![]() īette S, Kremer RK, Eggert G, Dinnebier RE (2018) On verdigris, part II: synthesis of the 2–1-5 phase, Cu 3(CH 3COO) 4(OH) 2♵H 2O, by long-term crystallisation from aqueous solution at room temperature. (03)00081-7īette S, Kremer RK, Eggert G, Tang CC, Dinnebier RE (2017) On verdigris, part I: synthesis, crystal structure solution and characterisation of the 1–2–0 phase (Cu 3(CH 3COO) 2(OH) 4). Giovanni Evangelista Abbey in Parma: a comparison between two artists of the 16th century. īersani D, Antonioli G, Lottici PP, Casoli A (2003) Raman microspectrometric investigation of wall paintings in S. ![]() īerke H (2007) The invention of blue and purple pigments in ancient times. ![]() ![]() īecker H (2021) Pigment nomenclature in the ancient Near East, Greece, and Rome. Īsscher Y, Angelini I, Secco M, Parisatto M, Chaban A, Deiana R, Artioli G (2019) Combining multispectral images with X-ray fluorescence to quantify the distribution of pigments in the frigidarium of the Sarno Baths, Pompeii. Īru M, Burgio L, Rumsey MS (2014) Mineral impurities in azurite pigments: artistic or natural selection? J Raman Spectrosc 45:1013–1018. Īrizzi A, Cultrone G (2021) Mortars and plasters – how to characterise hydraulic mortars. Archaeol Anthropol Sci. Īndráš P, Dirner V, Ladomerský J, Horňáková A (2010) Toxicity of arsenic and antimony in the area of Cu-Ag deposit Ľubietová. Īliatis I, Bersani D, Campani E, Casoli A, Lottici PP, Mantovan S, Marino IG, Ospitali F (2019) Green pigments of the Pompeian artists’ palette. Īlejandre FJ, Márquez G (2006) Copper-zinc hydoxychlorides: origin and occurrence as paint pigments in Arcos de la Frontera’s chapel of Mercy (Spain). Īceto M (2021) The palette of organic colourants in wall paintings. A suitable analytical approach based on complemental combination of in situ and laboratory analyses for proper identification and differentiation of copper pigments is proposed.Īceto M, Gatti G, Agostino A, Fenoglio G, Giordano V, Varetto M, Castagneri G (2012) The mural paintings of Ala di Stura (Piedmont, Italy): a hidden treasure investigated. Factors affecting the stability of copper pigments in wall paintings-salt attack, oxalic acid, alkalinity and heat-are overviewed. Particular attention is given to the necessity of the detailed study of accompanying phases which can serve as useful indicators of natural and/or artificial origin of copper pigments. The review focuses on copper-based pigments used in ancient and mediaeval works of art, especially in wall paintings and/or related polychromed decorations or statues-siliceous copper pigments (Egyptian blue and green, Han blue and purple, chrysocolla), copper carbonates (azurite, malachite, blue and green verditers), copper chlorides (atacamite-group, cumengeite, calumetite), copper sulphates (posnjakite, brochantite) and-to a lesser extent-copper acetates (verdigris) and other organometallics. Their exceptional diversity, reflecting their various chemical and phase composition, chemical stability as well as their origin, makes their correct identification challenging. Since antiquity, various copper-containing substances have been used as green and blue pigments.
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