Earth pigments in painting: characterisation and differentiation by means of FTIR spectroscopy and SEM-EDS microanalysis

Hydrothermally improved natural manganese-containing catalytic materials to degrade 4-chlorophenol

Natural manganese-containing mineral (NMM) was used as a catalyst in heterogeneous catalytic ozonation for 4-chlorophenol (4-CP) degradation. The surface and structural properties of NMM were modified by the hydrothermal aging process and called H-NMM. The catalytic activity of NMM and H-NMM were evaluated for the catalytic ozonation process (COP). The synergistic effect of NMM and H-NMM in ozonation processes for 4-CP degradation under optimal conditions (pH of 7, 1 g/L of NMM and H-NMM, 0.85 mg/min of O₃, and 15 min of reaction time) was measured by 3.04 and 4.34, respectively. During the hydrothermal process, Mn⁴⁺ and Fe²⁺ were converted to Mn²⁺ and Fe³⁺, which caused better performance of the H-NMM than the NMM. During the catalytic ozonation process, Mn²⁺ is completely oxidized, which increases the production of Hydroxyl radical (•OH). The reactive oxygen species (ROS) generated in the system were identified using radical scavenging experiments. •OH, superoxide radical (•O₂^-), and singlet oxygen (¹O₂) represented the dominant reactive species for 4-CP degradation. The O₃/H-NMM process indicated a powerful ability in the mineralization of 4-CP (66.31% of TOC degradation). H-NMM exhibited excellent stability and reusability in consecutive catalytic cycles, and the NMM exhibited desirable performance. This study offers NMM and H-NMM as effective, stable, and competitive catalysts for hastening and enhancing the ozonation process to mitigate environmentally related pollutants of high concern.

Conductive cross-section preparation of non-conductive painting micro-samples for SEM analysis

Scanning electron microscopy (SEM) is a common method for the analysis of painting micro-samples. The high resolution of this technique offers precise surface analysis and can be coupled with an energy-dispersive spectrometer for the acquisition of the elemental composition. For light microscopy and SEM analysis, the painting micro-samples are commonly prepared as cross-sections, where the micro-sample positioned on the side is embedded in a resin. Therefore, the sequence of its layers is exposed after the cross-section is polished. In common cases outside of cultural heritage, a conductive layer is applied on the polished side, but in this field, the measurements are mostly done in low-vacuum SEM (LV-SEM). Although the charging effect is reduced in LV-SEM, it can still occur, and can hardly be prevented even with carbon tape or paint. This work presents two conductive cross-section preparation methods for non-conductive samples, which reduce charging effects without impairing the sample integrity.

Brackish and Hypersaline Lakes as Potential Reservoir for Enzymes Involved in Decomposition of Organic Materials on Frescoes

This study highlights the decomposing role through the hydrolytic activities of fungi isolated from natural environments represented by brackish and hypersaline lakes in Romania. Novel strains belonging to the Penicillium, Aspergillus, and Emericellopsis genera were isolated and screened for the ability to produce extracellular hydrolytic enzymes, i.e., proteases, lipases, amylases, cellulases, xylanases, and pectinases. According to salt requirements, they were classified as moderate halophilic and halotolerant strains. Agar plate-based assays with Tween 80, slide cultures with organic deposits, and quantitative evaluation allowed the selection of Aspergillus sp. BSL 2-2, Penicillium sp. BSL 3-2, and Emericellopsis sp. MM2 as potentially good decomposers of organic matter not only in lakes but also on deposits covering the mural paintings. Experiments performed on painted experimental models revealed that only Penicillium sp. BSL 3-2 decomposed Paraloid B72, transparent dispersion of casein, beeswax, sunflower oil, and soot. Moreover, using microscopic, spectroscopic, and imaging methods, it was proved the efficiency of Penicillium sp. BSL 3-2 for decomposition of organic deposits artificially applied on frescoes fragments.

Assessment of Easily Accessible Spectroscopic Techniques Coupled with Multivariate Analysis for the Qualitative Characterization and Differentiation of Earth Pigments of Various Provenance

Natural minerals and earths with coloring properties have been widely used as artistic pigments since prehistoric times. Despite being extensively studied, the complex chemistry of earth pigments is still unsatisfactory described with respect to their mineralogical and structural variability and origin. In this study, a large group of earth pigments from various geographical locations was investigated using easily accessible spectroscopic techniques and multivariate analysis with the aim to identify distinctive mineralogical and chemical characteristics of natural pigment sources. Portable X-ray fluorescence (p-XRF), Fourier transform infrared spectroscopy (FTIR) and fiberoptic Raman spectroscopy were used for the elemental, molecular and structural characterization of the investigated pigments. Diagnostic spectral features and chemical patterns (fingerprints) were identified and discussed with respect to their geological sources. Due to the occurrence of similar accompanying minerals, it was observed that the differentiation of red and yellow ochers is more challenging compared to green, brown and black pigments. However, for some of the investigated pigments, the presence of certain accessory minerals and/or of certain chemical patterns can have diagnostic value. Principal component analysis (PCA) of the FTIR and XRF data matrices showed promising results in terms of geological attribution, highlighting a promising tool for provenance research. The results of the study demonstrate the potential benefits of this rapid and nondestructive approach for the characterization and differentiation of earth pigments with similar hues coming from different geological sources.

Recent advances and applications to cultural heritage using ATR-FTIR spectroscopy and ATR-FTIR spectroscopic imaging

Scientific investigation of cultural heritage objects plays a vital role in a responsible modern approach to conservation and archaeology. Recent advances in spectroscopy, such as the development of Attenuated Total Reflection Fourier Transform Infrared (ATR-FTIR) spectroscopy and ATR-FTIR spectroscopic imaging, have opened up a window of opportunities for characterisation of materials in artefacts and collections from museums. This review summarises some of the recent advances and applications of these ATR-FTIR spectroscopic analytical techniques in the area of cultural heritage studies, including examples of cross-sections of oil paintings, paper, textiles, plastic objects, potteries, glasses and mineral artefacts. Two of the major advantages of ATR mode measurements are minimal or no requirements for sample preparation and its provision for high lateral spatial resolution. In addition to conventional single point detection, two-dimensional mapping and imaging is especially beneficial for chemical visualisation of multi-layered structure cultural objects. This review also explores the implications of these advantages as well as some limitations and provides a brief outlook for the possible future developments in this area.

Evolution of Liu Kang’s Palette and Painting Practice for the Execution of Female Nude Paintings: The Analytical Investigation of a Genre

The comprehensive technical investigation of female nude paintings by the Singapore pioneer artist Liu Kang (1911–2004) provided the evidence for a discussion of the evolution of his palette of colours and his working process for expression in this genre, particularly the execution of female bodies. As the artist’s free expression in classical nude paintings was limited by the censorship imposed by the Singapore government, the investigated artworks span two periods, 1927–1954 (early career) and 1992–1999 (the “golden years”, during which censorship policies were relaxed). Hence, eight paintings from the Liu family and National Gallery Singapore were selected for non- and micro-invasive analyses of the paint layers. The obtained results were supplemented with archival sources to elucidate certain aspects of Liu Kang’s working practice. The investigation revealed the importance of drawing and sketching studies in the development of artistic ideas. The analytical techniques, such as polarised light microscopy (PLM), field emission scanning electron microscope with energy dispersive spectroscopy (FE-SEM-EDS) and attenuated total reflectance–Fourier transform infrared spectroscopy (ATR-FTIR), enabled us to observe a transition from the yellow iron-based tonal ranges of skin colours to complex pigment mixtures composed of additions of cobalt blue, ultramarine, Prussian blue, Cr-containing yellow(s) and green(s), cadmium yellow, orange and/or red and organic reds, revealing the artist’s more liberal use of colours and his experimentation with their contrasting and complementary juxtaposes. In terms of painting technique, the artist’s comparatively laborious paint application using small brushes quickly gave way to a more effortless manipulation of the paint using bigger brushes and the incorporation of palette knives. Moreover, visible light (VIS), near-infrared (NIR) and X-ray radiography (XRR) imaging techniques led to the discovery of a hidden composition in one investigated artwork, which bears resemblance to the nude painting known only from an archival photograph. Additionally, for the first time, the archival search provided photographic evidence that Liu Kang used oil paint tubes from Royal Talens and Rowney in the 1990s. Overall, this in-depth investigation contributes to the understanding of Liu Kang’s approach to the female nude painting and may assist conservators and art historians in studies of twentieth-century commercial paints.

Multi-Technique Diagnostic Investigation in View of the Restoration of “The Glory of St. Barbara” Painting by Mattia Preti

The present paper illustrates the results of a diagnostic investigation performed on the oil on canvas painting “The Glory of St. Barbara” (1680–1688) by Mattia Preti. The painting is located inside the St. Barbara Church in Taverna (Catanzaro, Italy), the city that gave birth to the artist. In situ, non-invasive studies, by applying X-ray fluorescence (XRF) spectroscopy, along with laboratory micro-destructive analytical investigations, by employing electron probe microanalyses (EPMA) coupled with energy-dispersive spectrometry (EDS) and micro-Raman (µ-Raman) spectroscopy, were combined to retrieve the color palette and identify the painting technique and style of the famous master. As a result of this multi-scale characterization, an extraordinary pictorial technique was revealed, enriching knowledge about one of the oldest pictorial traditions outlined by Mattia Preti, and solving doubts still existing about many of his investigated artworks. Moreover, the achieved results represent useful and essential tools to address management issues of the artwork, by providing valuable information for planning and monitoring future restoration interventions of the canvas.

Enriching the knowledge of Ostia Antica painted fragments: a multi-methodological approach

This paper presents the study of selected painted fragments from different contexts of Ostia Antica city, dating between 2nd century BCE and the end of the 1st century CE. The aim is to identify the raw materials used and to understand the execution techniques through a non-invasive protocol including techniques based either on multiband imaging (Visible-VIS, Ultraviolet induced Luminescence - UVL and Visible Induced Luminescence - VIL) and single spot analyses (Fiber Optic Reflectance Spectroscopy- FORS and portable X-Ray Fluorescence spectrometry - XRF). The most representative and interesting fragments were sampled for further studies with laboratory techniques such as optical microscopy (OM) and electron microscopy (SEM), Fourier Transform Infrared and micro-Raman Spectroscopies (FT-IR and μRaman). The extensive use of non-invasive techniques, even working on fragments, is proved to be the most robust and effective approach enabling the analysis of a high number of areas, dramatically increasing the statistical meaning of the collected data. The elaboration of such a huge number of data allows highlighting differences and similarities, thus achieving a more realistic overview of the materials composition and addressing the sampling to the more significant and complex areas.

The dome of Rotunda in Thessaloniki: Investigation of a multi-pictorial phase wall painting through analytical methods

The present study focuses on the investigation of the successive pictorial phases of the wall painting which survives on the missing eastern part of the magnificent mosaic composition in the interior of Rotunda, Thessaloniki, Greece. Rotunda, a circular domed monumental building, was constructed in the early 4th century AD and it is included in the UNESCO World Heritage List. Characterization analysis was performed by means of microscopic, spectroscopic and crystallographic techniques, in order to identify the technological features of the wall painting and the materials used, to document the initial Byzantine pictorial phase -known from the archaeological research- along with the overpaintings attributed to the 19th and 20th centuries. In this framework, the collected samples were studied with optical microscopy, Fourier transform infrared micro-spectroscopy, scanning electron microscopy, X-ray diffractometry and X-ray photoelectron spectroscopy. Among the detected materials and pigments (including zinc oxide, barium sulfate, red lead, green earth, Prussian blue, emerald green, ultramarine and cuprite), the use of brass powder for false gilding purposes was detected, which is a material rarely used for mural applications.

Jazz Colors: Pigment Identification in the Gouaches Used by Henri Matisse

Jazz, the illustrated book by Henri Matisse, is a testament to the vitality of the artist in the last decade of his career. The book consists of twenty illustrations reproduced in 370 copies using a stencil-based printing technique and the same Linel gouaches the artist had used for the original maquettes. This study reports on the comprehensive analysis carried out to identify the pigments in the gouaches used in Jazz by transmitted and reflectance infrared, Raman, SERS, and X-ray fluorescence spectroscopies, and describes the lightfastness of these gouaches as evaluated by microfaedometry. This study also highlights the necessity of a multi-analytical approach for comprehensive identification of artist materials and investigates the suitability of portable and non-invasive techniques. The results were consistent across the three copies investigated: a portfolio in the collection of the Museum of Modern Art in New York and two books in the collection of the Musée National d’Art Moderne in Paris. In total, 39 distinct colors were characterized, with the magenta, pinks, and blues being the most fugitive.

Investigation of Ancient Wall Painting Fragments Discovered in the Roman Baths from Alburnus Maior by Complementary Non-Destructive Techniques

In this study, several wall painting fragments discovered in the Roman baths from the archeological site Alburnus Maior (Roşia Montană, Romania) were analyzed with the aim to investigate the material composition of both plasters and pictorial layers. Dated from the beginning of the second century AD, these rare findings stand among the oldest examples of preserved decorative polychrome paintings on plaster excavated thus far in the former territory of the Roman province of Dacia. A non-destructive multi-analytical approach based on complementary techniques was considered: Fourier transform infrared (FTIR) spectroscopy, X-ray fluorescence (XRF), X-ray diffraction (XRD), UV fluorescence, and hyperspectral imaging (HSI). The obtained results highlight a common Roman color palette mainly based on naturally occurring earth pigments. Red ochre, yellow ochre, manganese-rich ochres/wads, carbon black, and calcite were identified. A traditional two-layer sequence of plasters was found—arriccio (based on lime and siliceous sands), and intonaco (pure lime). The presence of an organic protein binder, identified via FTIR analysis, and sustained by combined imaging documentation, indicates that the pigments were applied a secco. The obtained results are discussed in relation to previous published data, and they can be considered as valuable archeological indicators that contribute to the understanding of the painting techniques and the materials used in the Roman provinces.

A Multi-Analytical Study of Egyptian Funerary Artifacts from Three Portuguese Museum Collections

A diachronic, multi-analytical approach combining EDXRF, µFTIR, µRaman, SEM-EDS, and Py-GC/MS has been adopted with the aim to study for the first time the painting materials used to decorate Egyptian funerary masks and sarcophagi ranging from the Late Period to the Roman Period and stored in the Archaeological National Museum (MNA) and the Carmo Archaeological Museum (MAC) of Lisbon and the Natural History Museum of the University in Oporto (MNH-FCUP). Results indicate that yellow and red ochres, realgar, cinnabar, Egyptian blue, and Egyptian green were used as pigments while chalk served as the preparatory layer. Over the 1000-year timeline of the studied artifacts, the palette remained remarkably consistent with previous findings as exemplified by cinnabar being used for red pigments in samples only dated after the Ptolemaic period. The presence of Sn in Egyptian blue and Egyptian green pigments used in one sample suggests the use of recycled bronze scraps during pigment production. Black pigments in two Late Period masks were found to be produced by mixing Egyptian blue with red ochre suggesting either a hitherto unknown method for production of purple pigments in the Egyptian palette or, alternatively, an attempt to create a specific hue or shade of dark brown or black. The results of this study contribute to further expand the database of Ancient Egyptian painting materials while at the same time helping to valorize three important Egyptian collections in Portugal.

A Review on Historical Earth Pigments Used in India’s Wall Paintings

Iron-containing earth minerals of various hues were the earliest pigments of the prehistoric artists who dwelled in caves. Being a prominent part of human expression through art, nature-derived pigments have been used in continuum through ages until now. Studies reveal that the primitive artist stored or used his pigments as color cakes made out of skin or reeds. Although records to help understand the technical details of Indian painting in the early periodare scanty, there is a certain amount of material from which some idea may be gained regarding the methods used by the artists to obtain their results. Considering Indian wall paintings, the most widely used earth pigments include red, yellow, and green ochres, making it fairly easy for the modern era scientific conservators and researchers to study them. The present knowledge on material sources given in the literature is limited and deficient as of now, hence the present work attempts to elucidate the range of earth pigments encountered in Indian wall paintings and the scientific studies and characterization by analytical techniques that form the knowledge background on the topic. Studies leadingto well-founded knowledge on pigments can contribute towards the safeguarding of Indian cultural heritage as well as spread awareness among conservators, restorers, and scholars.

Influence of Thermal Aging on the Combustion Characteristics of Cables in Nuclear Power Plants

In this study, the combustion characteristics and emission of toxic gases of a non-class 1E cable in a nuclear power plant were investigated with respect to the aging period. A thermal accelerated aging method was applied using the Arrhenius equation with the activation energy of the cables and the aging periods of the cables set to zero, 10, 20, 30 and 40 years old by considering the lifetime of a nuclear power plant. According to ISO 5660-1 and ISO 19702, the cone calorimeter Fourier transform infrared spectroscopy test was performed to analyze the combustion characteristics and emission toxicity. In addition, scanning electron microscopy and an energy dispersive X-ray spectrometer were used to examine the change in the surface of the sheath and insulation of the cables according to the aging periods. To compare quantitative fire risks at an early period, the fire performance index (FPI) and fire growth index (FGI) are derived from the test results of the ignition time, peak heat release rate (PHRR) and time to PHRR (tPHRR). When comparing FPI and FGI, the fire risks decreased as the aging period increased, which means that early fire risks may be alleviated through the devolatilization of both the sheath and insulation of the cables. However, when comparing heat release and mass loss, which represent the fire risk at the mid and late period, fire intensity and severity increased with the aging period. The emission of toxic gases coincided with the results obtained from the heat release rate, which confirms that the toxicity of non-aged cables is higher than that of aged cables. From the results, it can be concluded that the aging period significantly affects both the combustion characteristics and toxicity of the emission gas. Therefore, cable degradation with aging should be considered when setting up reinforced safety codes and standards for cables and planning proper operation procedures for nuclear power plants.

Pigments on Roman Wall Painting and Stucco Fragments from the Monte d’Oro Area (Rome): A Multi-Technique Approach

This work concerns the characterisation of a set of wall painting and stucco fragments collected during a rescue excavation carried out in 2013 by the Soprintendenza Archeologica in the Monte d’Oro area (Rome). Due to the contextless archaeological situation, analyses were performed to obtain more information about the collected materials. A multi-analytical approach has been applied including spectroscopic (FTIR, Raman and visible reflectance analyses) and elemental analysis (SEM-EDS) techniques. The chromatic palette has been in this way disclosed evidencing the use of pigments such as cinnabar, Egyptian blue, red and yellow ochre and green earth, but also the simultaneous use of them. The presence of a decoration achieved by using a gold leaf has been highlighted also, indicating the preciousness of the decorations. The convenience and advantages linked to the use of portable instrumentation have been also evidenced.

Fire and grass-bedding construction 200 thousand years ago at Border Cave, South Africa

Early plant use is seldom described in the archaeological record because of poor preservation. We report the discovery of grass bedding used to create comfortable areas for sleeping and working by people who lived in Border Cave at least 200,000 years ago. Sheaves of grass belonging to the broad-leafed Panicoideae subfamily were placed near the back of the cave on ash layers that were often remnants of bedding burned for site maintenance. This strategy is one forerunner of more-complex behavior that is archaeologically discernible from ~100,000 years ago.

Investigation of the Optical, Physical, and Chemical Interactions between Diammonium Hydrogen Phosphate (DAP) and Pigments

This research investigates and evaluates the optical, physical, and chemical interactions between a diammonium hydrogen phosphate (DAP) solution and seven pigments commonly encountered in archaeological and historic fresco and secco wall paintings and polychrome monuments. The pigments include cinnabar, French ochre, chalk, lapis lazuli, raw sienna, burnt umber, and red lead. The raw pigments were analyzed before and after the interaction with the DAP solution, and the reaction products resulting from the contact of the pigments with the DAP solution were evaluated to obtain a comprehensive understanding of the effects of diammonium phosphate on the color, morphology, and chemical composition of the pigments. The results indicated no significant changes of the color or of the chemistry of cinnabar, French ochre, and lapis lazuli. Carbonate-containing primary and secondary (found as impurities in earth pigments) pigments, such as chalk and calcium carbonate, were transformed into calcium phosphate, though without a significant change in color. Phase and strong color changes occurred only for the red lead pigment, associated with the transformation of red lead into hydroxypyromorphite. These data established the parameters and identified the risks of the direct application of DAP solutions on pigments. Further research will be undertaken to assess the potential use of DAP as a consolidant of wall paintings and other polychrome surfaces through testing on wall painting/polychromy mockups and on-site archaeological/historic painted surfaces.

The “oro di metà” Gilding in the Fifteenth-Century: A Multi-Analytical Investigation

Few and fragmentary is the information regarding the “oro di metà” (halfway gold) gilding due to the low probability of finding it in paintings as well as its short durability because of tarnishing. However, the very rare, excellent state of conservation of the gilding found in the fifteenth-century wood panel painting of the Master of St. Ivo studied in this work along with a multi-analytical approach allowed shedding light on the structure, the composition and the conservation state of this type of gilding. An Ultra-High Resolution Scanning Electron Microscope (UHR-SEM) along with Energy Dispersive X-Ray (EDX) analysis and polarised light Optical Microscopy (OM) were employed in order to image and analyse a cross-section of a sample taken from the wood panel painting. Results highlighted a divided structure of the gilding which is constituted by two separated layers of gold and silver with different thickness. This is the first time that scientific evidence on this issue is provided. Moreover, considerations on the tarnishing process of the gilding were made. Finally, complementary vibrational spectroscopic techniques such as micro-Raman and micro-ATR-FTIR were employed in order to identify the molecular composition of the “bole” (gilding preparation layer) and the ground layers.

Archaeometric Characterisation of Decorated Pottery from the Archaeological Site of Villa dei Quintili (Rome, Italy): Preliminary Study

This work focused on the study of decorated pottery dated back to the 16th century from the Roman archaeological site of Villa dei Quintili, a monumental complex located in the south-eastern part of Rome (Italy). A minero-petrographic and geochemical study was undertaken to analyse five archaeological samples in order to define textural features and raw materials used for their production, along with the chemical and physical composition of the superficial decorative glazed coatings. For this purpose, different analytical methods were used, such as polarising optical microscope (POM), X-ray diffraction (XRD), micro-Raman spectroscopy, X-Ray fluorescence (XRF), and electron microprobe analysis coupled with energy dispersive spectrometry (EMPA-EDS). The results of such a multidisciplinary approach allowed us to achieve important results crucial to recognise the shards as majolica of the Renaissance period, improving knowledge about manufacturing processes of these renowned painted ceramic artefacts.

Reconstructing the colour palette of the Konstantinos Parthenis' burnt paintings

This case study focuses on the reconstruction of the colour palette and the possibility of laser cleaning of burnt paintings. The paintings ORPHEUS IN THE UNDERWORLD and CONCORDIA, composed by the Greek artist Konstantinos Parthenis (1878-1967), have been severely damaged by fire. The colour palette of Parthenis is thoroughly investigated for the first time, and to perform this, a multi-analytical spectroscopic approach was employed. Non-destructive in situ analysis was performed on multiple areas of the paintings by portable XRF. SEM-EDS and Raman, supported by reflected visible light optical microscopy, and ultraviolet light microscopy, as well as structural XRD and molecular FTIR were performed for identifying the pigments, the binder and the substrate of the paintings. This work also unveiled new aspects of the painting technique used by the artist, such as the uncommon use of multiple pigments of red hue in the upper paint layers, comparatively with the rest of Parthenis' paintings. Molecular spectroscopic techniques (i.e., Raman and FTIR) were effective in identifying pigments like chrome yellow (crocoite mineral), chrome orange (phoenicochroite mineral) and viridian green (hydrated chromium oxide). The spectroscopic analyses were also essential in the laser cleaning restoration because of the detection of pigments (i.e., lead white, vermilion etc.) prone to phase transformations due to photothermal and/or photochemical effects. Our investigation establishes the basis on the application of non-conventional cleaning methods on damaged paintings, such as laser irradiation, in order to remove the damaged layer and/or the superficial accretions, while preserving the hues of the original painting.

Microbial composition analyses by 16S rRNA sequencing: A proof of concept approach to provenance determination of archaeological ochre

Many archaeological science studies use the concept of “provenance”, where the origins of cultural material can be determined through physical or chemical properties that relate back to the origins of the material. Recent studies using DNA profiling of bacteria have been used for the forensic determination of soils, towards determination of geographic origin. This manuscript presents a novel approach to the provenance of archaeological minerals and related materials through the use of 16S rRNA sequencing analysis of microbial DNA. Through the microbial DNA characterization from ochre and multivariate statistics, we have demonstrated the clear discrimination between four distinct Australian cultural ochre sites.

Evaluation of black crust formation and soiling process on historical buildings from the Bilbao metropolitan area (north of Spain) using SEM-EDS and Raman microscopy

In the present work, several building materials suffering from black crusts and soiled surfaces were evaluated by scanning electron microscopy energy dispersive X-ray spectrometry (SEM-EDS) and micro-Raman spectroscopy. The goal was to examine the elemental and molecular composition, the distribution on the samples, and the morphology of endogenous and exogenous compounds on those black crusts and soiled surfaces. The black crusts were deposited over different building materials such as limestone, sandstone, and brick that constitute a small construction called "malacate" as well as over a limestone substrate of a cemetery gate. Both constructions are dated back to the beginning of the twentieth century. The samples of soiling were taken from the façade of a building constructed in the 1980s. The analytical evaluation allowed in a first stage the determination of the composition and the observation of the morphology of soiling and black crusts. In addition, the evaluation of the compositions of the soiling and black crusts of different grade and formation allowed the assessment of the main weathering phenomena that the buildings have suffered, which were found to be sulfate impact, marine aerosol impact, depositions of metallic particles, crustal particulate matter depositions, carbonaceous particles, biodeterioration, and vandalism.

Removal of vanadium from industrial wastewater using iron sorbents in batch and continuous flow pilot systems

This study investigated the removal of vanadium from real industrial wastewater by using six iron materials: commercial iron sorbent (CFH-12), commercial mineral sorbent (AQM), blast furnace sludge (BFS), steel converter sludge (SCS), ferrochrome slag (FeCr) and slag from a steel foundry (OKTO). Batch tests revealed that CFH-12 (ferric oxyhydroxide) removed vanadium most efficiently, which was explained by its high iron content and the amorphous form of the iron, and that the sorption followed the Langmuir isotherm. With a dosage of 10 g/l and an initial vanadium concentration of 58.2 mg/l, 91-94% removal rates for vanadium were achieved in the studied pH range (3-9). Other sorbents showed significantly lower efficiency than CFH-12, with the exception of BFS at acidic pH (93%). Based on the batch test results, CFH-12 was selected for a pilot study made on site. The pilot study demonstrated the feasibility of CFH-12 to remove vanadium at high temperature (80 °C) from concentrated industrial wastewater with fluctuating water quality (vanadium concentration varied from 51 to 83 mg/l, pH about 9 (at 25 °C)). Leaching of impurities (mainly S, Ca, Mg and K) into the effluent occurred during the first day, but subsequently good quality effluent was produced (e.g. <0.1 mg/l V). During the pilot study, the amorphous iron material of CFH-12 was crystallized into a hematite-like phase (Fe_1.67 H_0.99 O₃), and goethite (FeO(OH)) with a higher average pore diameter, probably due to the hot process conditions to which CFH-12 was exposed for over five days.

Fat residue and use-wear found on Acheulian biface and scraper associated with butchered elephant remains at the site of Revadim, Israel

The archaeological record indicates that elephants must have played a significant role in early human diet and culture during Palaeolithic times in the Old World. However, the nature of interactions between early humans and elephants is still under discussion. Elephant remains are found in Palaeolithic sites, both open-air and cave sites, in Europe, Asia, the Levant, and Africa. In some cases elephant and mammoth remains indicate evidence for butchering and marrow extraction performed by humans. Revadim Quarry (Israel) is a Late Acheulian site where elephant remains were found in association with characteristic Lower Palaeolithic flint tools. In this paper we present results regarding the use of Palaeolithic tools in processing animal carcasses and rare identification of fat residue preserved on Lower Palaeolithic tools. Our results shed new light on the use of Palaeolithic stone tools and provide, for the first time, direct evidence (residue) of animal exploitation through the use of an Acheulian biface and a scraper. The association of an elephant rib bearing cut marks with these tools may reinforce the view suggesting the use of Palaeolithic stone tools in the consumption of large game.

Applicability of a Diffuse Reflectance Infrared Fourier Transform handheld spectrometer to perform in situ analyses on Cultural Heritage materials

This work studies the applicability of a Diffuse Reflectance Infrared Fourier Transform handheld device to perform in situ analyses on Cultural Heritage assets. This portable diffuse reflectance spectrometer has been used to characterise and diagnose the conservation state of (a) building materials of the Guevara Palace (15th century, Segura, Basque Country, Spain) and (b) different 19th century wallpapers manufactured by the Santa Isabel factory (Vitoria-Gasteiz, Basque Country, Spain) and by the well known Dufour and Leroy manufacturers (Paris, France), all of them belonging to the Torre de los Varona Castle (Villanañe, Basque Country, Spain). In all cases, in situ measurements were carried out and also a few samples were collected and measured in the laboratory by diffuse reflectance spectroscopy (DRIFT) in order to validate the information obtained by the handheld instrument. In the analyses performed in situ, distortions in the diffuse reflectance spectra can be observed due to the presence of specular reflection, showing the inverted bands caused by the Reststrahlen effect, in particular on those IR bands with the highest absorption coefficients. This paper concludes that the results obtained in situ by a diffuse reflectance handheld device are comparable to those obtained with laboratory diffuse reflectance spectroscopy equipment and proposes a few guidelines to acquire good spectra in the field, minimising the influence caused by the specular reflection.

Ochres and earths: matrix and chromophores characterization of 19th and 20th century artist materials

The present paper describes the main results obtained from the characterization of a wide range of natural and synthetic ochre samples used in Portugal from the 19th to the 20th century, including powder and oil painting samples. The powder ochre samples came from several commercial distributors and from the collection of Joaquim Rodrigo (1912-1997), a leading Portuguese artist, particularly active during the sixties and seventies. The micro-samples of oil painting tubes came from the Museu Nacional de Arte Contemporânea-Museu do Chiado (National Museum of Contemporary Art-Chiado Museum) in Lisbon and were used by Columbano Bordalo Pinheiro (1857-1929), one of the most prominent naturalist Portuguese painters. These tubes were produced by the main 19th century colourmen: Winsor & Newton, Morin et Janet, Maison Merlin, and Lefranc. The samples have been studied using μ-Fourier Transform Infrared Spectroscopy (μ-FTIR), Raman microscopy, μ-Energy Dispersive X-ray fluorescence (μ-EDXRF), and X-ray diffraction (XRD). The analyzed ochres were found to be a mixture of several components: iron oxides and hydroxides in matrixes with kaolinite, gypsum and chalk. The results obtained allowed to identify and characterize the ochres according to their matrix and chromophores. The main chromophores where identified by Raman microscopy as being hematite, goethite and magnetite. The infrared analysis of the ochre samples allowed to divide them into groups, according to the composition of the matrix. It was possible to separate ochres containing kaolinite matrix and/or sulfate matrix from ochres where only iron oxides and/or hydroxides were detected. μ-EDXRF and Raman were the best techniques to identify umber, since the presence of elements such as manganese is characteristic of these pigments. μ-EDXRF also revealed the presence of significant amounts of arsenic in all Sienna tube paints.

Composition of prehistoric rock-painting pigments from Egypt (Gilf Kébir area)

The composition of rock-painting pigments from Egypt (Gilf Kebia area) has been analyzed by means of molecular spectroscopy such as Fourier transform infrared and micro-Raman spectroscopy and scanning electron microscopy coupled to an energy dispersive X-ray spectrometer and X-ray fluorescence analysis. Red and yellow pigments were recognized as red and yellow ochre with additional rutile.

Application of photoacoustic infrared spectroscopy in the forensic analysis of artists' inorganic pigments

Fourier-transform photoacoustic infrared (PAIR) spectroscopy has been used in the analysis of 12 inorganic pigments commonly in use by artists today, viz., cobalt blue, ultramarine blue, Prussian blue, azurite, malachite, chromium oxide, viridian, cadmium yellow, chrome yellow, iron oxide, yellow ochre and Mars orange. The authenticity of these 12 commercial pigments was first established by recording their Raman spectra. The subsequent PAIR spectra were highly reproducible and matched well in the mid-IR region with previously published data for these pigments. A number of additional overtone and combination bands were also detected that will prove useful in the identification of the pigments in the future. The PAIR technique is a promising and reliable method for the analysis of inorganic pigments, especially since it involves much simpler preparation than is required for conventional IR measurements.

Argentinean prehistoric pigments' study by combined SEM/EDX and molecular spectroscopy

Composition of the prehistoric pigments' (from Carriqueo rock shelter, Rio Negro province, Argentina) has been analysed by means of molecular spectroscopy (Fourier transform infrared (FTIR) and micro-Raman) and scanning electron microscopy (SEM) coupled to an energy-dispersive X-ray spectrometer (EDS). Red and yellow pigments were recognized as red and yellow ochre. The matrix of the pigments is composed of one or more substances. According to the matrix composition yellow and red pigments were also divided into two groups-i.e. those containing kaolinite or sulphates. Green pigment was detected as green earth, made up of celadonite as a chromophore.

ATR-FT-IR spectroscopy in the region of 550-230 cm(-1) for identification of inorganic pigments

A comprehensive study of ATR-FT-IR spectra of 40 inorganic pigments of different colours widely used in historical paintings has been carried out in the low wave number spectral range (550-230 cm(-1)). The infrared spectra were recorded from mixtures of pigment and linseed oil. It is demonstrated that this spectral range - essentially devoid of absorption peaks of the common binder materials - can be well used for identification of inorganic pigments in paint samples thereby markedly extending the possibilities of pigment identification/confirmation by ATR-IR spectroscopy into the realm of pigments having no absorptions in the mid-IR region. In some cases the method can be used alone for pigment identification and in many cases it provides useful additional evidence for pigment identification using other instrumental techniques (electron microprobe analysis, XRF, optical microscopy). Together with earlier work this study provides a comprehensive overview of the pigment identification possibilities using ATR-FT-IR as well as a collection of reference spectra and is expected to be a useful reference for conservation practitioners.

Green pigments of the Pompeian artists' palette

Green colored samples on wall paintings and green powder from a pigment pot found in Pompeii area are investigated by micro-Raman, FT-IR and, for one sample, SEM-EDX. To obtain the green color, green earths and malachite were used, together with mixture of Egyptian blue and yellow ochre. The mineralogical identification of the green earths has been attempted through the comparison of the vibrational features, discriminating between celadonite and glauconite spectra. Traces of a modern synthetic pigment containing copper phthalocyanine were found in a fresco fragment.