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Conservation Science Education Online (CSEO) is a new online resource that shares strategies for teaching science in art conservation and related cultural heritage fields. An overview will be given of how undergraduate chemistry curricula in the United States have used examples from cultural heritage. The field of art conservation will then be described with an emphasis on the science curricula taught in art conservation programs around the world. Challenges include relating theoretical learning to real-world applications and teaching scientific terminology and concepts to students who may have limited science backgrounds; as well, there is a lack of textbooks and resources with appropriate case studies. The newly launched CSEO online resource offers freely available, effective teaching methods in the form of modules developed by international educators in the field. The inaugural CSEO Conference 2022 served as an introduction to the online resource for a global audience and was the first dedicated conference to bring together heritage science educators to discuss challenges and teaching strategies with the goal of building such a resource. The conference facilitated discussions among participants about teaching strategies, with the intention that these topics would become modules for the online resource, available to all science educators.

The Victoria and Albert Museum holds an important portrait of the Jamaican scholar and writer Francis Williams (c.1692/97–1762), portrayed as a scholar in his study. It is believed to have been painted around 1745 by an unknown artist, but the circumstances of its production are unknown. A technical examination of the painting was performed using x‐radiography and infrared reflectography (IRR), macro x‐ray fluorescence scanning (XRF), digital microscopy, scanning electron microscopy with energy‐dispersive x‐ray spectroscopy (SEM–EDX) and reflectance imaging spectroscopy in the short‐wave infrared (SWIR). XRF, IRR and reflectance imaging spectroscopy in the SWIR revealed the distribution of inorganic pigments including lead white, earth pigments, Prussian blue, vermilion, orpiment (or pararealgar) and bone or ivory black. Pentimenti and a different sketched landscape were observed in the IRR images, highlighting changes in the final composition. Three‐dimensional (3D) digital microphotography provided additional historical and contextual information through the observation of book titles and details. High‐resolution digital imaging complemented analytical data. Results of the technical examination revealed the material composition and the development of the painting, contributing to shed new light on the production of the portrait, the history and significance of the portrait. [ABSTRACT FROM AUTHOR]

Recent interest in the fluorescence of binding media and varnishes (proteins, oils, and resins) commonly used in paintings is based on the potential for discriminating these organic materials. A useful way of studying the presence of the broad-band fluorescence emissions found in these complex organic materials is fluorescence excitation emission spectroscopy. However, due to the presence of Raman and Rayleigh scattering which may necessitate correction or preprocessing for statistical analysis and visualization, an alternative approach has been adopted for the analysis of different samples of artist materials based on total synchronous fluorescence spectroscopy. Films of selected drying oils, glue, egg, and casein and the resins mastic, dammar, copal, and shellac were analyzed using total synchronous fluorescence spectroscopy, and an interpretation of the differences between spectra is given. A data reduction method based on the transformation of fluorescence contours extracted from total synchronous fluorescence from Cartesian to polar coordinates is presented and is followed by the comparison of data using multivariate analysis and hierarchical cluster analysis. Results suggest that the new method can be used to classify samples on the basis of their fluorescence spectra, clearly differentiating oils, resins, and protein-based media into groups.

Time-resolved spectroscopy using a pulsed supercontinuum source was employed for the assessment of moisture content (MC) in dry wood. The MC of wood at different relative humidities between 94% and 12% has been monitored. Following curve fitting, absorption spectra between 700 and 1100 nm of samples suggest that differences in the MC of wood are appreciable at around 970 nm. Further, dynamic changes in MC were simulated following a change in relative humidity. Differences in absorption spectra with changes in MC of around 1% can be detected. Various applications of the technique are suggested. OCIS codes: 170.7050, 300.6500.

This work presents Raman spectra obtained from thin films of protein materials which are commonly used as binding media in painted works of art. Spectra were recorded over the spectral range of 3250-250 [cm.sup.-1], using an excitation wavelength of 785 nm, and several bands have been identified in the fingerprint region that correspond to the various proteins examined. Differences in the C-H vibrations located between 3200 and 2700 [cm.sup.-1] can be accounted for with reference to the amino acid composition of the protein-based binding media as well as the presence of fatty acid esters, in the case of egg yolk. In addition, the discrimination of different proteins on the basis of variations in spectra between 3200 and 2700 [cm.sup.-1] can be achieved following multivariate analysis of a large data set of spectra, providing a novel and nondestructive alternative based on Raman spectroscopy to other methods commonly used for the analysis of proteins.