Biblioteca Nazionale Vittorio Emanuele III – Naples

An extensive analytical investigation was carried out on seven manuscripts, consisting of two late antique purple codices and five Renaissance manuscripts with purple pages.

Each codex was carefully examined to verify its integrity. Portable digital microcopy (both visible and UV) was used for a preliminary documentation and classification of the materials.

Dinolite setup and microphotographs form the ex-Vindobonensis Greco 2 (Biblioteca Nazionale Vittorio Emanuele III of Naples).

The materials used for the manufacture of each codex were then deeply investigated via different analytical techniques. Spectroscopic investigations were used to characterize purple dyes and pictorial materials, such as the inorganic pigments and organic dyes used for miniatures, as well as the metals used for gilding and inks. Multiband and hyperspectral imaging (HSI) were also carried to document the state of conservation and map the materials present.

Multy-analytical investigation at the Biblioteca Nazionale Vittorio Emanuele III of Naples. FT-IR (top-left), multiband imaging (top-right) and FORS (bottom).

The results obtained from the analytical investigations on the two purple codex (Greco 2 and Latino 3) are part of the Master thesis by Serena Morrocchesi Tecniche diagnostiche analitiche non invasive per lo studio di Codici Purpurei del V e del IX secolo della Biblioteca Centrale Vittorio Emanuele III di Napoli (tutor Dr. Marcello Picollo,co-tutors Dr. Maurizo Aceto e Dr. Cristina Fornacelli).

The activities carried out by the research groups of the UNIPO and CNR-IFAC were also presented during the opening of the exhibition Di porpora e di luce, the first ever dedicated to codices with purple parchment sheets, and the preliminary results could be consulted in the exhibition catalogue (link).

Di porpora e di Luce inauguration at Biblioteca Nazionale Vittorio Emanuele III of Naples.

The chemical-physical investigation of the codex allowed identifying orchil and folium as the main organic dyes used to impart the purple color to the parchment in the Early medieval/Late Antique and Renaissance codices, respectively.

Late antique and early medieval codices were also characterized by the use of metallic inks (gold and/or silver).

Renaissance codices, in particular, could be distinguished due to the richness of decorations and miniatures that resulted in a more heterogeneous palette. Together with folium, animal organic dyes and brazilwood were also used to color the purple sheets. The Breviary of Ferrante (I.B.57) represented the most elaborate manuscript. The palette was characterized by its high heterogeneity and the extensive use of valuable pigments and dyes, such as lapis lazuli and gold.

The Book of Hours (XIX.E.27) markedly differed from the Breviary of Ferrante due to a less rich palette. The main peculiarity is represented by the use of silver for the incarnations of the figures animating the numerous miniatures and the widespread use of folium, both in purple sheets and miniatures.

For the remaining codices, the composition of the palette was in agreement with that observed for the previous ones, with few but interesting exceptions especially concerning the dye used to color the purple sheets. In Cicero, De officis the use of a red dye of animal origin (probably cochineal or kermes) was responsible for the distinctive pinkish color of the initial pages, while in the San Martino, the use of brazilwood, probably applied with a brush, resulted in a distinctive orange color.

Hyperspectral mapping from the Ferrante Breviary.

Unlike the early mediaeval codices, where the text was produced exclusively with gold and/or silver inks, the Renaissance codices were characterized by the widespread use of iron gall inks, together with vermilion and lapis lazuli. Gold and silver were only used for the decoration of initials, or to emphasize specific parts of the text.

The innovative application of hyperspectral imaging made it possible map the use of different materials. Multiband imaging allowed revealing successive retouches, as well as identifying parts of text that are no longer visible.