Abstract
This study fills the gap regarding the behaviour of neutral verdigris pigment (Cu(CH₃COO)₂·H₂O) in traditional wall-painting techniques, an area far less studied than its degradation in manuscripts or easel paintings. Verdigris was applied using three historical methods—a secco (egg yolk or rabbit glue), mezzo-fresco (lime water), and fresco (lime paste)—and complementary pigment–binder mixtures were prepared to isolate binder effects. Multimodal analyses (stereomicroscopy, spectrophotometry, OM, SEM, XRD, ATR-FTIR) revealed a striking contrast between acidic and alkaline environments: verdigris remained chemically and microstructurally stable in a secco but underwent rapid and extensive alteration in lime-based techniques. These transformations produced marked colour shifts, micro-textural heterogeneity, and micrometric secondary compounds such as copper and calcium acetates (e.g. paceite), and tenorite. The findings provide new insights into historical wall-painting practices as they re-examine the use of verdigris with certain painting techniques, also with significant implications for conservation strategies involving verdigris-containing artworks.
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Details
1 CINTECX, University of Vigo, GESSMin group, Dpt. of Natural Resources and Environmental Engineering, School of Mining and Energy Engineering, Vigo, Spain (ROR: https://ror.org/05rdf8595) (GRID: grid.6312.6) (ISNI: 0000 0001 2097 6738)
2 Department of Mineralogy and Petrology, Faculty of Science, University of Granada, Granada, Spain (ROR: https://ror.org/04njjy449) (GRID: grid.4489.1) (ISNI: 0000 0004 1937 0263)