Ana Drob

This work presents the first in-depth investigation of Theodor Aman’s paintings that focuses on three of his heritage artworks: “Hora de peste Olt” (1866), “Teleleice în Harem” (1879), and “Regimul vechi” (1881), and that relies on both elemental and spectroscopic analytical techniques. Non-destructive Raman spectroscopy was employed on all three works of art to identify the pigments used by the Romanian master. In addition, micro-samples were available from “Hora de peste Olt” and “Teleleice în Harem”, which were further analyzed using XRD, micro-Raman, ATR-FTIR, and SEM-EDS techniques to provide complementary information on the pigments. SEM-EDS was also applied to study the structure of the preparation layers. The analyses revealed significant differences between the artworks in terms of both the pigments employed and the preparation of the canvas, suggesting that the earlier artwork belongs to one creative phase, while the newer pieces can be attributed to a later phase in the artist’s career.

Dental wear provides valuable evidence for reconstructing past human behaviour, including diet abrasiveness and non-masticatory activities such as the use of teeth as a “third hand”. This study investigates activity-induced dental modifications (AIDMs) in two adult human skeletons recovered from a 15th–19th-century necropolis at the St. Athanasius Church in Niculițel (Tulcea County, Romania). Dental remains and associated dental calculus were examined using low- and high-magnification optical microscopy and scanning electron microscopy (SEM). Well-polished grooves with parallel striations were identified on the incisor crowns, consistent with repetitive extra-masticatory activities related to fibre drafting during spinning and textile production. Dental calculus analysis revealed the presence of plant and animal fibres, providing direct micro-contextual evidence for textile-related practices. These results offer new insights into the use of teeth as tools and contribute to the reconstruction of textile-related craft activities during the Ottoman and early modern periods in southeastern Europe.

This work presents the first in-depth investigation of Theodor Aman’s paintings that focuses on three of his heritage artworks: „Hora de peste Olt” (1866), „Teleleice in Harem” (1879), and „Regimul vechi” (1881), and that relies on both elemental and spectroscopic analytical techniques. Non-destructive Raman spectroscopy was employed on all three works of art to identify the pigments used by the Romanian master. In addition, micro-samples were available from "Hora de peste Olt" and "Teleleice in Harem", which were further analyzed using XRD, micro-Raman, ATR-FTIR, and SEM-EDS techniques to provide complementary information on the pigments. SEM-EDS was also applied to study the structure of the preparation layers. The analyses revealed significant differences between the artworks in terms of both the pigments employed and the preparation of the canvas, suggesting that the earlier artwork belongs to one creative phase, while the newer pieces can be attributed to a later phase in the artist’s career.

This paper presents the authentication analysis of a bronze bust of Napoleon I, attributed to the Italian artist Renzo Colombo (1856–1885) based on his signature and other casting and molding inscriptions. The bust was made using the lost wax technique and artificially patinated in the Pinédo variant workshop. This study combined historiographical research (using the specialized literature) with data from auction catalogs. These were compared with photographs of the entire bust and close-up images of key areas, including anthropomorphic features, clothing, inscriptions, and structural and ornamental details. The condition of the bust and its historical and chemical characteristics were assessed through direct analysis with magnifying tools and indirect analysis using scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX).

This paper presents the archaeometric and chemometric authentication of a Renaissance-style oil painting on linen canvas, with plaster and barium sulphate-based primer preparation and bone glue as binder. By optical microscopy (OM), stereomicroscopy (SOM), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX) and attenuated total reflectance–Fourier transform infrared spectroscopy (ATR-FTIR), a series of archaeometric characteristics were identified: the grain size of the chemical components of the paint layers, the 3D porosity distribution of the pigments, the degree of penetration between the paint layers and the varnish and between the varnish and the oxidatively anchored dirt, and the typology of the craquelure (craquelure network arrangement and morphology). By correlating the results obtained, it was possible to estimate the period of the painting as 1660 ± 3 years.

The paper presents an interdisciplinary study based on an experimental model for investigating clay sources to identify prehistoric human behavior regarding resources. The study focuses on the Middle Bronze Age (1955/1773–1739/1614 cal. BC) settlement of Siliştea-Pe Cetățuie in eastern Romania, where archaeological materials from the Costișa and Monteoru cultures were discovered. Standard criteria for macroscopic analysis and analytical techniques, such as optical microscopy (OM), Scanning Electron Microscopy with Energy Dispersive X-ray Spectroscopy (SEM-EDX), Micro-Fourier Transform Infrared Spectroscopy (µ-FTIR), and thermal analysis (DTA and TG), were used to investigate the ceramic material from multiple points of view. The results showed that there were no significant differences between the ceramics of the two communities. Putting together the data obtained from macroscopic and physico-chemical analyses helped in partially reconstructing ancient human behaviors related to the production and use of ceramic vessels.

Vessels with a special shape have always been a point of interest for pottery studies, especially from the perspective of the distinct functionality that these pots would have had. The ceramic typologies made for the miniature finds specific to the Middle Bronze Age in the Eastern Carpathian area include a series of such vessels attributed to the Costișa communities. Currently, the role of these pots is still under debate, being classified as ritual or special, which led to two case studies focused on investigating these miniatures. The analyzed vessels come from the Piatra Neamț—Bâtca Doamnei and Siliștea—Pe Cetățuie settlements (Neamț County), where these containers were discovered with traces of pigment or in association with colored minerals. These findings led to a series of questions related to their use, as it is known that in the Middle Bronze Age there are not many archaeological discoveries that explain the presence of pigments in the studied area. In this sense, multiplication of information was achieved by performing detailed analyses, such as optical microscopy (texture and surface details), colorimetry CIE L*a*b* (color investigation), SEM-EDX (elemental composition) and µ-FTIR (chemical compounds). The results of the interdisciplinary study led to new data on the nature of the pigment and the method of preparation, and also clues on the source of the raw material. Thus, these items illustrate the special use of miniature vessels and their probable functions.

By correlating the structural–functional dimensional data with a series of archaeometric and chemometric characteristics determined by dendrochronological analysis and by three instrumental techniques (Scanning Electronic Microscopy, coupled with Energy Dispersive X-ray, µ-FTIR Spectroscopy and Thermal Analysis in Dynamic Mode), a Stradivarius violin was authenticated as having been made by one of the two Stradivari sons (Francesco or Omobono) in 1723. It should be noted that the “petite” type violin, which comes from a private collection and was recently purchased on the open market, has the original label and is in a poor preservation state. There is only one revarnishing intervention on the violin, and it is older than 80 years. There have been several attempts at sampling (all of which are under 30 years old) for the wooden support and varnish (from the top cover of the resonance box), but the existence of some analysis results is unknown. The dimensional characteristics of the structural–functional components place the violin in “petite violins”, and it is one of the more than 40 still preserved as an authentic artifact.

Field survey activities in the Verdele brook basin, South of Hoisești village, Neamț County, have led to the identification and integration of new sites in the national archaeological database. At first, we made a visual analysis of the Verdele brook basin (left tributary of the Bistrița River), a stage followed by the identification of the places that presented specific parameters of areas with archaeological traces. In this context, South of the Hoisești village, on the left high terrace of the Verdele brook, on a flattened hillock delimited by two fossil riverbeds, we identified many archaeological traces. The fieldwalking activity continued during four agricultural seasons in which we took in consideration the distribution of the artefacts, the degree of damage inflicted to the area and the way the use of agricultural machinery was affecting an archaeological site. In order to confirm the presence of the archaeological content, the artefact distribution and the need to recover and protect the heritage, non-invasive investigations were performed, which proved the existence of a Eneolithic stronghold with three linear arranged 19 housing structures. As a result of this evaluation, it was proposed to carry out an archaeological survey in which the main objective was the research of a rectangular house. After removing the topsoil containing archaeological remains, was reached the archaeological level represented by the remnants of a burnt housing structure. The archaeological investigation started at the Hoisești-La Curmătura 1 led to the identification of some specific characteristics of the Eneolithic settlements with an area of less than one hectare located on minor watercourses and in the vicinity of some sources of liquid salt. In the same context, by recovering a batch of pottery fragments from the Middle Bronze Age, additions will be made regarding the occupation space and the connectivity in the central area of the Cracău-Bistrita Depression.

Wooden icons used in liturgical activities suffer a series of evolutionary deteriorations and degradations over time, due to improper storage and use conditions. The deterioration of the physical state of the structural-functional elements and degradation of the chemical nature of the components often lead old easel paintings to precarious preservation (almost close to pre-collapse), impossible to use or display as an artifact. In this study was included an old oil-painted icon on a carved linden wood support with fine gilded ornaments, which frames a central icon (“Coronation of Virgin Mary”) and a complex Menaion icon system with iconographic scenes. It was made by an anonymous author and dates back to the late 18th and early 19th centuries. As the icon has a special beauty and an ornamental and iconographic complexity, having a great heritage value, it required the elaboration of an optimal preservation–restoration protocol for the museum exhibition. Initially, the nature of the pictorial materials was determined, and their preservation state was evaluated using the OM, SEM-EDX, micro-FTIR methods, and CIE L*a*b* colorimetry and visible and UV reflectography were used in the evaluation of the wash test and in compatibility studies. Based on the data obtained, the optimal materials and procedures for structural reintegration were selected (including support fillings and filling of gaps), then chromatic reintegration and gilding, followed by final revarnishing, with or without patination additives.