# Recent Developments in Materials Science for the Conservation and Restoration of Historic Artifacts
## 4 Modern Pigments and Dyes in Restoration
### Case Studies  
The use of modern pigments and dyes has historically accompanied restoration procedures. Although the topic is not very often encountered in scientific studies, an example of this area of study is YInMn Blue, the first new inorganic pigment developed in the last 200 years [65], which has already found application in modern art, being commercially available [66]. However, although its use responses to all the major requirements for application in heritage science (as previously stated), its use raises issues regarding authenticity. Most of works on this topic deal with an extensive analysis of ancient recipes of pigments and dyes, recreating them using modern scientific techniques, in order to applied them in restoration procedures. In the restoration of [PERSON]'s Comaro Chapel Vault, Rome (Italy), [PERSON] et al. [67] obtained information regarding the pigments used, together with the characteristics of the support materials. Using a multi-analytical approach,the authors identified the presence of black pigment obtained from the pyrolysis of animal bones, hematite, as well as the potential presence of ocher. The information allows for further restoration procedures using compatible materials. A similar approach was also applied for the investigation of a Byzantine fresco of the _Dormitio Virginia_ from Sicily [68], mural paintings inside the Blue Daemons Etruscan tomb [69], a 2 nd-century stuccoes from _Domus Valeriorun_ in Rome [70], wall paintings of the Harem Court in the Alhambra Monumental Ensemble [71], or a medieval fresco in the Corbii de Piatra Cave Church (Romania) [72], just to cite some of the recent works dealing with the identification of pigments present in heritage sites, for further restoration procedures. Another interesting example is represented by the study of [PERSON] et al. [73], which uncovered the early use of synthetic dyes in art restoration, focusing on the iconic Bayeux Tapestry. By analyzing reflectance spectra of dyes in 19 th-century chemistry books, researchers identified synthetic dyestuffs on restored sections of the tapestry, dating a significant restoration phase to between 1866 and 1872. This early adoption of synthetic dyes contradicts contemporary recommendations from [PERSON], a prominent chemist who championed natural dyes at the Gobelins Manufacture in Paris. Instead, according to the cited study, restorers embraced these industrially popular synthetic colors, a trend later seen in other historic textiles, such as _The Lady and the Unicorn_. The topic of pigments and dyes studies was recently reviewed in several works [74; 75] that identified the appropriate approach for the restoration of any object with cultural value. Although conservators tend to select classical pigments and dyes for restoration procedures, specifically to respond to the authenticity criterion, some examples regarding the integration of modern materials can also be found. [PERSON] et al. [76] evaluated several materials for contemporary monochromatic oil and acrylic emulsion unvarnished paints for the conservation of paintings from the Portuguese painter [PERSON]. The best results were obtained using Ferrario(r) pigment dispersed in the Tri-Funori(r) binding medium and with Winsor & Newton(r) [PERSON] [76]. Current Challenges and Future Perspectives in the Application of Modern Pigments and Dyes in Restoration Procedures  
The use of modern pigments and dyes in cultural heritage restoration presents both significant opportunities (including color matching precision, superior stability, and wider color range, compared to traditional dyes and pigments) and challenges. Restoration requires meticulous balancing of material performance, visual fidelity, and long-term preservation, making material selection complex. Presently, several challenges arise in the acceptance of modern pigments and dyes in current restoration procedures. * Aesthetic compatibility and color stability: achieving visual harmony with original materials is a primary challenge.