The use of a multi-method approach to identify the pigments in the 12th century manuscript Liber Floridus

Density Functional Theory (DFT) as a Nondestructive Probe in the Field of Art Conservation: Small-Molecule Adsorption on Aragonite Surfaces

Humans have incorporated minerals in objects of cultural heritage importance for millennia. The surfaces of these objects, which often long outlast the humans that create them, are undeniably exposed to a diverse mixture of chemicals throughout their lifetimes. As of yet, the art conservation community lacks a nondestructive, accurate, and inexpensive flexible computational screening method to evaluate the potential impact of chemicals with art, as a complement to experimental studies. In this work, we propose periodic density functional theory (DFT) studies as a way to address this challenge, specifically for the aragonite phase of calcium carbonate, a mineral that has been used in pigments, marble statues, and limestone architecture since ancient times. Computational models allow art conservation scientists to better understand the atomistic impact of small-molecule adsorbates on common mineral surfaces across a wide variety of environmental conditions. To gain insight into the surface adsorption reactivity of aragonite, we use DFT to investigate the atomistic interactions present in small-molecule-surface interfaces. Our adsorbate set includes common solvents, atmospheric pollutants, and emerging contaminants. Chemicals that significantly disrupt the surface structure such as carboxylic acids and sulfur-containing molecules are highlighted. We also focus on comparing adsorption energies and changes in surface bonds, which allows for the identification of key features in the electronic structure presented in a projected-density-of-state analysis. The trends outlined here will guide future experiments and allow art conservators to gain a better understanding of how a wide range of molecules interact with an aragonite surface under variable conditions and in different environments.

Non-Invasive and Non-Destructive Examination of Artistic Pigments, Paints, and Paintings by Means of X-Ray Methods

Recent studies are concisely reviewed, in which X-ray beams of (sub)micrometre to millimetre dimensions have been used for non-destructive analysis and characterization of pigments, minute paint samples, and/or entire paintings from the seventeenth to the early twentieth century painters. The overview presented encompasses the use of laboratory and synchrotron radiation-based instrumentation and deals with the use of several variants of X-ray fluorescence (XRF) as a method of elemental analysis and imaging, as well as with the combined use of X-ray diffraction (XRD) and X-ray absorption spectroscopy (XAS). Microscopic XRF is a variant of the method that is well suited to visualize the elemental distribution of key elements, mostly metals, present in paint multi-layers, on the length scale from 1 to 100 μm inside micro-samples taken from paintings. In the context of the characterization of artists' pigments subjected to natural degradation, the use of methods limited to elemental analysis or imaging usually is not sufficient to elucidate the chemical transformations that have taken place. However, at synchrotron facilities, combinations of μ-XRF with related methods such as μ-XAS and μ-XRD have proven themselves to be very suitable for such studies. Their use is often combined with microscopic Fourier transform infra-red spectroscopy and/or Raman microscopy since these methods deliver complementary information of high molecular specificity at more or less the same length scale as the X-ray microprobe techniques. Since microscopic investigation of a relatively limited number of minute paint samples, taken from a given work of art, may not yield representative information about the entire artefact, several methods for macroscopic, non-invasive imaging have recently been developed. Those based on XRF scanning and full-field hyperspectral imaging appear very promising; some recent published results are discussed.

Analytical characterization of academic nude paintings by José Veloso Salgado

This case study illustrates the analytical characterization of 12 academic nude paintings by Veloso Salgado, made between 1883 and 1893. The study was done with in situ methods (infrared reflectography and EDXRF) and benchtop equipment (Raman and FTIR microscopes and SEM-EDS). Infrared reflectography revealed underdrawings, painting style, execution method and retouched/restored areas. Analytical techniques allowed the identification of gypsum, lead white, barium white, zinc white, yellow ochre, chrome yellow, zinc yellow, vermilion, synthetic ultramarine blue, cerulean blue, Prussian blue, viridian, green earth, Paris green, red ochre, raw umber and lamp black. These results provide valuable information on Salgado's palette and his artistic production technique and allow the distinction between palettes used in Lisbon and Paris and consequently, technical interchanges between both Academies. Finally, this study intends to start a systematic analytical study of the Faculty of Fine Arts' collection, allowing the characterization of many other authors and their influences for the development of painting methodology in this Academy.

Mobile Spectroscopic Instrumentation in Archaeometry Research

Mobile instrumentation is of growing importance to archaeometry research. Equipment is utilized in the field or at museums, thus avoiding transportation or risk of damage to valuable artifacts. Many spectroscopic techniques are nondestructive and micro-destructive in nature, which preserves the cultural heritage objects themselves. This review includes over 160 references pertaining to the use of mobile spectroscopy for archaeometry. Following a discussion of terminology related to mobile instrumental methods, results of a literature survey on their applications for cultural heritage objects is presented. Sections devoted to specific techniques are then provided: Raman spectroscopy, X-ray fluorescence spectrometry, Fourier transform infrared spectroscopy, laser-induced breakdown spectroscopy, and less frequently used techniques. The review closes with a discussion of combined instrumental approaches.

Near-Infrared Laser Scanning (NILS) to Differentiate Historical Inks, Deployed on a Stained and Faded Ninth-Century Fragment of Boethius Reused as Binding Material: Proving a Concept

In this paper we describe the use of a dual-wavelength near-infrared laser scanner (NILS) to reveal ink differences in a ninth century Boethius fragment. The scanning system worked at 680 and 780 nm excitation wavelength with a maximal resolution of 21 µm. Fresh images were recorded at both wavelengths and compared with others based on conventional methods, such as UV photography and infrared reflectography. Whereas the latter secured no new information for mapping and distinguishing via inks the layered genesis of the manuscript, images of the fragment based on infrared laser fluorescence revealed the different inks used to elaborate the manuscript. The method revealed and distinguished the respective inks used for glosses, other marginal notes, neumes and the main text. Furthermore, corrections and additions invisible under other types of light were discovered by NILS in combination with paleographic methods. The scope and limitations of NILS when used to investigate stained or faded reused parchment (Makulatur) and/or restored manuscripts are discussed in detail.

The role of mobile instrumentation in novel applications of Raman spectroscopy: archaeometry, geosciences, and forensics

The applications of analytical Raman spectroscopy in the characterisation of materials associated with archaeologically excavated artefacts, forensic investigations of drugs of abuse, security and crime scenes, minerals and rocks and future astrobiological space missions are now well established; however, these applications have emphasised the need for new developments in the area of miniaturised instrumentation which extends the concept and breadth of the analytical requirement to facilitate the provision of data from 'in field' studies. In this respect, the apparently unrelated themes of art and archaeology, forensic science, geological science and astrobiology as covered by this review are unified broadly by the ability to record data nondestructively and without resorting to sampling and the subsequent transfer of samples to the analytical laboratory. In studies of works of art there has long been a requirement for on-site analysis, especially for valuable paintings held under strict museum security and for wall paintings which cannot physically be removed from their setting; similarly, the use of portable Raman spectroscopy in archaeological and geological field work as a first-pass screening device which obviates the necessity of multiple and wasteful specimen collection is high on the wish-list of practicing spectroscopists. As a first-pass screening probe for forensic crime scenes, Raman spectroscopy has proved to be of inestimable value for the early detection of dangerous and prohibited materials such as drugs of abuse, explosives and their chemical precursors, and banned contraband biomaterials such as ivories and animal products; in these applications the advantage of the Raman spectroscopic technique for the recognition of spectral signatures from mixtures of inorganic and organic compounds is paramount and not afforded by other less portable instrumental techniques. Finally, in astrobiological work, these requirements also apply but with the additional prerequisite for system operation remotely - often over distances of several hundred million kilometres - as part of instrumental suites on robotic spacecraft and planetary landers; this necessitates robust and reliable instrumentation for the observation of unique and characteristic spectral features from the planetary geological surface and subsurface which are dependent on the assignment of both biological and geological band signatures.

Pigment analyses of a portrait and paint box of Turkish artist Feyhaman Duran (1886-1970): the EDXRF, FT-IR and micro Raman spectroscopic studies

The samples obtained from nine different places of Ataturk portrait (oil on canvas, 86 cm×136 cm) by Feyhaman Duran (1886-1970), one of the famous Turkish painters of the 20th century, together with five pigment samples (two different white, two different yellow and blue), obtained as powders from artist's paint box, were analysed by EDXRF, FT-IR and micro-Raman spectroscopic methods, in order to characterise the pigments used by the artist. Informative Raman signals were not obtained from most of the samples of the portrait, due to huge fluorescence caused by the presence of impurities and organic materials in the samples, however the Raman spectrum of the sample from skin coloured part of the portrait and the pigment samples obtained from the paint box of the artist were found to be very informative to shed light on the determination of the pigments used. Analysis revealed the presences of chrome yellow (PbCrO4), strontium yellow (SrCrO4) and Cadmium yellow (CdS) as yellow, chromium oxides (Cr2O3 and Cr2O3·2H2O) as green, natural red ochre as red, brown ochre as brown and ivory black or bone black (C+Ca3(PO4)2) and manganese oxides (Mn2O3 and MnO2) as black pigments, in the composition of the Ataturk portrait. Lead white (2PbCO3·Pb(OH)2), calcite (CaCO3), barite (BaSO4), zinc white (ZnO) and titanium white (TiO2) were used as extenders to lighten the colours and/or as for ground level painting. Powder pigment samples, obtained from the paint box of artist, were found to be mixed pigments rather than pure ones.