Investigation on Molecular Non-covalent Interaction in the Sodium Dodecyl Benzene Sulfonate-polychrome Blue B-protein Replacement Reaction

Introduction Supramolecular assembly is always an importantresearch direction for chemists and biochemists.1-5 It isvery helpful for us to accurately analyze the physico-chemical action and process occurring inside biologicalcell, for example, function of a drug, damage of a toxi-cant, detection of oncogene and so on. Understandingthe chemical, physical, biological and pharmacologicalactivity of a complex system requires knowledge of thestate of molecular aggregation of the system compo-ne…     

Investigation on Molecular Non-covalent Interaction in the Sodium Dodecyl Benzene SuIfonate-polychrome Blue B-protein Replacement Reaction

The molecular noncovalent interaction often originates from the electrostatic attraction and accords with the Langmuir isothermal adsorption. The sodium dodecyl benzene sulfonate (SDBS)‐polychrome blue B (PCB>protein bovine serum albumin (BSA), ovalbumin (OVA) and myoglobin (MB)] ternary reaction has been investigated at pH 3.88. Protein to replace PCB from the PCB‐SDBS binding product was used to characterize the assembly of an invisible‐spectral compound, SDBS, on proteins by measuring the variation of FCB light‐absorption by tbe micro‐surface adsorption‐spectral correction (MSASC) technique. The effect of ionic strength and temperature on the aggregation was studied. Results showed that the aggregates SDBS₉₂·BSA, SDBS₅₈·VA and SDBS₁₅·MB at 30 C and SDBS₈₃·BSA. SDBS₃₉·OVA and SDBS₁₀·MB at 50 °C are formed.     

Atacamite as a natural pigment in a South American colonial polychrome sculpture from the late XVI century

The image of Our Lady of Copacabana is a gilded polychrome sculpture manufactured in maguey wood at the end of the 16th century. It is a highly devotional image in the Andean region and her sanctuary lays at the shores of the Titicaca Lake in Bolivia. In this study, a green sample taken from the Virgin's veil has been analyzed with the aim to identify the green pigment and the gilding technique. The green pigment layer covered completely the shiny color of the gilded area. First, the cross section of the sample was examined by optical microscopy revealing the presence of green crystals on a white layer; beneath it, a gold leaf on a red bole was observed. Scanning electron microscopy‐energy dispersive spectroscopy analysis allowed the identification and quantification of copper and chloride in the green pigment layer. Analysis by micro‐Raman spectroscopy indicated the presence of atacamite (Cu₃Cl₂(OH)₃) as the green pigment. Although this compound has been identified as a degradation product of copper pigments or of metallic objects containing copper, in this polychrome sculpture, atacamite was used as the green pigment and is identified for the first time as a mineral pigment in a colonial sculpture made in the Viceroyalty of Peru. Copyright © 2012 John Wiley & Sons, Ltd.     

Raman Characterization of Pigments in Painted Beams and a Wall Painting Discovered in the San Francisco Church in Santiago,Chile

A material characterization of two artworks discovered in the San Francisco Church, Santiago, Chile, was performed using micro-Raman spectroscopy. Structural painted beams and a wall painting that belong to the same time period, between the end of the 17th and 19th centuries, were analyzed. The cross-section samples of both artworks were characterized and animal protein was identified in the ground layer in both cases. The supporting material of the beams was identified as cypress wood, and a rag paper layer was used as a base for the paint layer, which is composed mainly of a white ground layer on which the color was subsequently added; the yellow pigments are orpiment and chrome yellow; the green color probably arises from a mixture of orpiment, red lead, ultramarine blue, and calcite. A complete analysis of the materials using complementary techniques such as microchemistry and optical microscopy indicates that the mural was painted using a mixed technique and that organic and inorganic pigments were used. The identification of the synthetic pigment ultramarine blue in some blue areas of the wall revealed a modification of the wall painting in the 19th century; dark blue areas resulted from a mixture of indigo, palygorskite, and lazurite.