Analysis of Nasrid polychrome carpentry at the Hall of the Mexuar Palace, Alhambra complex (Granada, Spain), combining microscopic, chromatographic and spectroscopic methods

Archaeometry

Volumn 51, Issue 4, 2009, Pages 637-657

  Cardell, C ^a   Rodriguez Simon, L ^a   Guerra, I ^a   Sanchez Navas, A ^a  

^a UNIVERSITY OF GRANADA   (Spain)

Author keywords

Al Andalus; Alhambra; Binders; Carpentry; GC MS; Islamic; Optical microscopy; Pigments; Sem edx

Indexed keywords

ARCHAEOLOGY; ART; CHEMICAL ANALYSIS; CONSERVATION; GAS CHROMATOGRAPHY; MASS SPECTROMETRY; PIGMENT; SCANNING ELECTRON MICROSCOPY;

ANDALUCIA; EURASIA; EUROPE; GRANADA [ANDALUCIA]; SOUTHERN EUROPE; SPAIN;

CONIFEROPHYTA; JUGLANS REGIA;

EID: 67650231178     PISSN: 0003813X     EISSN: 14754754     Source Type: Journal    
DOI: 10.1111/j.1475-4754.2008.00438.x     Document Type: Article

References (37)

1. Andreotti, A., Bonaduce, I., Colombini, M. P., Gautier, G., Modugno, F., and Ribechini, E., 2006, Combined GC/MS analytical procedure for the characterization of glycerolipid, waxy, resinous and proteinaceous materials in a unique paint microsample, Analytical Chemistry, 78, 4490-500.
2. Barrucand, M. A., and Bednorz, A., 1992, Moorish architecture in Andalusia, Benedikt Taschen Verlag GmbH, Cologne.
3. Calvo-Manuel, A., 1997, Materiales, técnicas y procedimientos. De la A a la Z, Colección Conservación y Restauración, Ediciones del Serbal, Madrid.
4. Capitán-Vallvey, F., Manzano, E., and Medina, V. J., 1993, Estudio de materiales de las pinturas murales de la Torre de las Damas (Granada) y estado de conservación, AL-QANTARA, XIV, 177-203.
5. Cardell, C., and Navarrete, C., 2006, Pigment and plasterwork analyses of Nasrid polychrome stucco in the Alhambra (Granada, Spain), Studies in Conservation, 51, 161-76.
6. Cardell, C., and Rodríguez-Gordillo, J., 2003, Polychromes in the church of the Monastery of Sant Gerome in Granada (Spain): Composition, degradation and execution technique, Boletin Sociedad Española de Mineralogía, 26, 23-34.
7. Cardell, C., Navarrete, C., and Rodríguez-Gordillo, J., 2004, Pigments in polychrome architectural and ornamental elements in the Alhambra (Granada, Spain): Archaeological considerations, in Proceedings of the 34th International Symposium on Archaeometry, Zaragoza, Spain (ed. J. Pérez-Arantegui), 176, University of Zaragoza and University of Barcelona, Zaragoza, Spain.
8. Cid-Acedo, A., 2000, The Alhambra and Generalife in focus, Edilux, Granada.
9. Civici, N., Demko, O., Robin, J. H., and Clark, R. J. H., 2005, Identification of pigments used on late 17th century Albanian icons by total reflection X-ray fluorescence and Raman microscopy, Journal of Cultural Heritage, 6, 157-64.
10. Colombini, M. P., Modugno, F., Giacomelli, M., and Francesconi, S., 1999, Characterisation of proteinaceous binders and drying oils in wall painting samples by gas chromatography - mass spectrometry, Journal of Chromatography A, 846, 113-24.
11. Damiani, D., Gliozzo, E., Memmi, I., and Spangenberg, J. E., 2003, Pigments and plasters discovered in the house of Diana (Cosa, Grosseto, Italy): An integrated study between art history, archaeology and scientific analyses, Archaeometry, 45, 341-54.
12. Durán, A., Pérez-Rodríguez, J. L., Jiménez de Haro, M. C., Herrera, L. K., and Justo, A., 2008, Degradation of gold and false golds used as gildings in the cultural heritage of Andalusia, Spain, Journal of Cultural Heritage, 9, 184-8.
13. Eastaugh, N., Walsh, V., Chaplin, T., and Siddall, R., 2004a, Pigment compendium: A dictionary of historical pigments, Butterworth-Heinemann, Oxford.
14. Eastaugh, N., Walsh, V., Chaplin, T., and Siddall, R., 2004b, Pigment compendium: Optical microscopy of historical pigments, Butterworth-Heinemann, Oxford.
15. Fiorin, E., and Vigato, P. A., 2007, Teodelinda's tales at Monza Cathedral: A physico-chemical diagnosis of the pictorial cycle, Journal of Cultural Heritage, 8, 13-25.
16. García Ramos, R., and Ruiz de Arcaudete, E., 1996, Estudio de la evolución histórica de la policromía de una talla gótica. Aplicación de la técnica de correspondencia de policromías, Cuadernos de Sección. Artes Plásticas y Monumentales, 15, 365-74.
17. González-López, M. J., 2002, Metodología para la conservación de retablos de madera policromada, in Retablo Mayor de la Capilla Real de Granada: Puesta a punto de una metodología de estudio para la intervención en Retablos (eds. Junta de Andalucía, Consejería de Cultura and the J. Paul Getty Trust), Instituto Andaluz del Patrimonio Histórico, Sevilla, Spain.
18. Harrison, W. A., 1989, Electronic structure and the properties of solids, Dover Publications, New York.
19. Ionescu, O. H., Mohanua, D., Stoica, A. I., and Baiulescu, G. E., 2004, Analytical contributions to the evaluation of painting authenticity from Princely church of Curtea de Arges, Talanta, 63, 815-23.
20. Jenkins, M., 1983, Islamic pottery: A brief history, The Metropolitan Museum of Art Bulletin, New Series, 40(4), 1-52, The Metropolitan Museum of Art, New York.
21. Johnson, M., and Packard, E., 1971, Methods used for the identification of binding media in Italian paintings of the fifteenth and sixteenth centuries, Studies in Conservation, 16, 145-64.
22. Khandekar, N., and Schilling, M., 2001, A technical examination of a seventeenth-century polychrome sculpture of St Gines de la Jara by Luisa Roldan, Studies in Conservation, 46, 23-34.
23. López-López, A., and Orihuela, A., 1992, Una nueva interpretación del texto de Ibn Al-Jatib sobre la Alhambra en 1362, Cuadernos de la Alhambra, 26, 121-44.
24. Mallégol, J., Lemaire, J., and Gardette, J. L., 2001, Yellowing of oil based paints, Studies in Conservation, 46, 121-31.
25. Marinach, C., Papillon, M. C., and Pepe, C., 2004, Identification of binding media in works of art by gas chromatography - mass spectroscopy, Journal of Cultural Heritage, 5, 231-40.
26. Mills, J. S., and White, R., 1994, The organic chemistry of museum objects, 2nd edn, Butterworth-Heinemann, London (reprinted 2003).
27. Ordoñez, E., and Twilley, J., 1998, Efflorescence on works of art, WAAC Newsletter, 20(1), 1-12.
28. Palet, A., 2002, Tratado de pintura: Color, pigmento y ensayo, Ed. Universitat de Barcelona, Spain.
29. Romero-Noguera, J., Bolívar-Galiano F. C., Ramos-López, J. M., Fernández-Vivas, M. A., and Martín-Sánchez, I., Study of biodeterioration of diterpenic varnishes used on art painting: colophony and Venetian turpentine, International Biodeterioration & Biodegradation, in press.
30. Scott, D. A., 2001, The application of scanning X-ray fluorescence microanalysis in the examination of cultural materials, Archaeometry, 43, 475-82.
31. Sever Škapin, A., Ropret, P., and Bukovec, P., 2007, Determination of pigments in colour layers on walls of some selected historical buildings using optical and scanning electron microscopy, Materials Characterization, 58, 1138-47.
32. Tintori, L., 1982, Golden tin in Sienese murals of the Early Trecento, The Burlington Magazine, 124, 94-7.
33. Torres-Balbás, L., 1965, Diario de Obras en la Alhambra 1923, Cuadernos de la Alhambra, 1, 1-34.
34. Van den Berg, J. D. J., 2002, Analytical chemical studies on traditional linseed oil paints, Ph.D. dissertation, University of Amsterdam, Molart Series (6), AMOLF, Amsterdam.
35. Van Loon, A., Speleers, L., Ferreira, E., Keune, K., and Boon, J., 2006, The relationship between preservation and technique in the Oranjezaal Paintings, in The object in context: Crossing conservation boundaries, IIC Munich Congress (eds. D. Saunders, J. H. Townsend and S. Woodcock), The International Institute for Conservation of Historic and Artistic Works, London.
36. Velasco-Gómez, J. M., 1993, Estructura original de elementos lígneos en el Patio de los Leones, Cuadernos de la Alhambra, 28, 199-229.
37. Winter, J., 1981, Lead white in Japanese paintings, Studies in Conservation, 26, 89-101.