The Byzantine wall paintings from the Protaton Church on Mount Athos, Greece: tradition and science

Daniilia, S; Tsakalof, A; Bairachtari, K; Chryssoulakis, Y

dc.contributor.author	Daniilia, S	en
dc.contributor.author	Tsakalof, A	en
dc.contributor.author	Bairachtari, K	en
dc.contributor.author	Chryssoulakis, Y	en
dc.date.accessioned	2014-03-01T01:27:23Z
dc.date.available	2014-03-01T01:27:23Z
dc.date.issued	2007	en
dc.identifier.issn	0305-4403	en
dc.identifier.uri	https://dspace.lib.ntua.gr/xmlui/handle/123456789/18426
dc.subject	Animal glue	en
dc.subject	Artefacts	en
dc.subject	Binding media	en
dc.subject	Byzantine wall paintings	en
dc.subject	Egg	en
dc.subject	Fresco-secco	en
dc.subject	GC/MS	en
dc.subject	Protein	en
dc.subject.classification	Anthropology	en
dc.subject.classification	Archaeology	en
dc.subject.classification	Geosciences, Multidisciplinary	en
dc.subject.other	art	en
dc.subject.other	artifact	en
dc.subject.other	cultural history	en
dc.subject.other	gas chromatography	en
dc.subject.other	iconography	en
dc.subject.other	mass spectrometry	en
dc.subject.other	monument	en
dc.subject.other	Eurasia	en
dc.subject.other	Europe	en
dc.subject.other	Greece	en
dc.subject.other	Southern Europe	en
dc.subject.other	Animalia	en
dc.title	The Byzantine wall paintings from the Protaton Church on Mount Athos, Greece: tradition and science	en
heal.type	journalArticle	en
heal.identifier.primary	10.1016/j.jas.2007.01.016	en
heal.identifier.secondary	http://dx.doi.org/10.1016/j.jas.2007.01.016	en
heal.language	English	en
heal.publicationDate	2007	en
heal.abstract	The present work is a study of the wall painting complex in the Protaton Church (1295) on Mount Athos, Greece. These paintings, high in artistic value, are themselves a monument-representative of the Macedonian iconographic style. What follows is historic data set against the results of analytical investigations: the fruit of extensive research aimed at determining precise details about the applied painting techniques for the wall paintings. Hitherto it has been held that what was traditionally defined as ""Byzantine fresco"" was executed only on wet plaster with limewater as the sole binding medium. Now, however, through the application of instrumental analytical investigations, it is possible to demonstrate that a mixed technique involving both al fresco and al secco was employed. Furthermore, it was determined, on the basis of results from gas chromatography-mass spectrometry (GC/MS), that egg together with a modest amount of animal glue were the organic binding media used for the Protaton art work. It is certain that the scenes were initially begun on wet plaster. During or even after drying the painting was completed using the aforementioned protein binding media, thanks to which a more resistant cohesion to the painted layers was secured. © 2007 Elsevier Ltd. All rights reserved.	en
heal.publisher	ACADEMIC PRESS LTD ELSEVIER SCIENCE LTD	en
heal.journalName	Journal of Archaeological Science	en
dc.identifier.doi	10.1016/j.jas.2007.01.016	en
dc.identifier.isi	ISI:000251160500001	en
dc.identifier.volume	34	en
dc.identifier.issue	12	en
dc.identifier.spage	1971	en
dc.identifier.epage	1984	en