Spanish and Portuguese Gilding Threads: Characterization Using Microscopic Techniques.

Gilding threads collected from Spanish and Portuguese palaces and from the embroideries and adornments of sculptures of the Virgin and Christ that form part of Sevillian Holy Week were analyzed and compared (20 artifacts were evaluated). The study covered a broad time period with examples from the 13th to 14th centuries, 18th to 20th centuries, and also including modern embroideries. A combination of scanning electron microscopy and energy-dispersive X-ray spectroscopy was used. The knowledge of the layered structures of the threads has provided very valuable information regarding the manufacturing techniques. The different metal threads found in the embroidery studied consisted of gold, silver, copper, and alloys of these metals and aluminium. The fabrication procedures often differed in the different workshops and changed with time. In the modern embroideries, a decrease of precious metal concentration was detected. The threads were wound around a core of silk threads.

Sonication induced redox reactions of the Ojén (Andalucía, Spain) vermiculite.

Sonication in a 1:1 mixture (volume ratio) of water and concentrated H(2)O(2) (30%) is a soft method for particle size reduction of phyllosilicate minerals like vermiculites. Repeated sonication causes a particle size reduction to about 70 nm for the Santa Olalla and to 45 nm for the Ojén-vermiculite. In this context the question arises whether the strong oxidising effect of the hydrogen peroxide affects the oxidation state of the iron in the vermiculites. Therefore, the Fe(3+)/Fe(total) ratio before and after sonication was determined by means of Mössbauer spectroscopy. Whereas this ratio was found to remain almost constant in the Santa Olalla vermiculite, it increased from 0.79 to 0.85 in case of the Ojén sample. In the latter case, the oxidation is accompanied by a decrease of the layer charge. Surprisingly, sonication in pure water leads to a decrease of the Fe(3+)/Fe(total) ratio in the case of the Ojén-vermiculite, i.e., to an increase of the Fe(2+) fraction to roughly twice the value before sonication. Again the Fe(3+)/Fe(total) ratio of the Santa Olalla vermiculite remains unchanged. The surface area S(BET) of the reduced Ojén-vermiculite amounts to 50 m(2)/g, which is close to the value obtained in the presence of hydrogen peroxide. The results presented should be taken as a warning that particle size reduction by sonication may be accompanied by a change of the redox state and the layer charge of the material.

Laboratory multi-technique study of Spanish decorated leather from the 12th to 14th centuries.

This work comprises an exhaustive study of Spanish decorative leathers dating from the 12th to 14th centuries. These paintings are considered a key example of a crucible of artistic styles: Gothic, Islamic and Florentine Trecento. The goal of this work was to use the scientific information provided by a number of experimental techniques - namely EDX, micro-FTIR, micro-Raman and micro-XRD - to assess the dating of the wooden vault, leather preparation and filling fibres. Another goal was to assess the artistic technique based on the characterization of pigments and the differentiation between original materials and those added throughout its history. Gypsum was the original preparation layer extended over the leather. A new preparation stratum was added in further interventions with the artwork. The original pictorial materials and those used during refurbishments have been identified. Original pigments were: red lead, Mars red, red lake, cinnabar, lapis lazuli, red ochres, raw sienna, white lead and charcoal black. Gilding was also found. Pigments added during restoration were: barite, emerald green, rutile, anatase, Mars red, cadmium red, lithopone, cadmium yellow, charcoal black and orpiment.

A new approach to the determination of the synthetic or natural origin of red pigments through spectroscopic analysis.

This work suggests a way of differentiation between the natural or synthetic origin of inorganic materials that were historically used in the Cultural Heritage field. An exhaustive review of different reported procedures of synthesis of pigments was conducted, as well as a review of the accompanying minerals in case of natural pigments. The natural or synthetic origin of the pigments studied in this work was performed through the characterization of the accompanying minerals, in the case of the natural pigments, or the trace elements that are present as part of synthesis by-products or washing/purifying reagents and/or reactants that have only been partly removed in the final steps of these processes. This work characterized red pigments due to their wide variety, complexity and possibility of use in different mixtures. The following pigments were studied: cinnabar-vermilion, red lead and iron pigments. Also mixtures of these pigments between them and with red lake were also studied. Natural cinnabar was accompanied by silicon oxide (opal, chalcedony or quartz), calcite, clay minerals and, sometimes, pyrite. K together with S indicated a synthetic pigment (vermilion) obtained through the wet method. Nevertheless, K has not been found in layers containing only vermilion in our samples. The presence of Sn in some cases indicated vermilion that came from the dry process. K from the synthesis always appeared in the red lead pigment. The red natural ochre was confirmed by presence of clay minerals and iron. It should be said that Ca and S, and sometimes Al and K, were usually found in Mars red pigment. The presence of Al and Ca allowed the identification of carmine lake.

Wall paintings studied using Raman spectroscopy: a comparative study between various assays of cross sections and external layers.

This work describes a comparative study between in situ applications of portable Raman spectroscopy and direct laboratory measurements using micro-Raman spectroscopy on the surface of small samples and of cross sections. The study was performed using wall paintings from different sites of the Alcazar of Seville. Little information was obtained using a portable Raman spectrometer due to the presence of an acrylic polymer, calcium oxalate, calcite and gypsum that was formed or deposited on the surface. The pigments responsible for different colours, except cinnabar, were not detected by the micro-Raman spectroscopy study of the surface of small samples taken from the wall paintings due to the presence of surface contaminants. The pigments and plaster were characterised using cross sections. The black colour consisted of carbon black. The red layers were formed by cinnabar and white lead or by iron oxides. The green and white colours were composed of green emerald or atacamite and calcite, respectively. Pb3O4 has also been characterised. The white layers (plaster) located under the colour layers consisted of calcite, quartz and feldspars. The fresco technique was used to create the wall paintings. A wall painting located on a gypsum layer was also studied. The Naples yellow in this wall painting was not characterised due to the presence of glue and oils. This study showed the advantage of studying cross sections to completely characterise the pigments and plaster in the studied wall paintings.

Surface and interlayer structure of vermiculite intercalated with methyl viologen.

Molecular modeling using empirical force field revealed the differences between the surface and interlayer arrangement of the dye guest molecules in vermiculite intercalated with the divalent methyl viologen cation (MV(2+)). Conformation and anchoring of MV(2+) cations on the silicate layer in the interlayer space of vermiculite host structure is different from that on the crystal surface. A preferential position has been found for the anchoring of guests on the silicate layer. Anyway the arrangement of guests in the interlayer space as well as on the crystal surface exhibits a high degree of disorder due to a certain flexibility in guest molecules arrangement and first of all due to the presence of water molecules in the interlayer space. The presence of water disturbs not only the regularity in guest positions and orientations but also in conformation of guest molecules in the interlayer space of the host structure.