Gothic green glazed tile from Malbork Castle: multi-analytical study
Looking at the façade of a historical building, it is often difficult to distinguish between the original decoration and later additions. One such building is the Holy Virgin Mary Church at the Malbork Castle (Northern Poland), built between 1276 and 1406. During the latest restoration works, ceramic tiles with some remnants of the green glaze, decorating the Holy Virgin Mary Church façade, were studied in situ using portable X-ray fluorescence spectrometry. Micro-samples were analyzed in laboratory by scanning electron microscopy with energy dispersive X-ray spectrometry (SEM–EDS) and wavelength-dispersive X-ray spectrometry (SEM–WDS), micro-Raman spectroscopy and powder X-ray micro-diffraction. We found that what was originally thought to be a paint layer was in fact a heavily deteriorated SiO2–PbO glaze. White, yellow and black pigments were found to have been added into the glaze as opacifiers and colorants. Copper and iron were used as glaze colorants. The originally added pigments were transformed into new phases, such as antimony-doped tin oxide. The technology used to produce the glazed tiles was identified. All the results collectively confirmed the medieval origin of the green glazed tiles.Graphical abstractGothic green glazed tile from Malbork Castle: multi-analytical study.
Painted plaster and glazed brick fragments from Achaemenid Pasargadae and Persepolis, Iran
BackgroundArchitectural fragments of decorated walls, floors, and columns excavated by Ernst Herzfeld (1879–1948) at the archaeological sites of Persepolis and Pasargadae in Iran are housed in the Freer Study Collection at the Freer Gallery of Art and Arthur M. Sackler Gallery (FSG), Smithsonian Institution in Washington, DC. Technical studies of these painted earthen plasters and glazed brick fragments were undertaken to enhance our knowledge of materials and technology of Achaemenid Persia between the late sixth and fourth centuries BCE. Initial analysis was done on the surface of the fragments using non-invasive X-ray fluorescence with a portable instrument. Polished cross-sections were used to examine the layering stratigraphy of paints and glazes, and to undertake compositional analysis using scanning electron microscopy with energy-dispersive X-ray spectroscopy.ResultsUp to five layers of paint are present on the Pasargadae plaster, constituting the remnants of a geometric design. The plasters were bound with clay tempered with an organic material that has long since degraded, leaving small voids throughout. Pigments identified include Egyptian blue, malachite green, red ocher, and cinnabar red. The floor fragments from Persepolis were finished with a lime plaster and two layers of hematite-rich paint. The brick fragments from Persepolis were found to be composed of high-silica material similar to faience, which were decorated with alkaline glazes, including a yellow glazed colored with lead antimonate, gray glaze colored with magnesium and iron, and green glazed colored with copper.ConclusionsWhile the exact ages of the finishes are unknown, a similar technology was employed to decorate Achaemenid architecture in its principle Iranian cities. The variety of materials excavated by Herzfeld demonstrates the ability of Achaemenid artisans to work with multiple mediums to create a polychromatic finish including that of glazed tiles, earthen plaster tempered with gravel, earthen plaster tempered with organic matter, colored earths, pigmented paints and lime plasters. The layering of these materials can be seen and analyzed in cross-section although surface deterioration is often quite severe. The analysis of the compositional data on the architectural fragments inform their long-term preservation at the FSG as well as at the sites themselves.
The role of materials research in ceramics and archaeology
▪ Abstract Materials research has been applied successfully to the study of archaeological ceramics for the last fifty years. To learn about our history and the human condition is not just to analyze and preserve the objects but also to investigate and understand the knowledge and skills used to produce and use them. Many researchers have probed the limits and methods of such studies, always mindful that a glimpse at ancient reality lies in the details of time and place, context of finds, and experimentally produced data, usually compared with standards that were collected in an equivalent ethnographic setting or that were fabricated in a laboratory in order to elucidate the critical questions in a technology that could be understood in no other way. The basis of most studies of ancient technology has been established as microstructure; composition and firing; methods and sequence of manufacture; differentiation of use; use-wear and post-depositional processes; technological variability that can be interp...