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2012) azurite, a natural blue pigment cheaper than ultramarine, obtained by this copper carbonate hydroxide natural mineral (Dei 1998 Bucklow 2013 Švarcová et al. 2016 Gliozzo and Ionescu 2021) arsenic-based pigments such as realgar and orpiment (Gliozzo and Burgio 2021) cinnabar, a mercury sulphide which is bright red, and could be mixed with white to give a pink flesh colour (Thompson jr 1933 Spring and Grout 2002 Gliozzo 2021) ultramarine, an expensive blue pigment prepared from the mineral lapis lazuli (Gaetani et al. The range includes a few organic pigments (Aceto 2021) and some inorganic pigments such as lead white, a basic lead carbonate, and red lead (Gonzalez et al.
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Other colours could not withstand the alkaline environment of the lime, and were therefore more often used in a secco paint, bound in organic media as egg or oil. 2011) finally, Egyptian blue, which is one of the oldests known artificial pigment, already in use since the early dynasties of ancient Egypt, consisting of an artificial copper calcium silicate prepared by heating a mixture of a calcium compound, copper compound and quartz (Uda et al. 1984 Baroni 1998 Cennini 2012Cennini, 2015 vine black, a finely ground material obtained by carbonising vine lees, twigs or stalks (Winter 1983) ivory black, obtained from carbonising ivory, and similar to bone black, which is obtained from carbonising bones instead (Winter 1983) green earth, prepared from the minerals glauconite and/or celadonite (Moretto et al. 2016 Gliozzo and Ionescu 2021) bianco San Giovanni, obtained from dried lime reduced to powder and then dipped in water-a procedure described in details by Cennino (Zanardi et al. 2021) Naples yellow (Dik 2003 Agresti et al. 2006), such as sienna, from Italian 'Terra di Siena' literally meaning 'Siena earth', an earth pigment that contains iron oxide and manganese oxide, which was used in two versions: in its natural state, called raw sienna, with a yellowish brown hue, and heated, called burnt or dark sienna, when it becomes a reddish brown (Cornell and Schwertmann 2006 Mastrotheodoros et al. Fresco colours included yellow and red ochres (Mady et al. The range of pigments that could be used for a fresco paint was generally limited to the inorganic ones, since they can cope the alkaline environment of the lime (Artists ' pigments, 1986-2007). Finally, an insight into the analytical methods that can (and should) be used for accurate archaeometric investigations and a summary of key concepts conclude this review, along with a further list of references for use as a starting point for further research. An attempt is made to describe the history, technology and alteration of these pigments in the most complete manner possible, despite the topic's evident breadth. The pigments discussed are lead white, red lead, litharge, massicot, lead-tin yellow, lead-tin-antimony yellow, lead-chromate yellow and Naples yellow. The minerals described are abellaite, anglesite, blixite, caledonite, challacolloite, cerussite, cotunnite, crocoite, galena, grootfonteinite, hydrocerussite, laurionite, leadhillite, litharge, macphersonite, massicot, mimetite, minium, palmierite, phosgenite, plattnerite, plumbonacrite, schulténite, scrutinyite, somersetite, susannite, vanadinite and an unnamed phase (PbMg(CO3)2). The focus is mineralogical, as both raw materials and degradation products are mineral phases occurring in nature (except for very few cases). Other issues, such as those related to the investigation and protection of artworks bearing lead-based pigments are also presented. This review summarises the state-of-the-art of lead-based pigment studies, addressing their production, trade, use and possible alteration.