Macroscopic x-ray powder diffraction imaging reveals Vermeer's discriminating use of lead white pigments in Girl with a Pearl Earring

High-resolution compound-specific mapping in works of art via data fusion of MA-XRPD with hyperspectral data (part 1: Method evaluation)

BACKGROUND

Hyperspectral imaging techniques have emerged as powerful tools for non-invasive investigation of artworks. This paper employs either reflectance imaging spectroscopy (RIS) or macroscopic X-ray fluorescence (MA-XRF) imaging in combination with macroscopic X-ray powder diffraction (MA-XRPD) for state-of-the-art chemical imaging of painted cultural heritage artefacts. While RIS can provide molecular information and MA-XRF can offer elemental distribution maps of paintings of high lateral resolution, the unique advantage of MA-XRPD lies in its ability to visualize the distributions of specific pigments and estimate in a quantitative manner the relative concentrations of the crystalline phases at the surface of artworks. However, MA-XRPD is more time-consuming and offers a lower lateral resolution than RIS and MA-XRF.

RESULTS

This study introduces a machine learning (ML) approach to obtain the distribution of specific compounds on the surface of artworks with a resolution that is comparable to that of RIS and MA-XRF data but with the compound specificity of MA-XRPD. The general aim is to expedite non-destructive artwork imaging analysis by fusing data from different imaging modalities via machine learning models. The effect of preprocessing techniques to enhance the predictive accuracy of the models is explored. The paper demonstrates the method's efficacy on a 16th-century illuminated manuscript, showcasing the feasibility of predicting compound-specific distribution maps. Three evaluation methods-visual examination of the predicted distribution, root mean square errors (RMSE), and feature permutation importance (FPI)-are employed to assess model performance. Fusing MA-XRF with MA-XRPD led to the best RMSE scores overall. However, fusing the RIS and MA-XRPD data blocks also yield very satisfactory and easily interpretable high-resolution compound maps.

SIGNIFICANCE

While MA-XRPD allows for highly specific imaging of artworks, its time-consuming nature and limited resolution presents a bottleneck during non-invasive imaging of painted works of art. By integrating data from more time-efficient hyperspectral techniques such as MA-XRF and RIS, and employing machine learning, we expedite the process without compromising accuracy. The fusion process can also denoise the distribution maps, improving their readability for heritage professionals and art historical scholars.

Deep learning for enhanced spectral analysis of MA-XRF datasets of paintings

Recent advancements of noninvasive imaging techniques applied for the study and conservation of paintings have driven a rapid development of cutting-edge computational methods. Macro x-ray fluorescence (MA-XRF), a well-established tool in this domain, generates complex and voluminous datasets that pose analytical challenges. To address this, we have incorporated machine learning strategies specifically designed for the analysis as they allow for identification of nontrivial dependencies and classification within these high-dimensional data, thereby promising comprehensive interrogation. We introduce a deep learning algorithm trained on a synthetic dataset that allows for fast and accurate analysis of the XRF spectra in MA-XRF datasets. This approach successfully overcomes the limitations commonly associated with traditional deconvolution methods. Applying this methodology to a painting by Raphael, we demonstrate that our model not only achieves superior accuracy in quantifying the fluorescence line intensities but also effectively eliminates the artifacts typically observed in elemental maps generated through conventional analysis methods.

Non-resonant inelastic X-ray scattering for discrimination of pigments

Inelastic X-ray scattering (IXS) spectroscopy has been used in many fields of solid-state physics and theoretical chemistry as an accurate and quantitative probe of elementary excitations. We show that non-resonant IXS spectra in the energy loss range below 100 eV exhibit a strong contrast across a wide range of commercially available pigments, opening new routes for their discrimination. These signatures combine plasmonic transitions, collective excitations and low energy absorption edges. We have performed IXS to discriminate different artists' pigments within complex mixtures and to quantitatively determine rutile and anatase polymorphs of TiO2. The integration of experimental data on pigment powders with suitable ab initio simulations shows a precise fit of the spectroscopic data both in the position of the resonances and in their relative intensity.

Chemical Mapping of the Degradation of Geranium Lake in Paint Cross Sections by MALDI-MSI

Matrix assisted laser desorption ionization-mass spectrometry imaging (MALDI-MSI) has become a powerful method to extract spatially resolved chemical information in complex materials. This study provides the first use of MALDI-MSI to define spatial-temporal changes in oil paints. Due to the highly heterogeneous nature of oil paints, the sample preparation had to be optimized to prevent molecules from delocalizing. Here, we present a new protocol for the layer-specific analysis of oil paint cross sections achieving a lateral resolution of 10 μm and without losing ionization efficiency due to topographic effects. The efficacy of this method was investigated in oil paint samples containing a mixture of two historic organic pigments, geranium lake and lead white, a mixture often employed in the work of painter Vincent Van Gogh. This methodology not only allows for spatial visualization of the molecules responsible for the pink hue of the paint but also helps to elucidate the chemical changes behind the discoloration of paintings with this composition. The results demonstrate that this approach provides valuable molecular compositional information about the degradation pathways of pigments in specific paint layers and their interaction with the binding medium and other paint components and with light over time. Since a spatial correlation between molecular species and the visual pattern of the discoloration pattern can be made, we expect that mass spectrometry imaging will become highly relevant in future degradation studies of many more historical pigments and paints.

X-ray and Infrared Microanalyses of Mona Lisa's Ground Layer and Significance Regarding Leonardo da Vinci's Palette

An exceptional microsample from the ground layer of Leonardo da Vinci's Mona Lisa was analyzed by high-angular resolution synchrotron X-ray diffraction and micro Fourier transform infrared spectroscopy, revealing a singular mixture of strongly saponified oil with high lead content and a cerussite (PbCO3)-depleted lead white pigment. The most remarkable signature in the sample is the presence of plumbonacrite (Pb5(CO3)3O(OH)2), a rare compound that is stable only in an alkaline environment. Leonardo probably endeavored to prepare a thick paint suitable for covering the wooden panel of the Mona Lisa by treating the oil with a high load of lead II oxide, PbO. The review of Leonardo's manuscripts (original and latter translation) to track the mention of PbO gives ambiguous information. Conversely, the analysis of fragments from the Last Supper confirms that not only PbO was part of Leonardo's palette, through the detection of both litharge (α-PbO) and massicot (β-PbO) but also plumbonacrite and shannonite (Pb2OCO3), the latter phase being detected for the first time in a historical painting.

Multi-Scale X-ray Imaging of the Pigment Discoloration Processes Triggered by Chlorine Compounds in the Upper Basilica of Saint Francis of Assisi

In this paper, the chromatic alteration of various types of paints, present on mural painting fragments derived from the vaults of The Upper Basilica of Saint Francis of Assisi in Italy (12th-13th century), is studied using synchrotron radiation. Six painted mural fragments, several square centimeters in size, were available for analysis, originating from the ceiling paintings attributed to Cimabue and Giotto; they correspond to originally white, blue/green, and brown/yellow/orange areas showing discoloration. As well as collecting macroscopic X-ray fluorescence and diffraction maps from the entire fragments in the laboratory and at the SOLEIL synchrotron, corresponding paint cross-sections were also analyzed using microscopic X-ray fluorescence and powder diffraction mapping at the PETRA-III synchrotron. Numerous secondary products were observed on the painted surfaces, such as (a) copper tri-hydroxychloride in green/blue areas; (b) corderoite and calomel in vermillion red/cinnabar-rich paints; (c) plattnerite and/or scrutinyite assumed to be oxidation products of (hydro)cerussite (2PbCO3·Pb(OH)2) in the white areas, and (d) the calcium oxalates whewellite and weddellite. An extensive presence of chlorinated metal salts points to the central role of chlorine-containing compounds during the degradation of the 800-year-old paint, leading to, among other things, the formation of the rare mineral cumengeite (21PbCl2·20Cu(OH)2·6H2O).

Multidisciplinary approach to the study of large-format oil paintings

Cultural heritage has become a keystone for comprehending our society, as it represents and reflects our origins, passions, beliefs and traditions. Furthermore, it provides fundamental information about specific temporary spaces, materials' availability, technology, artist's intention, and site weather conditions. Our aim was to develop a multidisciplinary approach with a main focus on investigating two Italian large-format paintings located in highly diverse environments such as the National Theater of Costa Rica. We monitored environmental conditions and quantified fungal aerial spores. Then, we determined regions of possible biodeterioration with the software MicroorganismPattern and used the software PigmentArrangement to elucidate the apparent colour of the paintings based on distribution and arrangement of the pigment crystals. Finally, we characterized eight genera of calcareous nannofossils found in the ground layers of the artwork. The former Men's Canteen at the National Theater of Costa Rica presented a mean air temperature of 23.5 [Formula: see text]C, a relative humidity of 72.7% and a concentration of CO[Formula: see text] of 570 ppm. The fungal aerial concentration was 1776 spores/m[Formula: see text]. The software MicroorganismPattern identified 32 sampling regions, out of which 11 were positive for microbial contamination. The software PigmentArrangement determined that the blue crystals (ultramarine pigment) had the shortest distances between themselves (29 [Formula: see text]m). Finally, the nanofossils identified enabled us to restrict the age of the material to a biostratigraphic interval ranging from Coniacian to Maastricthian ages. By using a multidisciplinary approach we were able to explore the diptych, suggest a set of minimally invasive perspectives in tropical environments to be used worldwide and obtain key information about the artist's artistic process, materials used along with better understand its state of conservation.

Reviving degraded colors of yellow flowers in 17th century still life paintings with macro- and microscale chemical imaging

Over time, artist pigments are prone to degradation, which can decrease the readability of the artwork or notably change the artist's intention. In this article, the visual implication of secondary degradation products in a degraded yellow rose in a still life painting by A. Mignon is discussed as a case study. A multimodal combination of chemical and optical imaging techniques, including noninvasive macroscopic x-ray powder diffraction (MA-XRPD) and macroscopic x-ray fluorescence imaging, allowed us to gain a 3D understanding of the transformation of the original intended appearance of the rose into its current degraded state. MA-XRPD enabled us to precisely correlate in situ formed products with what is optically visible on the surface and demonstrated that the precipitated lead arsenates and arsenolite from the yellow pigment orpiment and the light-induced fading of an organic yellow lake irreversibly changed the artist's intentional light-shadow modeling.

Time-dependent variation of lead isotopes of lead white in 17th century Dutch paintings

This study investigates how lead isotopes in lead white pigment can be used as an additional diagnostic tool to constrain the production time of 17th century Dutch paintings. Analysis of 77 well-dated paintings from 27 different Dutch artists reveal significant change in the source of lead used in lead white at the start, middle, and end of the 17th century. Isotopic shifts are related to major historical and socioeconomical events such as the English Civil War and Anglo-Dutch-French conflicts. These observations offer the prospect that lead isotope analysis of lead white could aid attribution and authentication of Dutch 17th century paintings and provide insights into artists’ international travels as well as lead production and trading.

Ultra-deep removal of Pb by functionality tuned UiO-66 framework: A combined experimental, theoretical and HSAB approach

A specific functionality in the adsorbent materials plays a significant role for the selective capture of heavy metals based on Pearson's Hard-Soft-Acid-Base (HSAB) concept. Herein, we introduced single and double amino- and thiol-functionalities into the UiO-66 framework, which acted as hard and soft base sites for heavy metal adsorption, respectively. The synthesized adsorbents (labelled as NH₂-UiO-66, (NH₂)₂-UiO-66, SH-UiO-66 and (SH)₂-UiO-66) were applied for the selective removal of lead (Pb) ions from contaminated water. The removal efficiency of Pb was about 64, 85, 75 and 99% (pH = 6, T = 30 °C, sample dosage = 10 mg, Pb concentration = 100 mg L^-1), respectively, based on available number of interacting sites in the respective adsorbent. To elaborate HSAB concept, the interacting sites of these functional groups towards Pb were explored by identifying their possible types of interactions in terms of soft acid-base affinity, coordinate and covalent bonding, chelation, π-π interactions and synergetic effect of bonding. Density functional theory (DFT) simulation was used to confirm these interactions and to help the better understanding of adsorption mechanism. Model fitting and characterization of Pb-sorbed adsorbents were also performed to reveal kinetics, order of adsorptive reaction, thermodynamics and adsorption mechanism. Moreover, the optimization of adsorptive removal was performed by controlled parameters including time, initial concentration, pH and temperature. The reusability and selectivity of these adsorbents along with recovery of Pb(II) were also assessed. This study presents the conceptual framework for the design of functional adsorbents in the removal of heavy metals using the HSAB principle as an intended guideline.

Microchemical analysis of Leonardo da Vinci's lead white paints reveals knowledge and control over pigment scattering properties

Leonardo da Vinci (1452-1519) is a key artistic and scientific figure of the Renaissance. He is renowned for his science of art, taking advantage of his acute observations of nature to achieve striking pictorial results. This study describes the analysis of an exceptional sample from one of Leonardo's final masterpieces: The Virgin and Child with St. Anne (Musée du Louvre, Paris, France). The sample was analyzed at the microscale by synchrotron-based hyperspectral photoluminescence imaging and high-angular X-ray diffraction. The results demonstrate Leonardo's use of two subtypes of lead white pigment, thus revealing how he must have possessed a precise knowledge of his materials; carefully selecting them according to the aesthetical results he aimed at achieving in each painting. This work provides insights on how Leonardo obtained these grades of pigment and proposes new clues regarding the optical and/or working properties he may have tried to achieve.

Unexpected presence of 14C in inorganic pigment for an absolute dating of paintings

The absolute dating of paintings is crucial for tackling the problem of fake art. Investigations to authenticate paintings rely on an advanced knowledge of art history and a collection of scientific techniques. Radiocarbon dating is the only technique that gives access to an absolute time scale, but its application is limited to organic materials such as wood, canvas or natural binder. Extending absolute dating to inorganic pigments would make it possible to overcome the lack of available materials for dating easel and mural paintings. Here, we present a novel technique permitting paintings that contain inorganic pigment to be radiocarbon dated. We report results obtained on lead white that was the major white pigment used from Antiquity to the 20^th century. We demonstrate that its manufacture is the key point for an absolute and reliable dating. We report an unprecedented use of ¹⁴C to date 14^th to 16^th century wall paintings. Since lead white was extensively used by the greatest artists, we anticipate that this study will open new avenues for detecting forgeries on the art market and for museums.

The Noninvasive Analysis of Paint Mixtures on Canvas Using an EPR MOUSE

Many artists create the variety of colors in their paintings by mixing a small number of primary pigments. Therefore, analytical techniques for studying paintings must be capable of determining the components of mixtures. Electron paramagnetic resonance (EPR) spectroscopy is one of many techniques that can achieve this, however it is invasive. With the recent introduction of the EPR mobile universal surface explorer (MOUSE), EPR is no longer invasive. The EPR MOUSE and a least squares regression algorithm were used to noninvasively identify pairwise mixtures of seven different paramagnetic pigments in paint on canvas. This capability will help art conservators, historians, and restorers to study paintings with EPR spectroscopy.

X-ray Diffraction Mapping for Cultural Heritage Science: a Review of Experimental Configurations and Applications

X-ray diffraction (XRD) mapping consists in the acquisition of XRD patterns at each pixel (or voxel) of an area (or volume). The spatial resolution ranges from the micrometer (μXRD) to the millimeter (MA-XRD) scale, making the technique relevant for tiny samples up to large objects. Although XRD is primarily used for the identification of different materials in (complex) mixtures, additional information regarding the crystallite size, their orientation, and their in-depth distribution can also be obtained. Through mapping, these different types of information can be located on the studied sample/object. Cultural heritage objects are usually highly heterogeneous, and contain both original and later (degradation, conservation) materials. Their structural characterization is required both to determine ancient manufacturing processes and to evaluate their conservation state. Together with other mapping techniques, XRD mapping is increasingly used for these purposes. Here, the authors review applications as well as the various configurations for XRD mapping (synchrotron/laboratory X-ray source, poly-/monochromatic beam, micro/macro beam, 2D/3D, transmission/reflection mode). On-going hardware and software developments will further establish the technique as a key tool in heritage science.