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In this study, we present the first characterisation of the polyvinyl acetate (PVAc) paints of commercial Spanish brand La Pajarita preserved in the studios of Joan Miró (1893–1983) in Mallorca, Spain. Investigation of several black and white paint samples using complementary analytical techniques (XRD, SEM–EDX, FTIR, and Py–GC–MS) allowed for the identification of pigments and binding media in studio materials, as well as in three artworks dating from the 1970s. Through comparative analysis, it was possible to find significant similarities between the composition of La Pajarita paints conserved in cans in the artist's studio with black and white painted layers from three artworks by Miró. Miró's use of La Pajarita paints is extensively documented in studio notes, photographs, and videos, and these paints are known to have been used by other significant Spanish artists. However, their composition has remained largely undiscovered until now. This research contributes to the knowledge of PVAc paints, providing evidence of their use by Joan Miró. The analytical results serve as a valuable reference for comparing and identifying these synthetic paints in other artworks, as well as aiding in attribution or dating studies. Furthermore, the study demonstrates the significance of materials found in artists' studios as a fundamental resource for identifying the materials present in artworks. [ABSTRACT FROM AUTHOR]

Direct ink writing (DIW) technology supersedes traditional mold‐based forming methods, significantly enhancing the fabrication of personalized and customized products with complex structures. This technology particularly excels in achieving precise control over the porosity of porous constructs. This study employs inorganic Al2O3 as raw material, sodium hexametaphosphate as dispersing agent, and inorganic SiO2 micropowder as binding medium to fabricate lattice porous structures. One challenge encountered is the viscoelastic behavior of the extruded filament. When spanning the unsupported segments of the lower layer, the upper extruded filaments are susceptible to deflection or collapse, adversely affecting the porosity and dimensional fidelity of the final specimens. Experimental results revealed that a larger span and smaller modulus will cause the extruded filament to be more prone to deformation at the midpoint. The introduction of 2 wt% polyethylene glycol as a plasticizer mitigates this issue, ensuring nondeflection of the extruded filaments at a span of 6 mm. The deflection model for the extruded filament about span and modulus identifies the minimum modulus necessary to prevent or minimize deflection under given spans, which closely approximates our experimental findings, offering a valuable framework for guiding the production of high‐precision, porosity‐controlled porous structures. [ABSTRACT FROM AUTHOR]

Block lifting is a key step in stabilizing and removing fragile remains at archaeological excavation sites. Due to its favorable working properties and adhesive effect, menthol has recently been proposed as a volatile binding medium for temporary consolidation in archaeological conservation. This paper presents a case study on the use of menthol in the extraction and restoration of a large wooden coffin lid, approximately 1.9 m long and 0.9 m wide, from tomb 11 (M11) at Xie'ertala, located east of a Xie'ertala town in Hailar City, Inner Mongolia, dating to the 7th to 10th centuries CE. This coffin lid had fragmented into numerous wooden pieces, and was preserved in a relatively arid steppe environment, necessitating the extraction of the lid as a consolidated block. The use of menthol for consolidating and lifting the highly fragmented wooden coffin lid was intended to preserve critical archaeological information while avoiding damage to the underlying objects. An analysis of the physicochemical properties of these wooden remains suggests that the timber used for the coffin lid belongs to a common pine species from the Hulunbuir region. The degradation of the coffin lid was relatively mild, as shown by Fourier Transform Infrared Spectroscopy (FT-IR) and Scanning Electron Microscope (SEM) results. Dynamic Vapor Sorption (DVS) tests indicated that the hygroscopicity of the archaeological wood was 23.4%, compared to 21.1% for the reference sample, demonstrating good environmental stability. The safety of menthol as a treatment for fragile wooden remains was evaluated by comparing changes in the morphological and porosity characteristics of the coffin lid before and after menthol treatment. After treatment, the widths of the fissures remained largely unchanged, with all relative variations being less than 1%, and the porosity as well as pore size distribution of the wood showed negligible changes. Gas Chromatography–Mass Spectrometry (GC-MS) results showed that only 0.6% of menthol residue remained after 8 days of sublimation. This pilot study demonstrates that menthol is a safe temporary consolidant for block lifting and offers a promising alternative to the widely used cyclododecane. In conclusion, this research provided a new approach for conservators to safely lift similarly large and fragile wood remains during archaeological excavations. [ABSTRACT FROM AUTHOR]

Featured Application: The gained knowledge can be applied by road marking material manufacturers and automotive proving ground operators to provide road marking scenarios on test tracks to test perception systems that work with camera or LiDAR sensors. The investigated method is especially useful for urban scenarios with road markings that have complex geometric shapes, such as small radii, symbols, lettering, and specific corner shapes for parking slots. In order to test camera- and LiDAR-based perception of road markings for automated driving, vehicle developers have started to utilize concepts for the agile alteration of road marking patterns on proving grounds. Road marking materials commonly used within this concept are different types of tape that can easily be applied and removed on asphalt and concrete. Due to the elasticity of tape, it cannot be used efficiently for small radii, symbols, lettering, and specific corner shapes (e.g., for parking slots). These road marking patterns are common in urban environments. With the growing capability of automated driving systems and more applications for urban environments, edgy road marking shapes gain importance for proving ground testing. This study examines the use of water-soluble road marking paint specifically designed for the use case of temporary applications on proving grounds for camera- and LiDAR-based perception testing. We found that white, water-soluble paint with 1.5% binder content and 2.25% coalescing agent content can provide realistic road markings for vehicle testing purposes. However, solubility affects the paint's vulnerability to fading during rain. Hence, renewal activities over the course of longer test drives might be necessary. The paint could be removed using water pressure without significant residue or damaging of the asphalt. [ABSTRACT FROM AUTHOR]

The study applies both a minimal and an extended approach for a comprehensive picture of chemical components in wall paintings, including evidence of degradation. Pigments and ligands were characterized via a multi-methodological investigation, including optical microscopy, scanning electron microscopy, Raman micro-spectroscopy, GC-MS, and LC-MS/MS. Particularly, the procedure was tested on wall paintings recently excavated from a Roman domus in Santa Maria Capua Vetere. The hypothesis of a very wealthy owner is supported by the evidence of a multi-layer preparation, a rich variety of pigments, and organic ligands (both terpenic resins and animal glue). The absence of calcite in the pictorial layer (via optical and Raman microscopy) and the presence of organic binders (via GC-MS and LC-MS/MS) clearly indicates the a secco technique. [ABSTRACT FROM AUTHOR]

Objective: The increasing resistance of Malassezia yeasts against commonly used antifungal drugs dictates the need for novel antifungal compounds. Human lactoferrin-based peptides show a broad spectrum of antimicrobial activities. Various assays were performed to find the optimal growth conditions of the yeasts and to assess cell viability, using media with low lipid content to avoid peptide binding to medium components. Methods: In the current study, we tested the antimicrobial susceptibility of 30 strains of M. furfur that cover the known IGS1 genotypic variation. Results: hLF(1-11) inhibited the growth of all species tested, resulting in minimum inhibitory concentrations (MIC) values ranging from 12.5 to 100 μg/mL. In the combinatory tests, the majority of fractional inhibitory concentration indexes (FIC) for the tested strains of M. furfur were up to 1.0, showing that there is a synergistic or additive effect on the efficacy of the antifungal drugs when used in combination with hLF(1-11). Conclusion: Results showed that hLF(1-11) could be combined with fluconazole or amphotericin for the antimicrobial treatment of resistant strains, enhancing the potency of these antifungal drugs, resulting in an improved outcome for the patient. [ABSTRACT FROM AUTHOR]

Two distemper paint samples taken from decorative boards in Uvdal stave church, Norway, were analysed using palaeoproteomics, with an aim of identifying their binder and possible contaminants. The results point at the use of calfskin to produce hide glue as the original paint binder, and are consistent with the instructions of binder production and resource allocation in the historical records of Norway. Although we did not observe any evidence of prior restoration treatments using protein-based materials, we found abundant traces of human saliva proteins, as well as a few oats and barley peptides, likely deposited together on the boards during their discovery in the 1970s. This work illustrates the need to fully consider contamination sources in palaeoproteomics and to inform those working with such objects about the potential for their contamination. [ABSTRACT FROM AUTHOR]

The combined application of Cathodoluminescence (CL) with Scanning Electron Microscopy (SEM) on paintings and painted surfaces has the potential to identify both organic and inorganic pigments on a micrometre or even nanometre scale. Additionally, the combination with Energy-Dispersive Spectrometry (EDS) allows for a more holistic, elemental, and mineralogical characterization of pigments. In addressing the need for the creation of a robust, open access database of characteristic CL spectra of pigments, a large project has been undertaken, focusing primarily on common organic and inorganic pigments. The present paper focuses on the CL characterization of 10 significant blue pigments in pure powder form: cerulean blue, Egyptian blue, Han blue, indigo, lapis lazuli, Maya blue, phthalo blue, vivianite, ultramarine blue, and zirconium blue. The CL spectra present characteristic bands for most of the pigments, allowing their secure identification, especially when combining the results with the EDS analyses. The effect of binding media and of the mixture of different pigments was also studied, via the analysis of mixtures of pigments with oil painted over canvas. Overall, both the binding medium and the mixture of pigments do not appear to create significant differences in the occurring spectra, thus allowing the identification of individual pigments. EDS and RAMAN spectra are included in order to facilitate comparison with other databases. [ABSTRACT FROM AUTHOR]

Wall paintings are integral to cultural heritage and offer rich insights into historical and religious beliefs. There exist various wall painting techniques that pose challenges in binder and pigment identification, especially in the case of egg/oil-based binders. GC-MS identification of lipidic binders relies routinely on parameters like the ratios of fatty acids within the plaster. However, the reliability of these ratios for binder identification is severely limited, as demonstrated in this manuscript. Therefore, a more reliable tool for effective differentiation between egg and oil binders based on a combination of diagnostic values, specific markers (cholesterol oxidation products), and PCA is presented in this study. Reference samples of wall paintings with egg and linseed oil binders with six different pigments were subjected to modern artificial ageing methods and subsequently analysed using two GC-MS instruments. A statistically significant difference (at a 95% confidence level) between the egg and oil binders and between the results from two GC-MS instruments was observed. These discrepancies between the results from the two GC-MS instruments are likely attributed to the heterogeneity of the samples with egg and oil binders. This study highlights the complexities in identifying wall painting binders and the need for innovative and revised analytical methods in conservation efforts. [ABSTRACT FROM AUTHOR]

Volatile Binding Media (VBM) are waxy solids that can be used for temporary consolidation of heritage artifacts and architectural surfaces thanks to their spontaneous sublimation at room temperature. They are used to temporary shelter, consolidate or protect materials during high-risk operation, such as excavation, transportation, water-based treatments, etc. Although they are employed since the 1990s, research focused almost entirely on one of them, cyclododecane (CDD), which is by far the most used in onsite applications. However, CDD exhibits some drawbacks, including a fixed sublimation speed that hardly fits into all the possible applications and climates, hence the development of new VBM is strongly needed. In recent years, a certain attention was addressed to menthol as a possible alternative, but the research on other possible substitutes is still lacking. In this paper, a range of different VBM for temporary consolidation of cultural heritage materials was prepared and investigated, including five pure compounds (CDD, cyclododecanol, cyclododecanone, menthol and camphene) and fifteen mixes. These new materials are expected to provide tunable properties in terms of melting temperatures and sublimation rates, allowing their use in a variety of climatic contexts and applications, and to exhibit better properties for onsite applications compared to CDD, such as lower flash point, lower hazard for conservators' health and/or higher availability. [ABSTRACT FROM AUTHOR]

Since their development in the 1950s, poly(vinyl acetate) [PVAc] paints (also known as vinyl) have been used by many artists, most notably in countries such as Spain, Portugal, and the United Kingdom; they are also used globally as a common binder for house paints. However, only a relatively limited number of heritage scientific studies have focused on vinyl paints. Consequently, many critical aspects of this material, such as the degradation processes, variations in paint formulations, and responses to conservation treatments, remain largely understudied. This article aims to summarise the available relevant information on poly(vinyl acetate) paints from both the scientific and the conservation practice perspectives. The article provides a brief overview of the development of poly(vinyl acetate) paints as artist-grade and household products and the known differences in their formulations. It also focuses on poly(vinyl acetate) ageing behaviour, the physicochemical properties, the recent scientific research on poly(vinyl acetate) material characterisation and degradation, and the main conservation issues regarding these paints, such as those relating to cleaning treatments. [ABSTRACT FROM AUTHOR]

This paper deals with the properties and testing of newly prepared organic pigments based on melamine cyanurate containing magnesium or zinc cations depending on their composition and anticorrosive properties in model coatings. Organic pigments based on melamine cyanurate with Mg2+ in the form of a complex differing in the ratio of melamine and cyanurate units were prepared. Furthermore, a pigment based on melamine citrate with magnesium cation Mg2+, a pigment based on melamine citrate with magnesium cation, and a pigment based on melamine cyanurate with zinc cation were prepared. The properties of Mg-containing organic pigments were also compared with those of selected magnesium-containing inorganic oxide-type pigments. The above-synthesized pigments were characterized by inductively coupled plasma-optical emission spectroscopy, elemental analysis, scanning electron microscopy, and X-ray diffraction. In addition, the basic parameters that are indicative of the applicability of the pigments in the binders of anti-corrosion coatings were determined. The anti-corrosive properties of the tested pigments were verified after application to the epoxy-ester resin-based paint binder in three different concentrations: at pigment volume concentrations of 0.10%, 0.25%, and 0.50%. The anticorrosive effectiveness of pigmented organic coatings was verified by cyclic corrosion tests in a salt electrolyte fog (NaCl + (NH4)2SO4) in an atmosphere containing SO2 and by the electrochemical technique of linear polarization. Finally, the effect of the structure of the pigments on the mechanical resistance of the organic coatings was investigated. The results obtained showed that the new organic pigments exhibit anticorrosive properties, and at the same time, differences in performance were found depending on the structure of the pigments tested. Specifically, the results of cyclic corrosion tests and the electrochemical technique of linear polarization clearly demonstrated that synthesized pigments of the organic type based on melamine cyanurate containing magnesium or zinc cations ensure the anti-corrosion efficiency of the tested organic coatings. The highest anti-corrosion efficiency was achieved by the system pigmented with synthesized melamine cyanurate with magnesium cation (C12H16MgN18O6), whose anti-corrosion efficiency was comparable to the anti-corrosion efficiency of the tested inorganic pigment MgFe2O4, which was prepared by high-temperature solid-phase synthesis. In addition, these organic coatings achieved high mechanical resistance after being tested using the most used standardized mechanical tests. [ABSTRACT FROM AUTHOR]

Cultural heritage sites often experience the unfavorable alteration of biodeterioration of mural paintings and wall inscriptions. Controlling or preventing biodegradation that may occur has been achieved through the use of various treatment methods, such as physical, chemical, and environmental control procedures. Regrettably, these treatments are often highly toxic to the health of conservators and visitors. Moreover, it causes pigmentation, is expensive, has low long-term results, and has poor long-term effectiveness. The use of Ag@ZnO core shell prototype in the field of cultural heritage was the first time in this research. The application was made to a painted wall inscription that dates back to the Middle Kingdom of ancient Egypt. A one-step chemical method was used to synthesize Ag@ZnO and it was examined using XRD, TEM, BET surface area, and Raman. These tests proved that the silver's core shell covered the zinc oxide's core and confirmed its purity. The painting on the wall was analyzed by SEN-EDX, Raman, and XRD analysis, and it was determined that the stone was limestone, the pigments were (Carbon for black pigment, Hematite for a red pigment, and Egyptian blue for blue pigment). These pigments and animal glue were combined to create the binding medium. The painted wall inscription was treated with Ag@ZnO treatments using a spray technique with a 5% concentration. The spectrophotometer was used to confirm that the color change has been below 5. This treatment method is non-hazardous, can be utilized both in vivo and in vitro, and does not necessitate the required environmental atmosphere or UV index. [ABSTRACT FROM AUTHOR]

Sample-preparation methods have been developed and adapted for using gold nanoparticles in qualitative analysis of paint layer compositions with surface-enhanced Raman scattering (SERS). Use of plasmonic nanoparticles for SERS analysis of art materials in actual paintings could significantly reduce the luminescent background caused by the presence of organic binders in the paint layer and led to multiple amplification of the chromophore Raman-line intensities and an increase in the signal-to-noise ratio. The techniques were successfully tested on paint layers of 12 easel paintings of the XVI–XIX centuries in close cooperation with museums of the Republic of Belarus and could be systematically used in art history expertise to identify the composition of paints and attribution of cultural heritage objects. [ABSTRACT FROM AUTHOR]

Featured Application: This research paper contributes to improving the central Italy Renaissance database on painting materials and techniques. After a huge non-invasive diagnostic campaign performed on the corpus of Giovanni Santi's artworks, three paintings were selected and investigated: the Martyrdom of Saint Sebastian panel, the Visitation altarpiece and the canvas with Tobias and the Archangel Raphael (c. 1487 and 1494). Micro-invasive investigations including optical microscopy, ESEM-EDX, micro-Raman spectroscopy, FTIR and FTIR-ATR spectroscopy and GC-MS were carried out on selected micro samples. The results of the integrated analyses confirmed the use of a Renaissance palette with oil and, only in a few cases, tempera techniques. Some significant peculiarities emerged in Santi's practice, as he used localized off-white priming and colorless powdered glass with a siccative oil—in red, flesh, pinkish and green hues—confirming the influence of the Flemish painters in Urbino and, possibly, also in western central Italy. This innovative technical expedient compared to the traditional Italian painting technique was identified also in red and bluish samples collected from the Communion of the Apostles panel painted by Justus of Ghent around 1473–1474 for Urbino Corpus Domini Confraternity. The Flemish master was called to the court of Duke Federico to paint in oil and his presence at the 'Urbino workshop' probably contributed to the diffusion of this technique. Both in Giovanni Santi's paintings and the Communion of the Apostles, the glass particles are related to a soda-lime glass typical of the Italian area, widely detected in Italian paintings from the late 15th and 16th centuries. [ABSTRACT FROM AUTHOR]

The deterioration of cadmium yellow paints in artworks by Joan Miró (1893–1983) and in painting materials from his studios in Mallorca (Spain) was investigated. Analysis of samples from Miró's paintings and from paint tubes and palettes showed that degraded paints are composed of poorly crystalline cadmium sulfide/zinc cadmium sulfide (CdS/Cd1−xZnxS) with a low percentage of zinc, in an oil binding medium. Cadmium sulfates were identified as the main deterioration products, forming superficial white crusts detected using SR µXANES and µXRD techniques. Time-resolved photoluminescence measurements demonstrated that highly degraded samples display a pink/orange emission from the paint surface with a microsecond lifetime, a phenomenon observed in other degraded cadmium yellow paints. In agreement with recent studies on altered cadmium paints, these results suggest that the stability of the paint is related to its manufacturing method, which affects the degree of crystallinity of the resulting pigment. This, together with the environmental conditions in which artworks have been exposed, have induced the degradation of yellow paints in Miró's artworks. It was finally noted that the paints exhibiting alteration in the analysed Miró artworks have a chemical composition that is very similar to the tube paint 'Cadmium Yellow Lemon No. 1' produced by Lucien Lefebvre-Foinet. Indeed, paint tubes from this brand were found in the studio, linking the use of this product with Miro's degraded artworks. [ABSTRACT FROM AUTHOR]

This paper presents the first results of a current interdisciplinary research project on the polychromy of Roman provincial stone artefacts in selected areas of the Danubian provinces (PolychroMon). The statuary group of Minerva and the Genius immunium from Carnuntum (Archaeological Museum Carnuntinum inv. CAR-S-48) is dated to the second half of the second century AD and still retains traces of the original polychromy. The aim was to focus on non-invasive techniques and to employ micro-invasive methods for necessary cross-checking and gaining information otherwise not accessible. The investigation revealed that paint was applied on a layer of white lime wash. Additionally, the object shows several traces of Egyptian blue, which was mainly detected in Minerva's and the Genius' clothes. Other pigments whose traces were found on the sculpture include green earth, yellow and red ochre, as well as red lead and carbon black. Microscopic analysis confirms the presence of modern-age compounds as well (barium sulphate and zinc oxide) used for modern retouches. Gas chromatography–mass spectrometry revealed the use of egg as the major proteinaceous binding medium in the red lead polychromy. [ABSTRACT FROM AUTHOR]

In the context of the archaeometrical study of Saturnino Gatti's wall paintings, a significant aspect concerned the study of the organic component to understand both the original binders used in the original areas and the products used for pictorial reintegration and restoration of the painted surfaces. Thanks to the results obtained from various non-invasive and multi-band imaging techniques, it was possible to define Gatti's original painting technique and identify the materials subsequently applied in significant samples. To this end, molecular analyses based on mass spectrometry were carried out. Different procedures in gas chromatography–mass spectrometry (GC-MS) and in pyrolysis coupled with gas chromatography–mass spectrometry (Py-GC-MS) were adopted. The analyses revealed a variety of organic materials on the mural paintings, most of which are from past restoration interventions and have synthetic origin. The overspread presence of paraffin is likely due to the application of a mineral wax-based coating/consolidant. In particular, the execution technique encompassed the use of tempera-based paints, while retouched areas were characterised by the presence of oil-based resins. [ABSTRACT FROM AUTHOR]

The present work was a part of pre conservation treatment investigation. Micro-Raman Spectroscopy has been used for the characterization of a specimen belonging to the frame of the Gilcrease Museum oil painting "White Man's Buffalo" by the artist Charles M. Russell. The main components of the Van Dyck Brown pigment (VDK) such as hematite (Fe2O3), α-goethite (α-FeOOH), amorphous carbon, and humic substances were identified by using two different excitation sources (514 and 633 nm). Traces of hematite and intercalated barite (BaSO4) were found and could come from the Armenian Bole that is commonly used in the water gilding technique of gold leaf. The use of a protein-organic binding medium such as rabbit-skin glue was indicated. [ABSTRACT FROM AUTHOR]

Raman spectroscopy, a non-destructive reference technique, is used in heritage science to directly identify materials like pigments, minerals, or binding media. However, depending on the material, the laser source can induce a strong fluorescence signal that may mask the Raman signal during spectral detection. This photo-induced effect can prevent the detection of a Raman peak. A pulsed Raman spectroscopy, using a time-gated detection and pulsed laser, is proven capable of rejecting the fluorescence background and working with the environmental light, which makes Raman spectroscopy more adapted for in situ applications. In this paper, we investigated how an ns pulsed laser can be an excitation source of Raman spectroscopy by focusing on different parameters of laser excitation and collection. With proper implementation, this pulsed Raman technique can be used for cultural heritage with an ns pulsed laser for the first time. [ABSTRACT FROM AUTHOR]

Infrastructure developments in recent decades have led to increasing demand for high-performance paints for construction and decorative purposes. Emulsion paint is water-based paint that is commonly used for coating the internal and external surfaces of a building. The quality and performance of this emulsion paint are highly dependent on its constituent components, such as binders, pigment, solvents, and additives. Emulsion paints initially used conventional formaldehyde-based binders and were, for some reason, prohibited from being used in paints due to health and environmental issues. The development of bio-based paints with natural rubber latex (NRL) has the potential to be developed as an emulsion paint binder. The results showed that NRL grafting of styrene monomer or MMA showed much better resistance to wet scrub and abrasion than PVAc at a monomer concentration of 20%, for styrene, and 30%, for MMA, with washability values reaching each of 11 and 12 cycles at 4% binder concentration. The NgSt20-4 and NgMMA30-4 binders' abilities to overcome wet scrub and abrasion increased with increasing paint binder concentrations, reaching 22 and 23 cycles at 10% binder concentration. Overall, the combination of NRL grafted with MMA monomer and 30% PVAc showed better performance and could compete with commercial binders such as PVAc. Adding methyl methacrylate monomer increases the adhesion and cohesion properties of the binder and increases the binder's resistance to scrubbing and wet abrasion. However, the combination of NRL grafted MMA and 30% PVAc showed the same effectiveness as NRL grafted MMA without PVAc, with more economical production costs. [ABSTRACT FROM AUTHOR]

This paper contains an interpretation of the results obtained from Fourier Transform Infrared micro-spectroscopy (µ-FTIR) and Pyrolysis - Gas Chromatography coupled with Mass Spectrometry (Py-GC-MS) techniques applied on the crayons used by Edvard Munch (1863-1944) and now stored at the Munch Museum (MUNCH). Around 100 of different brands from Edvard Munch's collection of reference materials available at the Munch Museum were analyzed. Micro-destructive methods as µ-FTIR and Py-GC-MS were used to characterize the constituent materials of crayon samples, with a special focus on organic binding medium, to allow the classification of different brands of crayons. Two natural waxes (beeswax and carnauba wax) were identified by µ-FTIR, but the most specific chemical information on wax mixtures was attained by Py-GC-MS. The present study adds more analytical data on Edvard Munch's legacy and was developed under the framework of the collaborative research project "THE SCREAM-Touchstone for Heritage Endangered by Salt Crystallization: a Research Enterprise on the Art of Munch" between the HERCULES Laboratory and the Munch Museum in Oslo. [ABSTRACT FROM AUTHOR]

One of the most intriguing periods of activity of Dutch painter Piet Mondrian (1872-1944) regards the transition between the early figurative works and the well-known neoplastic paintings. Three paintings from the collection of the Fondation Beyeler in Basel Switzerland made in this period were studied. In Eucalyptus (1912) and Composition No. XVI ('Arbres') (1912/13) the tree motif is still visible; Composition No. VI ('Blue Façade') (1914) refers to the side wall of a house, showing the traces of an adjoining building that had been demolished. For this paper, both the results of the in-depth examination by the conservators and the analyses of the heritage scientists were brought together. The goal was to compare the materials and techniques of these three early paintings and find trends of Mondrian's working process. All paintings were examined in detail, with the aid of stereomicroscopy, Xrays and technical imaging. Analyses of the canvas, pigments and binders were performed with non-invasive X-ray fluorescence (XRF) and Raman spectroscopy, and micro-invasive analysis of cross sections and loose material using optical microscopy, Raman and Fourier Transform Infrared (FTIR) spectroscopy, Scanning electron microscopy - energy dispersive x-ray fluorescence spectroscopy (SEM-EDX and Pyrolysis Gas chromatography mass spectrometry (PY-GC-MS). The three works have been executed on linen canvas with commercial grounds of different compositions. The pigments of all paint layers could be identified, as well as linseed oil, used as binding medium in all paints and grounds. Special attention was paid to the technique of the black lines and underdrawings. [ABSTRACT FROM AUTHOR]

Gelatin, sourced from collagen, is an acid-, alkali- or enzymatically hydrolysed product obtained from animal skins and bones. Gelatin has been widely used for the manufacture of various cultural objects, e.g. as a water-soluble binder for dissolving pigments, and as a glue for musical instruments and traditional crafts along with human history. The identification of animal species in gelatin, hence, could provide a critical clue for understanding human history including lifestyles, the culture and the technologies. However, there has been no valid method established to date for identifying the animal species from traditional gelatins. We herein report that the nucleic acids contents (dsDNA, ssDNA and miRNA) from commercially-available gelatins manufactured according to classical procedures (wanikawa) exhibited much higher (about 10 times) than those from modern gelatins made through an industrialised process (yonikawa), suggesting that DNA analysis using the gelatins from cultural assets could be substantially feasible. Moreover, targeting not only commercially available niwaka but also Ukiyo-e, Japanese classical art manufactured through woodblock printings, we here illustrate partial successes in the animal species identification coupled with DNA barcoding technique, hopefully paving the way for scientifically more reliable animal species identifications of archaeological specimens made with a gelatin component. [ABSTRACT FROM AUTHOR]

The present work reports the identification of inorganic and organic materials applied in gildings of Kizil Grottoes mural paintings, located in the western part of China. A total of 10 gold gilding samples were collected from caves dated in the fourth–seventh century AD. In this research, optical microscopy, scanning electron microscopy (SEM) with energy-dispersive X-ray spectroscopy (EDX), UV fluorescence microscopy, and pyrolysis gas chromatography–mass spectrometry (Py-GC/MS) analyses were carried out to clarify the mordant materials and the coating materials on the foils. This research reports some new finds of the gilding technique in Kizil grottoes, such as oil and lac resin being used as mordant to provide a binding medium for gold gilding, gold powder probably being used as pigment, and some organic dyes being well preserved under gold foil. These interesting findings not only provide scientific evidence for us to understand the materials and techniques of gold gildings on Kizil Grottoes murals, but also illustrate material trade and technique exchanges along the Silk Road in the past. [ABSTRACT FROM AUTHOR]

In this work hydrogen-free processing (in the absence of hydrogen) and hydrotreating of n-hexane and straight-run petrol fraction on the catalysts samples “C-1” (La-ZSM-Al2O3) and “C-2” (Ni-Mo-La-P-ZSM-Al2O3) were studied. “C-2” catalyst has high activity in both studied processes. The conversion of n-hexane during hydrogen-free processing on the “C-2” catalyst in the range of 350-500ºC increased from 58.8 to 90.7%; the octane rating of the final product in the temperature range of 350-500 ºC was within 55.1-87.9 according to the research method (RM), and from 61.4 to 84.9 according to the motor method (MM). The octane rating of hydrotreating products increases mainly due to an increase in the content of isoalkanes. The octane rating of the resulting gasoline is significantly higher than that of the original straight-run gasoline (73.1 (RM), 54.1 (MM)), and it reaches 92.1 (RM) and 81.7 (MM). The surface of the developed catalysts is within 201.10-252.20 m2/g of the catalyst. The catalysts have pores with d ≈ 1.5– 3.65 nm. The highest concentration of acid sites with medium binding energy is typical for the “C-2” catalyst and determines its high hydroisomerizing activity in the processes of hydrotreating of n-hexane and gasoline fraction. Thus, multifunctional modified zeolite-containing catalysts for hydrotreating gasoline fractions have been developed, which make it possible to simultaneously carry out the processes of hydrotreating, hydroisomerization, and hydrocracking in one stage, as well as to obtain environmentally friendly high-octane gasoline. [ABSTRACT FROM AUTHOR]

Featured Application: This work presents a comprehensive approach to identifying both inorganic and organic components of very early wall oil-paintings with complex multiple-layered structures. Since 2004, scientific research on the damaged Giant Buddha statues and Buddhist paintings in Bamiyan, Afghanistan, has been conducted at various laboratories and large-scale facilities using mass-spectrometry techniques (GC-MS, LC-MS, LC-MS/MS, nano-LC/ESI-MS/MS), ELISA, and synchrotron-based micro-analyses) in parallel to conservation intervention. Studies on samples from these cultural heritage objects have shown that each is composed of a polychromatic multilayered structure with sizing layers, ground layers, painted layers, and glaze. The carefully produced complex multilayered structures were examined using optical microscopy (visible and UV light) as well as synchrotron-based infrared microscopy, both of which revealed various organic and inorganic components in each layer. High sensitivity bulk MS and ELISA methods were used to further identify details regarding organic materials, such as fatty acids and collagens, and these results suggest different vegetable oils and animal species of glues. For example, cow milk casein and cow skin glue were identified in the Eastern Giant Buddha, suggesting that casein was used as a sizing agent and the cow skin glue as a binder for painting. The wall paintings from Cave N(a) (mid-7th century AD) were found to have horse glue used as sizing and drying oil (poppyseed/walnuts/perilla oils) as a binding media. The paintings' complex structures and their organic and inorganic materials were fully understood using both imaging and bulk methods, and thus, these methods help to reconstruct historical wall painting techniques in full. [ABSTRACT FROM AUTHOR]

The present study aims to identify the pigments, ground layer, and previous restoration materials used in a polychrome wooden coffin using multi-analytical techniques. It utilized optical microscopy, technical imaging, scanning electron microscope attached to X-ray dispersion unit, X-ray diffraction, Raman spectroscopy, and Fourier transform infrared spectroscopy. The results showed the use of yellow as goethite a-FeOOH, blue as Egyptian blue [Cuprorivaite (CaCuSi4O10)], red as haematite (a-Fe2O3), and white as calcite (CaCO3). The black pigment as carbon (C) and the binding medium in both the calcite-based plaster layers and the polychrome layers was identified as animal glue. The previous consolidation material was primal AC33. [ABSTRACT FROM AUTHOR]

Natural aging plays a key role in the degradation of proteinaceous binders which are important dispersers and stabilizers of painting layers. Knowledge about the natural aging influence on the stability of binders is important for exploring the deterioration mechanisms of painted artworks. Pig glue, whole egg, egg white, egg yolk, casein, and mixtures with ultramarine were aged for 10 years in natural conditions. GC-MS and FTIR were applied to explore the changes in the binders at a molecular level. Our experiment revealed that the less stable Met (Methionine), Lys (Lysine), Ile (Isoleucine), Ser (Serine), Asp (Aspartic acid), Glu (Glutamic acid), Hyp (Hydroxyproline), especially aromatic Phe (Phenylalanine), and Tyr (Tyrosine) were damaged, thus the contents of the stable Ala (Alanine), Gly (Glycine), Val (Valine), Leu (Leucine), and Pro (Proline) increased. The broadening of Amide A and the declining amount of α-helix, along with the increasing contents of β-sheet and random coils, all showed that the binders had transformed into disordered states. What is more, we found that pig glue had better natural aging resistance, ultramarine could speed up the aging process and lipids in egg were more easily degraded. The mechanisms of the changes of primary structures and secondary structures are also discussed in the paper. [ABSTRACT FROM AUTHOR]

Paints and plasters from two pharaonic settlement sites in Nubia (northern Sudan) were analysed to investigate the presence and origin of organic binding materials. The town of Sai was founded around the time of the pharaonic conquest of Kush (Upper Nubia) around 1500 BC, with Amara West created as a new centre for the pharaonic administration of the region around 1300 BC. Recent fieldwork at both sites yielded examples of paint palettes, including several from houses. These provide a different economic and social context to funerary contexts upon which most previous research has been conducted, making this study the first to report on binding media for vernacular architecture in the Nile Valley. It is also the first study of binding media from Nubia. Gas chromatography mass spectrometry (GC-MS) analysis of methanolysed and silylated paint and plaster samples revealed a range of monosaccharides present in eight of the seventeen samples from Amara West, and in six of the seven samples from Sai. Interpretation of the data was supported by field collection and study of locally available botanical gums. The results indicate that mixtures of gums were in use as a pigment binder at both sites during the mid- to late-second millennium BC. The possibility that some of these plant gums could have been imported from the Mediterranean is also posited. [ABSTRACT FROM AUTHOR]

We developed a novel asymmetric depth filtration (DF) approach to isolate extracellular vesicles (EVs) from biological fluids that outperforms ultracentrifugation and size‐exclusion chromatography in purity and yield of isolated EVs. By these metrics, a single‐step DF matches or exceeds the performance of multistep protocols with dedicated purification procedures in the isolation of plasma EVs. We demonstrate the selective transit and capture of biological nanoparticles in asymmetric pores by size and elasticity, low surface binding to the filtration medium, and the ability to cleanse EVs held by the filter before their recovery with the reversed flow all contribute to the achieved purity and yield of preparations. We further demonstrate the method's versatility by applying it to isolate EVs from different biofluids (plasma, urine, and cell culture growth medium). The DF workflow is simple, fast, and inexpensive. Only standard laboratory equipment is required for its implementation, making DF suitable for low‐resource and point‐of‐use locations. The method may be used for EV isolation from small biological samples in diagnostic and treatment guidance applications. It can also be scaled up to harvest therapeutic EVs from large volumes of cell culture medium. [ABSTRACT FROM AUTHOR]

The fluorescence emission by aged organic binders used in painting is a well-known phenomenon. Several literature studies were devoted to its investigation, both on pure binders and on their mixtures with some pigments. Nevertheless, a systematic study about the real possibility of exploiting such a phenomenon for the non-invasive identification of binders in ancient paintings is still lacking. In the present work, a prototype portable fluorimeter was used to analyze a significant number of model painting samples containing different binders (drying oils, egg yolk, milk, animal glue, and gum Arabic) mixed with various pigments having different hues. The model samples were naturally aged in a period ranging from fifteen to one year. The effects on the spectral pattern due to the different binders, the recipes used to prepare them, and the pigments mixed with them were examined. The fluorescence spectra were corrected for the absorption of the emitted radiation due to the pigments. Finally, the corrected spectra were treated by principal component analysis to determine if the possibility of distinguishing at least the most fluorescent and common binders, i.e., drying oils and egg, existed. It was shown that, even if the technique cannot be effectively applied in the case of mixed or superimposed binders, it allows to put forward at least a preliminary hypothesis when pure binders are used. [ABSTRACT FROM AUTHOR]

The wooden statue of the goddess Bastet, dates back to the Late period of ancient Egypt (664-332 BC), is the subject of this study. This archaeometric study aims to use investigation techniques including technical photography (TP), optical microscopy (OM), Energy Dispersive X-Ray Analysis (ESEM-EDX) and Fourier transformed infrared (FT-IR) spectroscopy to identify the components of the statue and to understand its deterioration aspects. The results revealed using six wood species including Lebanese Cedar, sycamore fig and Tamarisk for the body of the statue and its pedestal; while the dowels are made of Christ's thorn, Nile tamarisk and common box. Stratigraphy structure shows several and rare techniques of statuary-making. investigation techniques indicate that pigments used in the statue identified as calcium carbonate (chalk) for white, Egyptian blue for blue, hematite for red, the gilded layer is composed of a mixture of gold and silver. For the organic materials, we could recognize beeswax as a coating material and a plant gum as binder for red, yellow, while a proteinaceous-based binding medium is used for the Egyptian blue. To restore the statue, conservation procedures were used with great precision, including securing the vulnerable layer, cleaning, reattaching, and reassembly of the fragmented sections, as well as fixing fractures and separations. Finally, the conservation treatments were exceedingly efficient in restoring the statue's solidity and strength, allowing it to be shown or stored. [ABSTRACT FROM AUTHOR]

Global energy consumption and climate change have caused an increase in urban heat islands effect and global warming, cooling lifestyles have been desired and cooling solutions have become challenging. Passive radiative cooling is a unique technology which utilizes the "atmospheric window" (8–13 μm) to emit thermal infrared radiation to the atmosphere. It does not require additional energy (i.e. electricity) input and has great potential for various applications. In general, the solar radiation would be reflected by the paint coating and existing thermal infrared radiation would be emitted from the surface to the atmospheres which would lead to lower surface temperature. In this work, titanium dioxide (TiO 2) cooling paint has been successfully fabricated under Malaysia's tropical climate. The effects of adding polyvinylidene fluoride (PVDF) along with acrylic as the binder for the paint were studied and various concentrations were tested to determine the optimum composition of the paint. The cooling paint is able to outperform the chosen commercial white paint in terms of cooling performance on various types of surfaces. Results obtained from field tests indicate that the cooling paint was able to achieve efficient cooling performance under direct solar irradiation. The average net cooling power of the titanium dioxide paint was 90.87 W/m2. The relationship between weather conditions on the net cooling power of the cooling paint was also investigated. • Radiative cooling paints have been successfully formulated by utilising TiO 2 as the pigment. • The research findings reveal that the optimum cooling paint composition is 45 wt% pigment. • The paint managed to achieve a peak temperature difference from commercial paint at −2.7 °C. • The average net cooling power of the TiO 2 paint was at 90.87 W/m2. [ABSTRACT FROM AUTHOR]

The current study is the first comprehensive investigation of the polychromy of Palmyrene funerary portraits. It presents the technical examinations of six portraits (ca. 150–250 CE) from the collection of the Ny Carlsberg Glyptotek, illustrating the marvellous splendour of the cultural heritage of ancient Palmyra. The six portraits were examined with various analytical methods, including microscopy, ultraviolet-induced visible fluorescence imaging and visible light-induced infrared luminescence imaging, X-ray fluorescence spectroscopy, scanning electron microscopy coupled to energy-dispersive X-ray spectroscopy, and Fourier transform infrared spectroscopy. Finally, two samples were collected for liquid chromatography–tandem mass spectrometry to obtain the amino acid sequence information. Various pigments were detected in the polychromy including lapis lazuli, pyromorphite, mimetite, yellow ochre, red ochre, a red lake, lead carbonate, zinc oxide, bone black, and charcoal black. The proteinaceous binding medium was identified as collagen-based and possibly also keratin-based animal glue. The examinations of the Palmyrene portraits in the Ny Carlsberg Glyptotek have proven that these artefacts, despite their current uniform, white appearance, originally presented themselves in a wealth of colours. This is illustrated by the digital reconstructions carried out of two of the examined portraits, which show how the original painting of these portraits would have given them an entirely different expression from what we see today. [ABSTRACT FROM AUTHOR]

The poor conditions of storage in the basement of the Egyptian Museum were the reason for severe damage to an unknown multi-piece mummy cartonnage dating back to the Late Period (780 BC-332 BC). This mummy consists of five separated pieces (a mask, a pectoral, an apron, a stomach, and a foot) on canvas support topped by a ground layer decorated with green, yellow, red, black, and white colors and a gilded layer. All the pieces of the mummy cartonnage have damage in the form of separations, cracks, discoloration, tears, and brittleness in the layers of the canvas support. The research paper presents the result of an examination and analytical study for the layers' structure of the mummy cartonnage. Therefore, the Optical Microscope (LOM), visible light, Scanning Electronic Microscope (SEM), EDX, Fourier Transform Infrared Spectroscopy (FTIR), X-Ray Diffraction (XRD), and XRF Spectroscopy were used. The results showed that canvas support made of linen in the form of four layers of thin fiber was used in the mask, stomach, and apron pieces. In contrast, one layer of thick fiber canvas was used in other pieces (mask, foot, and pectoral). The ground layer consisted of calcium carbonate, traces of gypsum, and quartz. The painted layer included Egyptian green, malachite, hematite, goethite, goethite with orpiment, graphite, and under layer of Egyptian blue below the green, red, and yellow pigments in a unique technique, especially in the pectoral and foot pieces. It was also noted that animal glue was used in all pigments and colors as a binding medium. [ABSTRACT FROM AUTHOR]

Featured Application: The results derived from this research contribute to the body of knowledge available from 16th century Italian paintings materials, and are considered useful for the conservation and restoration plan of similar paintings. This study deals with the materials of the sub-arch painting of the Del Bono Chapel of the Abbey Church of S. Giovanni Evangelista in Parma, Italy, datable to around 1523. The artist is Antonio Allegri, known as Correggio (1489–1534), who is considered to be one of the greatest painters of the 16th century. Micro-Raman spectroscopy, micro-Fourier transform infrared spectroscopy and gas chromatography coupled with mass spectrometry were used as the main techniques to identify the pigments and binding media. The analysis enabled us to identify the pigments which were characteristic of the epoch. Correggio's palette was composed by mineral pigments—sometimes expensive ones such as lapis lazuli, azurite and cinnabar—together with a wide range of earths, or by synthetic pigments like smalt blue. From the amino acid content determination, it was shown that, in the samples containing lazurite, smalt, hematite, green earth and goethite, the protein fraction was attributable to the presence of a mixture of egg and animal glue, from which the use of the a secco technique could be assumed, with pigments that did not need organic binding media on the wall. For the gilding sample, the study found that Au foil had been applied on a brown background (oil-based missione). [ABSTRACT FROM AUTHOR]

Roughness, pigment impurities, and neoformed minerals are important factors affecting the reflectance of painted surfaces. However, other factors that have not yet been studied in detail, such as the total thickness of the paint layer and the amount of binder, should also be considered. In this research, oil painting mock-ups, each made with a different number of layers of paint containing a single pigment (lead white, orpiment, cinnabar, azurite or malachite) mixed with different proportions of oil binder, were examined using a hyperspectral imaging system. The results indicate that these characteristics do not directly influence the reflectance of the painted surface. Interestingly, we found that the distribution of the pigments and the oil binder in the paint system (and pigment-binder interaction) are also key to understanding the reflectance values. Thus, accumulation of oil on top of the uppermost paint layer in the multilayer painting mock-ups caused a reduction in reflectance. The increased translucency of the oil paint containing lead white pigment also modified the reflectance, possibly due to the formation of metal soap. Other factors found to affect the reflectance of the painting mock-ups are discussed. [ABSTRACT FROM AUTHOR]

Imaging spectroscopy (IS) is an important tool in the comprehensive technical analysis required of archaeological paintings. The complexity of pigment mixtures, diverse artistic practices and painting technologies, and the often-fragile and weathered nature of these objects render macroscale, non-invasive chemical mapping an essential component of the analytical protocol. Furthermore, the use of pigments such as Egyptian blue and madder lake, featuring diagnostic photoluminescence emission, provides motivation to perform photoluminescence mapping on the macroscale. This work demonstrates and advances new applications of dual-mode imaging spectroscopy and data analysis approaches for ancient painting. Both reflectance (RIS) and luminescence (LIS) modes were utilized for the study of a Roman Egyptian funerary portrait from second century CE Egypt. The first derivative of the RIS image cube was analyzed and found to significantly improve materials separation, identification, and the extent of mapping. Egyptian blue and madder lake were mapped across a decorated surface using their luminescence spectral signatures in the region of 540–1000 nm as endmembers in LIS analyses. Linear unmixing of the LIS endmembers and subsequent derivative analyses resulted in an improved separation and mapping of the luminescence pigments. RIS and LIS studies, combined with complementary, single-spot collection elemental and molecular spectroscopy, were able to successfully characterize the portrait's painting materials and binding media used by the ancient artist, providing key insight into their material use, stylistic practices, and technological choices. [ABSTRACT FROM AUTHOR]

The direct use of natural rubber latex (NRL) as a binder for emulsion paints did not produce emulsion paints with good opacity, washability resistance, and regulated touch drying time, even when mixed with polyvinyl acetate (PVAc). This study aimed to study the properties of opacity (hiding power), washability resistance, and set drying touch time of emulsion paint with a binder added from a mixture of modified natural rubber latex (NRL) and PVAc. NRL modifications included UV photodepolymerization with TiO2 catalyst and grafting copolymerization of methyl methacrylate and styrene (NRL-g-(MMA-co-St)). NRL was mixed with PVAC at ratios of 0/100; 15/85; 25/75; 35/65; 50/50; 100/0% w/w before being used as a binder for emulsion paint. Emulsion paint samples had different binder contents, namely 2, 4, 6, and 8% w/w. Tests on paint samples included opacity using a UV-Vis spectrophotometer (EASYSPEC safas Monaco), washability using the Digital BGD 526 Wet Abrasion Scrub Tester, and drying time set using the ASTM STP500 procedure. The results showed that the opacity (hiding power), washability resistance, and set drying touch time met the emulsion paint standards for all binder levels, except the 100% w/w modified NRL composition. The higher level of NRL in the binder causes these properties to decrease and become unstable. The best opacity (hidden power), washing resistance, and drying touch time were obtained on modified NRL with a concentration of 15% w/w. The binder content in the paint was around 4% w/w, with an opacity of about 1.78% abs, washing resistance of 12 times, and the set drying touch time to 80 min. [ABSTRACT FROM AUTHOR]

Ancient stamps are suffering from the destructive effects of different kinds of inks that were prepared from different ingredients. Two Egyptian historical postage stamps printed in blue and red printing inks were evaluated and examined for their composition using a light microscope, SEM-EDS, FTIR, and Raman spectroscopic analyses. Mechanical, chemical, and deacidification treatments were done for the two stamps. Model stamps were made from the cotton pulp in the book house to simulate historical stamp paper with an average thickness of 11 microns. The unprinted and printed paper samples with printing inks that aged and unaged were treated with 0.7% Klucel G, 0.2% TiO2 NP, or a mixture of 0.7% Klucel G + 0.2% TiO2 NP, and the color change was measured and compared with the blank samples. The two stamps are suffering from high pH, where the margin color of the stamps changed to yellow-brown with weakness of the stamp paper. By SEM examination, stamps have suffered from fibers' weakness and dryness resulting from the self-oxidation reactions. EDS elemental composition of the red stamp showed the presence of C, O, Na, Al, Si, Mg, S, Ca, Ba, and Fe, while in the blue stamp, it was C, O, Na, Al, Si, P, S, Cl, and Ca. Raman spectrometer wavelengths turn out that the blueprinting ink of the stamp was characterized with spectra of ultramarine blue (lazurite), while hematite was characterized by the red stamp. FTIR analysis for the printing inks identified that gum Arabic sample and linseed oil were the binding and color medium, respectively. From the model trials, it was observed that the treatment of a mixture of Klucel G and TiO2 NP had the best properties for the consolidation of stamps. The two historical stamps were documented through different spectroscopic analyses, and from the restoration trials, it was observed that the mixture of 7% Klucel G + 0.2% TiO2 NP appeared to be a new and effective method for recovering the historical postage stamps. [ABSTRACT FROM AUTHOR]

This paper reports the first analytical approach carried out on two working palettes by Portuguese modernist master Almada Negreiros, found in 1991 behind old wood cabinets at the DN building in Lisbon. This is the only known occasion Almada left behind the color experiments done before starting to paint in the nearby walls and as such, it is a unique opportunity to analyze the materials and painting techniques that were originally used. The analytical setup comprised in loco technical photography in Vis, UVF and NIR; p-OM, spectrophotometry in Vis and h-EDXRF, complemented by OM-Vis, µ-FT-IR and VP-SEM-EDS of painting micro-samples and pigments in powder form. Preliminary results suggested the use of fresco painting technique and revealed some technical details, such as the use of a coarse lime sand finishing mortar mixed with natural vegetable fibers, and the extensive use of cadmium-based pigments that were not commonly used (or even recommended) in an alkaline environment. The Cd pigments were used alone or in mixtures with Fe based pigments in the warm hues and with cobalt and ultramarine blue pigments in some green paint layers. No clear evidence of organic materials that could have been used as binders was detected. [ABSTRACT FROM AUTHOR]

Mural cycles in the churches of Plešivec, Čhyžné, and Štitnik from around 1400 were studied from the material and technical point of view. Stylistically, they show a mixture of Northern and Southern European stylistic currents, which were characteristic for the time around 1400 in East Central Europe. After a precise study in situ, an analysis of extracted samples was conducted by OM, SEM-EDX, and XRD. The plasters used for these murals were all made of lime and sand with different impurities; importantly, they different among each other in terms of their quality and stability. The pigments that were used in these murals were natural and organic: lime white, yellow and red earths, malachite, and azurite were identified, and some pigment degradations were also pointed out. The principal technique is a fresco, but all murals were finished a secco in different proportions, using an organic binder. Painting procedures and modelling were also studied, revealing a strong difference among all three cycles. The painting technique does not always correspond to the style. [ABSTRACT FROM AUTHOR]

The characteristics of commercially available refined and bodied linseed and tung oils, used as binders in the production of armour paints after historic recipes, are explored. Employed as anticorrosive paints mainly from the 1920s to 1960s, armour paints are greener alternatives that can be used for protection in industrial heritage conservation. Using a multi-analytical approach, chemical and physical properties of the fresh oils and solid films before and after accelerated ageing (ISO 16474-2:2013) were investigated to better understand which features are beneficial for the technical function of armour paints. Tests included measurements of density, the refractive index, insoluble impurities, alkaline impurities, the water content, the iodine value, the saponification value, the free fatty acid concentration, the acid value, the peroxide value and colour (Lovibond) and cold tests. The characterisation of the fresh oils using molecular analysis with FTIR and GC-MS revealed the complexity of the commercial formulations, for which additions of semi- and non-drying oils were detected. The results show that organic paint binders follow complex chemical reactions (such as oxidation and decrease of unsaturation being variable or swelling following water-immersion tests), with implications for their suitability for use in protection. [ABSTRACT FROM AUTHOR]

The development of an in silico approach that evaluates and identifies appropriate treatment protocols for individuals could help grow personalized treatment and increase cancer patient lifespans. With this motivation, the present study introduces a novel approach for sequential treatment cycles based on simultaneously examining drug delivery, tumor growth, and chemotherapy efficacy. This model incorporates the physical conditions of tumor geometry, including tumor, capillary network, and normal tissue assuming real circumstances, as well as the intravascular and interstitial fluid flow, drug concentration, chemotherapy efficacy, and tumor recurrence. Three treatment approaches—maximum tolerated dose (MTD), metronomic chemotherapy (MC), and chemo-switching (CS)—as well as different chemotherapy schedules are investigated on a real tumor geometry extracted from image. Additionally, a sensitivity analysis of effective parameters of drug is carried out to evaluate the potential of using different other drugs in cancer treatment. The main findings are: (i) CS, MC, and MTD have the best performance in reducing tumor cells, respectively; (ii) multiple doses raise the efficacy of drugs that have slower clearance, higher diffusivity, and lower to medium binding affinities; (iii) the suggested approach to eradicating tumors is to reduce their cells to a predetermined rate through chemotherapy and then apply adjunct therapy. [ABSTRACT FROM AUTHOR]

A stony sculptural composition of the Nativity Scene is preserved in Altamura's Cathedral (Apulia, Italy). This commonly called Apulian "presepe", attributed to an unknown stonemason, is composed of polychrome carbonate white stone sculptures. While earlier stratigraphic tests have unveiled a complex superimposition of painting layers—meaning that several editions of the sculptures succeeded from the 16th to 20th century—a chemical investigation intended to identify the organic binding media used in painting layers was undertaken. Drawing on current literature, two strategies were exploited: a non-invasive in situ digestion analysis and an approach based on micro-removal of painting film followed by the Bligh and Dyer extraction protocol. Both peptide and lipid mixtures were analyzed by matrix-assisted laser desorption/ionization-mass spectrometry (MALDI-MS) and reversed-phase liquid chromatography coupled to mass spectrometry by electrospray ionization (RPLC-ESI-MS). Attenuated total reflectance Fourier-transform infrared spectroscopy (ATR-FTIR) examinations were also performed on micro-samples of painting films before lipids and proteins extraction. While human keratins were found to be common contaminants of the artwork's surfaces, traces of animal collagen, siccative oils, and egg white proteins were evidenced in different sampling zones of the sculptures, thus suggesting the use of non-homogeneous painting techniques in the colored layers. [ABSTRACT FROM AUTHOR]

Paintings and painted surfaces are considered to be extremely complex due to their multitude of materials and thus form the basis for particularly intricate Cultural Heritage studies. The combination of Scanning Electron Microscopy (SEM) with Cathodoluminescence (CL) can serve as a powerful tool for the identification of individual pigments. SEM/CL has the potential of identifying both organic and inorganic pigments and can focus on a micrometer or even nanometer scale. The combination with Energy Dispersive Spectrometry (EDS) allows for robust, cross-checked, elemental and mineralogical characterization of pigments. In order to apply SEM/CL in a routine-based way for the identification of pigments, it is necessary to have a robust, open-access database of characteristic CL spectra of pigments. A large project has been undertaken to create such a database, focusing primarily at the pigments, both organic and inorganic, which were most commonly used from antiquity until today. In the present paper, the CL characterization of common white pigments is presented. White pigments were selected, due to their significance and frequency of use, since they were also present on the ground layers or mixed with other pigments in most of the painting layers. More specifically, the CL spectra of samples in pure form of calcite, kaolinite, lead white, zinc oxide, barium sulfate, lithopone and titanium white are presented. In all cases, the CL spectra present characteristic bands, which allow for a secure identification of the pigments. In order to facilitate comparison with other databases, EDS and RAMAN spectra are also presented. Additionally, the effect of weathering on the CL spectra was evaluated, by comparison to naturally and artificially aged samples and to pigments identified on areas of two paintings, of the 19th and 20th c., respectively. Finally, the effect of binding media was also studied, using combination of pigments with four common media: egg yolk, linseed, walnut and poppy oil. Overall, both weathering and binding media appear to cause minor differences in the occurring spectra, without preventing the identification of pigments. [ABSTRACT FROM AUTHOR]

In this study, the red iron paints used in ancient manuscripts for rubrics and miniatures were fabricated and investigated. The commercial three different iron pigments (red ochre (Fe2O3), red bolus (Fe2O3·xSiO2·yAl2O3), and hematite (Fe2O3) and three binding media (gum Arabic, fish glue and parchment glue) were used for the preparation of analogous to historical red iron paints. The obtained model red iron paints were analyzed with the aim to create a short data library which could be used for the characterization of different model compositions of red paints as well as real historical and archaeological red paints. The obtained red paints and binding media were characterized using Fourier-transform infrared spectroscopy (FTIR), scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM/EDX), X-ray diffraction (XRD) analysis and thermal (TG/DSC) analysis techniques. The accelerated aging test was also applied for the analogous to historical red iron paints. These results are useful to develop red paint guidelines for the storage and display for improved conservation and accessibility of manuscripts. [ABSTRACT FROM AUTHOR]