摘要：The present study is part of a project concerning the characterization of Albanian Byzantine and post-Byzantine icons, through the identification of pigments, of painting technique and the state of conservation of the artworks. The Albanian iconographers produced an incredible number of icons from the 14th to the 19th century and about 6000 of them are conserved in the Museum of Medieval Art of Korça (Albania). The study of these artworks is conducted by non-destructive methods, X-ray fluorescence, visible light reflectance spectrophotometric measurements and UV fluorescence analysis, according to an analytical procedure developed in our Laboratory. With this procedure we can recognize the inorganic pigments from their typical features. Moreover, the study of the optical properties of paintings is of fundamental importance for correct restoration. Eleven areas were selected in order to carry out the measurements. The present work, concerning the study of an icon of 14th century, has allowed us to recognize the palette and the painting technique used in this artwork by the anonymous painter. We have also compared this icon with other Byzantine works housed in the same Museum. Aims: The main purpose of this research was to identify the original pigments, those added during restoration interventions, the restored areas, as well as the painting technique used by the anonymous painter; and together provide useful information to art historians and restorers. Study Design: The present study is part of a project concerning the characterization of Albanian Byzantine and post-Byzantine icons, through the identification of pigments, of painting technique and the state of conservation of the artworks. Place and Duration of Study: Museum of Medieval Art of Korça, Albania, between June 2008 and July 2009. Methodology: The study is conducted by non-destructive methods, namely, X-ray fluorescence, visible light reflectance spectrophotometry and UV fluorescence analysis. Results: The non-destructive study allowed us to identify the pigments’ palette of the anonymous 14th century artist. For the ground, the painter employed calcium white coloured with brown ochre, ivory/bone carbon and copper based compounds. We also detected the previously restored areas of the icon and the pigments utilized by restorers. Conclusion: The set of non–destructive techniques employed in this study has proved to be very useful for recognizing pigments, including those not detectable with certainty by means of X-ray fluorescence.
