Use of imaging spectroscopy, fiber optic reflectance spectroscopy, and X-ray fluorescence to map and identify pigments in illuminated manuscripts

Abstract A paradigm using multispectral visible and near-infrared imaging spectroscopy is presented to semi-automatically create unbiased spectral maps that guide the site selection for in situ analytical methods (e.g. fiber optic reflectance spectroscopy and X-ray fluorescence) in order to identify and map pigments in illuminated manuscripts. This approach uses low spectral resolution imaging spectroscopy to create maps of areas having the same spectral characteristics. This paradigm is demonstrated by analysis of the illuminated manuscript leaf Christ in Majesty with Twelve Apostles (workshop of Pacino di Buonaguida, c. 1320). Using this approach the primary pigments are mapped and identified as azurite, lead-tin yellow, red lead, a red lake (likely insect-derived), a copper-containing green, brown iron oxide, and lead white. Moreover, small amounts of natural ultramarine were found to be used to enhance the blue fields around Christ, and a red lake was used to highlight different colors. These results suggest that the proposed paradigm offers an improved approach to the comprehensive study of illuminated manuscripts by comparison with site-specific analytical methods alone. The choice of broad spectral bands proves successful, given the limited palette in illuminated manuscripts, and permits operation at the low light intensity required for examination of manuscripts.

[1]  L. Appolonia,et al.  Combined use of FORS, XRF and Raman spectroscopy in the study of mural paintings in the Aosta Valley (Italy) , 2009, Analytical and bioanalytical chemistry.

[2]  Marvin E. Klein,et al.  Quantitative Hyperspectral Reflectance Imaging , 2008, Sensors.

[3]  J. Boardman,et al.  Mapping target signatures via partial unmixing of AVIRIS data: in Summaries , 1995 .

[4]  Fenella G. France Advanced Spectral Imaging for Noninvasive Microanalysis of Cultural Heritage Materials: Review of Application to Documents in the U.S. Library of Congress , 2011, Applied spectroscopy.

[5]  Mauro Bacci,et al.  Fiber optic reflectance spectroscopy and hyper-spectral image spectroscopy: two integrated techniques for the study of the Madonna dei Fusi , 2005, SPIE Optical Metrology.

[6]  J. Druzik,et al.  A Prism–Grating–Prism Spectral Imaging Approach , 2009 .

[7]  John W. Salisbury,et al.  Visible and near infrared spectra of minerals and rocks. II. Carbonates , 1971 .

[8]  A. Casini,et al.  Multispectral Imaging System for the Mapping of Pigments in Works of Art by use of Principal-Component Analysis. , 1998, Applied optics.

[9]  Mathieu Thoury,et al.  Use of visible and infrared reflectance and luminescence imaging spectroscopy to study illuminated manuscripts: pigment identification and visualization of underdrawings , 2009, Optical Metrology.

[10]  Ioanna Kakoulli,et al.  Multispectral and hyperspectral imaging technologies in conservation: current research and potential applications , 2006 .

[11]  Roy S. Berns,et al.  An investigation of multispectral imaging for the mapping of pigments in paintings , 2008, Electronic Imaging.

[12]  Franco Lotti,et al.  Image spectroscopy mapping technique for noninvasive analysis of paintings , 1999 .

[13]  No Value Scientific Examination of Art: Modern Techniques in Conservation and Analysis , 2005 .

[14]  Roger,et al.  Spectroscopy of Rocks and Minerals , and Principles of Spectroscopy , 2002 .

[15]  Alan Derbyshire,et al.  The continuing development of a practical lighting policy for works of art on paper and other object types at the Victoria and Albert Museum , 2002 .

[16]  Maurizio Aceto,et al.  AN INTERDISCIPLINARY, NON-INVASIVE STUDY ON TEN MANUSCRIPTS COMING FROM THE SAN COLOMBANO ABBEY IN BOBBIO , 2008 .

[17]  M. Bacci,et al.  Non-Invasive Identification of White Pigments on 20Th-Century Oil Paintings by Using Fiber Optic Reflectance Spectroscopy , 2007 .

[18]  M. Bacci,et al.  UV-VIS-NIR REFLECTANCE SPECTROSCOPY OF RED LAKES IN PAINTINGS , 2008 .

[19]  Murray H. Loew,et al.  Towards automatic registration of technical images of works of art , 2011, Electronic Imaging.

[20]  L. Kanter Painting and Illumination in Early Renaissance Florence, 1300-1450 , 1994 .

[21]  V. Rich Personal communication , 1989, Nature.

[22]  Mathieu Thoury,et al.  Visible and Infrared Imaging Spectroscopy of Picasso's Harlequin Musician: Mapping and Identification of Artist Materials in Situ , 2010, Applied spectroscopy.

[23]  S. J. Sutley,et al.  USGS Digital Spectral Library splib06a , 2007 .

[24]  M. Attas,et al.  Near-infrared spectroscopic imaging in art conservation: investigation of drawing constituents , 2003 .

[25]  R. Fuchs,et al.  Spektrale Fenster zur Vergangenheit Ein neues Reflektographieverfahren zur Untersuchung von Buchmalerei und historischem Schriftgut , 1995, Naturwissenschaften.

[26]  John W. Anthony,et al.  Handbook of mineralogy , 1990 .

[27]  Kristalia Melessanaki,et al.  Laser induced breakdown spectroscopy and hyper-spectral imaging analysis of pigments on an illuminated manuscript , 2001 .

[28]  R. L. Feller,et al.  Artists' Pigments: A Handbook of Their History and Characteristics, Volume 2 , 1995 .

[29]  Mathieu Thoury,et al.  Visible and infrared reflectance imaging spectroscopy of paintings: pigment mapping and improved infrared reflectography , 2009, Optical Metrology.

[30]  Elizabeth Crumley,et al.  Artists' Pigments. A Handbook of Their History and Characteristics, Vol. 1 , 1989 .

[31]  Hans Scholten,et al.  Non Destructive Detection of Iron-Gall Inks by Means of Multispectral Imaging Part 2: Application on Original Objects Affected With Iron-Gall-Ink Corrosion , 2003 .