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Although multiple structural, mechanical, and molecular factors are definitely involved in osteoporosis, the assessment of subregional bone mineral density remains the most commonly used diagnostic index. In this study, we characterized bone quality in the femoral neck of one osteoporotic patients as compared to an age-matched control subject, and so used a multiscale and multimodal approach including X-ray computed microtomography at different spatial resolutions (pixel size: 51.0, 4.95 and 0.9 µm), microindentation and Fourier transform infrared spectroscopy. Our results showed abnormalities in the osteocytes lacunae volume (358.08 ± 165.00 for the osteoporotic sample vs. 287.10 ± 160.00 for the control), whereas a statistical difference was found neither for shape nor for density. The osteoporotic femoral head and great trochanter reported reduced elastic modulus (Es) and hardness (H) compared to the control reference (-48% (p < 0.0001) and -34% (p < 0.0001), respectively for Es and H in the femoral head and -29% (p < 0.01) and -22% (p < 0.05), respectively for Es and H in the great trochanter), whereas the corresponding values in the femoral neck were in the same range. The spectral analysis could distinguish neither subregional differences in the osteoporotic sample nor between the osteoporotic and healthy samples. Although, infrared spectroscopic measurements were comparable among subregions, and so regardless of the bone osteoporotic status, the trabecular mechanical properties were comparable only in the femoral neck. These results illustrate that bone remodeling in osteoporosis is a non-uniform process with different rates in different bone anatomical regions, hence showing the interest of a clear analysis of the bone microarchitecture in the case of patients' osteoporotic evaluation.

Historical colour charts provide a rich and often well-dated reference materials source for studying the chemical composition of all kinds of commercial brands of artists’ paints. This article presents the results of an extensive analytical study of more than 80 paint hues from 11 colour charts that are included in the German standard book Das Deutsche Farbenbuch by H. Trillich (1925, Part II). Our research focused on the identification of synthetic organic pigments, whose quickly increasing significance for artists’ paints in the early twentieth century is impossible to evaluate by documentary source research alone. A stepwise procedure combining different non- or minimally invasive vibrational spectroscopy techniques—Normal Raman and Surface-Enhanced Raman spectroscopy as well as Metal Underlayer Attenuated Total Reflection Fourier-transform Infrared Spectroscopy—allowed the identification of 18 different organic colourants in artists’ watercolours, tempera and oil colours from six German manufacturers. In addition, micro-X-Ray Fluorescence spectroscopy was applied to determine the elemental pattern of substrates, fillers, and admixed inorganic pigments. In addition to a few traditional natural organic colourants (dark and rose madder lake, cochineal lake), most of the identified compounds comprised synthetic organic pigments or synthetic dyes from various chemical classes (indigo, anthraquinone, monoazo, ß-naphthol, xanthene, triarylcarbonium, nitroso, and azine compounds). Some of these have not or only rarely been reported in artists’ paints so far. Since the identified organic colourants have mainly poor to fair (only sometimes good) fastness to light according to modern standards and partially also to solvents typically used in conservation treatments, it is evident that works of art from this period should be treated keeping in mind the possible presence of such colourants, when planning both interventive treatments and preventive measures.

Macroscopic mapping and hyperspectral imaging in the mid-infrared region (2500-25000 nm/4000-400 cm-1) are promising technologies in the field of analysis of cultural heritage. So far they have been successfully employed to study paintings and illuminated manuscripts, gathering important information on spatial distribution of artists’ materials. The present paper reports on the application of mid-infrared macroscopic mapping and hyperspectral imaging to the study of artworks. For an exhaustive overview, instrumental details, working principles and image processing methods will be also presented and discussed.