Trimethylsulfonium hydroxide as derivatization reagent for the chemical investigation of drying oils in works of art by gas chromatography

A procedure for the determination of fatty acids (FA) and glycerol in oils has been developed. The method includes a derivatization step of the FAs into their methyl esters or a transesterification of the triacylglycerols with trimethylsulfonium hydroxide (TMSH), respectively. The analysis is carried out by gas chromatography with parallel flame ionization and mass spectrometric detection. The parameters involved in the transesterification reaction were optimized. Only the stoichiometric ratio of TMSH:total FA amount showed a significant influence on the reaction yield. Relative standard deviations for 10 replicates were below 3% for all FAs studied and their linearity range was 0.5-50 mmol/L, when using heptadecanoic acid as an internal standard. The final procedure was rapid and required little sample handling. It was then tested on fresh oil samples and presented satisfying results, in agreement with previous works.     

Triangulating and guarding realistic polygons

We propose a new model of realistic input: k-guardable objects. An object is k-guardable if its boundary can be seen by k guards. We show that k-guardable polygons generalize two previously identified classes of realistic input. Following this, we give two simple algorithms for triangulating k-guardable polygons. One algorithm requires the guards as input while the other does not. Both take linear time assuming that k is constant and both are easily implementable.     

Analysis of post-Byzantine icons from the Church of the Assumption in Cephalonia, Ionian Islands, Greece: a multi-method approach

A multi-method approach has been developed for the characterisation of the proteinaceous binding media, drying oils and pigments present in samples from the panel paintings of the Church of the Assumption in Cephalonia (Ionian Islands, Greece). The analytical protocol involved the use of scanning electron microscopy/energy dispersive X-ray analysis (SEM/EDX), Raman spectroscopy and gas chromatography. The identification of the pigments was achieved by SEM/EDX and Raman spectroscopy. The latter technique was also used for the detection of the binding media, while their characterisation was achieved by gas chromatographic analysis of ethyl chloroformate derivatives. The aim of this multi-method protocol was to obtain as much information as possible from the panel paintings of the Church of the Assumption, through non-destructive methods, before proceeding to gas chromatography. Little scientific information is available for the understanding of the construction technique and the materials used by the post-Byzantine artists and whatever is available comes mainly from artists’ manuals. One of the aims of this paper is to provide a scientific background to the technology of the Ionian post-Byzantine icons.     

Identification of drying oils used in pictorial works of art by liquid chromatography of the 2-nitrophenylhydrazides derivatives of fatty acids

A new HPLC-UV-Vis method for identification of drying oils from binding media or protective film used in pictorial works of art prior to conservation or restoration is proposed. Chromophore derivatization of fatty acids released by hydrolysis of structural drying oils is studied. The derivatization reagent selected was 2-nitrophenylhydrazine with 1-ethyl-3-(3-dimethyl animopropyl)carbodiimide hydrochloride/pyridine as catalyst. This reaction was carried out using microwave heating. Mobile phase was methanol/water/n-propanol/acetic acid (80:14:5:1) running in isocratic mode. Absorbance was measured at 400 nm. In these conditions, hydrazides of myristic, palmitic, oleic, and stearic acids were satisfactorily resolved. Method shows good sensitivity, with a detection limit of 15 μmol l⁻¹, and good linearity between 0.03 and 3 mmol l⁻¹. Peak area ratios among fatty acids derivatives allows identification of the drying oils. The stearic/palmitic ratio is the most important, because it allows to differentiate among the different drying oils. The proposed method has been successfully applied to real samples from items of the cultural heritage of Valencia (Spain).     

Spectroscopic investigation of a ‘Virgin of Sorrows’ canvas painting: A multi-method approach

The investigation of unmatched ancient objects is an attentive and arduous activity to conservation scientists. An important aspect of art analysis is the question on sampling and avoiding damage on the artefact during the study. A possible way to maximize the information that is extracted from the historical object is using several sensitive micro-analytical techniques on the same micro samples. As an illustration of this multi-method approach, in this work, a canvas painting ‘Virgin of Sorrows’ was studied and its materials were analysed in order to roughly date and to authenticate this object of art. Proton induced X-ray emission (PIXE), neutron activation analysis (NAA), optical microscopy, scanning electron microscopy (SEM), micro-Raman spectroscopy (MRS) and Fourier transform infrared spectroscopy (FT-IR) were used, obtaining successful results. These methods allowed identifying the different inorganic pigments (iron oxide, carbon black, white lead, Prussian blue) as well as indigo. Optical microscopy and SEM revealed the layered structure of the samples, while FT-IR enabled to determine the nature of the varnish used (shellac). By using these complementary techniques, it was possible to identify the materials in the painting, which are indicative for the period of manufacturing the artwork.     

Thermal and Raman-spectroscopic analysis of Maya Blue carrying artefacts, especially fragment IV of the Codex Huamantla

Maya Blue, a pigment composed of very low concentrations of natural indigo and the clay mineral palygorskite, is one of the most brilliant blue dyes, intensively used for more than 2000 years in Mesoamerica. It is extremely stable against environmental attacks and was applied by the Indians for inside and outside mural paintings, ceramics, textiles and for colouring their famous codices. In the present paper it was studied as a powder (compared with modern synthetic indigo) and as colour on tissues, a Maya clay head, and fragment IV of the famous Codex Huamantla. Investigations using Raman spectroscopy in the visible and near-infrared range showed a high degree of correspondence among all Maya Blue-carrying samples and a good agreement with synthetic indigo. Additional spectral lines may be explained by a transformation of the planar indigo molecule when binding to the palygorskite lattice. Thermal investigations of the original “amatl” paper of the codex and of recent paper from fig-trees showed a high similarity and thus proved that this tree was chosen for paper making by Mayas, Aztecs and other Indian tribes. This was also true for the codex.     

Diagnostic Raman spectroscopy for the forensic detection of biomaterials and the preservation of cultural heritage

This paper reviews the contributions of analytical Raman spectroscopy to the non-destructive characterisation of biological materials of relevance to forensic science investigations, including the sourcing of resins and the identification of the biodegradation of art and archaeological artefacts. The advantages of Raman spectroscopy for non-destructive analysis are well-appreciated; however, the ability to record molecular information about organic and inorganic species present in a heterogeneous specimen at the same time, the insensitivity of the Raman scattering process to water and hydroxyl groups, which removes the necessity for sample desiccation, and the ease of illumination for samples of very small and very large sizes and unusual shapes are also apparent. Several examples are used to illustrate the application of Raman spectroscopic techniques to the characterisation of forensic biomaterials and for the preservation of cultural heritage through case studies in the following areas: wall-paintings and rock art, human and animal tissues and skeletal remains, fabrics, resins and ivories.