Scholarlink

<p>This study fills the gap regarding the behaviour of neutral verdigris pigment (Cu(CH₃COO)₂·H₂O) in traditional wall-painting techniques, an area far less studied than its degradation in manuscripts or easel paintings. Verdigris was applied using three historical methods—a secco (egg yolk or rabbit glue), mezzo-fresco (lime water), and fresco (lime paste)—and complementary pigment–binder mixtures were prepared to isolate binder effects. Multimodal analyses (stereomicroscopy, spectrophotometry, OM, SEM, XRD, ATR-FTIR) revealed a striking contrast between acidic and alkaline environments: verdigris remained chemically and microstructurally stable in a secco but underwent rapid and extensive alteration in lime-based techniques. These transformations produced marked colour shifts, micro-textural heterogeneity, and micrometric secondary compounds such as copper and calcium acetates (e.g. paceite), and tenorite. The findings provide new insights into historical wall-painting practices as they re-examine the use of verdigris with certain painting techniques, also with significant implications for conservation strategies involving verdigris-containing artworks.</p>

错误：搜索内容不能为空，请输入英文关键词
错误：关键词超出字数限制，请精简
高级检索

The fate of neutral verdigris in wall paintings: chromatic, micro-morphological, mineralogical and chemical transformations

  • 期刊论文

  • 出版模式：

    开放获取

  • 发表日期：

    2026年1月8日

查看全文
  • Daniel Jiménez-Desmond,
  • José Santiago Pozo-Antonio,
  • Anna Arizzi

摘要

This study fills the gap regarding the behaviour of neutral verdigris pigment (Cu(CH₃COO)₂·H₂O) in traditional wall-painting techniques, an area far less studied than its degradation in manuscripts or easel paintings. Verdigris was applied using three historical methods—a secco (egg yolk or rabbit glue), mezzo-fresco (lime water), and fresco (lime paste)—and complementary pigment–binder mixtures were prepared to isolate binder effects. Multimodal analyses (stereomicroscopy, spectrophotometry, OM, SEM, XRD, ATR-FTIR) revealed a striking contrast between acidic and alkaline environments: verdigris remained chemically and microstructurally stable in a secco but underwent rapid and extensive alteration in lime-based techniques. These transformations produced marked colour shifts, micro-textural heterogeneity, and micrometric secondary compounds such as copper and calcium acetates (e.g. paceite), and tenorite. The findings provide new insights into historical wall-painting practices as they re-examine the use of verdigris with certain painting techniques, also with significant implications for conservation strategies involving verdigris-containing artworks.