ΠΡΑΚΤΙΚΑ 4ου ΠΑΝΕΛΛΗΝΙΟΥ ΣΥΝΕΔΡΙΟΥ ΨΗΦΙΟΠΟΙΗΣΗΣ ΠΟΛΙΤΙΣΤΙΚΗΣ ΚΛΗΡΟΝΟΜΙΑΣ –EUROMED 2021

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4 ο Πανελλήνιο Συνέδριο Ψηφιοποίησης Πολιτιστικής ΚληρονομιάςEUROMED 2021, 30/9 - 3/10/20213.2 MethodsFor this research, in situ measurements were carried out on the frescoes of Spring, Autumn and Summer, whichare located in the current building N. Gyzis in Palataki Tower, Chaidari, Athens, which was named in honorof the great painter who lived there for a while and created one of his earlier works in the second half of 19 thc. (Christopoulou et al, 2021).The three wall paintings of Spring, Summer and Autumn that have been studied in this work are shown infigure 1 and 2. From the now damaged winter mural, only measurements are made on the clean plaster in orderto understand the substrate of the wall painting. The analytical techniques used were XRF and Ramanspectroscopies, both portable and non-destructive (Liritzis et al 2020).For the qualitative determination of chemical elements of the examined color hues, a portable handheld Xrayfluorescence spectrometer was used. Specifically, a Thermo Scientific Niton Xlp XRF Analyzer with a highperforming and solid-state detector was used. The experimental results were extracted based on the correlationof the two non-destructive, complementary techniques of p XRF and p Raman spectroscopies. Their resultswere compared with reference spectrum of pigments of the same period of 19 th c. (Doulgeridis, 2008). For thedata acquisition from it, a built-in software was used and measurements were saved as Unicode ASCII fileformat, which is compatible for further analysis with specialized software.As for the Raman analysis, measurements were performed with the Rock Hound DeltaNu RamanSpectrometer, which has a near-infrared 785nm laser source, adjusted to 8cm -1 resolution and spectrum rangeof 200cm-1 to 2000cm-1. Before measurements, calibration tests were conducted in ideal pigment samplesmade for this purpose (Caggiani et al, 2016), to ensure the correct Raman shift measurement and operation.For further analysis, process and evaluation of measurements for both XRF and Raman techniques thescientific software SpectraGryph was used (F. Menges, SpectraGryph-Optical Spectroscopy Software, Version1.2.14, 2020).All measured Raman spectra, before the main process of pigment identification were subjected to apreprocessing procedure such as baseline correction, Savitzky-Golay, smoothing and normalization (Ferraroet al, 2003).4. RESULTS AND DISCUSSIONThe colors selected for analysis from the wall painting of ‘’Four Seasons’’ are the following: Red, White, Blue,Green, Brown, Brownish red, Brownish yellow and Brownish Orange. From the damaged Winter wallpainting, measurements were made only on clean support layer. Due to the technique used by the artist (fresco)there is difficulty in the documentation with spectroscopic techniques as the presence of peaks from thesubstrate is strong. This is because the pigment granules are trapped during the formation of calcium carbonate(Malentzidou, 2014).In figure 2 the sampling points for each color hue are presented with yellow dots. In table 1 the summarizedresults of XRF analysis and pigments identified by Raman spectroscopy are also shown (Larsen et al, 2016).The analysis of three wall paintings with portable XRF reveal elements such as Zinc (Zn) for white, Lead (Pb)and Iron (Fe) for brown, brownish yellow, brownish red and brownish orange hues, Mercury (Hg) for red and(Fe)for blue and green. The analysis on support layer in the Winter wall painting reveal the elements of Zinc(Zn) and Calcium (Ca).Figures 3 to 7 show representative Raman spectra for different color hue along with reference spectrum (Bell,Clark and Gibbs 1997; Caggiani, Cosentino and Mangone 2016). Figures 8-10 show representative XRFspectra for different color hue.194
4 ο Πανελλήνιο Συνέδριο Ψηφιοποίησης Πολιτιστικής ΚληρονομιάςEUROMED 2021, 30/9 - 3/10/2021Specifically, the spectrum of white pigment compared to the spectra Zinc White. The spectrum of red pigmentcompared to that of Vermilion. The spectra of brown pigment compared to those of Red Lead and Goethite.Additionally, the spectra of brownish red and brownish orange compared to those of Goethite and BurntSienna. The spectrum of brownish yellow pigment compared to that of Red Lead and Naples Yellow.Continuing, the spectra of blue pigments compared to those of Indigo because of the presence of Fe and Znand those of green pigments to spectrum of Indigo and Goethite due to the presence of Fe too. Finally, thespectrum of clean support layer from the wall painting of Winter compared to those of Zinc White and Chalk.Figure 3. Red of Spring (blue line) along with reference spectrum of Vermillion (red line)Figure 4. Brownish Red of Summer(blue line) and Burnt Sienna reference spectrum (dark brown line)195
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ΠΡΑΚΤΙΚΑ 4ου ΠΑΝΕΛΛΗΝΙΟΥ ΣΥΝΕΔΡΙΟΥ ΨΗΦΙΟΠΟΙΗΣΗΣ ΠΟΛΙΤΙΣΤΙΚΗΣ ΚΛΗΡΟΝΟΜΙΑΣ –EUROMED 2021

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