussed in terms of correlations among chemical compositions, melting conditions and colour hue. The study of these pigments, produced in laboratory with the ancient procedure, is also useful for investigations on similar materials used in the works of art. Indeed, it is very probable that the artists chose their painting materials by selecting not only the colour hue of the pigments but also the production method. Therefore, it is important to state a correlation between chemical compositions, ancient production methods, and the final colour hue of the produced yellow pigments. Mon, 31 Dec 2007 23:00:00 GMT http://hdl.handle.net/2067/1329 2007-12-31T23:00:00Z http://hdl.handle.net/2067/1742 Title: Il legno di castagno nei beni culturali Authors: Agresti, Giorgia; Castorina, Roberta; Genco, Giorgia; Giagnacovo, Cristina; Lo Monaco, Angela; Pelosi, Claudia Abstract: Il legno di castagno è stato utilizzato prevalentemente come materiale strutturale per orditure lignee di importanti edifici e nei manufatti di interesse demoetnoantropologico. Meno consueto è riscontrare il legno di questa specie in manufatti artistici. Nel presente lavoro vengono presi in esame alcuni manufatti che per tipologia si possono considerare, oltre che di interesse storico-artistico, anche devozionale. I problemi conservativi che emergono dall’esame di queste opere vengono affrontati con esempi significativi, anche in relazione a moderni metodi di intervento. Description: Il Convegno si è svolto in concomitanza con il 1st European Congress on Chestnut e l'evento, nel suo complesso, è stato denominato Castanea 2009. Gli atti del 1st European Congress on Chestnut sono pubblicati su Acta Horticulturae dall'International Society for Horticultural Science (ISHS). Wed, 31 Dec 2008 23:00:00 GMT http://hdl.handle.net/2067/1742 2008-12-31T23:00:00Z http://hdl.handle.net/2067/1736 Title: Wood of chestnut in cultural heritage Authors: Agresti, Giorgia; Genco, Giorgia; Giagnacovo, Cristina; Pelosi, Claudia; Lo Monaco, Angela; Castorina, Roberta Abstract: Chestnut wood was used as a structural material for important wooden building frames and artefacts of demo ethno anthropological interest. The wood of this species is found less frequently in artistic artefacts. So the aim of this work is to examine some artefacts of both artistic and above all devotional typologies. Conservation problems are addressed with examples, in relation to modern methods of operation. Description: L'articolo è disponibile sul sito dell'ditore http://www.actahort.org/books/866/ Thu, 31 Dec 2009 23:00:00 GMT http://hdl.handle.net/2067/1736 2009-12-31T23:00:00Z http://hdl.handle.net/2067/1752 Title: Project on the rock paintings in Cappadocia. Analytical investigation of the church of Forty Martyrs in Şahinefendi and other sites (Report 2008) Authors: Pelosi, Claudia; Santamaria, Ulderico; Agresti, Giorgia; Castro, Fabio; Lotti, Davide; Pogliani, Paola Abstract: This report will relate about the main results of the analyses carried out on the rock paintings of several Cappadocia churches. The analyses have been carried out within the survey “Rock paintings in Cappadocia. For a project of knowledge, conservation and valorization of the church of the Forty Martyrs at Şahinefendi and its territory” directed by Prof. Maria Andaloro of Tuscia University (Italy) . Such analyses have been carried out according to a methodological path tested during the several years of surveys in Turkey, particularly on the island of Küçük Tavşan and on many other sites in the territory of Mandalya Gulf and also on the occasion of other research projects . This research mission is part of a bigger project called “For a data bank of wall paintings and mosaics of Asia Minor (4th-15th centuries: images, materials, techniques of execution (1996-2010)” directed by Prof. Maria Andaloro. The aim of this work concerns the understanding of the constitutive materials, the execution techniques and the conservation conditions of the rock paintings. For this reason several in situ and laboratory analyses have been undertaken. In the first part of this report the main results of the analyses carried out during the 2008 campaign on the Forty Martyrs Church at Şahinefendi and of a group of churches in the region of Nevşheir will be described. In the second one an overall view on the three years analyses of the materials collected during the surveys will be shortly presented. The attention will be focused on the pigments of the rock paintings with some reference to the stratigraphic analyses and to the binders of the pigments. Thu, 31 Dec 2009 23:00:00 GMT http://hdl.handle.net/2067/1752 2009-12-31T23:00:00Z