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This work aims discussing the contribution of environmental and technological factors in rock art painting preservation, based on a 3-year experimental program and two archaeological cases from Patagonia (South America). Concerning technological factors, microscopic information of experimental and archaeological contexts indicate that fine-grained pigments have a better preservation potential than coarse-grained ones, likely related to the high binder adsorption capacity of silty and clay size particles, resulting in a strong pigment agglutination and substrate adherence. Mechanical entrapment/translocation of such small particles into the substrate further contributes to preservation. The experiment also evidences that blood-bearing paints present preservation advantages over fat/water-based ones, probably due to clotting and drying processes which agglutinate pigments and seal rock voids, avoiding binder migration. In contrast, experimental gypsum- and, to a lesser extent, charcoal-based paints show a rapid and significant deterioration, particularly in the temperate and humid context. The low archaeological expectancy derived from these results is supported by the scarce and/or ambiguous regional representation of these black pigments in ancient Patagonian paintings. Among natural factors, water-related processes (i.e., rainfall, snow, freezing and water infiltration) play a decisive role in the physicochemical paint degradation, also favoring bioactivity. Raman spectroscopy of neoformed white crystals in experimental paints may evidence, in a short term, a first stage of the profuse biomineralizations archaeologically observed, associated with lichens, fungus, and endolithic organisms. Finally, sheep rubbing and wind abrasion are proposed as the main agents affecting vertical frequencies and integrity of archaeological motifs at the cave and open-air contexts, respectively, whereas differences related to cardinal insolation likely impact in frequencies, motif color and weathering stages at the open-air site too. [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]

Bark paintings represent a unique artform that originated in Australia and continues to this day. This paper presents a scientific investigation into both the pigments and binders used by Aboriginal artists from across the Northern Territory (NT) and the Kimberley region in Western Australia (WA) and represents the first major study dedicated to identifying these materials in samples taken from paintings. Laser ablation-inductively coupled plasma-mass spectrometry (LA-ICP-MS), Fourier transform infrared (FTIR) and Raman spectroscopy were used to identify the pigments in the four colors commonly associated with works by Aboriginal artists: red, yellow, black, and white. Iron oxides are used for red and yellow. Typically, kaolin is used for white and carbon or natural manganese ores are used for black, although the use of other pigments such as huntite (white) and battery black were seen in paintings from specific locations. Evidence of trade could not be established during this study; however, analysis shows that artists may use different pigments based on location and availability. A combination of FTIR and pyrolysis-gas chromatography-mass spectrometry (pyrolysis-GC-MS) was utilized to investigate the presence of a binder in the paint. Plant-based materials were identified as the binder in the majority of the paintings. The use of orchid juice was common, both as a preparatory layer on the bark substrate and as a paint binder. The presence of synthetic resins was more widespread than anticipated, attributed to both conservation efforts and more modern painting practices. [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]

• In-depth scientific study of a rare painted shroud from a female Egyptian mummy. • Mummy dates to the 1st – 2nd century C.E. and was likely traced back to Upper Egypt. • Color palette consists of a few mineral pigments and plant-derived dyes. • Organic materials include animal fat, plant lipid, Pinaceae resin, gum, and beeswax. • Shroud and inner bandages were made of linen, now severely degraded. This article describes a multi-analytical technical study of a rare painted shroud still wrapped around a female Egyptian mummy (MCABo EG 1974) in the collection of the Museo Civico Archeologico of Bologna, Italy. Long stored in the museum's warehouses, these mummified human remains were recently rediscovered within the Bologna Mummy Project (BOmp), an interdisciplinary endeavor promoted by the Museo Civico Archeologico and the Institute for Mummy Studies of Eurac Research, Bolzano, Italy. Dating to the Roman period (1st-2nd century C.E.), as confirmed by radiocarbon dating, this mummy displays a unique series of technical features, including the exceptional finding of a colorful painted shroud still preserved in its original location around the wrapped body, to which it is secured with textile straps and resin. In this context, scientific analysis aimed to deepen our current knowledge of the artistic practices of Roman Egypt through an in-depth study of the painting technique, context of production, and possible provenance of the mummy, while promoting a science-informed, enhanced approach to the preservation of the mummified human remains. This research relied on an integrated analytical protocol based on the combined use of imaging and mapping techniques, non-invasive point analysis, and micro-invasive investigation of minute samples, each carried out at the different partnering institutions. Computed tomography (CT) highlighted varying radio-densities for some of the flesh tones and red decorations. Visible photography and multiband imaging provided information on the nature and distribution of various materials on the surface. Fiber optics reflectance spectroscopy (FORS), X-ray fluorescence (XRF) spectroscopy, and Raman spectroscopy contributed to the characterization of the shroud's color palette along with optical microscopy (OM), scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM/EDS), as well as high-performance liquid chromatography coupled with diode-array detection and mass spectrometry (HPLC/DAD and HPLC/MS). Materials detected include a limited number of mineral pigments and plant-derived dyes such as red lead, red ocher, madder, an unknown yellow dye, Egyptian blue and green, and a carbon-based black. Through access to MOLAB equipment and expertise, macro-XRF (MA-XRF), as well as combined X-ray diffraction (XRD) spot analysis and mapping, enhanced pigment identification. A combination of transmission Fourier-transform infrared (FTIR) spectroscopy with gas chromatography / mass spectrometry (GC/MS) was used to identify the paint binders and any additional organic substances possibly involved in embalming practices and ritual traditions, including animal fat, plant lipid, Pinaceae resin, gum, and beeswax. Mineralogical data gathered by XRD on surface deposits and soil residues collected from within the shroud's inner folds was crucial to put forward hypotheses, in support of the stylistic study of the shroud, concerning a possible provenance from Upper Egypt, most likely West Thebes. Both the shroud and inner bandages were found to be made with linen using OM. After undergoing scientific analysis and conservation treatment, the mummy was displayed in the "Mummies. Unwrapping the past" exhibition and was featured at the 10th World Congress on Mummy Studies, both held in Bolzano in the fall of 2022. [ABSTRACT FROM AUTHOR]

This case study of Ibn al-Durayhim al-Mawsilī's fourteenth-century compilation Kitaīb Manaīfiʻ al-Ḥayawaīn (Book of Animal Uses) demonstrates the magical uses of olive oil for the enhancement or impediment of sex when combined with certain animal by-products. These uses mirror similar details in other Mediterranean treatises on agriculture, food, magic, medicine, poetry, or religion, whether produced in the Abbasid Caliphate or al-Andalus. Olive oil was not necessarily the item that made certain dishes or objects magical, but rather it was a necessary binding medium that allowed the resulting products to enchant. Beyond this, olive oil as a liquid ingredient also serves as a metaphor for understanding the malleable and adaptable Mediterranean nature of those who used and consumed it. This approach allows contemporary scholars to uncover a richer understanding of the fluid and shifting Mediterranean cultural identity especially considering the manuscript's varied provenance across the Sea throughout the centuries. [ABSTRACT FROM AUTHOR]

This article focused on the preparation of Cu, Co (II)‐containing linoleic‐based poly(ester amide) resin and studied their use as new binders for paint formulation. The metal‐containing LPEA was carried out by in situ condensation polymerization reaction between hydroxyethyl linoleic fatty amide diol (HELA), phthalic anhydride (PA), and Cu, Co acetate. The structure of the prepared resins was confirmed by FTIR and 1H NMR spectral studies. Physicochemical, thermal analysis (TGA), surface morphology (SEM), and elemental composition (EDX) were studied by standard methods. The physicomechanical, antimicrobial, and corrosion/chemical resistance performance tests were also conducted to evaluate their coating properties. These studies revealed that (i) the incorporation of Cu, Co (II) has a significant influence on structural and physicochemical aspects. The paint formulation based on Cu, Co (II) containing LPEA showed very good results according to the corrosion resistant test evalution. (iii) Antimicrobial tests of all prepared resins were performed by agar diffusion method against Staphylococcus aureus, Bacillus cereus, Escherichia coli, Klebsiella pneumonia, and pathogenic fungal strain using standard controlled medication, ciprofloxacin/fluconazole for the comparison. (iv) Cu, Co (II) containing LPEA serve as novel binders and promising candidates for use as binders for protective coating material. [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]

• THM-Py-GC/MS procedure to distinguish two types of gum benzoin were developed. • Various materials were identified simultaneously by THM-Py-GC/MS in ancient architectural paintings from Shuxiang temple. • For the first time, gum benzoin was detected as binding media in ancient Chinese architectural paintings. Animal glue, pine resin, starch, and tung oil were commonly used as binding media in ancient architectural decoration in China. Gum benzoin was also recorded in ancient Chinese literature but has not been detected in Chinese architectural decoration yet. To obtain comprehensive information on ancient binding media, this study investigated two types of gum benzoin using pyrolysis–gas chromatography/mass spectrometry with thermal-assisted hydrolysis and methylation (THM–Py–GC/MS). Subsequently, organic binding media used in the architectural decoration of Shuxiang Temple, which is a Royal Manchu temple in the Qing dynasty, were analyzed. Heat-boiled tung oil was identified as the major binding medium in architectural decoration. In addition, animal glue, blood, starch, pine resin, and gum benzoin from Styrax benzoin Dryand and Qi (urushiol-based lacquer) were also determined. For the first time, gum benzoin was detected as a binding medium in architectural decoration in China. The identification of various organic binding media used in the architectural decoration can provide scientific support to the ongoing conservation project related to Shuxiang Temple. [ABSTRACT FROM AUTHOR]

• A multi-analytical approach for the characterization of colored modern paints was developed. • The method allowed to indentify pigments, binding media and additives for the organic and inorganic characterization of reference samples. • Chronological data about modern paint components was obtained by correlating the chemical information with data compiled from books, articles and patents. • Analytical results and chronological information were compiled into integrated charts to estimate the manufacturing period. • The developed methodology was successfully applied to corroborate the estimated date of an artwork presumably produced in 1946. Throughout the twentieth century, the paint industry developed a multitude of new binding media, pigments and additives that improved the appearance, ease of application, and performance of modern industrial paints. Depending on when and where they were first manufactured, and when they were introduced into paint formulations, some of these new paint components could conceivably be chronological markers useful in assigning attribution to specific artists or in the study of forgeries. The aim of this study was to develop a systematic methodology for characterizing organic and inorganic materials in modern paints, and search for potential chronological markers. Colored reference paints manufactured by local companies in Argentina from the 1940s and 1950s were studied with a multi-analytical approach that included Fourier-transform infrared spectroscopy, gas chromatography coupled with mass spectrometry, Raman spectroscopy, X-ray diffraction, X-ray fluorescence and scanning electron microscopy with energy dispersive X-ray analysis. A wide range of compounds was identified due to the complementarity use of the analytical techniques. Historical references, patents, books, and scientific publications about the materials used in that time period provided invaluable information in establishing tentative timelines for modern paint components. This investigation was part of a broader interdisciplinary investigation of Concrete Art, an international art movement of the beginning of the twentieth century, which took place in Argentina and other nearby countries during the 1940s and 1950s. To prove the concept, a micro-sample from "Obra N° 171" by Raúl Lozza was analyzed. Organic and inorganic fractions were studied and the information collected was correlated with developed timelines to support the authentication process. Ultimately, the information from this study may also have a direct impact on the key areas of material characterization, aging behavior, and conservation of works of art made from these products. [Display omitted] [ABSTRACT FROM AUTHOR]

Hand-painted magic lantern glass slides frequently present significant conservation problems, mainly due to the painting's deterioration and detachment from the glass support surface. However, the study of these objects is a very recent field. This work reviews the materials and techniques applied to hand-painted slides until the nineteenth century in Europe and North America to follow their evolution throughout time and place, aiming to further our understanding of the slides' historical, cultural, and artistic impact. This review identifies 22 historical sources from five countries, written between the eighteenth and nineteenth centuries, containing information on the production of hand-painted slides, from the glass support to the painting materials and techniques. The production processes changed from the mid-seventeenth to the eighteenth century with the apparent transition from fired paints (enamels) to cold paints (watercolours, oil colours, and varnish colours). Different stages of eighteenth- and nineteenth-century production processes are explored. Concerning the glass support, crown and plate or ground-polished glass (later patent plate) were commonly advised. Although the paintings' palette was mainly restricted to transparent colours, around 70 colourants and 25 binding medium components are listed. Their chronological distribution unveiled a possible correlation between their evolution and the advent of the Industrial Revolution. The knowledge of the original materials and techniques will not only contribute to understanding the differences between locations, periods, and slides' producers, helping in future attributions, but will also support further investigations on the key factors and mechanisms that lead to the degradation of historical hand-painted slides, enabling the improvement of current conservation practices. [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]

• The first immunofluorescence microscopy attempt of targeting two different types of proteins on the same cultural heritage micro sample. • A two-step antibody hybridization procedure to analyse two different types of protein binders in real wall paintings. • This procedure allowed us to reduce the costs and operational difficulties, which are normally encountered, when mixing two types of primary antibodies. • Ovalbumin was found in 3 micro samples and casein in 1 micro sample; and none proved positive for both binder types. The aim of the study was to use immunofluorescence microscopy to identify two types of protein binders in 10 polished cross sections of micro samples, which were obtained from real and mock-up wall paintings. A two-step antibody hybridisation procedure was employed, in which the same micro samples were hybridised with anti-ovalbumin and subsequently with anti-casein antibodies and between the hybridisation steps, the sample's cross section was slightly re-polished and cleaned in order to remove all primary and secondary antibody remnants, which remained attached from the first hybridisation step (anti-ovalbumin). This allowed us to reduce the costs and operational difficulties, which are normally encountered, when antibodies, targeting two different proteins, are simultaneously mixed together. To reduce unspecific fluorescence, to amplify the fluorescence of the proteinaceous binders and to construct 3D surface topography models, apart from widefield fluorescence, laser-scanning confocal microscopy was performed. In parallel, FTIR spectroscopy analysis, of finding proteinaceous materials in micro sample cross sections, was also conducted. Results show that our two-step hybridisation procedure allowed for an accurate localisation of both types of proteinaceous binders without any interference from the first hybridisation step. Three micro samples proved positive for ovalbumin and one for casein and none of these proved positive for both analysed binder types. For eight micro samples, FTIR spectroscopy results completely matched those of immunofluorescence microscopy. According to our knowledge, this was the first immunofluorescence microscopy attempt of targeting two different types of proteins on the same cultural heritage micro sample. [ABSTRACT FROM AUTHOR]

• Laser-induced effects were studied on oil paint films at wavelengths of 213, 266, and 2940 nm. • Laser-induced effects were quantitatively characterized by DR-FTIR and µRaman analyses. • At the damage threshold, surface changes were greater at 2940 nm than at 213 and 266 nm. • The amount of oil binder in the paint films plays a protective role against pigment discoloration. • The proposed approach can be reliably used to characterize cleaning treatments of paintings. Removal of aged varnish layers from easel paintings is a challenging task requiring methodologies capable of preventing any alteration of the underlying painted surface. Laser-ablation approaches using the fourth and fifth harmonics of a Q-Switched Nd:YAG (266 and 213 nm, 15 ns) and Free-Running Er:YAG laser (2940 nm, 160 µs pulses) can allow for very thin removal rates but their discrimination of the underlying paint film and self-termination potential are very limited. Thus, there is a need to develop suitable analytical methods for promptly identifying the possible occurrence of any undesired effect on the paint layer beneath the varnish, which is intentionally or unintentionally irradiated during the laser thinning treatment. Such side effects depend on the irradiation parameters and the specific material features of the pictorial film. Linseed oil paint models were prepared using lead white, vermilion, chrome yellow, ultramarine, Prussian blue and zinc white. Two distinct pigment volume concentrations (PVC) were used to investigate the dependence of the laser-induced alterations on oil binder volume ratio: low PVC (gloss paint) and high PVC (matte paint). After determining threshold exposure limits for each laser wavelength, laser-induced effects slightly above the threshold fluence were qualitatively and quantitatively assessed using FTIR and µ-Raman spectroscopies. Results showed that IR-reflectance bands of glossy and matte films exhibited appreciable shifts and distortion upon laser irradiation while reductions of the signal-to-background ratio were observed in µRaman spectra. The developed method, based on the processing of a number of spectral acquisitions, enabled for the first time the quantitative assessment and comparison of the corresponding undesired laser-induced effects in the outermost painted layer. [ABSTRACT FROM AUTHOR]

With advancements in architectural coatings, the demand for antimicrobial coatings in this sector has increased significantly. The COVID-19 pandemic has also been a primary force behind the increased demand for and production of antimicrobial coatings. Typically, antimicrobial coatings are used to resist and decolonize microbial attacks such as biofilm formation, fungal contamination, and black mold formation. In this study, we synthesized a water-based antimicrobial polymer nanocomposite, I-P(MMA/BA), by blending an iodine complex with a poly (methyl methacrylate-butyl acrylate) latex with the aid of polyol and polyvinylpyrrolidone. Antimicrobial efficacy was evaluated in two habitats, namely planktonic and biofilm. Biomass studies indicated that iodinated latex nanocomposites and films show excellent antibacterial and antibiofilm activities. About 85–97% of biofilm formation was reduced by covering 15–30% of the area with iodinated latex film. The contact angle measurement of the iodinated latex-coated surface provides evidence of good hydrophobicity, which prevents stagnation of water over the surface. The developed dual-functional water-based iodinated nanocomposite displays great potential for inhibiting biofilm formation on surfaces when employed as a binder in paints. [ABSTRACT FROM AUTHOR]

The sensitive determination of peach gum in aged wall painting was developed by combining protein A magnetic bead (MB) enrichment and an electrochemical immunosensor based upon a screen-printed electrode. Peach gum antibodies were immobilized onto protein A-functionalized magnetic beads with specific recognition. The prepared immunomagnetic beads (IMBs) efficiently enriched peach gum in archaeological samples, improving the accuracy. After elution, the peach gum was detected using an enzyme-linked immunosorbent assay and an electrochemical immunosensor constructed by screen-printing a three-electrode system on polyethylene terephthalate. The carbon working electrode was modified with gold nanoparticles to improve the conductivity. A detection limit of 6.4 pg·mL−1 was obtained using the immunosensor with a linear range from 0.01 to 100 ng·mL−1. Simulated wall paintings were prepared to assess the enrichment by the IMBs and the performance of electrochemical immunosensor. Archaeological samples from the Sulamani Guphaya Temple and Shi Wushe Tomb were analyzed and the results showed that more reliable results were obtained and false negatives were avoided after enrichment and electrochemical detection. Hence, IMBs were suitable for the determination of the peach gum binding medium in archaeological samples. [ABSTRACT FROM AUTHOR]

The detection of trace binding medium in wall paintings is usually challenging due to the aging and degradation of proteinaceous binding medium in a long time. Therefore, immunomagnetic beads (IMBs) with specific enrichment ability for casein and ovalbumin were prepared, and then the beads were applied for capturing target proteinaceous binding medium from ancient Chinese wall paintings. After optimization of experimental conditions, the enrichment performance of magnetic beads was confirmed by enzyme‐linked immunosorbent assay (ELISA) and sodium dodecyl sulfate polyacrylamide gel electrophoresis (SDS‐PAGE). In this experiment, archaeological wall painting samples were used to verify the accuracy of the construction enrichment method. The results showed that the OD450nm value of archaeological samples containing binding medium has increased to varying degrees after IMBs enrichment, effectively avoiding the occurrence of false negative results, indicating that the IMBs enrichment method developed in this work could be successfully applied for enriching ovalbumin and casein binding medium from ancient wall paintings for subsequently immunoassay detection. [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]

A collection of studio materials belonging to the Brazilian neo-concrete artist Hélio Oiticica (1937–1980) was analyzed to identify the pigments and binding media present in paint mixtures created by the artist and in Brazilian house, artist, and craft paints. The labels on some of the paint mixtures link them to specific artworks, including Invenções 6, 12, 23, and 34 (1959–1962), and Penetrável 1 (1961), and although the artworks themselves were not available for analysis, Oiticica's methodical journals include paint recipes for these objects. The findings reveal that Oiticica used a relatively narrow range of red and yellow pigments in the mixtures, and the majority of the paint mixtures appear to be oil or oils mixed with alkyds, sometimes with additional additives, including fungicides and extenders. The journal notes are often brief and incomplete, listing only a few paint mixtures for a given work, although many more paint mixtures exist in the collection. These samples, the only physical legacy remaining for much of Oiticica's work that was destroyed in a 2009 fire, offer an unparalleled glimpse into the materials used by this seminal artist and suggest a greater complexity to his works than has thus far been appreciated. [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]

• White crusts on the oil paintings created by Edward poynter in 1897 shows a wide variety of deterioration products including sulphates, oxalates, carboxylates and carbonates. • Metal ions in the ground layers have migrated via amorphous metal carboxylates in the paint layer, the metal carboxylates with a broader spectral band of ν as (COO−) leading to white crusts. • Crystallinity and quantity of CaCO 3 as a degradation product in the white crusts by evaluating the peak shift and calculating the integrated absorbance in the ATR-FTIR spectra. The formation of white crusts on the surface of oil paintings can affect both the physical and aesthetic values of the artwork. Characterisation of these white crusts enables better identification of methodologies and solutions when performing conservation treatments of oil paintings. In this paper, micro Attenuated Total Reflection-Fourier Transform Infrared (ATR-FTIR) spectroscopic imaging was used to investigate the white crusts and metal carboxylates and its relationship to the migration of lead elements, with analysis focused on two cartoons by Edward Poynter from the Heritage Collections at UK Parliament. The white crusts may be linked to the metal ion migration via metal carboxylates to the surface of the painting, resulting in the interaction between the metal ions and air pollutants. The results show that the white crusts on the Poynter cartoons are heterogenous, containing three different components (sulphates, oxalates and carbonates). This information has offered conservator guidance for cleaning treatments of the white crusts. Furthermore, metal carboxylates with different crystallinity (crystallised and amorphous) and with different metal ions (lead and zinc) were successfully characterised and their distribution were revealed in ATR-FTIR chemical images. These chemical images shed light on possible degradation process associated with relocation of lead and calcium from ground layers, and invasion of calcium from the air, to form the white crusts. In the ATR-FTIR spectra, qualitative analysis of one of the degradation products (CaCO 3) was combined with quantitative analysis, conducted by evaluating the peak shifts calculating the integrated absorbance. This enabled the authors to evaluate the crystallinity and formation directions of CaCO 3 in the white crusts. It is hoped that these results of the case study and advancement of knowledge in this paper can aid the development of scientifically supported and improved conservation strategies. These results can be used as a trigger for further investigation into the degradation mechanisms related to white crusts and pigments/binding media used in the paintings. [Display omitted] [ABSTRACT FROM AUTHOR]

• Multi-techniques for consistent determination of historical aeronautical paints composition. • Identification of the main fillers and pigments in the aeronautical paints of four nations: Germany, France, USA and Italy. • Nitrocellulose base-paint was traditionally applied on French and German WWII aircraft. • Study providing useful information for conservation and restoration. Aeronautics for military or civil applications effectively pushed scientists, engineers and industrial leaders to invent and produce increasingly efficient materials. Aluminium alloys are among the most important strategic materials used in aircraft manufacturing. Consequently, so are the protective coatings (primers and paints). After decades of burial, World War II (WWII) wrecks provide a tremendous amount of archaeological information on this period of intense technological research. In this article, the original protective coatings of ten samples collected on WWII wrecks and one collection aircraft were studied. Information was retrieved thanks to a multi-techniques approach: SEM-EDS, Raman spectroscopy and XRD to identify the nature of the mineral compounds (fillers and pigments) and FTIR, Py-GC–MS and NMR to identify the organic binders of the paints and primers. This information will help conserve this valuable 20th century Industrial Heritage. [ABSTRACT FROM AUTHOR]

Purpose: Paper aims to determinate caking paper manuscript cause through studying of the manuscript components, bio-deterioration and physio-chemical deterioration factor. It will facilitate manuscripts and paper conservators to understand paper blocking and caking phenomenon. Design/methodology/approach: The manuscript condition has been diagnosed by focusing on adhesion and fossilization regions. To achieve this, some methods of analysis and examination were used, such as visual examination, digital microscopy and scanning electron microscope were used to studying surface changes. X-ray diffraction and Fourier transform infrared microscopy were used to determinate of cellulose crystallinity, ink composition and identify the binding medium. Findings: The results revealed the use of cotton pulp, and calcium carbonate was among the fillers that were used to improve the properties of paper. The crystallization of cellulose was lower in the first and last papers than the papers located in the heart of the manuscript. The most important reasons that led to the papers caking was the presence of fungi A. niger, Cladosporium sp, Chaetomium sp, by secreting some enzymes in combination with some other factors such as difference variation in temperature and moisture. Originality/value: All deterioration factors participate with each other until rule the damage circle of the papers because one factor alone cannot stick the papers. It was inferred from the examinations and analyzes that were conducted for the samples. [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]

• Can pigments within a paint hinder proteinous binder characterization using immunofluorescence microscopy?. • Eight out of 10 tested pigments did not interfere with binder characterization using immunofluorescence microscopy. • Five pigments exhibited weak autofluorescence, which did not interfere with immunofluorescence microscopy. • Confocal fluorescence gave clearer results to widefield fluorescence. • Cross sections with smooth surfaces gave a much clearer immunofluorescence microscopy picture. The aim of the study was to address the problematics of proteinous binder characterization, within a cross section of painted model samples, using immunofluorescence microscopy. Problems arise from certain pigments which can alter the epitope sites of target binders (lead white and verdigris) or can exhibit a strong natural autofluorescence (lake pigments). Therefore, dual layered model samples were prepared containing a lower egg tempera paint and an upper oil paint, and both paints were made of the same pigment. As an extra challenge for fluorescence microscopy, half of samples were additionally covered with pure linseed oil (as a third layer), which is known to physically reflect fluorescence. Cross-sections were hybridized with anti-ovalbumin antibodies and with FITC labelled secondary antibodies. To reduce unspecific fluorescence, apart from widefield fluorescence, laser-scanning confocal immunofluorescence microscopy was performed. Finally, 3D surface topography models were constructed which were used to check off any unspecific fluorescence originating from cracks or holes. Results show that immunofluorescence microscopy in the widefield observation mode was successful in its specificity and clarity of highlighting the egg paint layer in the presence of 8 out of 10 pigments, including the problematic lead white and verdigris pigments. Several of these pigments (lead white, malachite, yellow ochre, madder lake and carbon black) exhibited autofluorescence; however it was not bright enough to interfere with the successful immunofluorescence microscopy result. In the widefield mode, immunofluorescence microscopy was unsuccessful in the presence of 2 pigments; carmine lake (pigment adsorbs antibodies) and Dragon's blood (pigment dissolved during resin curing at 50 °C). The confocal observation mode in comparison to the widefield mode achieved a much more specific and clear immunofluorescence microscopy picture (especially in the presence of Prussian blue, Vermilion and carbon black) and removed nearly all of the unspecific fluorescence originating from resin's surface reflection, from pure oil binder, from small indentations and from illumination glair that would have otherwise spread across different layers. Lastly, 3D topography models showed that in general samples with smooth surfaces gave a much clearer immunofluorescence microscopy picture. [ABSTRACT FROM AUTHOR]

The design and development of artificial metal‐free photoenzymes aims to combine the selectivity of enzymatic reactions with the benefits of modern synthetic photocatalysts. Removing the need for rare earth metals and allowing for milder reaction conditions, leading to a more sustainable catalytic system. Here, we present the design of a novel artificial photoenzyme by integrating an organophotocatalytic moiety based on a donor‐acceptor design into a steroid carrier protein (SCP‐2L). SCP‐2L possesses a hydrophobic tunnel facilitating substrate binding in aqueous media. The photocatalyst was site‐selectively bound to three SCP‐2L variants, possessing a non‐native cysteine residue strategically placed around the hydrophobic tunnel of the protein. The three modified photoenzymes were shown to be selective for the oxidation of organic sulfides giving up to 192 turnovers. [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]

Specialists in the Islamicate arts of the book in general, and in Persian traditions in particular, will find the Handbook of enormous value. Many lemmas are much more extensive, with multiple bullet points, and constitute richly documented essays, as in the entry for nasta'liq, under the letter . In this entry, as in many others throughout the Handbook, reference is also made to a contrasting term in calligraphy, alvat-o-jalvat, under the letter , literally meaning "expansion and contraction", "hidden and visible", and "empty and full.". [Extracted from the article]

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]

Each material is suited to the different paint material characteristics and pictorial techniques of various artworks by contributing to the pictorial surface's stability and visual unity, and the ability to display it without interruption. For this article, the polysaccharide TRI-Funori was tested and used as a binding medium for chromatic reintegration in three oil and acrylic mockups of the artwork by Portuguese artist Jorge Martins. This choice was based on characteristics such as compatibility, low toxicity, water-based properties, and good visual properties for color matching. Advantages such as transparency and less tendency to yellow, capacity to dry matte, and ease of removal were observed. It presents good dispersion of inorganic pigments, good visual properties, and good adhesion to oil and acrylic surfaces with or without preparation. However, it also presents disadvantages such as weak dispersion of organic pigments, for example [PB15] Phthalocyanine Blue or [PR83] Carmine Rose, and the tendency to become powdery. During the drying process, it tends to lighten, making the color adjustment process difficult. The mimetic method, achieved with small dots, was used for retouching. The medium was applied with Ferrario® pigmenti puri and Win- sor & Newton® powdered pigments, and chromatic reintegration was carried out with a fine brush Winsor & Newton® Finest Sable n°1. [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]

Complexation of the glutamic–tyrosine–glutamic tripeptide (EYE) with a series of pseudopeptidic cages has been thoroughly investigated using different analytical techniques. The stoichiometry and affinities of the supramolecular host : guest complexes both in aqueous solution and in the gas-phase were obtained from a suitable combination of fluorescence spectroscopy, NMR, and mass spectrometry (MS) methods. The cages bearing basic groups (lysine, ornitine and histidine) display the tightest EYE binding in aqueous media following the order CyHis > CyLys > CyOrn, thus suggesting that Tyr side chain encapsulation is additionally modulated by the identity of the cage side chains and their ability to be engaged in polar interactions with the EYE peptide. Similarly, binding affinities estimated by MS methods clearly point towards a reduced affinity for the Cy cages with acidic pendant groups and a higher affinity of the CyHis cage over CyLys and CyOrn. Ion mobility spectrometry (IMS)-MS, assisted by molecular modelling, has been used to uncover the structural and conformational characteristics of the pseudopeptidic hosts and their supramolecular adducts with the EYE peptide. The cages display a collisional cross-section increase upon EYE inclusion that is associated with the expansion of the binding pocket of the cage cavity, thus constituting a unique example of conformational pseudopeptidic host adaptation to accommodate the inclusion of the guest. [ABSTRACT FROM AUTHOR]

Microplastics are recently discovered contaminants, yet knowledge on their sources and analysis is limited. For instance, paint microplastics are poorly known because soil separation protocols using flotation solutions cannot separate paint microplastics due to the higher density of paint microplastic versus common microplastics. Here, we designed a new two-step density separation protocol for paint microplastics, allowing paint microplastics to be separated from the soil without digestion. Paint particles were separated from soil samples collected around the graffiti wall at the Mauerpark, Berlin, then quantified according to their shape and color characteristic. The presence of polymers as binders in the paint particles was verified by Fourier transform infrared spectroscopy. Results show concentrations from 1.1 × 105 to 2.9 × 105 microplastics per Kg of dry soil, representing the highest microplastic concentration ever reported in the literature. Particle concentrations decreased and the median size increased with soil depth. Our results provide first evidence that spray painting, a technique with a wide range of applications from industry to art, leaves a legacy of environmental microplastic in soils that has so far gone unnoticed. [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]

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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]