The paper illustrates the results of a non-invasive characterisation of pigments and their mixtures in the pictorial surfaces of the wall paintings (10th century) found in the Byzantine church of Palazzo Simi in Bari (Italy). The investigation techniques included portable digital polarised microscopy, fibre optic reflectance spectroscopy (FORS) and X-ray fluorescence spectroscopy (XRF). Data comparison supported the recognition of red and yellow ochres, green earth, vine black, minium and Egyptian blue. The presence of some pigment mixtures demonstrated the recurrence of specific technical expedient used by local medieval artists in order to simulate more expensive pigments, which enabled contribution to the understanding of the valuable artistic tradition of the Apulian Middle Age. Both for purposes of conservation and fruition of the site, which is not always accessible, and due to the complexity in taking suitable photographs for the representation of results, the latter was performed on orthophotos extracted from a digital photogrammetric 3D model of the whole archaeological site. By means of chromatic overlapped layers, an interactive compositional map of the pictorial surfaces was produced.
Non-Invasive Characterisation of the Wall Paintings in the Byzantine Church of Palazzo Simi (Bari, Italy) and Digital Photogrammetric Survey for a Pigment Mapping
Giovanna Fioretti
;Gioacchino Tempesta;Giacomo Eramo
2023-01-01
Abstract
The paper illustrates the results of a non-invasive characterisation of pigments and their mixtures in the pictorial surfaces of the wall paintings (10th century) found in the Byzantine church of Palazzo Simi in Bari (Italy). The investigation techniques included portable digital polarised microscopy, fibre optic reflectance spectroscopy (FORS) and X-ray fluorescence spectroscopy (XRF). Data comparison supported the recognition of red and yellow ochres, green earth, vine black, minium and Egyptian blue. The presence of some pigment mixtures demonstrated the recurrence of specific technical expedient used by local medieval artists in order to simulate more expensive pigments, which enabled contribution to the understanding of the valuable artistic tradition of the Apulian Middle Age. Both for purposes of conservation and fruition of the site, which is not always accessible, and due to the complexity in taking suitable photographs for the representation of results, the latter was performed on orthophotos extracted from a digital photogrammetric 3D model of the whole archaeological site. By means of chromatic overlapped layers, an interactive compositional map of the pictorial surfaces was produced.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
