Influence of pigments and protein aging on protein identification in historically representative casein-based paints using enzyme-linked immunosorbent assay.

A systematic study on the influence of pigments and sample aging on casein identification was performed on 30 reconstructed paints. The protein in all the paints was extracted into solution for analysis. The amount of protein that can be retrieved for solution-based analysis in each of the reconstructed paints was studied with a well-developed NanoOrange method before and after artificial aging. The results showed that in the paints with calcium phosphate (in bone black) and copper carbonate, hydroxide, or acetate (in verdigris and azurite), the amount of protein that can be retrieved for liquid-phase analysis is much smaller than the other paints, indicating that the protein degradation was accelerated significantly in those paints. Carbon (in vine black), calcium carbonate (in natural chalk), and calcium sulfate (terra alba gypsum and ground alabaster) did not affect much the amount of protein that can be retrieved in the paints compared to non-pigmented binder, meaning that the protein degradation rate was not affected much by those pigments. Artificial aging was observed to decrease the amount of retrievable protein in all the reconstructed paints that were studied. The enzyme-linked immunosorbent assay (ELISA) method was applied to the 28 reconstructed paints (except two verdigris paints) to assess the protein identification. The ELISA responses from the different paints were compared at fixed protein concentrations. Natural chalk, bone black, raw sienna, stack lead white, and cochineal red-violet lake had the lowest ELISA signal in this study, which indicated that the binding sites (epitopes) on the target protein in these paints are likely to deteriorate more than those in the other paints. Artificial aging did not influence the ELISA response as much as the pigments when the protein concentration was kept the same for the paints that were studied.

New insight from MALDI-TOF MS and multivariate data analysis on the botanical origin of polysaccharide-based paint binders in ancient Egypt.

Polysaccharide-based materials of plant origin are known to have been used as binding media in paint and ground layers of artifacts from ancient Egypt, including wall paintings, cartonnages and sarcophagi. The use of gums from Acacia, Astragalus and Prunus genera has been suggested in the literature on the basis of their qualitative or quantitative monosaccharide profile after complete chemical hydrolysis. The introduction of partial enzymatic digestion of the polysaccharide material, followed by analysis of the released oligosaccharides by matrix assisted laser desorption ionization-time-of-flight mass spectrometry, has proved effective in discriminating among gums from different genera, as well as among species within the Acacia genus. In this study, the previously built Acacia database was expanded, principal component analysis (PCA) was used to aid in grouping of the samples, and data interpretation was refined following a modified acacieae taxonomy. Application of the analytical strategy to investigate the paint binders in artworks from ancient Egypt allowed qualitative discrimination of gums at a species level, and provided new insights into the artists' material choices.

Black surfaces on ancient leather tefillin cases and straps from the Judean Desert: Macroscopic, microscopic and spectroscopic analyses.

Tefillin are Jewish ritual artifacts consisting of leather cases, containing inscribed slips, which are affixed with leather straps to the body of the tefillin practitioner. According to current Jewish ritual law, the tefillin cases and straps are to be colored black. The present study examines seventeen ancient tefillin cases discovered among the Dead Sea Scrolls in caves in the Judean Desert. All seventeen cases display grain surfaces with a very dark, nearly black appearance. We start with a hypothesis that the cases were intentionally colored black in antiquity using either a carbon-based or iron-gall-based paint or dye. The aim of this study is to test this hypothesis by subjecting these tefillin cases to a battery of examinations to assess the presence of carbon and iron used as pigments, and of organic materials which may have been used as binding agents in a paint. The tests deployed are: (1) macroscopic and microscopic analyses; (2) multispectral imaging using infrared wavelengths; (3) Raman spectroscopy; (4) Fourier transform infrared spectroscopy (FTIR); and (5) scanning electron microscope (SEM) and energy dispersive X-ray (EDX) spectroscopy. The results of these tests found no traces of carbon-based or iron-gall-based pigments, nor of organic compounds which may have served as binders in a paint. These results suggest that our posited hypothesis is unlikely. Instead, results of the SEM examination suggest it more likely that the black color on the surfaces of the tefillin cases is the result of natural degradation of the leather through gelatinization. The Judean Desert tefillin likely represent tefillin practices prior to when the rabbinic prescription on blackening tefillin was widely practiced. Our study suggests that the kind of non-blackened tefillin which the later rabbis rejected in their own times may well have been quite common in earlier times.

Sub-surface terahertz imaging through uneven surfaces: visualizing Neolithic wall paintings in Çatalhöyük.

Pulsed terahertz imaging is being developed as a technique to image obscured mural paintings. Due to significant advances in terahertz technology, portable systems are now capable of operating in unregulated environments and this has prompted their use on archaeological excavations. August 2011 saw the first use of pulsed terahertz imaging at the archaeological site of Çatalhöyük, Turkey, where mural paintings dating from the Neolithic period are continuously being uncovered by archaeologists. In these particular paintings the paint is applied onto an uneven surface, and then covered by an equally uneven surface. Traditional terahertz data analysis has proven unsuccessful at sub-surface imaging of these paintings due to the effect of these uneven surfaces. For the first time, an image processing technique is presented, based around Gaussian beam-mode coupling, which enables the visualization of the obscured painting.

Capturing their best side? Did the advent of the camera influence the orientation artists chose to paint and draw in their self-portraits?

When posing for a portrait people tend to offer the left cheek; however self-portraits typically depict right cheek poses. Why? If the right cheek bias for self-portraits results from artists offering their left cheeks to a mirror, then right cheek self-portraits should become increasingly infrequent following the introduction of affordable cameras. The present study was thus designed to determine whether orientation changed as a function of the date of composition by examining 1193 self-portraits from 24 international galleries. Self-portraits were split into seven groups by date: Group 1 Pre-camera: 1452-1539 (N=25); Group 2 Pre-camera: 1540-1639 (N=65); Group 3 Pre-camera: 1640-1739 (N=61); Group 4 Pre-camera: 1740-1839 (N=141); Group 5 Early cameras: 1840-1887 (N=235); Group 6 Kodak cameras: 1888-1935 (N=411); and Group 7 Cameras popularly adopted: 1936-2008 (N=255). Consistent with prediction, results confirmed that the right cheek bias in self-portraits changed over time, from 61.6% of pre-camera portraits (1452-1839), to 43.2% of post-camera portraits (1840-2008). Although the decrease in right cheek pose frequency did correspond with an increase in left cheek poses (1452-1839 mean 32.9% vs 1840-2008 mean 39.8%), the greatest proportional change since the introduction of the camera was the frequency of midline poses, climbing from 4% of 1452-1539 portraits, to 31.5% of 1936-2008 portraits. Thus these data imply that the availability of affordable cameras might have influenced self-portrait posing biases.

Micro-spectroscopic study of late 19th-early 20th century tube paints.

Many issues in the conservation of paintings from the early modern period are still unresolved due to lack of information on paints from the late 19th and early 20th centuries, in particular their production, formulations, and later degradation processes. The inconsistency of the names that paint manufacturers chose for their products furthermore compounds the challenges faced by conservators and chemists wishing to study them. This paper addresses a number of these issues through investigations of commercial tube oil paints from a paint box owned by the Norwegian painter Harriet Backer (1845-1932). Samples were analyzed using a multi-instrumental approach. Micro-attenuated total reflection Fourier transform infrared spectroscopy and micro-Raman spectroscopy - supported by micro-X-ray powder diffraction - allowed the identification of binders, pigments, and extenders. The data highlight the use of materials that were new at the time and not reported in the manufacturer's catalog. Furthermore, zinc stearate has been detected for the first time. Its detection and the absence of any zinc-based pigments confirms that zinc stearate was already used as dispersing agent in paint formulations at that time.

Archaeometric studies on rock art at four sites in the northeastern Great Basin of North America.

Rock art originated some 46,000 years ago and can provide unique insights into the minds of our human ancestors. However, dating of these ancient images, especially of petroglyphs, remains a challenge. In this study, we explore the potential of deriving age estimates from measurements of the areal densities of manganese (DMn) and iron (DFe) in the rock varnish on petroglyphs, based on the concept that the amount of varnish that has regrown on a petroglyph since its creation, relative to the surrounding intact varnish, is a measure of its age. We measured DMn and DFe by portable X-ray fluorescence (pXRF) on dated Late Pleistocene and Holocene rock surfaces, from which we derived accumulation rates of Mn and Fe in the rock varnish. The observed rates were comparable to our previous findings on basalt surfaces in North America. We derived age estimates for the rock art at four sites in the northern Great Basin region of North America based on DMn measurements on the petroglyphs and intact varnish. They suggest that rock art creation in this region began around the Pleistocene/Holocene transition and continued into the Historic Period, encompassing a wide range of styles and motifs. Evidence of reworking of the rock art at various times by Indigenous people speaks of the continued agency of these images through the millennia. Our results are in good agreement with chronologies based on archeological and other archaeometric techniques. While our method remains subject to significant uncertainty with regard to the absolute ages of individual images, it provides the unique opportunity to obtain age estimates for large ensembles of images without the need for destructive sampling.

Identification of animal glue species in artworks using proteomics: application to a 18th century gilt sample.

This study proposes a proteomic-based strategy for the identification of the origin species of glues used as binding media and adhesives in artworks. The methodology, based on FTICR high resolution mass spectrometry, was evaluated on glues from different animal origin (i.e., bovine, rabbit, and fish). The analysis of the peptide mixture resulting from the enzymatic hydrolysis of the proteins led to the identification of species-specific peptides. Up to 15 specific peptides were identified for the bovine species and three for the rabbit species and, in the case of sturgeon glue, three fish-specific peptides were found by sequence homology to the rainbow trout. Then, the method was applied to authenticate different rabbit skin glue samples, including a 100 year-old sample named "Colle à Doreurs" coming from the "Maison Totin-Frères". For this sample, two specific peptides of rabbit collagen were identified. To evaluate the method in a complex matrix, model paints composed of lead white, linseed oil, and animal glue were prepared. Species-specific peptides were identified in each paint sample. Finally, a gilt sample from St Maximin church dating from the eighteenth century was analyzed, and 13 peptides specific to bovine collagens were identified starting from very low sample amount (50 µg).

Classification of protein binders in artist's paints by matrix-assisted laser desorption/ionisation time-of-flight mass spectrometry: an evaluation of principal component analysis (PCA) and soft independent modelling of class analogy (SIMCA).

Proteomics techniques are increasingly applied for the identification of protein binders in historical paints. The complex nature of paint samples, with different kinds of pigments mixed into, and degradation by long term exposure to light, humidity and temperature variations, requires solid analysis and interpretation methods. In this study matrix-assisted laser desorption/ionisation time-of-flight (MALDI-TOF) mass spectra of tryptic-digested paint replicas are subjected to principal component analysis (PCA) and soft independent modelling of class analogy (SIMCA) in order to distinguish proteinaceous binders based on animal glues, egg white, egg yolk and milk casein from each other. The most meaningful peptide peaks for a given protein class will be determined, and if possible, annotated with their corresponding amino acid sequence. The methodology was subsequently applied on egg temperas, as well as on animal glues from different species. In the latter small differences in the MALDI-TOF mass spectra can allow the determination of a mammal or sturgeon origin of the glue. Finally, paint samples from the 16(th) century altarpiece of St Margaret of Antioch (Mlynica, Slovakia) were analysed. Several expected peaks are either present in lower abundance or completely missing in these natural aged paints, due to degradation of the paints. In spite of this mammalian glue was identified in the St Margaret samples.

Development of a nondestructive method for underglaze painted tiles--demonstrated by the analysis of Persian objects from the nineteenth century.

The paper presents an analytical method developed for the nondestructive study of nineteenth-century Persian polychrome underglaze painted tiles. As an example, 9 tiles from French and German museum collections were investigated. Before this work was undertaken little was known about the materials used in pottery at that time, although the broad range of colors and shades, together with their brilliant glazes, made these objects stand out when compared with Iranian ceramics of the preceding periods and suggested the use of new pigments, colorants, and glaze compositions. These materials are thought to be related to provenance and as such appropriate criteria for art-historical attribution. The analytical method is based on the combination of different nondestructive spectroscopic techniques using microfocused beams such as proton-induced X-ray emission/proton-induced gamma-ray emission, X-ray fluorescence, 3D X-ray absorption near edge structure, and confocal Raman spectroscopy and also visible spectroscopy. It was established to address the specific difficulties these objects and the technique of underglaze painting raise. The exact definition of the colors observed on the tiles using the Natural Color System helped to attribute them to different colorants. It was possible to establish the presence of Cr- and U-based colorants as new materials in nineteenth-century Persian tilemaking. The difference in glaze composition (Pb, Sn, Na, and K contents) as well as the use of B and Sn were identified as a potential marker for different workshops.

Breaking sod or breaking even? Flax on the northern Great Plains and Prairies, 1889-1930.

A new thirst for paint and color in cities made extensive flax production profitable in the northern Great Plains and Prairies and contributed to the cultivation of the most fragile grassland ecosystems. The production of flax seed for linseed oil became an early spin-off of the Prairie wheat economy but, unlike wheat, flax vanished from old land after one or two rotations and reappeared in districts with the most new breaking. Officials explained the migrant crop as preparing native grasslands for cultivation or exhausting soil in old land, but farmers brought flax to their new breaking for other reasons. Producers would only put flax on any land when a range of economic and environmental conditions were in place. It was never sown without promise of adequately high prices or in the absence of affordable seed and other inputs. When price allowed, it usually appeared on new breaking because it could be planted later and transported further without upsetting the balance of other activities and without farmers learning many new techniques. Scientists discovered that diseased soil drove flax off old land, not soil exhaustion. Circumventing the disease was possible but costly, and farmers simply replaced flax with the next most lucrative commodity.

Arthur Rimbaud: "The Man with Wind Soles" - Riders' Osteosarcoma with Postamputation Stump Pain.

The famous poet Arthur Rimbaud (1854-1891) stopped writing poetry at 21 years and subsequently had a rather adventurous life mainly in the Arabic peninsula and Ethiopia. He died at 37 years, only a few months after the amputation of his right lower limb due to a developing tumor in the knee, which probably was an osteosarcoma in the lower third of the femur. His letters to his sister Isabelle suggest that he suffered from severe stump pain rather than phantom limb, but since he lived only shortly after surgery (he developed extensive carcinomatosis), one does not know whether a full phantom would have developed and how this would have affected his subsequent life.

Portable Raman, DRIFTS, and XRF Analysis to Diagnose the Conservation State of Two Wall Painting Panels from Pompeii Deposited in the Naples National Archaeological Museum (Italy).

This work presents a methodology that combines spectroscopic speciation, performed through portable Raman spectroscopy, diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS), and energy dispersive X-ray fluorescence spectrometry (ED-XRF) working in situ, and thermodynamic speciation to diagnose the environmental impacts, induced by past and current events, on two wall painting panels (Nos. 9103 and 9255) extracted more than 150 years ago from the walls of a Pompeian house (Marcus Lucretius House, Regio IX, Insula 3, House 5/24) and deposited in the Naples National Archaeological Museum (MANN). The results show a severe chemical attack of the acid gases that can be explained only by the action of H2S during and just after the eruption of the Vesuvius volcano, that expelled a high concentration of sulfur gases. This fact can be considered as the most important process impacting the wall painting panels deposited in the museum, while the rain-wash processes and the colonization of microorganisms have not been observed in contrast to the impacts shown by the wall paintings left outside in the archaeological site of Pompeii. Moreover, the systematic presence of lead traces and strontium in both wall paintings suggests their presence as impurities of the calcite mortars (intonacco) or calcite binder of these particular fresco Pompeian murals.

Raman spectroscopic analysis of the Maya wall paintings in Ek'Balam, Mexico.

Raman spectroscopy has been applied to the examination of wall painting fragments from the archaeological site of Ek'Balam (Yucatán, Mexico). Thirty-three samples have been studied, all originating from room 23 of the Acropolis, and being representative of the painting technique at Ek'Balam during the late Classic Maya period. Several pigments such as haematite, calcite, carbon, cinnabar and indigo were identified in these samples. The latter pigment was presumed to be present as 'Maya blue', which is an intercalation product of indigo and palygorskite clay. The observed Raman spectra are reported and some band assignments have been made. This survey is the first Raman spectroscopic examination of a whole set of pigments in archaeological Maya wall painting fragments.

Temperature-related degradation and colour changes of historic paintings containing vivianite.

Temperature-related degradation of pure synthetic as well as partly oxidised natural vivianite has been studied by high-temperature X-ray diffraction (HT-XRD) covering the whole extent of the temperature-related stability of its structure. While temperatures around 70°C are already damaging to vivianite, exposition to 160°C results in complete amorphisation of both the vivianite and its oxidation products. As indicated by Mössbauer spectroscopy, temperature-induced oxidation of vivianite starts at 90°C. To study the occurring structural as well as accompanying colour changes in more detail, model vivianite paint layer samples with different historic binders were prepared and subjected to increased temperatures. Exposition to 80°C caused pronounced colour changes of all the samples: ground natural blue vivianite became grey--a colour change which has been described in actual works of art. Regarding the binders, the oil seemed to facilitate the transfer of heat to vivianite's grains. To simulate conditions of conservation treatment under which the painting is exposed to increased temperatures, oil-on-canvas mock-ups with vivianite were prepared and relined in a traditional way using iron. The treatment affected preferentially larger grains of vivianite; the micro-samples documented their change to grey, and their Raman spectra showed the change from vivianite to metavivianite.

A Milk and Ochre Paint Mixture Used 49,000 Years Ago at Sibudu, South Africa.

Gas chromatography/mass spectrometry, proteomic and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM/EDS) analyses of residue on a stone flake from a 49,000 year-old layer of Sibudu (South Africa) indicate a mixture of ochre and casein from milk, likely obtained by killing a lactating wild bovid. Ochre powder production and use are documented in Middle Stone Age South African sites but until now there has been no evidence of the use of milk as a binder. Our analyses show that this ochre-based mixture was neither a hafting adhesive nor a residue left after treating animal skins, but a liquid mixture consisting of a powdered pigment mixed with milk; in other words, a paint medium that could have been applied to a surface or to human skin. The significance of our finds also lies in the fact that it establishes the antiquity of the use of milk as a binder well before the introduction of domestic cattle in South Africa in the first millennium AD.

Raman spectroscopic study of "The Malatesta": a Renaissance painting?

Raman spectroscopic analysis of the pigments on an Italian painting described as a "Full Length Portrait of a Gentleman", known also as the "Malatesta", and attributed to the Renaissance period has established that these are consistent with the historical research provenance undertaken earlier. Evidence is found for the early 19th Century addition of chrome yellow to highlighted yellow ochre areas in comparison with a similar painting executed in 1801 by Sir Thomas Lawrence of John Kemble in the role of Hamlet, Prince of Denmark. The Raman data are novel in that no analytical studies have previously been made on this painting and reinforces the procedure whereby scientific analyses are accompanied by parallel historical research.

Pigment characterization of important golden age panel paintings of the 17th century.

Samples were obtained from two world-famous 17th century panel paintings of the Gdansk school of panting: 'Seven Acts of Charity' (1607, in St. Mary's Church in Gdansk, Poland) by Anton Möller and 'Angelic Concert' (1611, in Diocesan Museum in Pelplin, Poland) by Hermann Han. Micro-Raman spectroscopy (MRS), optical microscopy (OM), and X-ray fluorescence (XRF) spectroscopy studies of the samples were performed to characterize the pigments present in the individual painting layers (a rich palette of white, black, blue, red, and yellow pigments) and the pictorial techniques used by the artists.

Raman spectroscopic signatures of the yellow and ochre paints from artist palette of J. Matejko (1838-1893).

The Raman and complementary spectroscopic analyses were performed using the exceptional possibility of research on the XIX c. original paint materials of the artist palette of J. Matejko stored in the National Museum in Cracow. The yellow and ochre-based paints characteristic for Matejko's workshop and selected from the ensemble of 273 labelled tubes (brand of R. Ainé/Paris) supplied during the period of 1880-1893 were investigated. Highly specific Raman spectra were obtained for paints containing mixtures of the Zn- and Sn-modified Pb-Sb pigment, and also for the ochre-based ones. A clear pigment discrimination of the mixture of cadmium yellow (CdS), cinnabar (HgS) and lead white (2PbCO3⋅Pb(OH)2) was possible by means of Raman data collected under different excitations at 514 nm and 785 nm. It was shown that the Raman spectra complemented by the XRF, SEM-EDX and in some cases also by the LIPS and FTIR data ensure reliable pigment identification in multi-component paints containing secondary species and impurities. The reported spectral signatures will be used for non-destructive investigation of the collection of about 300 oil paintings of J. Matejko. In view of the comparative research on polish painting which point out that richness of modified Naples yellows clearly distinguish Matejko's artworks from other ones painted in the period of 1850-1883, the Raman data of these paints can provide support in the authentication studies.