海藻酸钠-壳聚糖-桑椹红微囊的制备

以海藻酸钠-壳聚糖为复合囊材采用锐孔法制备桑椹红微囊,探讨了海藻酸钠浓度、壳聚糖浓度、Ca Cl2浓度、桑椹红浓度、针头孔径、下滴高度、温度、转速等因素对微囊包封率的影响。确定了最佳制备工艺条件为海藻酸钠浓度4.0%、壳聚糖浓度2.5%、氯化钙浓度2.0%、桑椹红浓度0.50%、针头孔径0.390mm、下滴高度4cm、温度为20℃、转速为300r·min-1。制得的微囊药物含量为11.28%,包封率为88.93%。     

A Survey of Photosynthetic Pigments from Surface to Oligotrophic Deep Seawater in Suruga Bay,Japan

The composition and abundance of phytoplankton in Suruga Bay, Japan, were investigated to evaluate the photosynthetic production structure and population dynamics from surface to oligotrophic layers seasonally for a four-year period. High-performance liquid chromatography analyses separated more than 80 peaks of pigments, and about 50 pigment species were identified. The main chlorophylls (Chls) and carotenoids were mostly found up to 100 m deep, while small amounts of a limited number of species of pigments such as Chl a, Chl c₂, and fucoxanthin, which are markers of diatoms, were also detected even in the oligotrophic region, in addition to degradation products of Chl a, such as pheophorbide a and pheophytin a.     

Molecular Fluorescence Imaging Spectroscopy for Mapping Low Concentrations of Red Lake Pigments: Van Gogh's Painting The Olive Orchard

Vincent van Gogh used fugitive red lake pigments that have faded in some paintings. Mapping their distribution is key to understanding how his paintings have changed with time. While red lake pigments can be identified from microsamples, in situ identification and mapping remain challenging. This paper explores the ability of molecular fluorescence imaging spectroscopy to identify and, more importantly, map residual non‐degraded red lakes. The high sensitivity of this method enabled identification of the emission spectra of eosin (tetrabromine fluorescein) lake mixed with lead or zinc white at lower concentrations than elemental X‐ray fluorescence (XRF) spectroscopy used on account of bromine. The molecular fluorescence mapping of residual eosin and two carmine red lakes in van Gogh's The Olive Orchard is demonstrated and compared with XRF imaging spectroscopy. The red lakes are consistent with the composition of paint tubes known to have been used by van Gogh.     

超高效液相色谱-串联质谱法对比4种净化方式对不同色素含量基质中19种农药残留检测的影响

采用超高效液相色谱-串联质谱仪(UPLC-MS/MS)对含有不同色素等干扰物的4种基质(韭菜、姜、番茄和苹果)中19种农药残留进行检测,对比了4种净化方式对检测结果的影响,筛选出最佳检测方法。试样采用固相萃取法(SPE)和分散固相萃取法(QuEChERS)进行前处理净化。固相萃取柱包括3种,TPS柱、PC/NH2柱(石墨化碳黑氨基柱)和NH2柱(氨基柱),分散固相萃取的吸附剂为PSA(N-丙基乙二胺)和C18混合剂,外标法定量。研究表明,19种农药在5~100μg/kg质量浓度范围内线性关系良好,相关系数均大于0.99;TPS柱对色素的吸附效果最好,PSA+C18的吸附效果最差;经TPS柱、NH2柱和PSA+C18净化过的4种基质中,19种农药的平均加标回收率分别为72%~107%,71%~110%和72%~108%;经PC/NH2柱净化过的韭菜和姜中,多菌灵的回收率很低,番茄和苹果中无回收,其他18种农药的加标回收率为71%~110%;经TPS柱、PC/NH2柱、NH2柱和PSA+C18净化后,辛硫磷的相对标准偏差(RSD)普遍较高,其他18种农药的RSD值均小于20%,19种农药的检出限分别为0.001~3,0.007~3,0.02~4,0.02~2μg/kg,定量下限分别为0.003~10,0.02~10,0.06~15,0.05~8μg/kg。本研究为准确、高效、经济的检测目标物提供了可靠依据。     

瑞利光散射技术快速测定萝卜红色素中痕量Pb(Ⅱ)

建立了快速测定Pb(Ⅱ)的瑞利散射(RLS)新方法。在Tris-HCl缓冲介质中,溴化十六烷基三甲基铵(CTMAB)增敏溴甲酚绿(BCG),使瑞利散射显著增强,最大瑞利散射峰位于345nm,CTMAB-BCG进一步与Pb(Ⅱ)结合后生成的三元复合物的瑞利散射增强程度(|ΔIRLS|)与0.006~0.41mg/L范围Pb(Ⅱ)的质量浓度呈线性关系,定量限为0.053mg/kg。方法用于萝卜红色素中Pb(Ⅱ)的测定,回收率为98.5%~102%,相对标准偏差为1.8%~2.5%。     

Evolution of past enamel technology and metal conservation issues: the case of two Byzantine style bindings

The results of a Raman spectroscopic study of the cloisonne’ and basse‐taille enamels, which beautify two Byzantine style bindings from the Marciana Library (Venice), namely the Lat. III,111 and the MsGR.I.53 codexes, are presented in this work. The first binding dates back to the 13th century and was subject to an early restoration work in the 14th century, when new enamels substituted four originals. The second binding, from the 15th century, shows a lower number of enamels, all originals, and with a larger color palette. The white and yellow enamels of both codexes were successfully characterized and the red ones, where hematite was not used. Interestingly the white and yellow color of the 13th century enamels of the Lat. III,111 codex has been obtained by an ancient technique of the glass technology, which was already obsolete in the 13th century, and is based on the use of calcium antimonate and Naples yellow. The white color in the other binding's enamels have been instead obtained by using cassiterite, according to the tradition of the time. Cassiterite was also mixed to Naples yellow in the enamels of the MsGR.I.53 codex, to change the yellow hue. The identification of agents determining some colors is instead uncertain or not feasible by Raman spectroscopy. The transparency of the 14th century enamels of the Lat. III,111 codex has allowed the comparison of metal degradation below the enamels and in regions exposed to the atmosphere. Copyright © 2012 John Wiley & Sons, Ltd.     

An authentication case study: Antonio Palomino versus Vicente Guillo paintings in the vaulted ceiling of the Sant Joan del Mercat church (Valencia,Spain)

In 1695, the Valencian artist Vicente Guillo was engaged in painting the vault of the Sant Joan del Mercat church in Valencia, Spain. After preliminary work was carried out, his contract was cancelled. In 1697, Antonio Palomino, renowned for the publication of his technical treatise entitled El Museo Pictorio y Escala Optica, was finally selected as the painter in charge of decorating the vaulted ceiling of Sant Joan del Mercat. This paper reports an analytical study focused on the characterisation and discrimination of the palette and painting procedures used by Palomino and Guillo in the frescoes of Sant Joan del Mercat. For this purpose, Raman spectroscopy combined with light microscopy, scanning electron microscopy–X‐ray microanalysis, voltammetry of microparticles, X‐ray diffraction, Fourier transform infrared spectroscopy and gas chromatography–mass spectrometry has been employed. The use of gypsum as stucco material for the ground layers contrasts with the recommendations made by Palomino in his treatise about the convenience of using slaked lime‐sand mortars according to traditional fresco recipes. Although lead‐based pigments were not traditionally recommended for frescoes because of their empirically known alterations when subjected to strong alkaline fresco medium, both Guillo and Palomino used them. Palomino, probably supported by his personal experience as a painter, recommended and used Naples yellow, which has been found in a good state of preservation. In contrast, white lead areas found on Guillo's paintings have transformed into lead oxides. Other pigments found in the vaulted ceiling such as smalt, goethite, haematite, azurite and malachite have also undergone substantial changes because of the extreme temperature conditions to which they were subjected in the church. Copyright © 2012 John Wiley & Sons, Ltd.     

Structure of commelinin,a blue complex pigment from the blue flowers of Commelina communis

The X-ray crystal structure of natural commelinin is investigated. The results demonstrate that commelinin is a tetranuclear (4 Mg²⁺) metal complex, in which two Mg²⁺ ions chelate to six anthocyanin molecules, while the other two Mg²⁺ ions bind to six flavone molecules, stabilizing the commelinin complex, a new type of supramolecular complex.     

Sol–gel combustion synthesis of chromium doped yttrium aluminum perovskites

A water-based sol–gel combustion synthesis was optimized in order to achieve pure yttrium aluminium perovskite (YAlO₃, YAP). The method involved three main steps: xerogel formation, combustion treatment and calcination of the combusted precursors. TG DTA, FTIR and XRPD, used to investigate the precursor phase evolution, confirmed the strong influence of gel synthesis conditions, combustion temperature and calcination rate on YAP purity. Both stoichiometry and kinetics control during all the preparation steps are crucial in order to avoid the formation of undesired Y₃Al₅O₁₂ (YAG) and Y₄Al₂O₉ (YAM) stable phases. This method allowed to synthesize, for the first time from an aqueous sol–gel process, single phase samples of YAP. A series of samples with composition: YAl_(1−x)Cr_(x)O₃ where x is 0, 0.035, 0.135, 0.250, 0.500, 0.750 was obtained. A consistent decrease of calcination temperature, with respect to conventional solid state synthesis, was achieved by sol–gel combustion, avoiding polyphase materials even without the use of mineralizers. This is an important result in several applications like the synthesis of ceramic pigments.