Development of a GC–MS strategy for the determination of cross-linked proteins in 20th century paint tubes

Enhancement of protein detection on cultural heritage samples after SYPRO™ Ruby staining by optical microscopy and micro-FTIR spectroscopy

The paper investigates SYPRO™ Ruby staining in combination with external reflection micro-FTIR spectroscopy, for the detection of proteinaceous media in paint layers on cultural heritage, from unembedded micro-fragments and samples embedded in cross-sections. Combining FTIR spectroscopy with staining helped to verify that the FTIR mapping is accurate when performed by the integration of the main amide I and II bands, despite their naturally occurrent distortions due to the specular component and material absorption/surface properties. The research filled some gaps in the published literature on SYPRO™ Ruby interaction with different Cultural Heritage materials, including identifying drawbacks, e.g. swelling mechanisms in the sample after staining. The effects of the staining were investigated on different reference samples containing rabbit skin glue (proteinaceous), and samples from cultural heritage case studies undergoing technical examination as part of research projects, where identification of protein is an important aspect of understanding the sequence of complex multi-layers within a sample. Results showed that, when external reflection µ-FTIR is performed after the staining, the contribution from amide I and II, which occurs at higher wavenumbers than in transmission or attenuated total reflection, is more resolved and therefore easier to determine. When inorganic or organic compounds are present in the same layer, variation in the position of amide bands can occur. However, they can be used for chemical mapping using simple data-treatment strategies, as validated with the positive staining. This type of data processing gives a good estimation of the protein distribution in the layers, both in terms of morphology and thickness, on mock-up samples and cross-sections from real case studies.

A holistic view on the role of egg yolk in Old Masters' oil paints

Old Masters like Botticelli used paints containing mixtures of oils and proteins, but "how" and "why" this was done is still not understood. Here, egg yolk is used in combination with two pigments to evaluate how different repartition of proteinaceous binder can be used to control the flow behavior as well as drying kinetics and chemistry of oil paints. Stiff paints enabling pronounced impasto can be achieved, but paint stiffening due to undesired uptake of humidity from the environment can also be suppressed, depending on proteinaceous binder distribution and colloidal paint microstructure. Brushability at high pigment loading is improved via reduction of high shear viscosity and wrinkling can be suppressed adjusting a high yield stress. Egg acts as antioxidant, slowing down the onset of curing, and promoting the formation of cross-linked networks less prone to oxidative degradation compared to oil alone, which might improve the preservation of invaluable artworks.

Review of recent advances on the use of mass spectrometry techniques for the study of organic materials in painted artworks

The study of painted artworks using scientific methods is fundamental for understanding the techniques used in their creation and their appropriate conservation. The ethical constraints involved in the handling of, and sampling from, these objects has steered recent developments in the field of Heritage science towards a range of new non-invasive/non-destructive spectroscopic techniques capable of providing important insights into their elemental or bulk chemical compositions. Due to the inherent complexities of heritage artefacts, however, their organic components are especially difficult to study in this way and their identification and degradation pathways are thus often best investigated using mass spectrometric (MS) techniques. The versatility, sensitivity and specificity of MS techniques are constantly increasing, with technological advances pushing the boundaries of their use in this field. The progress in the past ten years in the use of MS techniques for the analysis of paint media are described in the present review. While some historical context is included, the body of the review is structured around the five most widely used or emerging capabilities offered by MS. The first pertains to the use of spatially resolved MS to obtain chemical maps of components in cross-sections, which may yield information on both inorganic and organic materials, while the second area describes the development of novel sample preparation approaches for gas chromatography (GC)-MS to allow simultaneous analysis of a variety of components. The third focuses on thermally assisted analysis (either with direct MS or coupled with GC-MS), a powerful tool for studying macromolecules requiring zero (or minimal) sample pre-treatment. Subsequently, the use of soft ionisation techniques often combined with high-resolution MS for the study of peptides (proteomics) and other macromolecules (such as oligosaccharides and triglycerides) is outlined. The fifth area covers the advances in radiocarbon dating of painting components with accelerator MS (AMS). Lastly, future applications of other MS techniques to the study of paintings are mentioned; such as direct analysis in real time MS (DART-MS) and stable isotope ratio MS (IRMS). The latter, having proven its efficiency for the study of lipids in archaeological artefacts, is envisioned to become a valuable tool for this area, whereas DART-MS is already being utilised to study the surface composition of various museum objects. Rapid technological advances, resulting in increased sensitivity and selectivity of MS techniques, are opening up new approaches for paintings analysis, overcoming the fundamental hurdle of sample size available for destructive analysis. Importantly, while the last decade has seen proteomics applications come to the fore, this review aims to emphasise the wider potential of advanced MS techniques for the study of painting materials and their conservation.