ABSTRACT
An exceptional microsample from the ground layer of Leonardo da Vinci's Mona Lisa was analyzed by high-angular resolution synchrotron X-ray diffraction and micro Fourier transform infrared spectroscopy, revealing a singular mixture of strongly saponified oil with high lead content and a cerussite (PbCO3)-depleted lead white pigment. The most remarkable signature in the sample is the presence of plumbonacrite (Pb5(CO3)3O(OH)2), a rare compound that is stable only in an alkaline environment. Leonardo probably endeavored to prepare a thick paint suitable for covering the wooden panel of the Mona Lisa by treating the oil with a high load of lead II oxide, PbO. The review of Leonardo's manuscripts (original and latter translation) to track the mention of PbO gives ambiguous information. Conversely, the analysis of fragments from the Last Supper confirms that not only PbO was part of Leonardo's palette, through the detection of both litharge (α-PbO) and massicot (ß-PbO) but also plumbonacrite and shannonite (Pb2OCO3), the latter phase being detected for the first time in a historical painting.
ABSTRACT
Non-destructive characterization of decorated porcelain artifacts requires the joint use of surface-analytical methods for the decorative surface pattern and methods of high penetration depth for bulk-representative chemical composition. In this research, we used position-sensitive X-ray Fluorescence Spectrometry (XRF) and Prompt-gamma activation analysis (PGAA) for these purposes, assisted by 3D structured-light optical scanning and dual-energy X-ray radiography. The proper combination of the near-surface and bulk element composition data can shed light on raw material use and manufacturing technology of ceramics.
ABSTRACT
There is a considerable interest in developing new analytical tools to fight the illicit trafficking of heritage goods and particularly of easel paintings, whose high market values attract an ever-increasing volume of criminal activities. The objective is to combat the illicit traffic of smuggled or forged paintworks and to prevent the acquisition of fakes or looted artefacts in public collections. Authentication can be addressed using various investigation techniques, such as absolute dating, materials characterization, alteration phenomena, etc.; for paintings this remains a challenging task due to the complexity of the materials (paint layers, ground, varnish, canvas, etc.) and preferable use of non-destructive methods. This paper outlines results from concerted action on detecting forged works of art within the framework of a Coordinated Research Project of the International Atomic Energy Agency (IAEA) called Enhancing Nuclear Analytical Techniques to Meet the Needs of Forensic Sciences1. One of the main objectives is to foster the use of emerging Nuclear Analytical Techniques (NAT) using particle accelerators for authentication of paintings, with potential application to other forensics domains, by highlighting their ability to determine painting authenticity and to track restorations or anachronistic clues. The various materials comprising a test painting were investigated using an array of NAT. Binder, canvas and support were directly dated by 14C using Accelerator Mass Spectrometry (14C-AMS); binder and pigments' molecular composition was determined using Secondary Ion Mass Spectrometry with MeV ions (MeV-SIMS); paint layer composition and stratigraphy were accurately determined using Ion Beam Analysis (IBA) and differential Particle-Induced X-ray Emission (PIXE); and pigment spatial distributions were mapped using full-field PIXE. High resolution Optical Photothermal Infrared Spectroscopy (O-PTIR) molecular imaging was also exploited. Obtained results are presented and discussed. It is shown that the combination of the above-mentioned techniques allowed reconstructing the history of the test painting.
Subject(s)
Paintings , Ions , Mass Spectrometry , Paint/analysis , X-RaysABSTRACT
This study is a multi-technique investigation of the Paris carbonaceous chondrite directly applied on two selected 500 × 500 µm² areas of a millimetric fragment, without any chemical extraction. By mapping the partial hydration of the amorphous silicate phase dominating the meteorite sample matrix, infrared spectroscopy gave an interesting glimpse into the way the fluid may have circulated into the sample and partially altered it. The TOF-SIMS in-situ analysis allowed the studying and mapping of the wide diversity of chemical moieties composing the meteorite organic content. The results of the combined techniques show that at the micron scale, the organic matter was always spatially associated with the fine-grained and partially-hydrated amorphous silicates and to the presence of iron in different chemical states. These systematic associations, illustrated in previous studies of other carbonaceous chondrites, were further supported by the identification by TOF-SIMS of cyanide and/or cyanate salts that could be direct remnants of precursor ices that accreted with dust during the parent body formation, and by the detection of different metal-containing large organic ions. Finally, the results obtained emphasized the importance of studying the specific interactions taking place between organic and mineral phases in the chondrite matrix, in order to investigate their role in the evolution story of primitive organic matter in meteorite parent bodies.
ABSTRACT
The lead white pigment, composed of two main mineral phases cerussite PbCO3 and hydrocerussite 2PbCO3·Pb(OH)2, has been used in paintings since the Antiquity. The study of historical sources revealed that a large variety of lead white qualities were proposed, depending on the degree of sophistication of the pigment synthesis. Investigation of photoluminescence of the two constitutive mineral phases gave insight into the origin of the visible emission of these materials and emphasized the influence of structural defects on their photoluminescence properties. These effects were observed by combining emission and excitation spectra in two-dimensional representations. For each excitation wavelength, between 250 and 400 nm (4.9-3.1 eV), luminescence spectra were collected between 400 and 800 nm (3.1-1.5 eV). Two types of emission-excitation bands were identified: an emission excited in the optical bandgap of the compounds (about 5 eV), which depends on the constitutive phase (2.8 eV in cerussite and 2.1 eV in hydrocerussite), and broad emission bands in the same energy range excited below the optical gap, which are sensitive to the synthesis method and the nature of postsynthesis treatments. It is proposed that this sensitivity of photoluminescence properties of lead-white pigments could be used as fingerprints of their origin and history.
