Multi-Technique Characterization of Pictorial Organic Binders on XV Century Polychrome Sculptures by Combining Micro- and Non-Invasive Sampling Approaches

A stony sculptural composition of the Nativity Scene is preserved in Altamura's Cathedral (Apulia, Italy). This commonly called Apulian presepe, attributed to an unknown stonemason, is composed of polychrome carbonate white stone sculptures. While earlier stratigraphic tests have unveiled a complex superimposition of painting layers-meaning that several editions of the sculptures succeeded from the 16th to 20th century-a chemical investigation intended to identify the organic binding media used in painting layers was undertaken. Drawing on current literature, two strategies were exploited: a non-invasive in situ digestion analysis and an approach based on micro-removal of painting film followed by the Bligh and Dyer extraction protocol. Both peptide and lipid mixtures were analyzed by matrix-assisted laser desorption/ionization-mass spectrometry (MALDI-MS) and reversed-phase liquid chromatography coupled to mass spectrometry by electrospray ionization (RPLC-ESI-MS). Attenuated total reflectance Fourier-transform infrared spectroscopy (ATR-FTIR) examinations were also performed on micro-samples of painting films before lipids and proteins extraction. While human keratins were found to be common contaminants of the artwork's surfaces, traces of animal collagen, siccative oils, and egg white proteins were evidenced in different sampling zones of the sculptures, thus suggesting the use of non-homogeneous painting techniques in the colored layers.

Automated summary

The stony sculptural composition of the Nativity Scene in Altamura's Cathedral reveals a complex history of multiple modifications from the 16th to the 20th century, with evidence of the use of various organic materials and painting techniques in different sampling zones.