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.

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.

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.

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.

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.

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.

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.

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.

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.

A novel HPLC-ESI-Q-ToF approach for the determination of fatty acids and acylglycerols in food samples.

We propose a new analytical method using reverse phase High performance liquid chromatography (HPLC) coupled through an electrospray source with a tandem quadrupole-time-of-flight (ESI-Q-ToF) mass spectrometric detector for the full characterization and quantitation of the different classes of fatty acids and acylglycerols in lipid samples in a single chromatographic run. In this work, we optimized the derivatization reaction for free fatty acids with 2-hydrazinoquinoline, which is a low-cost approach, using a full factorial design. This reaction does not involve transesterification, thus enabling the free fatty acids to be separated and successfully quantified in the presence of mono-, di- and triacylglycerols without altering the whole glyceride profile. This new analytical method provides a full profile of fatty acids, mono-, di- and triglycerides within a relatively short chromatographic run (less than 40 min), with low operating back-pressure (less than 110 bar). The derivatization of the free fatty acids allows their detection in positive mode, with limits of detection in the range of 0.2-1.9 ng/g, and a dynamic range of two orders of magnitude. The figures of merit of the procedure are competitive with respect to the literature. The method was validated by characterizing two different types of olive oils. Free fatty acid content was quantified, and the results are consistent with literature data. The method was applied to the characterization of cow milk and an infant formula, after the precipitation of proteins and phospholipids, and proved suitable for the detection of short chain fatty acids, free fatty acids and glycerides highlighting differences in the composition of the two milks. The proposed procedure improves the current methods for the analysis of acylglyceride based materials, such as olive oil, and proved promising for the characterization of lipids in complex matrices, such as milk.

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.

A molecular study of modern oil paintings: investigating the role of dicarboxylic acids in the water sensitivity of modern oil paints.

The 20th century has seen a significant evolution in artists' paint formulation and technology which is likely to relate to the new conservation challenges frequently presented by modern oil paintings, including unpredictable water- and solvent-sensitivity. This study examined the molecular causes and mechanisms behind these types of modern oil paint vulnerability. Research performed up to now has suggested a correlation between the occurrence of water sensitivity and the presence of relatively high amounts of extractable free dicarboxylic acids. To explore this further, as well as the influence of paint formulation, a set of model paint samples, produced in 2006 using commercial tube paints to which known amounts of additives were added, were analysed. The samples were tested for water sensitivity by aqueous swabbing and characterised using transmission Fourier Transform-Infra Red spectroscopy (FTIR) to determine the molecular composition of the main paint constituents, High Performance Liquid Chromatography-Mass Spectrometry (HPLC-MS), to identify the type(s) of drying oils used as binders, and Gas Chromatography-Mass Spectrometry (GC-MS) using a recently developed analytical procedure that can discriminate and quantify free fatty and dicarboxylic acids, as well as their corresponding metal soaps (carboxylates of fatty and dicarboxylic acids). The results indicated that the addition of small amounts of additives can influence the water sensitivity of an oil paint, as well as its molecular composition. Additionally the nature of the ionomeric/polymeric network appears to be a significant determining factor in the development of water sensitivity.

The characterisation of shellac resin by flow injection and liquid chromatography coupled with electrospray ionisation and mass spectrometry.

A strategy based on electrospray ionisation (ESI) in negative mode coupled with quadrupole-time of flight (Q-ToF) detection techniques was adopted to characterise some samples of shellac resin. Flow injection analysis (FIA) was used to investigate the distribution of the components of the resin. Eight groups of compounds with increasing masses were detected and assigned to free acids, esters and polyesters with up to eight units. High pressure liquid chromatography (HPLC) enabled the compounds to be chromatographically separated. Accurate molecular masses and tandem mass (MS/MS) spectra interpretation were used to characterise the different compounds, assigning and/or suggesting molecular structures. In some cases, highly detailed information about the ester linkages was provided by the MS/MS spectra, enabling the different isomers to be distinguished. Oxidation products were also identified in the samples and differences were observed in terms of hydrolysis and oxidation. In addition to providing the first characterisation of shellac by HPLC-ESI-Q-ToF and an atlas of MS/MS spectra of shellac components, this work demonstrates the suitability of the proposed strategy for characterising the resin, and provides the identification of previously unknown degradation products and minor components. This represents a significant step forward in the chemical knowledge of this material.

GC/MS and proteomics to unravel the painting history of the lost Giant Buddhas of Bamiyan (Afghanistan).

A chemical investigation of the organic paint binders of the Giant Buddhas of Bamiyan was performed using an analytical approach based on mass spectrometry, combining traditional gas chromatography/mass spectrometry protocols with advanced proteomics methodologies. The research was carried out on a selection of rescued fragments. The data revealed the use of egg proteins as the paint binders of the original layers, in accordance with the traditional use of this proteinaceous medium in antiquity, spanning from the Mediterranean basin to the Far East, and already in the Bronze Age. Egg tempera was thus known to artists of the region in the first centuries AD, probably also due to the position of the Bamiyan valley, which was connected to the Silk Road. Milk was found in the first historical overpaintings. A new proteomics approach was used, which was able to identify the source of the milk proteins present in the restoration layers, despite their age and degradation. In particular cow's and goat's milk were both found, in agreement with the documented presence of rich pastures in the Bamiyan valley when the historical restorations were carried out. Investigating the materials of the Giant Buddhas not only enabled us to obtain isolated data on these invaluable works of art, which are now lost, but contributes to understanding the big "puzzle" of our past and the development of our culture, by implementing and supporting written sources, stylistic and anthropological studies with molecular data.

Analytical Approaches Based on Gas Chromatography Mass Spectrometry (GC/MS) to Study Organic Materials in Artworks and Archaeological Objects.

Gas chromatography/mass spectrometry (GC/MS), after appropriate wet chemical sample pre-treatments or pyrolysis, is one of the most commonly adopted analytical techniques in the study of organic materials from cultural heritage objects. Organic materials in archaeological contexts, in classical art objects, or in modern and contemporary works of art may be the same or belong to the same classes, but can also vary considerably, often presenting different ageing pathways and chemical environments. This paper provides an overview of the literature published in the last 10 years on the research based on the use of GC/MS for the analysis of organic materials in artworks and archaeological objects. The latest progresses in advancing analytical approaches, characterising materials and understanding their degradation, and developing methods for monitoring their stability are discussed. Case studies from the literature are presented to examine how the choice of the working conditions and the analytical approaches is driven by the analytical and technical question to be answered, as well as the nature of the object from which the samples are collected.

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.