Are they fresco paintings? Technical and material study of Casas Pintadas of Vasco da Gama house in Évora (Southern Portugal)1. (23rd February 2015)

• Record Type: Journal Article
• Authors: Gil, Milene; Rosado, Tania; Ribeiro, Isabel; Pestana, José A.; Caldeira, Ana Teresa; Carvalho, Maria Luisa; Dias, Luis; Mirão, José; Candeias, António
• Is Part Of: X-ray spectrometry. Volume 44:Number 3(2015)
• Page Start: 154
• Page End: 162
• Publication Date: 2015-02-23
• Subjects: X-ray spectroscopy -- Periodicals; 543.62
• DOI: 10.1002/xrs.2593
• Languages: English
• ISSNs: 0049-8246

Abstract

<abstract abstract-type="main"> <title> <x xml:space="preserve">Abstract</x> </title> <p>The present paper describes the characterization and comparative study carried out on the 16th century murals of <italic>Casas Pintadas</italic> of the so‐called Vasco da Gama House in the town of Évora, Southern Portugal. Even today, the two existing paintings in the porch vaulted cloister raise many questions about the pictorial techniques and materials that were used. The most adopted theory is that the upper register inspired in medieval bestiary was made with a <italic>secco</italic> technique, while the lower grotteschi frieze was achieved with a <italic>fresco</italic> technique. A multianalytical research was carried out <italic>in situ</italic> and in laboratory in order to attest this hypothesis and to characterize the paintings materials. Surface examination was made with normal and racking light complemented with <italic>in situ</italic> spectrophotometry in the visible, with stratigraphic and analytical study of microsamples by optical microscopy (OM) and scanning electron microscopy coupled with energy dispersive X‐ray spectrometry (SEM‐EDS). The results show similarities in the structure and elemental composition of both paintings mortars and pigments. The mortars' inner layers (the <italic>intonaci</italic>) were made with siliceous sands mixed with a dolomitic lime‐based plaster (CaMg(CO<sub>3</sub>)<sub>2</sub>). On top of it, one to three thin layers of lime wash were applied. In SEM‐EDS elemental maps, all the pigments at the cross‐sections are embedded in a calcium carbonate matrice, and several nails marks are visible <italic>in situ</italic> with racking light in both paintings indicating a fresco technique. Copyright © 2015 John Wiley & Sons, Ltd.</p> </abstract>