Application of Radiocarbon Dating in Conservation of Artwork and Heritage Materials

A special issue of Heritage (ISSN 2571-9408).

Deadline for manuscript submissions: closed (31 October 2025) | Viewed by 3683

Special Issue Editor


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Guest Editor
Haute Ecole d'Ingénierie et d'Architechture de Fribourg (HEIA), Department of Chemistry-Institute of Chemical Technology, University of Applied Sciences and Arts Western Switzerland (HESSO), Fribourg, Switzerland
Interests: analytical chemistry; radiocarbon (14C) dating

Special Issue Information

Dear Colleagues,

Radiocarbon (14C) dating is a powerful tool for answering temporal-related questions and is well established in a wide range of fields, including physics, atmospheric chemistry, biochemistry, geochemistry, archaeology, anthropology, and geology. Recent progress in its expansion to heritage sciences has been linked to technological developments that allow sampling requirements to meet the needs of heritage material in terms of minimally invasive approaches. As such, 14C analysis is gaining popularity, not only because of the increased number of objects that can be sampled from an ethical point of view, but also because the last 5 years have supported the development of new strategies and have led to the exploration of new 14C dating materials, such as natural organic binder and lead white pigment.

While previous sampling limitations can now be reconsidered, 14C dating requires solid support from analytical sciences to validate its sample selection and preparation. Indeed, the diversity of materials found in cultural heritage objects can bias the results, and the complementary approach of material characterization is crucial to confirm the validity of the delivered results.

Interdisciplinarity is necessary for the field of radiocarbon dating to work successfully with heritage sciences. This Special Issue aims to showcase an exchange of expertise, where researchers from different fields such as physics, chemistry, and material science work hand in hand with archeologists, art historians, museum experts, and conservators. The aim is to demonstrate the importance of collaborative/interdisciplinary work and to review the progress in radiocarbon dating of cultural heritage objects. Original research papers are welcome and may include, but are not limited to, the following topics:

  • Multidisciplinary studies;
  • Descriptions of novel methods and procedures for sample preparation, with a focus on conservation product removal or comparisons of cleaning methodologies;
  • The implementation of orthogonal complementary analytical techniques for sample quality control prior-AMS analysis;
  • The 14C dating of natural organic binder;
  • The 14C dating of lead white pigment;
  • New materials as 14C candidates;
  • Case study reports.

We look forward to receiving your original research articles and reviews.

Dr. Laura Hendriks
Guest Editor

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Keywords

  • cultural heritage
  • archaeology
  • radiocarbon dating
  • conservation
  • analytical techniques
  • interdisciplinarity
  • historical and modern materials

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Published Papers (3 papers)

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Research

14 pages, 6041 KB  
Article
14C Dating of Lead White in Painted Decorations: The Case of the Queen’s Library at the Palace of Versailles
by Lucile Beck, Cyrielle Messager, Ingrid Caffy, Victor Gonzalez, Marine Cotte, Eddy Foy, Patrick Bonnaillie and Christian Maury
Heritage 2026, 9(4), 128; https://doi.org/10.3390/heritage9040128 - 26 Mar 2026
Viewed by 413
Abstract
Radiocarbon dating of lead white has progressed considerably in the last decade. Today, the protocol enables the analysis of various types of samples: pure lead white in cosmetics, ancient and modern paint layers containing lead white and oil, and mixtures of lead white [...] Read more.
Radiocarbon dating of lead white has progressed considerably in the last decade. Today, the protocol enables the analysis of various types of samples: pure lead white in cosmetics, ancient and modern paint layers containing lead white and oil, and mixtures of lead white and calcite. However, it has also been shown that the presence of a large amount of calcite in lead white paint can alter the radiocarbon result through contamination with dead carbon. To overcome this problem, careful characterization of samples must be carried out prior to dating. Lead white paint layers from the Queen’s apartment at the Palace of Versailles were observed by electronic microscopy and analyzed by Synchrotron X-ray-based diffraction to discriminate the different layers of paint in order to minimize contamination. Chemical analysis and 14C dating were used to document the implementation of the decorations in Queen Marie-Antoinette’s library. Full article
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14 pages, 14655 KB  
Article
Radiocarbon Dating of Lime Mortar to Determine the Age of Three Visigothic and Early Medieval Buildings of Controversial Age in the Northern Iberian Peninsula
by Carmen Alonso-Fernández, Luis Ángel Ortega, Javier Jiménez-Echevarría and Maria Cruz Zuluaga
Heritage 2026, 9(1), 1; https://doi.org/10.3390/heritage9010001 - 19 Dec 2025
Cited by 1 | Viewed by 765
Abstract
The age of the first construction of the churches of Nuestra Señora de las Viñas (Quintanilla de las Viñas, Burgos), Santa María de Rute (Ventas Blancas, La Rioja), and San Juan Bautista (Barbadillo del Mercado, Burgos) of the northern Iberian Peninsula has been [...] Read more.
The age of the first construction of the churches of Nuestra Señora de las Viñas (Quintanilla de las Viñas, Burgos), Santa María de Rute (Ventas Blancas, La Rioja), and San Juan Bautista (Barbadillo del Mercado, Burgos) of the northern Iberian Peninsula has been subject to debate for decades. Some scholars date the construction of the churches to the Visigothic period (6th and 7th centuries), while others attribute them to the early Middle Ages (9th and 10th centuries). To shed light on this controversy, the 14C dating of the binder fraction of mortars of the earliest construction phases was carried out. To determine the suitability of the mortars for 14C dating, the mineral composition of the binder was determined by X-ray diffraction (XRD) and thermogravimetric analysis (TGA). Samples were dated using 14C Accelerator Mass Spectrometry (AMS). Binder mineralogy precludes some samples from radiocarbon dating. Radiocarbon dating of the Nuestra Señora de las Viñas mortars yielded ages of 534–640 cal AD and 584–658 cal AD. Santa María de Rute yielded ages of 564–650 cal AD, corresponding to Visigothic ages. The San Juan Bautista sample yielded an age of 876–995 AD, although a mortar stratigraphically below results was not suitable for dating. Full article
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18 pages, 2283 KB  
Article
Integrating Material Analysis, Radiocarbon Dating, and Technical Examination in the Dating and Provenance Study of a Copy of Raphael’s “The Great Holy Family of Francis I”
by Ester S. B. Ferreira, Charlotte Hoffmann, Laura Hendriks, Irka Hajdas, Stefan Kradolfer, Detlef Günther, Katharina Hünerfauth, Juliane Reinhardt, Hans Portsteffen and Susanne Müller-Bechtel
Heritage 2025, 8(10), 424; https://doi.org/10.3390/heritage8100424 - 6 Oct 2025
Cited by 1 | Viewed by 1319
Abstract
In 2016, five fragments from a copy of “The Great Holy Family of Francis I” were brought to the Cologne Institute of Conservation Sciences (CICS) for research and conserva-tion/restoration. A comprehensive technical and material analysis was carried out to as-sist provenance studies. From [...] Read more.
In 2016, five fragments from a copy of “The Great Holy Family of Francis I” were brought to the Cologne Institute of Conservation Sciences (CICS) for research and conserva-tion/restoration. A comprehensive technical and material analysis was carried out to as-sist provenance studies. From the analysis of pigments, binder, additives, and canvas fi-bres alongside radiocarbon dating of the lead white pigment, oil binder, and canvas sup-port, as well as the lead stable isotope study, it could be determined that, with high proba-bility, the copy was created in Northern Europe between the late 16th century and the mid-17th century. During this period the original painting was initially displayed in Fon-tainebleau in the “Chapelle Haute” before being transferred in the early 17th century to the newly built “Cabinet des Peintures”, also in Fontainebleau, where it would probably have been more accessible for copying. Interestingly, the written sources describe a copy made during this period to replace the original in the “Chapelle Haute”, the location of which is currently not known. However, the different overall dimensions of the present copy speak against it, having been created to replace the original. Full article
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