Maximizing the Recycling of Iron Ore Pellets Fines Using Innovative Organic Binders.

This research work focuses on the practicality of using organic binders for the briquetting of pellet fines. The developed briquettes were evaluated in terms of mechanical strength and reduction behavior with hydrogen. A hydraulic compression testing machine and thermogravimetric analysis were incorporated into this work to investigate the mechanical strength and reduction behavior of the produced briquettes. Six organic binders, namely Kempel, lignin, starch, lignosulfonate, Alcotac CB6, and Alcotac FE14, in addition to sodium silicate, were tested for the briquetting of pellet fines. The highest mechanical strength was achieved using sodium silicate, Kempel, CB6, and lignosulfonate. The best combination of binder to attain the required mechanical strength even after 100% reduction was found to be a combination of 1.5 wt.% of organic binder (either CB6 or Kempel) with 0.5 wt.% of inorganic binder (sodium silicate). Upscaling using an extruder gave propitious results in the reduction behavior, as the produced briquettes were highly porous and attained pre-requisite mechanical strength.

Monitoring UV-accelerated alteration processes of paintings by means of hyperspectral micro-FTIR imaging and chemometrics.

We explored the potential of infrared hyperspectral microimages to investigate the alteration of organic binders in pictorial layers after artificial UV light ageing. A set of paint mockups was prepared considering three different binders, namely, rabbit glue (a collagen-based proteinaceous binder), linseed oil (representative of drying oils) and egg tempera (a mixture of egg yolk and linseed oil). Four pigments (vermilion, orpiment, azurite and lead white) were considered in order to investigate the influence of pigment-binder interaction, following color changes by means of fiber optic reflectance spectroscopy (FORS). FTIR micro-images provided a representative picture of the complex and heterogeneous structure of paintings since each pixel contained the whole spectrum of the sample area from it was recorded. Principal component analysis (PCA) was used to analyze the FTIR images data in order to extract useful information about spectral changes taking place during UV induced ageing. Significant trends were observed, mainly depending on the binders and their degradation as a consequence of UV exposition in this pilot study on model samples. Several processes, such as the oxidation of proteins with the formation of carbonyl moieties and changes in amide band positions have been detected in the case of rabbit skin glue. The evaporation of linseed oil, probably due to the breakdown of the triacylglycerols, has been noticed for the binder alone but not when it was mixed with the pigments. In these cases, other spectral features depending on the pigment have been observed in the loading plots upon oxidation, namely the broadening of the carbonyl band, the appearance of carboxylic and dicarboxylic acids and the formation of metal carboxylates. For egg tempera, the main changes detected were related to the oxidation of lipidic components present in egg yolk fraction. Furthermore, in this case, the trend observed in the score graphs suggested that the presence of lead white accelerates its oxidation. It is interesting to note the major stability of the colored pigments when using this binder.

An easily transferable protocol for in-situ quasi-non-invasive analysis of protein binders in works of art.

Proteomic approaches based on mass spectrometry have become increasingly popular for protein binder's identification in works of art. The identification of the binder employed may offer key information on paintings and other polychrome objects and contribute to assess their historical and technical context, also providing useful hints for a proper restoration and/or conservation treatment. Usually, the protocols employed to this purpose are invasive and at least micro sampling is required. Here, we present a simple transferable method for a quasi-non-invasive analysis of binders in artworks based on the use of a very small poly (2-hydroxyethyl methacrylate)/poly (vinylpyrrolidone) hydrogel (3 mm × 3 mm) previously loaded with trypsin for the in-situ digestion of proteins and applied onto the objects' surface. Upon extraction of digested peptides from the hydrogel, they were examined by MALDI-TOF-MS and/or LC-ESI-MS/MS. The method was validated on fresh and aged model pictorial layers; optical microscope images, and spectrophotocolorimetry confirmed that neither damage nor color alteration of the painting layer occurred, and no hydrogel residue was left. X-ray photoelectron spectroscopy carried out on paint models confirmed that the treatment with trypsin-loaded gels did not modify the pigment composition, even on aged samples. The protocol was successfully applied to a painting on wood mockup aged thirty years, a statue dated XV century exposed in San Lorenzo church (Bisceglie, Bari, Apulia), and a liturgical scroll Benedictio ignis et fontis (Benedizionale) of the Museo Diocesano of Bari dated eleventh century; in all these objects the proteinaceous binder was readily and successfully identified.

Multivariate analysis and laser-induced breakdown spectroscopy (LIBS): a new approach for the spatially resolved classification of modern art materials.

The ever-increasing speed of exchange of ideas, information, and culture allows contemporary art to be in constant growth, especially concerning the choice of artistic materials. Their characterization is not only crucial for the study of artistic techniques but also for research into the stability of the material and, consequently, the best preservation practices. For this aim, an analytical method should have the advantages of not requiring sample preparation, performing superficial micro-analysis, and obtaining detailed spectral information. For this study, laser-induced breakdown spectroscopy (LIBS) was employed. It was used for the identification of modern paints composed of inorganic pigments and organic binders, such as acrylics, alkyds, and styrene-acrylics. Principal component analysis (PCA) was used to classify the different pure materials, above all, the polymeric binders. To distinguish the paint mixtures, whose LIBS spectral results were more complex due to the pigment/binder interaction, a statistical method recently employed in the cultural heritage field was chosen, namely, random decision forest (RDF). This methodology allows a reduction of the variance of the data, testing of different training data sets by cross-validation, an increase of the predictive power. Furthermore, for the first time, the distribution of different inorganic pigments and organic binder materials in an unknown sample was mapped and correctly classified using the developed RDF. This study represents the first approach for the classification of modern and contemporary materials using LIBS combined with two different multivariate analyses. Subsequent optimization of measurement parameters and data processing will be considered in order to extend its employment to other artistic materials and conservation treatments.

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.

Lorenzo Lotto's painting materials: an integrated diagnostic approach.

This paper presents the results of a comprehensive diagnostic investigation carried out on five paintings (three wood panels and two paintings on canvas) by Lorenzo Lotto, one of the most significant artists of the Italian Renaissance in the first half of 16th century. The paintings considered belong to 1508-1522 period, corresponding to the most significant years of Lotto's evolution. A wide array of non-invasive (reflectance spectrometry and X-ray fluorescence) and micro-invasive analytical techniques (optical microscopy, scanning electron microscopy with energy dispersive spectroscopy, micro-FTIR spectroscopy, micro-Raman spectroscopy, gas chromatography coupled with mass spectrometry and high performance liquid chromatography coupled with photodiode array detection and mass spectrometry) were applied in order to provide a large set of significant data, limiting as much as possible the sampling. This study has proved that Lotto's painting palette was typical of Venetian practice of that period, but some significant peculiarities emerged: the use of two kinds of red lakes, the addition of calcium carbonate and colourless powdered glass, the latter frequently found in pictorial and ground layers. Moreover, the integrated investigation showed that Lotto's technique was sometimes characterized by the use of coloured priming and multi-layer sequences with complex mixtures. Chromatographic analyses allowed to identify in all specimens: azelaic, palmitic and stearic acids, generally referring to the presence of drying oils. The extension of additional non-invasive examination to about 50 paintings by the same author, spanning from 1505 to around 1556, helped to verify the evolution in the use of some pigments, such as the yellow ones, where Pb-Sb yellow was used alongside Pb-Sn yellow.