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Paint technology, namely paint preparation and application procedures, is an important aspect of painting traditions. With the expansion of archaeometric studies and in situ non-destructive analytical methods, a renewal of technological studies is being observed in rock art. In situ analyses have several limitations that are widely discussed in the literature, however. It is not yet clear whether they provide accurate information on paint technology, except under certain conditions. Here, we evaluated digital microscopic and pXRF in situ analyses for the characterisation of a large set of red and yellow paintings from the El Castillo cave, Cantabria, Spain. We have set experiments and used statistical methods to identify differences between paint components and determine factors impacting pXRF measurements. We found that the compositional heterogeneity of the paintings' environment, especially variations in secondary deposits, was responsible for most of the differences observed between the pXRF signals recorded on the paintings. We concluded that the El Castillo cave environment is not suitable for non-destructive technological studies, but that more favourable contexts might exist. Following previous works and our own results, we advocate a combination of both in situ and laboratory invasive analyses for the study of paint composition and paint technology. Our research protocol, based on the comparison of rock paintings, their substrate, experimental paintings and Fe-normalisation of the signals can improve the reliability of pXRF results. We also propose to include more systematic characterisation of rock wall heterogeneity and the use of microscopic analyses in non-destructive approaches., Competing Interests: The authors have declared that no competing interests exist.

The implementation of high-resolution mass spectrometry systems offers new possibilities for the analysis of complex art samples such as historical oil paintings. However, these multicomponent systems generate large and complex data sets that require advanced visualization tools to aid interpretation, especially when no chromatographic separation is performed. In the context of this research, it was crucial to propose a data analysis tool to identify the products generated during the synthesis, drying, and aging of historical pigments. This study reports for the first time a nontraditional mass defect analysis of oil paint samples containing a fugitive brominated-organic pigment, eosin or geranium lake, by using direct infusion electrospray ionization in combination with a high-resolution Orbitrap mass spectrometer. The use of nontraditional Kendrick mass defect plots is presented in this study as a processing and visualization tool to recognize brominated species based on their specific mass defect and isotope pattern. The results demonstrate that this approach could provide valuable molecular compositional information on the degradation pathways of this pigment. We anticipate that mass defect analysis will become highly relevant in future degradation studies of many more historical organic pigments.

In cultural heritage, several initiatives are promoted to transfer the green chemistry in replacing traditional and toxic methods and products, and in ensuring safety of both artworks and restorers during cleaning operations. This study is aimed to establish the validity of new green solvents to replace toxic solvents, commonly used, to remove old paint varnishes. In particular, the research is focused on the use of acetals to remove old varnishes paintings. The acetals are common functional groups in natural products which are generated by reactions between alcohols and aldehydes. The tests were performed on four different resins (DAMAR, RETOUCHER, PVA and PMMA). Several samples were prepared to reproduce the common stratigraphy succession of the oil painting. The performances of the solvents were monitored by visible light/UV light, photography and optical microscopy, spectro-colorimetric analysis. Then, FTIR spectra of the cleaned surface have been acquired to detect the residues after cleaning.

In this work, decorative wallpapers (19th century) from an historical palace located in Oiartzun (Basque Country, Spain) were analyzed before their restoration. Micro-energy dispersive X-ray fluorescence spectroscopy, Raman spectroscopy, and attenuated total reflectance infrared spectroscopy were used to investigate the elemental and molecular composition of pigments, the presence of binders, and the state of conservation of the paper support. The aim of the investigation was trying to understand the possible degradation pathways and identify the raw materials in order to choose the best restoration protocol according to the original aspect of wallpapers. As stated from both the elemental distribution and the identification of mineral phases by Raman spectroscopy, the most used pigment was lead chromate. It was mixed with other pigments such as ultramarine blue, zinc chromate, hematite, and atacamite among others to obtain different shades and they were applied mixed with an animal glue. Brass, identified thanks to elemental micro-EDXRF maps, was employed as a shiny decorative element. In addition, a partial degradation of cellulose was detected due to its natural ageing, the acidic nature of lignin, and to a phenomenon of humidity of the walls. Probably the deposition of black particulate matter was the cause of the darkening of the painting surfaces.

Jackson Pollock's most celebrated abstract paintings were produced with the so-called dripping technique. By pouring liquid paint with the help of a stick or from a can, Pollock deposited viscous fluid filaments on a horizontal canvas, rhythmically moving around it. The intricate webs of lines, ubiquitous in his compositions, have fascinated art historians and scientists. Based on image analysis of historical video recordings, we experimentally reproduced the painting process. We conclude that Pollock avoided the appearance of the hydrodynamic instabilities, contrary to what was argued by previous studies. Pollock selected the physical properties of the paint to prevent filament fragmentation before deposition, and applied it while moving his hand sufficiently fast and at certain heights to avoid fluid filaments from coiling into themselves. An understanding of the physical conditions at which these patterns were created is important to further art research and it can be used as a tool in the authentication of paintings., Competing Interests: The authors have declared that no competing interests exist.

The painting "Donna Nuda" by Leonardo was acquired by Catherine II (the Great) from the R. Walpole collection, Houghton Hall, England, in 1779 for the Hermitage in St. Petersburg. By exploiting the EVA film technology (ethylene vinyl acetate polymer embedded with strong cation and anion exchangers and with C 8 and/or C 18 resins) we have explored the surface of the painting in order to ascertain the techniques used in its drawing. Five EVA films were affixed on the body and on the landscape for 60 min. Upon elution from the recovered films, the harvested material was analyzed by gas-chromatography/mass spectrometry as well as by liquid chromatography/mass spectrometry. "Tempera grassa" (consisting of linseed oil admixed with egg yolk) was used in the entire painting. The surface was then protected by a layer of conifer resin. It is hypothesized that access to the layer underneath the protective layer was obtained via micro-cracks on the conifer resin itself. Rosemary oil was used as diluent to slow down the drying process and so to perform the glazing technique, thus obtaining the "aerial perspective" in correspondence of the landscape. To our reckoning, this is the first time in which a Leonardo painting is analyzed in depth but also in which his artistic technique is deciphered via modern techniques for exploring Cultural Heritage. The EVA film technology might be used for ascertaining the authenticity of paintings and uncover frauds. SIGNIFICANCE STATEMENT: Leonardo da Vinci was the most famous Italian polymath of the Renaissance and one of the most important innovators of his time. He was the author of several important artworks such as "La Gioconda", but he also painted the "Donna Nuda" conserved at the Hermitage Museum. Although some attempts permitted the identification of part of the materials used by Leonardo, to date no analytical investigations were able to fully characterize and decipher the recipes. We explored the surface of the "Donna Nuda" painting through a non-invasive approach that uses a functionalized film to adsorb nano-scopic amounts of materials that were then analyzed by mass spectrometry. This method has the potential to revolutionize the approaches used to analyze cultural heritage., (Copyright © 2019 Elsevier B.V. All rights reserved.)

Chemical hydrolysis assisted by microwave irradiation has been proposed as an alternative method for the analysis of proteins in highly insoluble matrices. In this work, chemical hydrolysis was applied for the first time to detect degraded proteins from paintings and polychromies. To evaluate the performance of this approach, the number of identified peptides, protein sequence coverage (%), and PSMs were compared with those obtained using two trypsin-based proteomics procedures used for the analysis of samples from cultural heritage objects. It was found that chemical hydrolysis allowed the successful identification of all proteinaceous materials in all paint samples analyzed except for egg proteins in one extremely degraded sample. Moreover, in one sample, casein was only identified by chemical digestion. In general, chemical hydrolysis identified more peptides, more PSM's, and greater sequence coverage in the samples containing caseins, and often also in animal glue, highlighting the great potential of this approach for the rapid digestion and identification of insoluble and degraded proteins from the field of the cultural heritage.

A chemical investigation of the organic paint binders of the Giant Buddhas of Bāmiyān was performed using an analytical approach based on mass spectrometry, combining traditional gas chromatography/mass spectrometry protocols with advanced proteomics methodologies. The research was carried out on a selection of rescued fragments. The data revealed the use of egg proteins as the paint binders of the original layers, in accordance with the traditional use of this proteinaceous medium in antiquity, spanning from the Mediterranean basin to the Far East, and already in the Bronze Age. Egg tempera was thus known to artists of the region in the first centuries AD, probably also due to the position of the Bāmiyān valley, which was connected to the Silk Road. Milk was found in the first historical overpaintings. A new proteomics approach was used, which was able to identify the source of the milk proteins present in the restoration layers, despite their age and degradation. In particular cow's and goat's milk were both found, in agreement with the documented presence of rich pastures in the Bāmiyān valley when the historical restorations were carried out. Investigating the materials of the Giant Buddhas not only enabled us to obtain isolated data on these invaluable works of art, which are now lost, but contributes to understanding the big "puzzle" of our past and the development of our culture, by implementing and supporting written sources, stylistic and anthropological studies with molecular data.

The present review is aimed at reporting on the most advanced and recent applications of immunochemical imaging techniques for the localization of proteins within complex and multilayered paint stratigraphies. Indeed, a paint sample is usually constituted by the superimposition of different layers whose characterization is fundamental in the evaluation of the state of conservation and for addressing proper restoration interventions. Immunochemical methods, which are based on the high selectivity of antigen-antibody reactions, were proposed some years ago in the field of cultural heritage. In addition to enzyme-linked immunosorbent assays for protein identification, immunochemical imaging methods have also been explored in the last decades, thanks to the possibility to localize the target analytes, thus increasing the amount of information obtained and thereby reducing the number of samples and/or analyses needed for a comprehensive characterization of the sample. In this review, chemiluminescent, spectroscopic and electrochemical imaging detection methods are discussed to illustrate potentialities and limits of advanced immunochemical imaging systems for the analysis of paint cross-sections.

Optical Non-Destructive Testing (ONDT) can be applied as penetrating elemental and structure analysis technology in the Pigments identification field. Three-dimensional video microscopy, Raman microscopy and energy dispersive X-ray fluorescence spectroscopy are employed to measure the materials based on a Qing Dynasty meticulous painting. The results revealed that the dark yellow area within the decorative patterns was presented due to the interaction of Emerald green and hematite, and the bright yellow edge area was delineated by Cu-Zn-Pb composition. The interesting thing is that an artificial synthetic ultramarine blue was checked in the painting. According to the first synthesized time of ultramarine blue and Paris green, the time limit of the painting completion can be identified. The principle of Pigment subtractive colorant and nitikaset method were employed to interpreting the results. Optical testing combined with the area of cultural relic identification can be a potential method to build an expert identification system successfully. This work also help lay the optical method groundwork for further cultural relic identification, sterilization, and preservation.

The present work investigates the applicability of nonlinear imaging microscopy for the precise assessment of degradation of the outer protective layers of painted artworks as a function of depth due to aging. Two fresh and artificially aged triterpenoid varnishes, dammar and mastic, were tested. Nonlinear imaging techniques have been employed as a new diagnostic tool for determination of the exact thickness of the affected region due to artificial aging of the natural varnishes. The measured thicknesses differ from the calculated mean penetration depths of the samples. These nondestructive, high resolution modalities are valuable analytical tools for aging studies and they have the potential to provide unique in-depth information. Single photon laser induced fluorescence measurements and Raman spectroscopy were used for the integrated investigation and analysis of aging effects in varnishes.

The identification of proteinaceous materials in paint constituents provides very valuable information regarding the techniques used by the painter and the most suitable procedures for conserving and restoring their works. Although the analysis of proteinaceous materials is nowadays a common task when dealing with works of art, the reliable detection and identification of protein traces is still complicated, particularly when very small samples can be taken that may contain a mixture of different organic materials (oils, waxes, resins, gums etc.). We therefore proposed a proteomic approach to investigate protein materials in paintings at trace levels in order to obtain a better understanding of the painter's technique. After trypsin digestion of the paint samples, mass spectra were obtained by matrix-assisted laser desorption and ionization time of flight mass spectrometry (MALDI-TOF-MS) and they were compared with the Mascot database and with theoretical digested proteins. This study contributes to the knowledge about the technique used by Alonso Cano (Granada, Spain, 1601-1667), one of the most original and brilliant artists from the Spanish Golden Age (17th century), in the series called the Life of the Virgin (six paintings), part of the iconographic program about the life of the Virgin Mary, nowadays seen in the main chapel of Granada Cathedral. The objective of the present study was to test the use of proteinaceous material, mainly egg yolk, in the paint used by Cano, as suggested in previous research, although this would have been unusual at that time when most artists used oil paints. Based on the results of the analysis here presented, the use of protein in the binding media can most likely be excluded.

Cleaning is one of the most important, delicate, and at the same time controversial processes in the conservation treatment of paintings. Although a strict definition of cleaning would be the removal of dirt, grime, or other accretions (surface cleaning), in the conservation field, cleaning is used in the broader meaning to include thinning/removing altered or “unwanted layers” of materials without damaging or altering the physicochemical properties of the surfaces to be preserved. The cleaning of unvarnished paintings is one of the most critical issues that are currently discussed. Several studies exist regarding different cleaning tools, such as gels, soaps, enzymes, ionic liquids, and foams, as well as various dry methods and lasers, but only a few have been performed on the risk associated with the use of water and organic solvents for the cleaning treatments in relation to the original paint binder. The aim of the study is to verify analytically the behavior of water gelling agents during cleaning treatments and the interaction of the following elements: water or organic solvents applied for the removal of gel residues with the original lipid paint binder. For this purpose, the study was conducted on a fragment of canvas painting (sixteenth to seventeenth century) of Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici del Friuli Venezia Giulia (Superintendence for the Historical, Artistic and Ethno-anthropological Heritage of Friuli Venezia Giulia), Udine by means of Fourier transform infrared spectroscopy, gas chromatography/mass spectrometry, and scanning electron microscopy.

An unambiguous identification of pigments in paint layers of works of art forms a substantial part of the description of a painting technique, which is essential for the evaluation of the work of art including determination of the period and/or region of its creation as well as its attribution to a workshop or an author. Copper pigments represent a significant group of materials used in historic paintings. Because of their substantial diversity and, on the other hand, similarity, their identification and differentiation is a challenging task. An analytical procedure for unambiguous determination of both mineral-type (azurite, malachite, posnjakite, atacamite, etc.) and verdigris-type (copper acetates) copper pigments in the paint layers is presented, including light microscopy under VIS and UV light, electron microscopy with elemental microanalysis, Fourier transformed infrared micro-spectroscopy (micro-FTIR), and X-ray powder micro-diffraction (micro-XRD). Micro-Raman measurements were largely hindered by fluorescence. The choice of the analytical methods meets the contemporary requirement of a detailed description of various components in heterogeneous and minute samples of paint layers without their destruction. It is beneficial to use the combination of phase sensitive methods such as micro-FTIR and micro-XRD, because it allows the identification of both mineral-type and verdigris-type copper pigments in one paint layer. In addition, preliminary results concerning the study of the loss of crystallinity of verdigris-type pigments in proteinaceous binding media and the effect of lead white and lead tin yellow as highly absorbing matrix on verdigris identification in paint layers are reported., (Copyright © 2014 Elsevier B.V. All rights reserved.)

We propose ATR-FTIR spectroscopy for the characterization of the spectral changes in alkyd resin from the Griffin Alkyd Fast Drying Oil Colour range (Winsor & Newton), occurring over 550 days (∼18 months) of natural ageing and over six months of artificial ageing under an acetic acid atmosphere. Acetic acid is one of the atmospheric pollutants found inside museums in concentrations that can have a significant effect on the works exhibited. During natural ageing we observed an increase and broadening of the OH group band around 3300 cm(-1) and an increase in bands in the region 1730-1680 cm(-1) due to carbonyl stretching. We found a broad band around 1635 cm(-1) likely due to CO stretching vibrations of β dichetons. These spectral changes are the result of autooxidation reactions during natural ageing and crosslinking, which then form f alcohols and carbonyl species. The increase in absorbance at 1635 cm(-1) was selected as a parameter to monitor the ageing process of paintings prepared with FDOC, without the need for any extractive procedure. FTIR spectra of paint replicas kept under an acetic acid atmosphere indicated the chemical groups involved in the reaction with acid, thus suggesting which spectral FTIR regions could be investigated in order to follow any degradation in real paintings. A red paint sample from a hyper-realistic artwork ("Racconta storie", 2003) by the Italian painter Patrizia Zara was investigated by FTIR in order to evaluate the effects of 10 years natural ageing on alkyd colours. The results obtained suggested that after the end of chemical drying (autooxidation), alkyd colours are very stable., (Copyright © 2014 Elsevier B.V. All rights reserved.)

Here we present, for the first time, an extension of spatially offset Raman spectroscopy to thin (tens of micrometers thick), highly turbid stratified media such as those encountered in paintings. The method permits the non-destructive interrogation of painted layers in situations where conventional Raman microscopy is not applicable due to high turbidity of the top layer(s). The concept is demonstrated by recovering the pure Raman spectra of paint sub-layers that are completely obscured by paint over-layers. Potential application areas include the analysis of paintings in art preservation and restoration avoiding the cross-sectional analysis used currently with this type of samples. The technique also holds promise for the development as a non-destructive subsurface tool for in situ analysis using portable instruments.

We report the development of an indirect ELISA procedure for specific identification of chicken-egg yolk and animal glues in painting micro-samples. The results presented integrate previously published work on ELISA recognition of bovine β-casein and chicken ovalbumin in painting materials. The integrated final ELISA procedure-optimised for protein extraction, immuno-reagent concentrations, blocking solution, incubation time, and temperature-enables multiplex identification, in single samples, of proteinaceous materials, i.e. chicken-egg yolk and albumen, animal glues, and bovine milk and/or casein, mainly used by painters in the past. The procedure has been systematically tested on laboratory models of mural and easel paintings, both naturally and artificially aged, to assess possible inhibitory effects on the immuno-reaction caused by inorganic painting materials (pigments and substrates) and by protein degradation resulting from aging processes. Real samples from case studies, which had previously been investigated and characterised by spectroscopy and chromatography, were successfully studied by use of the developed ELISA procedure. The commercial availability of all the immuno-reagents used, the affordable analytical equipment, and the specificity, sensitivity, and rapidity of ELISA make this method very attractive to diagnostic laboratories in the field of cultural heritage science. Possible further developments to the analytical potential of this technique include improvement of antibody performance and inclusion of other classes of bio-molecules as analytical targets.

A protocol for a simple and reliable dot-blot immunoassay was developed and optimized to test work of art samples for the presence of specific proteinaceus material (i.e. ovalbumin-based). The analytical protocol has been extensively set up with respect, among the other, to protein extraction conditions, to densitometric analysis and to the colorimetric reaction conditions. Feasibility evaluation demonstrated that a commercial scanner and a free image analysis software can be used for the data acquisition and elaboration, thus facilitating the application of the proposed protocol to commonly equipped laboratories and to laboratories of museums and conservation centres. The introduction of method of standard additions in the analysis of fresh and artificially aged laboratory-prepared samples, containing egg white and various pigments, allowed us to evaluate the matrix effect and the effect of sample aging and to generate threshold density values useful for the detection of ovalbumin in samples from ancient works of art. The efficacy of the developed dot-blot immunoassay was proved testing microsamples from 13th-16th century mural paintings of Saint Francesco Church in Lodi (Italy). Despite the aging, the altered conditions of conservation, the complex matrix, and the micro-size of samples, the presence of ovalbumin was detected in all those mural painting samples where mass-spectrometry-based proteomic analysis unambiguously detected ovalbumin peptides.

Existing natural media painting simulations have produced high-quality results, but have required powerful compute hardware and have been limited to screen resolutions. Digital artists would like to be able to use watercolor-like painting tools, but at print resolutions and on lower end hardware such as laptops or even slates. We present a procedural algorithm for generating watercolor-like dynamic paint behaviors in a lightweight manner. Our goal is not to exactly duplicate watercolor painting, but to create a range of dynamic behaviors that allow users to achieve a similar style of process and result, while at the same time having a unique character of its own. Our stroke representation is vector based, allowing for rendering at arbitrary resolutions, and our procedural pigment advection algorithm is fast enough to support painting on slate devices. We demonstrate our technique in a commercially available slate application used by professional artists. Finally, we present a detailed analysis of the different vector-rendering technologies available.

This paper investigates the effects of inorganic (NO(2) and O(3)) and volatile organic acid (acetic acid) pollutants on the degradation of dammar varnish in museum environments. Model paint varnish samples based on dammar resin were investigated by Gas Chromatography Mass Spectrometry (GC-MS), Dynamic Mechanical Analysis (DMA) and Atomic Force Microscopy (AFM). Dammar is a natural triterpenoid resin, commonly used as a paint varnish. Samples were subjected to accelerated ageing by different levels of pollutants (NO(2) and O(3) and acetic acid) over a range of relative humidities (RH) and then analysed. The results revealed that as the dose of the pollutant was increased, so did the degree of oxidation and cross-linking of the resin. Most interestingly, it was shown for the first time that exposure to acetic acid vapour resulted in the production of an oxidised and cross-linked resin, comparable to the resin obtained under exposure to NO(2) and O(3). These conclusions were supported by the analyses of model varnishes exposed for about two years in selected museum environments, where the levels of pollutants had been previously measured. Exposures were performed both within and outside the selected microclimate frames for paintings. Results showed that varnishes placed within the microclimate frames were not always better preserved than those exposed outside the frames. For some sites, the results highlighted the protective effects of the frames from outdoor generated pollutants, such as NO(2) and O(3). For other sites, the results showed that the microclimate frames acted as traps for the volatile organic acids emitted by the wooden components of the mc-frames, which damaged the varnish.

The chemical analysis of egg-based wall paintings-the mezzo fresco technique-is an interesting topic in the characterisation of organic binders. A revised procedure for a dot-enzyme-linked immunosorbent assay (dot-ELISA) able to detect protein components of egg-based wall paintings is reported. In the new dot-ELISA procedure we succeeded in maximizing the staining colour by adjusting the temperature during the staining reaction. Quantification of the colour intensity by visible reflectance spectroscopy resulted in a straight line plot of protein concentration against reflectance in the wavelength range 380-780 nm. The modified dot-ELISA procedure is proposed as a semi-quantitative analytical method for characterisation of protein binders in egg-based paintings. To evaluate its performance, the method was first applied to standard samples (ovalbumin, whole egg, egg white), then to model specimens, and finally to real samples (Giotto's wall paintings). Moreover, amino acid analysis performed by innovative ultra-performance liquid chromatography was applied both to standards and to model samples and the results were compared with those from the dot-ELISA tests. In particular, after protein hydrolysis (24 h, 114 °C, 6 mol L(-1) HCl) of the samples, amino acid derivatization by use of 6-aminoquinolyl-N-hydroxysuccinimidyl carbamate enabled reproducible analysis of amino acids. This UPLC amino acid analysis was rapid and reproducible and was applied for the first time to egg-based paintings. Because the painting technique involved the use of egg-based tempera on fresh lime-based mortar, the study enabled investigation of the effect of the alkaline environment on egg-protein detection by both methods.

The present research is aimed at introducing a suitable approach for the exploitation of the hyperspectral data obtained by μATR-FTIR analyses of paint cross-sections. The application of principal component analysis for chemical mapping is well-established, even if a very limited number of applications to μFTIR data have been reported so far in the field of analytical chemistry for cultural heritage. Moreover, in many cases, chemometric tools are under-utilized and the outcomes under-interpreted. As a consequence, results and conclusions may be considerably compromised. In an attempt to overcome such drawbacks, the present work is proposing a comprehensive and efficient procedure based on an interactive brushing approach, which combines the structural information of the score scatter plots and the spatial information of the principal component (PC) score maps. In particular, the study demonstrates not only how the multivariate approach may provide more information than the univariate one, but also how the integration of different chemometric tools may allow a more comprehensive interpretation of the results with respect to the studies up to now reported in the literature. The examination of the average spectral profile of each score cluster, jointly with the loading analysis, is functional to characterize each area investigated on the basis of its spectral features. A multivariate comparison with spectra of standard compounds, projected in the PC score space, helps in supporting the chemical identification. The approach was validated on two real case studies.

Spectroscopic and MS techniques were used to characterize the pigments and the composition of polar and nonpolar binders of a stray wall painting fragment from Liternum (Italy) archaeological excavation. X-ray fluorescence and diffraction analysis of the decorations indicated mainly the presence of calcite, quartz, hematite, cinnabar, and cuprorivaite. Infrared spectroscopy, GC coupled to flame-ionization detector, and MS analysis of the polar and nonpolar components extracted from paint layers from three different color regions revealed the presence of free amino acids, sugars, and fatty acids. Interestingly, LC-MS shotgun analysis of the red painting region showed the presence of αS1-casein of buffalo origin. Compared to our previous results from Pompeii's wall paintings, even though the Liternum painting mixture contained also binders of animal origin, the data strongly suggest that in both cases a tempera painting technique was utilized., (© 2012 WILEY-VCH Verlag GmbH & Co. KGaA, Weinheim.)

The use of Fourier transform infrared spectromicroscopy and mass spectrometry (MS) allowed us to characterize the composition of polar and non-polar binders present in sporadic wall paint fragments taken from Pompeii's archaeological excavation. The analyses of the polar and non-polar binder components extracted from paint powder layer showed the presence of amino acids, sugars, and fatty acids but the absence of proteinaceous material. These results are consistent with a water tempera painting mixture composed of pigments, flours, gums, and oils and are in agreement with those obtained from a simulated wall paint sample made for mimicking an ancient "a secco" technique. Notably, for the first time, we report the capability to discriminate by tandem MS the presence of free amino acids in the paint layer.

In this work, we characterized paint reconstructions using ovalbumin and casein as binders, and cinnabar (HgS) as a pigment, before and after artificial ageing. Egg and casein are common paint binders that were used historically in the technique of tempera painting. Despite extensive research on the identification of proteinaceous binders in paintings, there is a substantial lack of knowledge regarding the ageing pathway of their protein content, and their chemical interaction with inorganic pigments. Thermogravimetric analysis, infrared spectroscopy and size-exclusion chromatography (SEC) were used to reveal the physico-chemical processes involved in the ageing of proteins in paintings. Taken together, the three techniques highlighted that proteins are subject to both cross-linking and hydrolysis upon ageing, and to a lesser extent, to oxidation of the side chains. Mercury-protein interactions were also revealed using a cold vapour generation atomic fluorescence spectrometer mercury-specific detector coupled to SEC. The study clearly showed that HgS forms stable complexes with proteins and acts as a sensitizer in cross-linking, hydrolysis and oxidation.

Non-destructive methods are of great interest for the analysis of cultural heritage. Among the different possible techniques, this paper presents a low cost prototype based on the emission and reception of airborne ultrasound without direct contact with the test specimen. We successfully performed a method test for the detection of brick joints under a XV th century Renaissance fresco of the Metropolitan Cathedral of the city of Valencia (Spain). Both laboratory and in situ results are in agreement. Using this prototype system, an early moisture detection system has been installed in the dome that supports the fresco. The result is encouraging and opens interesting prospects for future research.

Body painting as a tool for teaching anatomy is becoming increasingly popular as it is fun and diffuses the formal academic context. Students claim bright color plays a significant role in retention of knowledge from painting sessions. Medical students (n = 117) were divided into two conditions: block color (CLR) and black outlines (BLK). Students completed a pre-test before a body painting teaching session on abdominal referred pain. CLR students used bright block colors, and BLK students mapped outlines in black. Immediately afterward, students sat a mid-test to compare the conditions. Students completed a post-test to compare long-term retention of knowledge four weeks later. There was no difference in knowledge between the two conditions immediately after the teaching (P = 0.653). There was no significant difference in long-term retention of knowledge between those using black outlines and those using color (P = 0.278). The use of color had no impact on short-term or long-term retention of knowledge, despite previously collected qualitative data that color helped memorization. Despite there being no immediate difference in the amount of information retained, the students' enthusiasm for body painting and the use of bold colors warrant body painting's inclusion within the anatomy curriculum. Acceptability plays a significant role in the success of any teaching modality. Additionally, students who undertook the roles of painter or canvas retained similar amounts of information after six weeks (P = 0.505). Students' classification as verbalizer or visualizer did not impact on their test performance., (Copyright © 2011 American Association of Anatomists.)

The pigment in brown paint samples taken from a church in the Drôme region of France has been shown to be almost pure 6-bromoindigo and 6,6'-dibromoindigo. The composition of the pigment was established by comparison with 6-bromoindigo and 6,6'-dibromoindigo standards using atmospheric pressure photoionization combined with liquid chromatography and tandem mass spectrometry. The brown paint samples were taken from a frieze of ca 20 brown images having symmetric tree-like forms composed of five overlapping filled circles representing foliage. The tree-like images, simple rather than artistic, had a metallic luster. The molar ratio of 6-bromoindigo and 6,6'-dibromoindigo in the brown paint pigment (98:2) is remarkably similar to that of shellfish purple from the Mediterranean Murex brandaris (96.5:3.5) thus, it is possible that the origin of the indigoid compounds in the brown paint pigment is the eastern coast of the Mediterranean Sea. As the production of Tyrian purple ended with the fall of Byzantium in 1453, purple pigment had to have been produced prior to this time. We have conjectured about the circumstances that may account for the use of 'purple' in this manner in the Drôme region and how the pigment was transported there from the eastern coast of the Mediterranean Sea during the time of the Crusades., (Copyright © 2011 John Wiley & Sons, Ltd.)

Enzyme-linked immunosorbent assay (ELISA) analysis of proteins offers a particularly promising approach for investigations in cultural heritage on account of its appreciated properties of being highly specific, sensitive, relatively fast, and cost-affordable with respect to other conventional techniques. In spite of that, it has never been fully exploited for routine analyses of painting materials in consideration of several analytical issues that inhibited its diffusion in conservation science: limited sample dimensions, decrease of binder solubility and reduced availability of antibody bonding sites occurring with protein degradation. In this study, an ELISA analytical protocol suited for the identification of aged denatured proteins in ancient painting micro-samples has been developed. We focused on the detection of bovine β-casein and chicken ovalbumin as markers of bovine milk (or casein) and chicken albumen, respectively. A systematic experimentation of the ELISA protocol has been carried out on mock-ups of mural and easel painting prepared with 13 different pigments to assess limits and strengths of the method when applied for the identification of proteins in presence of a predominant inorganic matrix. The analytical procedure has been optimized with respect to protein extraction, antibodies' concentrations, incubation time and temperature; it allows the detection of the investigated proteins with sensitivity down to nanograms. The optimized protocol was then tested on artificially aged painting models. Analytical results were very encouraging and demonstrated that ELISA allows for protein analysis also in degraded painting samples. To address the feasibility of the developed ELISA methodology, we positively investigated real painting samples and results have been cross-validated by gas chromatography-mass spectrometry.

The identification and localization of organic components in the complex stratigraphy of paintings play a crucial role in studies of painting techniques and authentication, restoration, and conservation of artworks. Much scientific effort has been expended for the development of analytical approaches suitable for the investigation and characterization of organic substances, allowing high sensitivity, specificity, and spatial resolution. Proteins (e.g., ovalbumin, casein, and collagen from different animal sources) are one of the classes of organic substances most widely used as painting materials. The analytical techniques commonly used for their analysis (micro Fourier transform infrared spectroscopy, chromatographic techniques, and proteomic approaches) have limits related to the lack of specificity or to the absence of information concerning the stratigraphic localization of the detected proteins. Immunological techniques are a promising alternative approach for the characterization of proteins in artworks. Thanks to the high specificity of antigen-antibody reactions, these techniques are widely used for the analysis of proteins in bioanalytical and clinical chemistry and recently they have been successfully applied in the field of science for conservation of cultural heritage. The present research aimed to develop an ultrasensitive chemiluminescent immunochemical procedure for the simultaneous localization of ovalbumin and bovine casein (two common proteins found in binding media or varnishes of artistic and archaeological samples) in resin-embedded painting micro cross-sections. The possibility of performing the simultaneous identification of different proteins in painting cross-sections is of particular relevance in the field of cultural heritage because samples are often small and available in a limited number; therefore, the maximum amount of information must be obtained from each of them.

The painting materials of the Portrait of Nicolaes van Bambeeck (Royal Museums of Fine Arts of Belgium, Brussels, inv. 155) painted by Rembrandt van Rijn in 1641 has been studied using high resolution cluster-TOF-SIMS imaging. In the first step, a moderate spatial resolution (2 μm) was used to characterize the layer structure and the chemical composition of each layer on account of a high mass resolution. Then, in the second step, and despite a low mass resolution, the cluster primary ion beam was focused well below 1 μm in order to reveal smaller structures in the painting sample. The study confirmed the presence of starch in the second ground layer, which is quite surprising and, at least for Rembrandt paintings, has never been reported before. TOF-SIMS also indicated the presence of proteins, which, added to the size and shape of lake particles, suggests that it was manufactured from shearings (waste of textile manufacturing) of dyed wool, used as the source of the dyestuff. The analyses have also shown various lead carboxylates, being the products of the interaction between lead white and the oil of the binding medium. These findings considerably contribute to the understanding of Rembrandt's studio practice and thus demonstrate the importance and potential of cluster-TOF-SIMS imaging in the characterization on a submicrometer scale of artist painting materials.

Fourier-transform photoacoustic infrared (PAIR) spectroscopy has been used in the analysis of 12 inorganic pigments commonly in use by artists today, viz., cobalt blue, ultramarine blue, Prussian blue, azurite, malachite, chromium oxide, viridian, cadmium yellow, chrome yellow, iron oxide, yellow ochre and Mars orange. The authenticity of these 12 commercial pigments was first established by recording their Raman spectra. The subsequent PAIR spectra were highly reproducible and matched well in the mid-IR region with previously published data for these pigments. A number of additional overtone and combination bands were also detected that will prove useful in the identification of the pigments in the future. The PAIR technique is a promising and reliable method for the analysis of inorganic pigments, especially since it involves much simpler preparation than is required for conventional IR measurements., (Copyright © 2010. Published by Elsevier B.V.)

Diagnostic immunology is a powerful tool, widely used in clinical and biochemical laboratories for detecting molecules. In recent years, the technique has been adapted to materials sciences as a result of the extensive advances achieved in immunology. Today, many companies supply custom antibodies as well as new high-performance bioprobes for virtually any use. The idea of using immunodetection in the field of conservation science is not new. This analytical methodology is, in fact, particularly attractive for investigating biopolymers in painting materials; it is highly sensitive and selective with respect to the biological source of the target molecules. Among biopolymers, proteins have been widely used in the past as painting binders, adhesives, and additives in coating layers. An accurate assessment of these materials is necessary to obtain deeper insights into an artist's technique as well as to design proper restoration and conservation methods. In spite of the diagnostic potential offered by immunodetection-based techniques, some analytical drawbacks had, until recently, limited their use in routine applications in conservation science. In this Account, we highlight the most important results achieved in our research on the development of analytical methodologies based on the use of enzyme-linked immunosorbent assay (ELISA) and immuno-fluorescence microscopy (IFM) techniques for the highly sensitive and specific identification of proteins in artistic and archeological materials. ELISA and IFM offer two alternative analytical routes to this final goal: ELISA provides a fast, cost-effective, quantitative analysis of microsamples put in solution, whereas IFM combines the immunodetection of the targeted molecules with the characterization of their spatial distribution. The latter approach is of great value in the stratigraphic investigation of paintings. We discuss the limits and strengths of these methodologies in the context of the complex matrixes usually found in the investigated materials and the prolonged aging that they have undergone. Immunology is a relatively new technique in conservation science, providing a rich new field for innovation. We see two areas that are particularly ripe for future contributions. The commercial manufacture of antibodies specifically tailored for use in cultural heritage studies holds enormous potential. Moreover, the need for further refinement of detection systems in immuno-fluorescence techniques, especially the suppression of the autofluorescence background in painting materials, offers an abundance of opportunities for researchers. Immunology is a relatively new technique in conservation science, providing a rich new field for innovation.

Objective: We conducted a meta-analysis to quantitatively compare the association between occupation as a painter and the incidence or mortality from lung cancer., Data Sources: PubMed and the reference lists of pertinent publications were searched and reviewed. For the meta-analysis, we used data from 47 independent cohort, record linkage, and case control studies (from a total of 74 reports), including > 11,000 incident cases or deaths from lung cancer among painters., Data Extraction: Three authors independently abstracted data and assessed study quality., Data Synthesis: The summary relative risk (meta-RR, random effects) for lung cancer in painters was 1.35 [95% confidence interval (CI), 1.291.41; 47 studies] and 1.35 (95% CI, 1.211.51; 27 studies) after controlling for smoking. The relative risk was higher in never-smokers (meta-RR = 2.00; 95% CI, 1.093.67; 3 studies) and persisted when restricted to studies that adjusted for other occupational exposures (meta-RR = 1.57; 95% CI, 1.212.04; 5 studies). The results remained robust when stratified by study design, sex, and study location and are therefore unlikely due to chance or bias. Furthermore, exposure response analyses suggested that the risk increased with duration of employment., Conclusion: These results support the conclusion that occupational exposures in painters are causally associated with the risk of lung cancer.

A comprehensive study of ATR-FT-IR spectra of 40 inorganic pigments of different colours widely used in historical paintings has been carried out in the low wave number spectral range (550-230 cm(-1)). The infrared spectra were recorded from mixtures of pigment and linseed oil. It is demonstrated that this spectral range - essentially devoid of absorption peaks of the common binder materials - can be well used for identification of inorganic pigments in paint samples thereby markedly extending the possibilities of pigment identification/confirmation by ATR-IR spectroscopy into the realm of pigments having no absorptions in the mid-IR region. In some cases the method can be used alone for pigment identification and in many cases it provides useful additional evidence for pigment identification using other instrumental techniques (electron microprobe analysis, XRF, optical microscopy). Together with earlier work this study provides a comprehensive overview of the pigment identification possibilities using ATR-FT-IR as well as a collection of reference spectra and is expected to be a useful reference for conservation practitioners., (Copyright 2009 Elsevier B.V. All rights reserved.)

The assessment of the influence of natural and artificial ageing on the spectrofluorescence of triterpenoid varnishes dammar and mastic is the focus of this work. Both Fourier transform infrared (FTIR) microscopy using attenuated total reflectance and Raman spectroscopy have been employed for complementary molecular analysis of samples. Synchronous fluorescence spectroscopy, excitation emission spectroscopy, and statistical analysis of data have been used to monitor changes in the optical properties of varnish samples. Assessment of naturally and artificially aged samples using excitation emission spectroscopy suggests that extensive exposure to visible light does not lead to easily appreciable differences in the fluorescence of mastic and dammar; cluster analysis has been used to assess changes, which occur with artificial ageing under visible light, indicating that differences in the fluorescence spectra of aged triterpenoids may be insufficient for their discrimination. The results highlight significant differences between the initial fluorescence of films of dammar and mastic and the fluorescence, which develops with ageing and oxidation, and specific markers, which change with ageing in FTIR and Raman spectra, have been identified.

Synchrotron radiation X-ray diffraction (micro-SR-XRD) and Fourier transform infrared spectroscopy (micro-SR-FTIR) are used in the non-destructive identification of reaction and aging compounds from micrometric ancient painting layers. The combination of the micrometer size and non-destructive nature of the techniques together with the high resolution and brilliance of the synchrotron radiation has proved to be a procedure most advantageous for the study of reaction, aging and degradation processes. Copper, lead and calcium carboxylates and oxalates are determined in the chromatic, preparation and alteration layers from 15th century egg tempera and oil paintings. Their nature and crystallinity have been assessed. Some hypothesis about the mechanisms of development of both carboxylates and oxalates are presented.

This work presents a preliminary study on the ageing process of proteinaceous binder materials used in painting under UV light. With this aim, two sets of model samples were prepared: samples prepared using a single protein material and complex samples prepared in a similar way to the sequence of layers in a real painting from lowest to highest complexity (protein, drying oils, pigment and varnish). The study focuses on acquiring information about the possible degradation process of proteinaceous binders due to ageing and how this process be affected by the presence of characteristic non-proteinaceous painting materials, such as lipids from linseed oil, terpenic compounds from varnish and inorganic pigments. Samples simulated the accelerated ageing process, as did the UV light exposition. The FT-IR spectra were recorded after 100, 500, 1000 and 1500 h of exposition. The study of the accelerated ageing process was performed by means of principal component analysis (PCA) using the FT-IR spectra obtained. Loadings from the significant principal components were analysed to find the FT-IR frequency (cm(-1)) involved in the degradation process. The study showed the lack of any relevant modification on the proteins in the single model samples. On the contrary, the complex model samples showed the ageing process. The accelerated ageing process can be explained by a principal component from PCA. The most affected IR region was 2900-3600 cm(-1), where the amide band was included.

The characterization and localization of proteins and other organic components in the complex stratigraphy of paintings is crucial for authentication and studies of painting techniques. With this aim we have developed a new ultrasensitive immunochemical procedure for the detection of the protein ovalbumin (chicken egg white albumin), present in binding media or varnishes, in painting cross-sections. The technique is based on chemiluminescence imaging detection combined with optical microscopy, and allowed the sensitive localization of the target protein in cross-sections with high spatial resolution. In order to evaluate its performance, the method was first applied to standard samples (also containing different common pigments), then used for the localization of ovalbumin in samples obtained from a Renaissance wood painting.

In this paper, we performed a comparison between commonly used strategies amino acid ratios (Aa ratios), two-dimensional ratio plots (2D-Plot) and statistical correlation factor (SCF) and a classification technique, soft independent modelling of class analogy (SIMCA), to identify protein binders present in old artwork samples. To do this, we used a natural standard collection of proteinaceous binders prepared in our laboratory using old recipes and eleven samples coming from Cultural Heritage, such as mural and easel paintings, manuscripts and polychrome sculptures from the 15-18th centuries. Protein binder samples were hydrolyzed and their constitutive amino acids were determined as PITC-derivatives using HPLC-DAD. Amino acid profile data were used to perform the comparison between the four different strategies mentioned above. Traditional strategies can lead to ambiguous or non-conclusive results. With SIMCA, it is possible to provide a more robust and less subjective identification knowing the confidence level of identification. As a standard, we used proteinaceous albumin (whole egg, yolk and glair); casein (goat, cow and sheep) and collagen (mammalian and fish). The process results in a more robust understanding of proteinaceous binding media in old artworks that makes it possible to distinguish them according to their origin.

Proper identification of proteinaceous binders in artworks is essential for specification of the painting technique and thus also for selection of the restoration method; moreover, it might be helpful for the authentication of the artwork. This paper is concerned with the optimisation of analysis of the proteinaceous binders contained in the colour layers of artworks. Within this study, we worked out a method for the preparation and analysis of solid samples from artworks using tryptic cleavage and subsequent analysis of the acquired peptide mixture by matrix-assisted laser desorption/ionisation time of flight mass spectrometry. To make this approach rational and efficient, we created a database of commonly used binders (egg yolk, egg white, casein, milk, curd, whey, gelatine, and various types of animal glues); certain peaks in the mass spectra of these binders, formed by rich protein mixtures, were matched to amino acid sequences of the individual proteins that were found in the Internet database ExPASy; their cleavage was simulated by the program Mass-2.0-alpha4. The method developed was tested on model samples of ground layers prepared by an independent laboratory and then successfully applied to a real sample originating from a painting by Edvard Munch.

In this paper the analysis of samples of Roman age wall paintings coming from: Pordenone, Vicenza and Verona is carried out by using three different techniques: energy dispersive x-rays spectroscopy (EDS), x-rays fluorescence (XRF) and proton induced x-rays emission (PIXE). The features of the three spectroscopic techniques in the analysis of samples of archaeological interest are discussed. The studied pigments were: cinnabar, yellow ochre, green earth, Egyptian blue and carbon black.

Two chromatographic methods have been compared for analysis of protein-binding media used in paintings, namely, HPLC with fluorescence detection and GC-MS. The proteins were hydrolyzed to the corresponding amino acids (AAs) by gaseous HCl and the AAs were derivatized with methyl chloroformate, followed by GC-MS or by HPLC after derivatization with the AccQ fluorescence reagent. The hydrolysis, derivatization reactions and the chromatographic procedures have been optimized and applied to standard binding media, model and real samples of paintings. The methods have been compared and critically evaluated.

The alterations produced by microbiological attack on terpenoid resin-based varnishes from panel and canvas paintings have been evaluated using pyrolysis-gas chromatography-mass spectrometry (Py-GC-MS) and gas chromatography-mass spectrometry (GC-MS). The proposed methods include the on-line derivatisation of drying oils and diterpenoid resins using hexamethyldisilazane during pyrolysis and the application of methyl chloroformate as a derivatisation reagent for triterpenoid resins in GC-MS. Two types of specimens, consisting of model oil medium prepared from linseed oil and model spirit varnishes prepared from colophony and mastic resins dissolved in turpentine, have been used as reference materials. For a series of specimens upon which different genera of bacteria and fungi were inoculated and encouraged to grow, analyses indicated that no mechanisms that commonly occur during the attack of enzymes on drying oils and terpenoid biodegraders were observed to occur in the oil medium and varnishes studied. Thus, the degradation pathways observed in the performed trials usually occur as consequence of natural ageing. Specific trials consisting of the application of biocides to uninoculated colophony varnish resulted in the identification of processes that produce undesirable degradation of the varnish due to interactions between the biocide and the varnish components. Finally, the studied biocides--Biotin, New-Des and Nipagine--generally exhibited good inhibiting effects on the microorganisms studied, although some interesting differences were found between them regarding the application method and type of biocide.

A derivatisation method that combines the formation of ethyl esters from the carboxylic groups and trimethylsilyl ethers from hydroxyl groups of the components of diterpenic resins is presented in this paper. This methodology involves two experimental steps: (1) formation of ethyl esters using ethyl chloroformate; and (2) the esterified compounds are lead to react with trimethylsilylimidazole to form the corresponding trimethylsilyl ethers. The main advantage of the proposed method is the possibility of performing simultaneously the analysis of amino acids from proteins, fatty acids from drying oils, and diterpenic compounds from natural resins usually found in works of art. This methodology is of considerable interest due to the requirements of minimum sampling that usually involves the analysis of works of art. A chemometric study has been developed to adjust the optimal working conditions of the proposed derivatisation method in which chromatographic peak areas of the larixyl acetate derivative and the abietic acid derivative referred to n-hexadecane as internal standard have been compared. Samples of Venetian turpentine naturally aged have been used in this study. Finally, the efficiency of the proposed derivatisation method has been tested on other diterpenic resins and pigments commonly used in fine arts such as Strasbourg turpentine, Canada balsam, colophony, copper resinate and a sample from a Renaissance Altarpiece.

Identification of materials in color layers of paintings is necessary for correct decisions concerning restoration procedures as well as proving the authenticity of the painting. The proteins are usually important components of the painting layers. In this paper it has been demonstrated that matrix-assisted laser desorption/ionization time-of-flight mass spectrometry (MALDI-TOFMS) can be used for fast and reliable identification of proteins in color layers even in old, highly aged matrices. The digestion can be easily performed directly on silica wafers which are routinely used for infrared analysis. The amount of material necessary for such an analysis is extremely small. Peptide mass mapping using digestion with trypsin followed by MALDI-TOFMS and identification of the protein was successfully used for determination of the binder from a painting of the 19th century., (Copyright 2004 John Wiley & Sons, Ltd.)