Analysis of confiscated fireworks using Raman spectroscopy assisted with SEM‐EDS and FTIR

A forensic analysis of several samples of pyrotechnic artefacts was performed by Raman spectroscopy assisted by scanning electron microscopy/energy‐dispersive X‐ray spectroscopy (SEM‐EDS) and Fourier transform infrared (FTIR) analysis. Among the components, several nitrates, ammonium perchlorate, nitrocellulose, metallic titanium particles and shellac were detected. The combination of Raman spectroscopy and SEM‐EDS showed very useful performance. All components were detected by Raman spectroscopy except for shellac, kaolinite and titanium particles, which were not conclusive enough and had to be determined by FTIR and EDS. In contrast, many compounds were not detected by FTIR. Copyright © 2011 John Wiley & Sons, Ltd.     

Analysis of the chromite inclusions found in nephrite minerals obtained from different deposits using SEM‐EDS and LRS

Scanning electron microscopy with energy dispersive spectrometer (SEM‐EDS) and laser Raman spectroscopy (LRS) were used to analyse the chromite inclusions found in four samples of the mineral nephrite that were obtained from Taiwan (one), Manasi in China (two) and New Zealand (one). The chromite inclusions found in sample HL‐1 (Taiwan) contain low contents of Mg and Al, as well as a characteristically high Zn content. The most significant finding, however, was that HL‐1 could also be distinguished from the other samples by the lower wavenumbers of the positions of the peaks that belong to the A_1g, F_2g⁽¹⁾ and E_g modes. Compared to the difference in compositions, the difference in the positions of the peaks in the Raman spectra of the chromite inclusions, as revealed by LRS, can more easily be used to distinguish between samples of nephrite that have been obtained from different deposits, and in particular to identify the provenance of the raw material used in ancient nephrite artefacts, in view of the fact that LRS is non‐destructive and easy to apply. Copyright © 2011 John Wiley & Sons, Ltd.     

Micro‐Raman spectroscopy analysis of 16th century Portuguese Ferreirim Masters oil paintings

In the present work a set of eight altarpieces of the 16th century (1532–1534), attributed to the Ferreirim Masters (Gregório Lopes, Garcia Fernandes and Cristóvão de Figueiredo), from the Santo António de Ferreirim Monastery (North of Portugal), were analysed by micro‐Raman spectroscopy. For this purpose some samples were taken from the paintings to characterise its artist's ‘school’. It was found that the preparation was made with chalk and gypsum and the palette composed mainly of lamp black, azurite, lead white (mixed with other pigments), lead–tin yellow type I, goethite (the main constituent of yellow ochre), red lead (as under painting), haematite (the main constituent of red ochre) and vermilion. Indigo was detected in one sample. Some derivatives and degradation products were found mainly in the panels subjected to high temperatures during a fire occurred in 1954: a degradation product from massicot or red lead, lead carbonate (dehydrated derivative of lead white), bassanite and anhydrite (hemi‐ and dehydrated forms of gypsum). These results are compared with those of previous total reflection X‐ray fluorescence spectroscopy (TXRF) analyses. Copyright © 2009 John Wiley & Sons, Ltd.     

Micro‐Raman spectroscopy and VP‐SEM/EDS applied to the identification of mineral particles and fibres in histological sections

Histological sections of a patient affected by an important respiratory disease were analysed firstly by optical microscope(OM)—crossed polarisers—to identify the presence of incorporated inorganic particles, with particular attention to the fibrous ones. Then, the particles/fibres that were found were studied both with micro‐Raman spectroscopy and variable‐pressure scanning electron microscopy with energy‐dispersive spectroscopy (VP‐SEM/EDS). The two techniques allowed the in situ characterisation of the inorganic phases without disintegration of the organic matter. Micro‐Raman spectroscopy was able to identify the vibrating chemical groups of the mineral phase associated with the inorganic grain while the crystalline structure was preserved by the biological system. The VP‐SEM/EDS characterisation, defining the elemental chemical composition of the analysed particle/fibre, allowed confirmation of the mineral phase deducible from spectroscopic data or its identification with certainty when the spectroscopic data were not exhaustive. Copyright © 2009 John Wiley & Sons, Ltd.     

Characterization of archeological glasses by micro‐Raman spectroscopy

The method based on the deconvolution of the Raman spectra of glasses, proposed for the investigation of glazed ceramics by Colomban, is applied to archeological samples of glass of two different origins in an attempt to characterize the glass composition and the fictive temperature using a contactless, nondestructive spectroscopic technique. The samples investigated are glassy mosaic tesserae of Roman times from Massa Lubrense, Napoli, Italy, and medieval rosary grains found during the excavations in the church of San Martino di Rivosecco, Parma, Italy. The polymerization index, obtained as the ratio of the bending and stretching band amplitudes, suggests firing temperatures not less than 1000–1100 °C for both Roman and medieval glasses. From the wavenumber shift of some stretching bands at about 1050–1100 cm⁻¹, the content of lead was estimated. The medieval samples show a lower Pb content, a result confirmed by elementary energy dispersive X‐ray spectral data. Copyright © 2010 John Wiley & Sons, Ltd.     

Raman and SEM‐EDX analyses of the ‘Royal Portal’ of Bordeaux Cathedral for the virtual restitution of the statuary polychromy

The chemical analysis of the remains of paintings from the Royal Portal of Bordeaux Cathedral was carried out by in situ analytical techniques and by laboratory techniques after sampling. Even though, nowadays, portable systems have a good performance and provide reliable results, in the present case, the in situ approach failed, and the analysis had to be carried out in the laboratory. The obtained results were used to propose a virtual restitution of the polychromy and to have an idea of how this portal was when it was built in the XIII century. During the analysis, the degradation process of pigment azurite was studied through the determined decay products, such as copper oxalate (moolooite) and copper basic sulfate (brochantite). This degradation seems to occur because of the presence of oxalic acid in the chemical system, as other calcium oxalates (weddellite) were identified as a degradation product of calcareous support. Copyright © 2015 John Wiley & Sons, Ltd.     

Pigment study by Raman microscopy of 23 paintings by the Portuguese artist Henrique Pousão (1859–1884)

Twenty‐three paintings by Henrique Pousão—a 19th century Portuguese painter—belonging to the collection of Museu Nacional Soares dos Reis, Porto, Portugal, were analysed by Raman microscopy. The fine focus of a 100× objective allowed the visualisation and individual identification of small grains. As a result, thirty‐seven compounds, namely, anatase, barium white, basic lead sulfate, brochantite, cadmium red, cadmium yellow, calcium carbonate, carbon‐based black, celadonite, chrome green, chrome orange, chrome yellow, cobalt blue, cochineal lake, copper sulfide, emerald green, iron(III) oxyhydroxide, iron(III) oxide, kaolinite, lead antimonate yellow, lead carbonate, lead white, lead sulfate, madder lake, malachite, Prussian blue, quartz, realgar/pararealgar, red lead, rutile, Scheele's green, strontium yellow, ultramarine blue, vermilion, viridian, zinc white and zinc yellow, were identified. Not all these compounds are pigments; some are extenders, others trace components and others probably products of reactions between pigments. Special attention was given to the Raman characterisation of celadonite, chrome orange, basic lead sulfate and lead antimonate yellow. Complementary techniques were used to confirm the identities of certain pigments and to characterise reference samples. Pousão, whose work has not previously been studied spectroscopically, was found to have used a remarkably wide range of pigments over his painting periods, without showing significant preference for any particular set of pigments. Copyright © 2007 John Wiley & Sons, Ltd.     

Characterization of a Namban folding screen from the Edo period by means of EDXRF,SEM‐EDS and Raman spectroscopy

In this work, a multianalytical approach is employed to characterize the materials used in a Namban folding screen that depicts the arrival of the Portuguese to the port of Nagasaki. Portuguese sailors reached Japan in 1543 and initiated what was to be known as the Namban trade. This interaction between Portuguese and Japanese was meticulously recorded by artists in the form of valuable and rare folding screens. The present screen, attributed to the Edo period (~1603–1868), is what we could consider a second‐generation screen, a copy of scenes and characters that appear in screens from the Momoyama period (~1573–1603) but in increased scale and minor detail. The materials used in the screen were identified by means of in situ energy dispersive X‐ray fluorescence. Complementary results were obtained by Raman and scanning electron microscopy coupled to energy dispersive spectrometry analysis of microsamples taken from the screen. The palette used in this artwork resorts to gold, malachite, azurite, vermillion, red lead, white oyster shell, and carbon black. Differences were found, when compared with previously studied screens, i.e. the use of mixtures of pigments, namely vermillion with red lead in an orange shade of red and also the mixture of vermillion and carbon black to obtain a brown color. Special emphasis was given to the characterization of the golden areas and study of techniques of gold application. Copyright © 2013 John Wiley & Sons, Ltd.     

Non‐destructive characterization of 17th century painted silk banner by the combined use of Raman and XRF portable systems

X‐ray fluorescence spectroscopy (XRF) and Raman spectroscopy analysis were performed to examine a 17th century painted silk banner in order to characterize the pigments and materials used. This complementary approach yields information on the elemental (XRF) and on the molecular composition (Raman) of the used compounds. The paint layer, ground layer under gilding, and gilding layer were investigated. For the studied object, vermilion (HgS), lead white (2PbCO₃ · Pb(OH)₂), red lead (Pb₃O₄), and aurichalcite ((Cu,Zn)₅(CO₃)₂(OH)₆) were found. The presence of silver and gold foils was confirmed. The techniques used in the analysis were portable, non‐destructive, and non‐invasive, which is very desirable when analyzing cultural heritage objects. The obtained results were used by the conservators to develop a showcase prototype for safe exhibition. Copyright © 2015 John Wiley & Sons, Ltd.     

Raman analysis assessed by Fourier‐Transformed infrared and X‐ray fluorescence spectroscopies: a multi‐analytical approach of ancient chromolithographs from the 19th century

A set of chromolithographs from the 19th century were analysed to identify the fillers and pigments used for their elaboration. Because of the delicacy of the chromolithographs, the research involved the use of Raman, Fourier‐transform infrared and energy dispersive X‐ray fluorescence spectroscopies for a complete characterization of the works on paper without removing any microsamples. Despite the high fluorescence of the samples when analyzed by Raman spectroscopy, in this paper, we demonstrated that ink spectra can be successfully enhanced by subtracting the spectra of the supporting background paper. The results of the study showed that, apparently, the lithographer used a limited range of common inorganic pigments from the 19th century (carbon black, chrome yellow, Prussian blue, red ochre, red lead and vermilion) together with organic pigments (indigo blue, gamboge and a red organic pigment). The study also found that despite the fact that during the 19th and early 20th century the use of mixtures of several pigments was a common practice, unusual admixtures were used for the preparation of some colours of the studied chromolithographs. Copyright © 2011 John Wiley & Sons, Ltd.     

Pigment identification and decoration analysis of a 5th century Chinese lacquer painting screen: a micro‐Raman and FTIR study

To investigate the pigments and decoration applied to a wood‐based lacquer painting screen from the tomb of Si‐ma Jin‐long, Shanxi Province, central China, made by Chinese craftsmen in the 5th century, a combination of micro‐Raman spectroscopy, Fourier transform infrared spectroscopy (FTIR), wavelength dispersive X‐ray fluorescence (WDXRF), and microscopic examination was used. The obtained results are as follows: (1) the black, yellow, and red colors are identified as carbon black, orpiment and realgar, and cinnabar, respectively, by using micro‐Raman spectroscopy. The FTIR result shows that the white pigment filled in the leaves is not lead white, as assumed in the literature, but gypsum. Whether lead white was used at other locations remains unanswered and requires more samples for further work; (2) the thickness of each discernable pigment layer, as observed under the microscope, is approximately equal and the differences among them are small, suggesting a superfine painting skill; besides, a noticeable smooth interface between wood and the red grounding substance indicates that a polishing process might have been applied before the painting; (3) the red background was proved to contain cinnabar, but further FTIR analyses found no evidence for the presence of Chinese wood oil; and (4) the most interesting finding, rarely reported before, is that white grains of different sizes are found in both pigment layers and the grounding substance, which are perhaps an intentional addition. Further, in situ XRF and Raman analyses indicate that they are sourced from hydroxyapatite, coming probably from the intentional addition of animal bone ash to the lacquer. But how such a process could be finished and what purpose it served have not yet been answered. Copyright © 2009 John Wiley & Sons, Ltd.     

Characterisation of inorganic pigments in ancient glass beads by means of Raman microspectroscopy,microprobe analysis and X‐ray diffractometry

Ancient coloured glass beads from Sri Lanka and Oman were analysed by Raman microspectroscopy for non‐destructive identification of inorganic pigments in the glass. Calcium phosphate (Ca₃(PO₄)₂), cassiterite (SnO₂), cuprite (Cu₂O) and a Pb(Sn,Si)O₃‐type lead tin oxide were found to be used as colouring agents. Moreover, a distinction between lead‐based and alkali‐based glass matrices could be made. Electron microprobe analysis and X‐ray diffractometry were performed to show the capability of Raman microspectroscopy in comparison to these methods for answering archaeometric questions. Copyright © 2006 John Wiley & Sons, Ltd.     

In‐situ and laboratory Raman analysis in the field of cultural heritage: the case of a mural painting

The present work exemplifies, over a mural painting from the 14th century, the advantages of an initial exhaustive research using latest generation hand‐held spectrometers (Raman mainly) in order to perform the characterization of valuable objects of cultural heritage. These in‐situ techniques (meaning on‐site and non‐destructive) are very useful to study the pigments and materials, to identify the nature and causes of some of the main sources of deterioration and to examine past repaints. In addition, the in‐situ measurements are of great importance in the selection of micro‐samples for the laboratory analyses. In this particular case, the combination of these results with the chemical imaging analyses in the laboratory (such as Raman and energy dispersive X‐ray spectrometry imaging) allowed the characterization of the mural painting, including, the identification of all restoration works applied in the past. Copyright © 2014 John Wiley & Sons, Ltd.     

In situ chemical analysis of modern organic tattooing inks and pigments by micro‐Raman spectroscopy

The chemical composition of tattooing pigments has varied greatly over time according to available technologies and materials. Beginning with naturally derived plant and animal extracts, to coloured inorganic oxides and salts, through to the modern industrial organic pigments favoured in today's tattooing studios. The demand for tattooing is steadily growing as it gains cultural popularity and acceptance in today's society, but ironically, increasing numbers of individuals are seeking laser removal of their tattoos for a variety of reasons. Organic pigments are favoured for tattooing because of their high tinting strength, light fastness, enzymatic resistance, dispersion and relatively inexpensive production costs. Adverse reactions have been reported for some organic inks, as well as potential complications, during laser removal procedures stemming from the unintentional creation of toxic by‐products. Currently, regulatory bodies such as the US Food and Drug Administration have not approved any coloured inks to be injected into the skin, and tattoo ink manufacturers often do not disclose the ingredients in their products to maintain proprietary knowledge of their creations. A methodology was established using micro‐Raman spectroscopy on an animal model to correctly identify the constituents of a selection of modern, organic tattoo inks in situ or post procedure, within the skin. This may serve as a preliminary tool prior to engaging in Q‐switched laser removals to assess the risks of producing potentially hazardous compounds. Likewise, the pigments responsible for causing adverse reactions in some patients may be quickly identified to hasten any corresponding treatment. Copyright © 2008 John Wiley & Sons, Ltd.     

Classification of iron‐based inks by means of micro‐Raman spectroscopy and multivariate data analysis

In this work, multivariate data analysis methods were applied to the analysis and interpretation of micro‐Raman spectra, collected from a broad set of historical iron‐based ink samples, previously characterised for the content of organic acids (gallic acid, ellagic acid and protocatechuic acid). The proposed method relies on principal component analysis of the noisy spectra typically obtained on original, degraded, organic samples, where fluorescence could affect the Raman signal. The signal components could be distinguished from the noise components and then used to build a linear discriminant analysis (LDA) model, achieving separation of the spectra into three classes. Selection of pure signal factors also improved effectiveness and performances of partial least square regression (PLS) algorithms, allowing quantification of condensed tannic acid residuals. Application of multivariate methods to discriminate signal from noise removes the need for spectral data manipulation (filtering, smoothing and differentiating). The obtained classification method for discrimination of historic inks and the regression method for determination of condensed tannic acid residuals supports the use of Raman analysis of fluorescing organic materials, and may provide information to scholars on ink composition and potentially on its provenance. Copyright © 2013 John Wiley & Sons, Ltd.     

Micro‐Raman and portable Raman spectroscopic investigation of blue pigments in selected Delft plates (17–20th Century)

The blue pigment as well as other materials in a blue, white and ‘gold’ 17th century Delft dish were analysed and compared to the blue pigment(s) used in a modern blue‐and‐white Delft dish, obtained from a tourist shop in Amsterdam in 2004. The ancient Delft blue pigment was compared to a commercial Delft blue powder identified as a cobalt‐doped willemite, Zn_2−xCo_xSiO₄. The 17th century Delft pigment showed a closer correspondence to the olivine, alpha‐cobalt silicate. The pigment in the modern blue Delft dish was mainly a vanadium‐doped zircon, ZrSiO₄:V⁴⁺, with small amounts of cobalt, identified by EDX analysis. The cobalt compound could, however, not be characterised here for the modern dish. The pigment in the ‘golden’ rim was identified as pyrochlore yellow, PbSnSbO_6.5. Copyright © 2009 John Wiley & Sons, Ltd.     

Characterization of pottery from the Republic of Macedonia I: Raman analyses of Byzantine glazed pottery excavated from Prilep and Skopje (12th–14th century)

In order to gain some understanding of and to characterize the materials used in Byzantine glazed ceramic finds in the Republic of Macedonia, as well as to obtain information on their manufacturing technology, micro‐Raman spectra of 15 representative glazed shards, all dated from 12th to 14th century, were recorded. The elemental composition of the body and glaze of selected shards was obtained by scanning electron microscopy‐energy dispersive X‐ray spectrometry (SEM‐EDXS). At least 17 different minerals in the ceramic body were identified from the Raman spectra, among which were a variety of feldspars (microcline, albite and sanidine) as well as andradite, apatite and forsterite. According to the identified minerals, locations of the used raw materials in the vicinity of the archaeological sites are proposed. There is a good correlation between the polymerization index derived from the Raman spectra and the lead content obtained from the SEM‐EDXS analyses, therefore the firing temperature of the analyzed glazes could be assessed. The SEM‐EDXS analyses showed the presence of different coloring agents (Cu, Co, Cr, Sb) as well as opacifying (Sb) and fluxing (Pb) agents in the glaze matrix. The content of P₂O₅ in the glaze of one of the shards is also discussed. Copyright © 2009 John Wiley & Sons, Ltd.     

Microanalysis of clay‐based pigments in painted artworks by the means of Raman spectroscopy

FT Raman spectroscopy and micro‐Raman spectroscopy with lasers of three different wavelengths (1064 nm, 785 nm and 532 nm) were used for analysis of reference samples of natural clay pigments including white clay minerals (kaolinite, illite, montmorillonite), green earths (glauconite and celadonite) and red earths (natural mixtures of white clay minerals with hematite). In addition, eight micro‐samples obtained from historical paintings containing clay pigments in ground and colour layers have been examined. Powder X‐ray diffraction and micro‐diffraction were used as supplementary methods. It was found that laser operating at 1064 nm provided the best quality Raman spectra for distinguishing different white clay minerals, but the spectra of green and red earths were affected by strong fluorescence caused by the presence of iron. Green earth minerals could be easily distinguished by 532 or 785 nm excitation lasers, even in small concentrations in the paint layers. On the other hand, when anatase (TiO₂) or iron oxides (such as hematite) were present as admixtures (both are quite common, particularly in red earths), the collection of characteristic spectra of clay minerals which form the main component of the layer was hindered or even prevented. Another complicating factor was the fluorescence produced by organic binders when analysing the micro‐samples of artworks. In those cases, it is always necessary to use powder X‐ray micro‐diffraction to avoid misleading interpretations of the pigment's composition. Copyright © 2013 John Wiley & Sons, Ltd.     

Micro‐Raman and stratigraphic studies of the paintings on the ‘Cembalo’ model musical instrument (A.D. 1650) and laser‐induced degradation of the detected pigments

Micro‐fragments of the painted part of the ‘Cembalo’ model by Michele Todini (1625–1689) are investigated. The technique used for painting the terracotta base was studied via the stratigraphic analyses. No background layer of inorganic materials, e.g. gypsum, was found. To prevent absorption effects due to the terracotta porosity, a very thin layer of proteinaceous material was probably used. The micro‐Raman analyses have revealed the use of pigments currently used in the post‐Renaissance period (lead white, indigo, yellow of iron hydroxide, gypsum, hematite and carbon black) mixed with a pigment, the Prussian blue, discovered in A.D . 1704. This raises the authenticity problem of the work of art, a problem analysed and discussed in presenting the history of the work of art, and after the pigment study. The presence of degraded lead white is recognized via the laser‐induced degradation of the irradiated material. The possibility of a restoring action of the painted parts, as opposite to the non‐originality of the work, is considered and discussed. Since most part of the investigated pigments shows laser‐induced effects, a careful study of this phenomenon is performed by using the modern counterparts of the ancient pigments. For different laser powers, the temperatures of the investigated zones have been obtained via the detailed balance principle and connected to the laser‐induced degradation effects. Copyright © 2007 John Wiley & Sons, Ltd.