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Volume 7
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10.3390/heritage7080184
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This is an early access version, the complete PDF, HTML, and XML versions will be available soon.
Article

On the Identification of the a fresco or a secco Preparative Technique of Wall Paintings

by
Georgia Ntasi
1,†,
Manuela Rossi
2,†,
Miriam Alberico
1,3,
Antonella Tomeo
4,
Leila Birolo
1,5,* and
Alessandro Vergara
1,5,*
1
Department Chemical Sciences, University of Napoli Federico II, Via Cintia, 80126 Napoli, Italy
2
Department Earth Sciences, Environment and Resources, University of Napoli Federico II, Via Cintia, 80126 Napoli, Italy
3
Department Classics, University La Sapienza, P.le Aldo Moro, 00185 Roma, Italy
4
Soprintendenza Archeologia Belle Arti e Paesaggio per le Province di Caserta e Benevento, Reggia di Caserta, 81100 Caserta, Italy
5
Task Force “Metodologie Analitiche per la Salvaguardia dei Beni Culturali”, University of Napoli Federico II, Via Cintia, 80126 Napoli, Italy
*
Authors to whom correspondence should be addressed.
†
These authors contributed equally to this work.
Heritage 2024, 7(8), 3902-3918; https://doi.org/10.3390/heritage7080184
Submission received: 1 July 2024 / Revised: 17 July 2024 / Accepted: 22 July 2024 / Published: 25 July 2024
Review Reports Versions Notes

Abstract

The study applies both a minimal and an extended approach for a comprehensive picture of chemical components in wall paintings, including evidence of degradation. Pigments and ligands were characterized via a multi-methodological investigation, including optical microscopy, scanning electron microscopy, Raman micro-spectroscopy, GC-MS, and LC-MS/MS. Particularly, the procedure was tested on wall paintings recently excavated from a Roman domus in Santa Maria Capua Vetere. The hypothesis of a very wealthy owner is supported by the evidence of a multi-layer preparation, a rich variety of pigments, and organic ligands (both terpenic resins and animal glue). The absence of calcite in the pictorial layer (via optical and Raman microscopy) and the presence of organic binders (via GC-MS and LC-MS/MS) clearly indicates the a secco technique.
Keywords: Raman spectroscopy; proteomics; Roman wall paintings; pigments; binders Raman spectroscopy; proteomics; Roman wall paintings; pigments; binders

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MDPI and ACS Style

Ntasi, G.; Rossi, M.; Alberico, M.; Tomeo, A.; Birolo, L.; Vergara, A. On the Identification of the a fresco or a secco Preparative Technique of Wall Paintings. Heritage 2024, 7, 3902-3918. https://doi.org/10.3390/heritage7080184

AMA Style

Ntasi G, Rossi M, Alberico M, Tomeo A, Birolo L, Vergara A. On the Identification of the a fresco or a secco Preparative Technique of Wall Paintings. Heritage. 2024; 7(8):3902-3918. https://doi.org/10.3390/heritage7080184

Chicago/Turabian Style

Ntasi, Georgia, Manuela Rossi, Miriam Alberico, Antonella Tomeo, Leila Birolo, and Alessandro Vergara. 2024. "On the Identification of the a fresco or a secco Preparative Technique of Wall Paintings" Heritage 7, no. 8: 3902-3918. https://doi.org/10.3390/heritage7080184

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