Disentangling the chemistry of Australian plant exudates from a unique historical collection.

For thousands of years, the unique physicochemical properties of plant exudates have defined uses in material culture and practical applications. Native Australian plant exudates, including resins, kinos, and gums, have been used and continue to be used by Aboriginal Australians for numerous technical and cultural purposes. A historic collection of well-preserved native Australian plant exudates, assembled a century ago by plant naturalists, gives a rare window into the history and chemical composition of these materials. Here we report the full hierarchical characterization of four genera from this collection, Xanthorrhoea, Callitris, Eucalyptus, and Acacia, from the local elemental speciation, to functional groups and main molecular markers. We use high-resolution X-ray Raman spectroscopy (XRS) to achieve bulk-sensitive chemical speciation of these plant exudates, including insoluble, amorphous, and cross-linked fractions, without the limitation of invasive and/or surface specific methods. Combinatorial testing of the XRS data allows direct classification of these complex natural species as terpenoid, aromatic, phenolic, and polysaccharide materials. Differences in intragenera chemistry was evidenced by detailed interpretation of the XRS spectral features. We complement XRS with Fourier-transform infrared (FT-IR) spectroscopy, gas chromatography­mass spectrometry (GC-MS), and pyrolysis­GC-MS (Py-GC-MS). This multimodal approach provides a fundamental understanding of the chemistry of these natural materials long used by Aboriginal Australian peoples.

Proteomic Characterization of Collagen-Based Animal Glues for Restoration.

Animal glues are widely used in restoration as adhesives, binders, and consolidants for organic and inorganic materials. Their variable performances are intrinsically linked to the adhesive properties of collagen, which determine the chemical, physical, and mechanical properties of the glue. We have molecularly characterized the protein components of a range of homemade and commercial glues using mass spectrometry techniques. A shotgun proteomic analysis provided animal origin, even when blended, and allowed us to distinguish between hide and bone glue on the basis of the presence of collagen type III, which is abundant in connective skin/leather tissues and poorly synthetized in bones. Furthermore, chemical modifications, a consequence of the preparation protocols from the original animal tissue, were thoroughly evaluated. Deamidation, methionine oxidation, and backbone cleavage have been analyzed as major collagen modifications, demonstrating their variability among different glues and showing that, on average, bone glues are less deamidated than hide glues, but more fragmented, and mixed-collagen glues are overall less deamidated than pure glues. We believe that these data may be of general analytical interest in the characterization of collagen-based materials and may help restorers in the selection of the most appropriate materials to be used in conservation treatments.

Conservation Issues of Modern Oil Paintings: A Molecular Model on Paint Curing.

The 20th and 21st century oil paintings are presenting a range of challenging conservation problems that can be distinctly different from those noted in paintings from previous centuries. These include the formation of vulnerable surface "skins" of medium and exudates on paint surfaces, efflorescence, unpredictable water and solvent sensitivity, and incidence of paint dripping which can occur within a few years after the paintings were completed. Physicochemical studies of modern oil paints and paintings in recent years have identified a range of possible causal factors for the noted sensitivity of painting surfaces to water and protic solvents, including the formation of water-soluble inorganic salts and/or the accumulation of diacids at the paint surface, which are oxidation products of the oil binder. Other studies have investigated the relationship between water sensitivity and the degree of hydrolysis of the binder, the proportions of free fatty and dicarboxylic acids formed, as well as the relative content of free metal soaps. Thus far, data indicate that the qualitative and quantitative composition of the nonpolymerized fractions of the oil binder cannot be solely or directly related to the solvent sensitivity of the paint film. Conclusions therefore indicate that the polymeric network, formed upon the curing of the oil, plays a fundamental role, suggesting that water sensitivity, at least in some cases, may be related to the poor development and/or polar nature of the formed polymeric network rather than the composition of the nonpolymerized fractions. Poorly developed polymeric networks, in combination with the migration of polar fractions, i.e., dicarboxylic and hydroxylated fatty acids toward the paint surface, can be related to other degradation phenomena, including the separation and migration of the paint binder which can lead to the presence of observable skins of medium as well as the more alarming phenomenon of liquefying or dripping oil paints. It is thus crucial to understand the molecular composition of these paints and their physicochemical behavior to aid the further development of appropriate conservation and preservation strategies, as the risks currently associated with surface cleaning treatments and other conservation procedures can be unacceptably high. This Account reviews the relationships between the degradation phenomena associated with modern oil paintings and the chemical composition of the oil binder and proposes a molecular model for the development of water sensitivity and other noted degradation phenomena. It is suggested that water sensitivity (and possibly other degradation phenomena) is a consequence of processes that take place upon curing, and in particular to the rate of formation and decomposition of alkoxyl and peroxyl radicals. These reactions are strongly dependent on the type of oil present, the ambient environmental conditions, and the chemical and physical nature of the pigments and additives present in the paint formulation. When the curing environment is oxidizing, the chemistry of peroxyl radicals dominates the reaction pathways, and oxidative decomposition of the paint film overwhelms cross-linking reactions.

Characterization of Degraded Proteins in Paintings Using Bottom-Up Proteomic Approaches: New Strategies for Protein Digestion and Analysis of Data.

Chemical hydrolysis assisted by microwave irradiation has been proposed as an alternative method for the analysis of proteins in highly insoluble matrices. In this work, chemical hydrolysis was applied for the first time to detect degraded proteins from paintings and polychromies. To evaluate the performance of this approach, the number of identified peptides, protein sequence coverage (%), and PSMs were compared with those obtained using two trypsin-based proteomics procedures used for the analysis of samples from cultural heritage objects. It was found that chemical hydrolysis allowed the successful identification of all proteinaceous materials in all paint samples analyzed except for egg proteins in one extremely degraded sample. Moreover, in one sample, casein was only identified by chemical digestion. In general, chemical hydrolysis identified more peptides, more PSM's, and greater sequence coverage in the samples containing caseins, and often also in animal glue, highlighting the great potential of this approach for the rapid digestion and identification of insoluble and degraded proteins from the field of the cultural heritage.

Recent Advances in Analytical Pyrolysis to Investigate Organic Materials in Heritage Science.

The molecular characterization of organic materials in samples from artworks and historical objects traditionally entailed qualitative and quantitative analyses by HPLC and GC. Today innovative approaches based on analytical pyrolysis enable samples to be analysed without any chemical pre-treatment. Pyrolysis, which is often considered as a screening technique, shows previously unexplored potential thanks to recent instrumental developments. Organic materials that are macromolecular in nature, or undergo polymerization upon curing and ageing can now be better investigated. Most constituents of paint layers and archaeological organic substances contain major insoluble and chemically non-hydrolysable fractions that are inaccessible to GC or HPLC. To date, molecular scientific investigations of the organic constituents of artworks and historical objects have mostly focused on the minor constituents of the sample. This review presents recent advances in the qualitative and semi-quantitative analyses of organic materials in heritage objects based on analytical pyrolysis coupled with mass spectrometry.

Evolved Gas Analysis-Mass Spectrometry to Identify the Earliest Organic Binder in Aegean Style Wall Paintings.

An organic binder was identified in the painted fragments from the Canaanite palace of Tel Kabri, Israel. Recently dated to the late 18th century B.C.E. by 14 C, Tel Kabri is the most ancient of the Eastern Mediterranean sites in which Aegean style paintings have been found. The application of pigments was suspected to be using an organic binding medium, particularly for the Egyptian Blue pigment. Samples of blue paint were examined using evolved gas analysis-mass spectrometry (EGA-MS) in order to overcome the analytical challenges imposed by highly degraded aged proteinaceous materials. Egg was identified as the binder based on the presence of hexadecanonitrile and octadecanonitrile, confirming the use of a secco painting technique. Lysozyme C from Gallus gallus was detected by proteomics analysis, confirming the presence of egg. To our knowledge, this is the earliest use of egg as a binder in Aegean style wall paintings.

Terpenoid Oligomers of Dammar Resin.

Dammar is a triterpenoid resin containing a volatile fraction, a monomeric fraction, and a high-molecular weight fraction. Although the low-molecular-weight components comprising sesquiterpenoids and triterpenoids have been extensively studied, the nature of the macromolecular components is still not fully understood, and different and sometimes contradictory theories have been proposed. The aim of this paper is to clarify the nature of the macromolecular components of dammar resin. A multianalytical approach was adopted based on thermoanalytical-thermogravimetric analysis (TGA), and thermogravimetric analysis coupled with Fourier transform infrared spectroscopy (TGA/FTIR)--and mass spectrometric techniques-direct exposure mass spectrometry (DE/MS), pyrolysis coupled to gas chromatography and mass spectrometry (Py/GC/MS), flow injection analysis electrospray ionization mass spectrometry (FIA/ESI/MS), and gas chromatography/mass spectrometry (GC/MS). The data indicate that the oligomeric fraction comprises triterpenoids bound through ester bonds, and that these triterpenoids are the same as those found in the free terpenoid fraction. The oligomeric fraction also includes triterpenoids containing carbonyl moieties, such as formyl groups, thus suggesting that these are involved in the esters in their corresponding enolic form.

Deglycosylation Step to Improve the Identification of Egg Proteins in Art Samples.

A deglycosylation step using Peptide-N-Glycosidase F (PNGaseF) has been introduced in a standard proteomic protocol to more confidently identify egg based binders. The ingenuity of introducing a PNGaseF digestion was aimed at removing the molecular hindrance, made up by the heavily glycosylated egg proteins, before the protease(s) hydrolysis. This novelty in the protocol resulted in obtaining a significant increase of proteolytic egg peptides thus improving the quality and reliability of egg identification in artwork samples. The protocol has been set up on paint replicas and successfully tested on two historical samples of different origin.

The role of organic and inorganic indoor pollutants in museum environments in the degradation of dammar varnish.

This paper investigates the effects of inorganic (NO(2) and O(3)) and volatile organic acid (acetic acid) pollutants on the degradation of dammar varnish in museum environments. Model paint varnish samples based on dammar resin were investigated by Gas Chromatography Mass Spectrometry (GC-MS), Dynamic Mechanical Analysis (DMA) and Atomic Force Microscopy (AFM). Dammar is a natural triterpenoid resin, commonly used as a paint varnish. Samples were subjected to accelerated ageing by different levels of pollutants (NO(2) and O(3) and acetic acid) over a range of relative humidities (RH) and then analysed. The results revealed that as the dose of the pollutant was increased, so did the degree of oxidation and cross-linking of the resin. Most interestingly, it was shown for the first time that exposure to acetic acid vapour resulted in the production of an oxidised and cross-linked resin, comparable to the resin obtained under exposure to NO(2) and O(3). These conclusions were supported by the analyses of model varnishes exposed for about two years in selected museum environments, where the levels of pollutants had been previously measured. Exposures were performed both within and outside the selected microclimate frames for paintings. Results showed that varnishes placed within the microclimate frames were not always better preserved than those exposed outside the frames. For some sites, the results highlighted the protective effects of the frames from outdoor generated pollutants, such as NO(2) and O(3). For other sites, the results showed that the microclimate frames acted as traps for the volatile organic acids emitted by the wooden components of the mc-frames, which damaged the varnish.

A versatile method to fingerprint and compare the oxidative behaviour of lipids beyond their oxidative stability.

In this work we propose the use of isothermal thermogravimetry to evaluate the oxidative stability of a lipid and to evaluate how the glyceride composition affects the entire oxidative process, to quantify the oxidation undertaken by the lipid, and numerically compare the oxidative behaviour of different lipids. The innovative aspect of the present method lies in the acquisition of a prolonged "oxygen uptake" curve (4000-10,000 min) of a lipid under oxygen and in the development of a semi-empirical fitting equation for the experimental data. This provides the induction period (oxidative stability), and allows to evaluate the rate of oxidation, the rate and the magnitude of oxidative degradation, the overall mass loss and the mass of oxygen taken by the lipid upon time. The proposed approach is used to characterize the oxidation of different edible oils with different degrees of unsaturation (linseed oil, sunflower oil, and olive oil) as well as chemically simpler compounds used in the literature to model the autoxidation of vegetable oils and lipids in general: triglycerides (glyceryl trilinolenate, glyceryl trilinoleate and glyceryl trioleate) and methyl esters (methyl linoleate and methyl linolenate). The approach proves very robust and very sensitive to changes in the sample composition.

A holistic view on the role of egg yolk in Old Masters' oil paints.

Old Masters like Botticelli used paints containing mixtures of oils and proteins, but "how" and "why" this was done is still not understood. Here, egg yolk is used in combination with two pigments to evaluate how different repartition of proteinaceous binder can be used to control the flow behavior as well as drying kinetics and chemistry of oil paints. Stiff paints enabling pronounced impasto can be achieved, but paint stiffening due to undesired uptake of humidity from the environment can also be suppressed, depending on proteinaceous binder distribution and colloidal paint microstructure. Brushability at high pigment loading is improved via reduction of high shear viscosity and wrinkling can be suppressed adjusting a high yield stress. Egg acts as antioxidant, slowing down the onset of curing, and promoting the formation of cross-linked networks less prone to oxidative degradation compared to oil alone, which might improve the preservation of invaluable artworks.

The role of early synthetic materials degradation in the downfall of the Ansaldo A.1, an Italian World War I biplane fighter.

From the Pioneer Era of the aviation to World War I the evolution of aircraft technology and chemical synthesis enabled a unique coexistence of traditional craftsmanship, artistic decoration practices, and technological advancements. The study of the materials used in these early years of aviation is still an uncharted territory: a vast portion of remaining planes has been partially or completely repaired and restored, usually by total replacement of the fabric. The Italian biplane Ansaldo A.1 (1918) is a fighter aircraft and is one of the few planes in the world that still preserves its own original materials. In the last years, the fabric sections of the airplane have started to become brittle and loose cohesion, severely compromising the integrity of the aircraft, and resulting in a general alteration of the pictorial layers of the painted sections. A chemical investigation was undertaken to unveil the materials, and to elucidate the causes of the degradation. This study presents one of the first steps into the study of early historical aircrafts, defining the background for the conservation plans to preserve these objects for future generations.

Physico-chemical characterization of protein-pigment interactions in tempera paint reconstructions: casein/cinnabar and albumin/cinnabar.

In this work, we characterized paint reconstructions using ovalbumin and casein as binders, and cinnabar (HgS) as a pigment, before and after artificial ageing. Egg and casein are common paint binders that were used historically in the technique of tempera painting. Despite extensive research on the identification of proteinaceous binders in paintings, there is a substantial lack of knowledge regarding the ageing pathway of their protein content, and their chemical interaction with inorganic pigments. Thermogravimetric analysis, infrared spectroscopy and size-exclusion chromatography (SEC) were used to reveal the physico-chemical processes involved in the ageing of proteins in paintings. Taken together, the three techniques highlighted that proteins are subject to both cross-linking and hydrolysis upon ageing, and to a lesser extent, to oxidation of the side chains. Mercury-protein interactions were also revealed using a cold vapour generation atomic fluorescence spectrometer mercury-specific detector coupled to SEC. The study clearly showed that HgS forms stable complexes with proteins and acts as a sensitizer in cross-linking, hydrolysis and oxidation.

Deamidation at asparagine and glutamine as a major modification upon deterioration/aging of proteinaceous binders in mural paintings.

Proteomic strategies are herein proved to be a complementary approach to the well established amino acid composition analysis for the characterization of the aging and deterioration phenomena occurring to proteinaceous materials in works-of-art. Amino acid analyses on several samples demonstrated that proteins in the frescoes from the Camposanto Monumentale in Pisa are deteriorated as revealed by the decrease in Met, Lys, and Tyr content and by the presence in all the samples of amino malonic acid as a result of Ser, Phe, and Cys oxidation. Proteomic analysis identified deamidation at Asn and Gln as a further major event occurred. This work paves the way to the exploitation of proteomic strategies for the investigation of the molecular effects of aging and deterioration in historical objects. Results show that proteomic searches for deamidation by liquid chromatography-tandem mass spectrometry (LC-MS/MS) could constitute a routine analysis for paintings or any artistic and historic objects where proteins are present. Peptides that can be used as molecular markers when casein is present were identified.

Analytical strategies for characterizing organic paint media using gas chromatography/mass spectrometry.

Throughout history, artists have experimented with a variety of organic-based natural materials, using them as paint binders, varnishes, and ingredients for mordants in gildings. Artists often use many layers of paint to produce particular effects. How we see a painting is thus the final result of how this complex, highly heterogeneous, multimaterial, and multilayered structure interacts with light. The chemical characterization of the organic substances in paint materials is of great importance for artwork conservation because the organic components of the paint layers are particularly subject to degradation. In addition, understanding the organic content and makeup of paint materials allows us to differentiate between the painting techniques that have been used over history. Applying gas chromatography/mass spectrometry (GC/MS) analysis to microsamples of paint layers is widely recognized as the best approach for identifying organic materials, such as proteins, drying oils, waxes, terpenic resins, and polysaccharide gums. The method provides essential information for reconstructing artistic techniques, assessing the best conditions for long-term preservation, and planning restoration. In this Account, we summarize the more common approaches adopted in the study of the organic components of paint materials. Our progress in developing GC/MS analytical procedures in the field of cultural heritage is presented, focusing on problems that arise from (i) the presence of mixtures of many chemically complex and degraded materials, (ii) the interference of inorganic species, (iii) the small size of the samples, and (iv) the risk of contamination. We outline some critical aspects of the analytical strategy, such as the need to optimize specific wet-chemical sample pretreatments in order to separate the various components, hydrolyze macromolecular analytes, clean-up inorganic ions, and derivatize polar molecules for subsequent GC/MS separation and identification. We also discuss how to interpret the chromatographic data so as to be able to identify the materials. This identification is based on the presence of specific biomarkers (chemotaxonomy), on the evaluation of the overall chromatographic profile, or on the quantitative analysis of significant compounds. GC/MS-based analytical procedures have for 20 years provided important contributions to conservation science, but challenges and opportunities still coexist in the field of organic-based paint materials. We give selected examples and provide case studies showing how a better understanding of the chemical composition of organic paint materials and of their degradation pathways contribute to a better knowledge our cultural heritage, and to its preservation for future generations.

The stability of paintings and the molecular structure of the oil paint polymeric network.

A molecular-level understanding of the structure of the polymeric network formed upon the curing of air-drying artists' oil paints still represents a challenge. In this study we used a set of analytical methodologies classically employed for the characterisation of a paint film-based on infrared spectroscopy and mass spectrometry-in combination with solid state NMR (SSNMR), to characterise model paint layers which present different behaviours towards surface cleaning with water, a commonly applied procedure in art conservation. The study demonstrates, with the fundamental contribution of SSNMR, a relationship between the painting stability and the chemical structure of the polymeric network. In particular, it is demonstrated for the first time that a low degree of cross-linking in combination with a high degree of oxidation of the polymeric network render the oil paint layer sensitive to water.

GC/MS analytical procedure for the characterization of glycerolipids, natural waxes, terpenoid resins, proteinaceous and polysaccharide materials in the same paint microsample avoiding interferences from inorganic media.

An innovative GC/MS procedure for the characterization of organic materials in samples from works of art was developed. It is based on a multistep chemical pretreatment of the samples based on the ammonia extraction of proteins and polysaccharide materials, in order to separate them from lipid and resinous materials. The extraction is then followed by the separation and purification of proteinaceous and polysaccharide materials before hydrolysis, based on the use of monolithic sorbent tip technology with a C4 stationary phase. Lipids and resins are saponified/salified separately. Three fractions are generated and analyzed separately by GC/MS, thus enabling a quantitative analysis to be performed on aldoses and uronic acids, amino acids, mono- and dicarboxylic aliphatic acids, to determine polysaccharide, proteinaceous, and glycerolipid materials and molecular pattern recognition for the natural resin and wax components. With this analytical procedure, for the first time, glycerolipids, natural waxes, and proteinaceous, resinous, and polysaccharide materials can be simultaneously characterized in the same microsample from painted works of art. This new analytical approach prevents any analytical difficulties arising when the sample is divided into several different aliquots to be chemically processed separately, in order to characterize the various classes of organic materials. The procedure was successfully applied to samples from paintings from the Bamiyan Buddhas and a panel painting from the 15th century, highlighting the occurrence of glycerolipids, animal and plant resins, proteinaceous and polysaccharide materials.

On the influence of relative humidity on the oxidation and hydrolysis of fresh and aged oil paints.

Modern oil paintings are affected by conservation issues related to the oil paint formulations and to the fact that they are often unvarnished, and in direct contact with the environment. Understanding the evolution of the molecular composition of modern oil paint during ageing, under the influence of environmental factors, is fundamental for a better knowledge of degradation phenomena and risk factors affecting modern art. We investigated for the first time the influence of relative humidity on the chemical composition of modern oil paints during curing and artificial ageing. For this purpose, modern oil paint layers naturally aged for 10 years were further artificially aged in low and high relative humidity conditions. Moreover, the influence of RH% on the curing of fresh paint layers was studied. The paints used in the experiments are from three suppliers (Old Holland, Winsor&Newton, and Talens), and contain cadmium or cadmium zinc sulfide as main pigment. The changes in the composition of extracts of paint samples were investigated by direct electrospray mass spectrometry with a quadrupole-time of flight mass analyser (ESI-Q-ToF). The obtained mass spectral data were interpreted by means of principal component analysis (PCA) operated on a data set containing the relative abundance of ions associated to significant molecules present in the extracts, and also by calculating the ratios between the signals relative to fatty acids, dicarboxylic acids and acylglycerols, related to hydrolysis and oxidation phenomena. The same paint samples were also analysed, in bulk, by pyrolysis gas chromatography mass spectrometry (Py-GC/MS), achieving chemical information on the total lipid fraction. High performance liquid chromatography (HPLC) ESI-Q-ToF was carried out for the characterisation of the profile of free fatty acids (FFA) and acylglycerols, defining the nature of the oils used in the paint formulations, and for the determination of the degree of hydrolysis. This study demonstrated that relative humidity conditions significantly influence the chemical composition of the paints. Ageing under high RH% conditions produced an increase of the formation of dicarboxylic acids compared to ageing under low RH%, for all paints, in addition to a higher degree of hydrolysis, followed by evaporation of free fatty acids.

The role of the polymeric network in the water sensitivity of modern oil paints.

Spectroscopic and mass spectrometric analytical techniques were used to characterise two naturally aged Winsor & Newton (W&N) Winsor Green (phthalocyanine green, PG7) artists' oil colour paint swatches dating to 1993 and 2003. Infrared and Energy Dispersive X-ray (EDX) analysis indicated that the swatches were of closely similar composition, yet the swatch from 2003 was water-sensitive whilst the swatch from 1993 was not. Water-sensitivity is a conservation challenge associated with significant numbers of modern oil paintings and this study aimed to further develop our understanding of the molecular causes of water sensitivity. SEM elemental mapping of samples taken from both swatches provided no indication for the formation of epsomite - a known cause of water sensitivity in some modern oil paintings. Liquid chromatography coupled with mass spectrometry (HPLC-MS) and gas chromatography coupled with mass spectrometry (GC-MS) also revealed very similar qualitative-quantitative composition in terms of unbound and esterified medium fractions. The polymeric network was investigated using analytical pyrolysis. A combination of flash pyrolysis coupled with gas chromatography mass spectrometry (Py-GC-MS) together with evolved gas analysis mass spectrometry (EGA-MS) revealed that the polymeric material was relatively more abundant in the non-water-sensitive paint. This is the first multi-analytical study that has demonstrated a correlation between water-sensitivity and the degree of polymerisation of the oil medium; independent of other known causes of water-sensitivity.

Development of a GC/MS method for the qualitative and quantitative analysis of mixtures of free fatty acids and metal soaps in paint samples.

In this paper we present a new analytical GC/MS method for the analysis of mixtures of free fatty acids and metal soaps in paint samples. This approach is based on the use of two different silylating agents: N,O-bis(trimethylsilyl)trifluoroacetamide (BSTFA) and 1,1,1,3,3,3-hexamethyldisilazane (HMDS). Our experimentation demonstrated that HMDS does not silylate fatty acid carboxylates, so it can be used for the selective derivatization and GC/MS quantitative analysis of free fatty acids. On the other hand BSTFA is able to silylate both free fatty acids and fatty acids carboxylates. The reaction conditions for the derivatization of carboxylates with BSTFA were thus optimized with a full factorial 32 experimental design using lead stearate and lead palmitate as model systems. The analytical method was validated following the ICH guidelines. The method allows the qualitative and quantitative analysis of fatty acid carboxylates of sodium, calcium, magnesium, aluminium, manganese, cobalt, copper, zinc, cadmium, and lead and of lead azelate. In order to exploit the performances of the new analytical method, samples collected from two reference paint layers, from a gilded 16th century marble sculpture, and from a paint tube belonging to the atelier of Edvard Munch, used in the last period of his life (1916-1944), were characterized.