A Nanofocused Light on Stradivari Violins: Infrared s-SNOM Reveals New Clues Behind Craftsmanship Mastery.

It is well-known that all the phases of the manufacturing influence the extraordinary aesthetic and acoustic features of Stradivari's instruments. However, these masterpieces still keep some of their secrets hidden by the lack of documentary evidence. In particular, there is not a general consensus on the use of a protein-based ground coating directly spread on the wood surface by the Cremonese Master. The present work demonstrates that infrared scattering-type scanning near-fields optical microscopy (s-SNOM) may provide unprecedented information on very complex cross-sectioned microsamples collected from two of Stradivari's violins, nanoresolved chemical sensitivity being the turning point for detecting minute traces of a specific compound, namely proteins, hidden by the matrix when macro or micro sampling approaches are exploited. This nanoresolved chemical-sensitive technique contributed new and robust evidence to the long-debated question about the use of proteinaceous materials by Stradivari.

Data from Multiple Portable XRF Units and Their Significance for Ancient Glass Studies.

X-ray fluorescence spectroscopy is a non-destructive technique employed for elemental analysis of a wide range of materials. Its advantages are especially valued in archaeometry, where portable instruments are available. Considering ancient glass, such instruments allow for the detection of some major, minor, and trace elements linked to the deliberate addition of specific components or to impurities in the raw materials of the glass batch. Besides some undoubted advantages, portable XRF (p-XRF) has some limitations that are addressed in this study. The performance assessment of four different p-XRF units and the reconciling of their output were conducted. The results show the limitations in cross-referencing the data obtained from each unit and suggest procedures to overcome the issues. The p-XRF units were tested on the set of Corning reference glasses and on a small set of archaeological glasses with known composition. The compatibility of the output was assessed using multivariate statistical tools. Such a workflow allows us to consider data from multiple sources in the same frame of reference.

Reflection FTIR spectroscopy for the study of historical bowed string instruments: Invasive and non-invasive approaches.

A micro-sample detached from a historical bowed string instrument represents a valuable record of the materials used by the great Masters of violin-making art. It allows researchers to collect a wealth of information and to disclose - at least partially - their procedures for finishing and varnishing. In the present work, a set of four cross-sectioned micro-samples - collected from well-preserved bowed string instruments made by Antonio Stradivari and Lorenzo Storioni - are investigated by Synchrotron Radiation (SR) FTIR micro-spectroscopy in reflection mode. SR-FTIR spectra are discussed both as point analysis and as univariate and multivariate chemical maps. The same cross-sections are also investigated by optical microscopy under UV light and SEM-EDX. Moreover, data obtained directly from the musical instruments by a non-invasive approach employing a portable reflection FTIR spectrometer are also considered. FTIR investigation of the cross-sections is a challenging task for such brittle and complex layered micro-samples. Nevertheless, the high intensity of the analytical SR beam used in reflection geometry allowed us to obtain informative FTIR spectra and to fully preserve the integrity of the samples. Both the non-invasive and the micro-invasive reflection FTIR approaches can reveal the materials spread on the wood surface to finish the musical instruments. The fingerprint of Lorenzo Storioni's production around 1790 emerged from the study of the cross-sectioned samples, definitely different from the technique of Stradivari.

Compositional and Micro-Morphological Characterisation of Red Colourants in Archaeological Textiles from Pharaonic Egypt.

When the imagination conjures up an image of an Egyptian mummy, it is normally one of a human body wrapped with undyed linen bandages. However, the reality was much more colourful, as shown by the set of red mummy shrouds and textile fragments from Pharaonic Egypt considered in this work. The textiles were subjected to scientific investigation with the main aim of shedding light on the sources of red colour and on the possible reasons for the different levels of colour fading. The red colourants were investigated using various non-invasive and micro-invasive approaches. The results pointed towards the presence of three sources of red colour, which, in increasing order of lightfastness, are safflower (Carthamus tinctorius), madder (Rubia spp.), and red ochre. Micro-morphological observations and elemental analyses also enabled some hypotheses to be formulated regarding the application of these colourants to the textiles. The results not only deepen our knowledge of dyeing technologies in ancient Egypt and shed new light on the function of red shrouds and textiles as part of the funerary practices of Pharaonic Egypt, but are also essential in planning the display and future preservation of these mummies and their associated textiles.

It's Only a Part of the Story: Analytical Investigation of the Inks and Dyes Used in the Privilegium Maius.

The Privilegium maius is one of the most famous and spectacular forgeries in medieval Europe. It is a set of charters made in the 14th century upon commitment by Duke Rudolf IV, a member of the Habsburg family, to elevate the rank and the prestige of his family. These five charters, now kept at the Österreichisches Staatsarchiv in Vienna, have been subjected to a thorough interdisciplinary study in order to shed light on its controversial story. The charters are composed of pergamenaceous documents bound to wax seals with coloured textile threads. The present contribution concerns the characterisation of the inks used for writing and of the dyes used to colour to the threads: Are they compatible with the presumed age of the charters? Though showing only a part of the whole story of the charters, dyes analysis could contribute in assessing their complex history from manufacturing to nowadays. The dyes were characterised with non-invasive in situ measurements by means of fibre optic (FORS) and with micro-invasive measurements by means of Surface Enhanced Raman Spectroscopy (SERS) and High-Performance Liquid Chromatography with Mass Spectrometry (HPLC-MS) analysis. The results showed that the threads of four of the charters (three dyed with madder, one with orchil) were apparently coloured at different dyeing stages, then re-dyed in the 19-20th century.

Mythic dyes or mythic colour? New insight into the use of purple dyes on codices.

The traditional knowledge concerning the use of Tyrian purple in Late Antique and Medieval purple codices - those precious biblical texts written with noble metal inks on parchment dyed or painted with purple colourants - is here updated in view of new analytical evidence. Recent literature reports the analysis carried out on some purple codices, suggesting that Tyrian purple has not, if ever, been used in their making. A large number of purple codices has been considered in this work to elucidate the nature of the purple colour. Results have been discussed within the frame of previous information, thus covering a vast majority of the purple codices presently identified. In most of the instances the use of less expensive dyes such as folium or orchil is suggested. Moreover, analytical results from a non-invasive spectroscopic approach have been definitely confirmed by micro-invasive surface-enhanced Raman analysis performed on micro samples of purple parchment taken from two 6th century codices.

Spectroscopic Analysis to Characterize Finishing Treatments of Ancient Bowed String Instruments.

Historical bowed string instruments exhibit acoustic features and aesthetic appeal that are still considered inimitable. These characteristics seem to be in large part determined by the materials used in the ground and varnishing treatments after the assembly of the instrument. These finishing processes were kept secret by the violinmakers and the traditional methods were handed down orally from master craftsmen to apprentices. Today, the methods of the past can represent a secret to be revealed through scientific investigations. The "Cremonese" methods used in the 17th and 18th centuries were lost as the last Great Masters from the Amati, Guarneri, and Stradivari families passed away. In this study, we had the chance of combining noninvasive and microinvasive techniques on six fragments of historical musical instruments. The fragments were detached from different instruments during extraordinary maintenance and restoration treatments, which involved the substitution of severely damaged structural parts like top plates, back plates, or ribs. Therefore, the fragments can offer to the scientists a valuable overview on the materials and techniques used by the violinmakers. The results obtained by portable X-ray fluorescence, optical microscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry, and Fourier transform infrared microscopy allowed us to: (1) determine the stratigraphy of six instruments; (2) obtain new information about the materials involved in the finishing processes employed in Cremona; and (3) elucidate the technological relationship among the procedures adopted in the violin making workshops during the considered period.

On the identification of folium and orchil on illuminated manuscripts.

The identification of the two purple dyes folium and orchil has rarely been reported in the analysis of painted artworks, especially when analysing illuminated manuscripts. This is not consistent with the fact that ancient literary sources suggested their use as substitutes for the more expensive Tyrian purple dye. By employing non-invasive spectroscopic techniques, the present work demonstrates that these dyes were actually widely used in the production of ancient manuscripts. By employing UV-visible diffuse reflectance spectrophotometry with optic fibres (FORS) and spectrofluorimetry, the abundant identification of both dyes on medieval manuscripts was performed by comparing the spectra recorded on ancient codices with those obtained on accurate replicas of dyed or painted parchment. Moreover, examples are also reported whereby the considered purple dyes were used in mixtures with other colourants. The overall information obtained here allowed us to define new boundaries for the time range in which orchil and folium dyes were used which is wider than previously thought, and to focus on their particular uses in the decoration of books.

A diagnostic study on folium and orchil dyes with non-invasive and micro-destructive methods.

Folium and orchil are dyes of vegetal origin. Folium is obtained from Chrozophora tinctoria (L.) A. Juss., whereas orchil is obtained from Roccella and other genera of lichens. These dyes were used in the past to impart purple hue to paintings and textiles as substitutes for the more prised Tyrian purple dye, obtained from shellfish. Despite several citations in ancient technical treatises dating back at least to the Greek-Roman age, the identification of these dyes in artworks is rare. In the case of folium, an additional drawback is that its composition is presently unknown. In this work different non-invasive (FT-IR, FT-Raman, fibre optic reflectance spectrophotometry, spectrofluorimetry, X-ray fluorescence spectrometry) and micro-invasive (surface enhanced Raman spectroscopy, matrix assisted laser desorption ionisation-time of flight-mass spectrometry, inductively coupled plasma-mass spectrometry) techniques were used in order to increase the diagnostic information available on these dyes. Measurements were carried out on the dyes extracted from raw materials and on painted or dyed parchments. The possibility to distinguish between folium and orchil by chemical analysis is discussed.

Non-invasive investigation on a VI century purple codex from Brescia, Italy.

Purple codices are among the most relevant and prestigious book productions of Late Antique and Medieval age. They usually contained texts from Holy Writings written with golden or silver inks on parchment dyed in a purple hue. According to the tradition, the colour of parchment was obtained by the well renowned Tyrian purple dye. From the material point of view, however, very little is known about the compounds actually used in the manufacture of these manuscripts. Presently, the information available is limited to the ancient art treatises, with very few diagnostic evidences supporting them and, moreover, none confirming the presence of Tyrian purple. It is more than apparent, then, the need to have at disposal larger and more complete information at the concern, in order to verify what came to us from the literary tradition only. In this study, preliminary results are presented from non-invasive investigation on a VI century purple codex, the so-called CodexBrixianus, held in the Biblioteca Civica Queriniana at Brescia (Italy). Analyses were carried out with XRF spectrometry, UV-visible diffuse reflectance spectrophotometry, molecular spectrofluorimetry and optical microscopy. The results suggest the hypothesis that Tyrian purple had been used as a minor component mixed with other less precious dyes such as folium or orchil.

Silver colloidal pastes for dye analysis of reference and historical textile fibers using direct, extractionless, non-hydrolysis surface-enhanced Raman spectroscopy.

Surface-enhanced Raman spectroscopy (SERS) is an ideal tool for analyzing dyes on historical textiles because it requires very little sample compared to other available analytical methods and analysis can be done directly on the fiber. This paper reports on the first systematic study of the use of citrate-reduced silver colloidal pastes for the direct, extractionless, non-hydrolysis detection of dyes directly on wool, silk, cotton, and flax fibers. This type of study provides greater insight into the optimal conditions required for accurate analysis of dyes in historical samples. In this work, Ag colloidal pastes were characterized using localized surface plasmon resonance and scanning electron microscopy. The pastes were then employed for SERS analysis of twelve reference samples of different vegetal and animal fibers dyed with cochineal and eleven dyed with brazilwood. Furthermore, six historical textiles from an important collection of Mariano Fortuny (1871-1949) textiles at the Art Institute of Chicago were also examined, to test the efficacy of the paste on aged samples, and to shed light on Fortuny's fascinating production techniques. A mixture of cochineal and brazilwood was detected in some of the historical samples demonstrating, for the first time, simultaneous identification of these colorants used in combination. In addition, the findings give substance to the claim that Fortuny kept using natural dyes at a time when many new and attractive synthetic products became available.

Non invasive analysis of miniature paintings: proposal for an analytical protocol.

The characterisation of palettes used in manuscript illumination is a hard analytical task, due to value and fragility of the analysed items. Analysis on miniatures must be necessarily non-invasive and fast and requires the use of several techniques since no single technique is able to provide all information needed. In this work a four-step analytical protocol is proposed for non-invasive in situ characterisation of miniature paintings. The protocol allows the identification of coloured materials through the use in sequence of complementary techniques, so as to fully exploit the information given by each instrument. Preliminarily to the instrumental investigations on ancient books and miniatures is the compilation of spectroscopic databases obtained from "standard" samples prepared on parchment, according to recipes described in medieval artistic treatises. The protocol starts with an extensive investigation with UV-visible spectrophotometry in reflectance mode, collecting spectra from all the most significant painted areas in the manuscript; chemometric classification is then performed on the spectra to highlight areas possibly containing the same materials. The second step involves in-depth inspection of miniatures under optical microscopy that guides the interpretation of reflectance spectra. XRF spectrometry is then performed to characterise pigments and metal layers, to verify the presence of overlapping layers, to identify mordants in lakes and to recognise minor components that may yield information concerning provenance; in addition, chemometric classification can be performed on element concentrations to highlight similar areas. Finally, Raman spectroscopy is used to shed light on the uncertain cases, if still present. Such a procedure offers a wealth of information without causing stress to the manuscripts under analysis.

Compositional and technological features of glazed pottery from Aosta Valley (Italy): a SEM-EDS investigation.

Twelve finds from archaeological excavations carried out in the Aosta region (Italy) were studied by scanning electron microscopy coupled with energy-dispersive X-ray detection (SEM-EDS). The archaeological samples were shards of glazed pottery dating from the fourth to the seventh century AD. Analysis of ceramic bodies revealed a general homogeneity in composition among the studied samples and the use of a noncalcareous clay for their manufacture; however, two shards stand out due to their high iron contents. Glazes proved to be high-lead products with more than 70% PbO in all of the samples investigated but one. For the latter, a composition poorer in lead and richer in silicon, aluminium and iron was found. SEM observation of the contact region between body and glaze suggests that the vitreous coatings were mostly obtained by applying the glazing components onto the unfired clay body; moreover, a comparison between clay and glaze compositions suggests the use of a lead compound mixed with a silica-rich material, not a lead compound by itself.

Technology of production of red figure pottery from Attic and southern Italian workshops.

Samples from Greek figure vases were investigated by scanning electron microscopy coupled with energy dispersive X-ray analysis, X-ray diffraction, thermomechanical analysis and reflectance spectroscopy to achieve a technological characterisation. The vases, dating from the end of the sixth to the fourth century BC, had been excavated at Locri Epizephiri (Calabria, Italy) and attributed to Attic or local workshops, respectively. Information on the morphology of black slip areas and firing temperatures was compared with that previously obtained for Attic and local black gloss pottery from the same site; results show that the peculiar technique required for the production of black slips was mastered by both Attic and local potters and employed for monochrome and figured products. The black coating is usually well vitrified and 15- to 20-microm thick; the evaluated maximum firing temperature is around 900 degrees C, while a temperature lower than 800 degrees C is generally estimated for ceramic body re-oxidation.

Colourants and opacifiers in seventh and eighth century glass investigated by spectroscopic techniques.

Glass fragments dating from the seventh and eighth century AD were excavated in the Crypta Balbi in Rome. They were studied to detect agents involved in colour development and opacification. Reflectance spectra recorded on powdered samples revealed the contribution of Fe(II), Fe(III), Mn(III), Cu(II), and Co(II) ions in determining colour hues. The effect of the Mn/Fe atomic ratio on glass colour is discussed. It is apparent that medieval glassmakers in Italy could obtain a wide range of colours by exploiting the presence of iron and manganese as contaminants of sand and flux and controlling the amount of oxygen let into the furnace. X-ray diffraction and scanning electron microscopy coupled with energy-dispersive X-ray analysis were used to study opaque fragments. The presence of calcium antimonate was detected in white, blue, and blue-green fragments, and elemental copper was detected in a red glass.