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Archaic Roman painted antefixes, architectural slabs and louteria from the Palatine Hill in Rome, Italy, were studied by non‐destructive and micro‐destructive methods: Portable X‐ray fluorescence (XRF), micro‐Raman spectroscopy, optical microscopy, scanning electron microscopy with energy‐dispersive spectroscopy (SEM‐EDS) and X‐ray diffraction (XRD). The investigation enabled the characterization of raw materials and ceramic technology, providing insights on provenance. In fact, similarities were recognized with terracottas from the neighbouring Etruscan Veii. The analysis of pictorial layers revealed the use of Fe‐ and Mn‐based pigments, as well as the identification of more precious pigments on worthy pieces. The research intended to support the archaeological discussion about the frame of the nascent city of Rome, also in relation to the coeval Etruscan culture. [ABSTRACT FROM AUTHOR]

[Display omitted] • Combined non-destructive analytical approach using portable instrumentation • Complementary techniques and multivariate analysis allow characterization of pigments • Improved knowledge on pigments production, sourcing and use in 27 BC – 193 AD Rome Polychrome painted plasters from a suburban villa of Imperial epoch were recovered during the 1930s, and are currently exhibited in the galleries underneath the St. John in Lateran Church, Rome. As wall paintings from the Rome area are a rare find, and as the fragments were never subjected to conservation treatments, it was chosen to non-invasively characterize 113 coloured areas, representative of colours and decorative systems. The chemical and mineralogical information collected from this measurement campaign were interpreted in the light of archaeological context (i.e. the high status of the family who owned the villa , the different renovation works that affected it, the identification of decorative systems linked to such works), as well as of published data from contemporary wall paintings in the Rome area. A multi-analytical, non-destructive characterization of the painted surfaces was carried out in situ by means of portable Raman spectroscopy (pRS) and X-ray fluorescence (pXRF), in the framework of a wider project concerning the study of raw materials and paintings of archaeological interest. The combination of pXRF and pRS allowed to characterize the whole palette, as well as to discriminate among different pigments sharing the same key element, and to identify degradation issues. In this context, the use of principal component analysis gave an important contribution to the interpretation of data ant to the individuation and characterization of pigments such as ochres, green earths, lead based pigments, Egyptian blue, cinnabar, Tyrian purple. Calcium and magnesium carbonates are present, as expected, in the plaster, and are often associated with their sulphates and nitrates, and Ca-oxalates indicating degradation. Lead white and bone white have been used. Some peculiar yellow pigments have been identified, such as realgar/pararealgar and Naples' yellow, in addition to ochres. Hematite, minium and cinnabar were all identified, alone or in mixtures. The presence of the precious dye Tyrian purple is very likely, but could not be confirmed univocally. Green earths and complex mixtures of iron and copper compounds were detected. Egyptian blue was used, highlighting different production processes for this artificial glassy material. For the blacks, we hypothesize the use of carbon-based pigments. The obtained data confirms the general palette used by Roman painters, and sheds new light on the materials used in the Lateran area across two centuries, including their provenance and manufacturing. It appears that different earths and ochres were used diachronically, and that the owners could afford very expensive pigments, such as cinnabar and Tyrian purple. [ABSTRACT FROM AUTHOR]

Fragments and micro-fragments of painted plasters from the Sphinx Room, recently discovered in the Domus Aurea Esquiline wing (Rome, Italy), were studied. They were respectively taken from the debris in the vicinity of the walls and from already damaged edges of the decorated walls. A previous study, mainly based on non-destructive and non-invasive investigations, proved effective in giving a general overview of the employed palette, allowing the comparison with paintings from the same palace and other coeval contexts, and also providing some preliminary hints concerning the pictorial technique. Nevertheless, some issues remained unsolved, concerning the pigment mixtures (e.g., lead-/iron-based yellow to red colors; copper-/iron-based green/greyish areas), and the a fresco/a secco painting technique debate. Therefore, cross sections of the above-mentioned fragments were observed by means of Optical (OM) and Scanning Electron (SEM) Microscopy and analyzed with micro-Raman spectroscopy and Energy Dispersive X-Ray Spectroscopy (EDS), with the aims of: studying the paint layer composition through point analysis and mapping of the elemental distribution; comparing these in relation to what was observed with previously reported non-destructive analyses; studying the stratigraphy of the painted plaster, focusing on the contact between the plaster and the paint. [ABSTRACT FROM AUTHOR]

The recent discovery of the Sphinx Room, belonging to the Domus Aurea Esquiline wing, thanks to the framework given by the project "Non-destructive analytical studies at Parco Archeologico del Colosseo (Rome, Italy)", allowed to perform an analytical campaign, both in situ and on micro-fragments. The first aim was to contribute to the overall comprehension of the Domus Aurea complex and to contextualize the newly-discovered room inside this extraordinary imperial architecture by means of an archaeometrical characterisation of the painting materials. The palette, composed of Egyptian blue, green earths, iron- and lead-based red, orange and yellow, calcite, carbon-based black, allowed to compare the Sphinx Room to Corridor 92 and Room 114 of Domus Aurea and to other sites in Rome. Furthermore, the employ of an organic binder in some spots can be put forward based on spectroscopic results, which does not exclude a wider use of the a fresco. Furthermore, a complementary methodological strategy was designed, in order to achieve a complete characterization of the materials. In addition to the well-known combination of portable X-ray fluorescence and portable/laboratory Raman analyses, Infrared Fourier Transform Spectroscopy was used, both in situ (Diffuse Reflectance) and in the lab (Attenuated Total Reflectance). The results confirm the suitability of this approach for the characterization of Roman wall paintings, where both inorganic and organic materials are simultaneously present. [ABSTRACT FROM AUTHOR]