Abstract: The painter, Vincent van Gogh, and some of his contemporaries frequently made use of the pigment chrome yellow that is known to show a tendency toward darkening. This pigment may correspond to various chemical compounds such as PbCrO4 and PbCr1-xSxO4, that may each be present in various crystallographic forms with different tendencies toward degradation. Investigations by X-ray diffraction (XRD), mid-Fourier Transform infrared (FTIR), and Raman instruments (benchtop and portable) and synchrotron radiation-based micro-XRD and X-ray absorption near edge structure spectroscopy performed on oil-paint models, prepared with in-house synthesized PbCrO4 and PbCr1-xSxO4, permitted us to characterize the spectroscopic features of the various forms. On the basis of these results, an extended study has been carried out on historic paint tubes and on embedded paint microsamples taken from yellow-orange/pale yellow areas of 12 Van Gogh paintings, demonstrating that Van Gogh effectively made use of different chrome yellow types. This conclusion was also confirmed by in situ mid-FTIR investigations on Van Goghs Portrait of Gauguin (Van Gogh Museum, Amsterdam).

Abstract: Laser Microprobe Mass Spectrometry (LAMMA) is used to examine micrometric particles of calcium oxyanion salts (CaCO3, CaSO4, CaSO4·2H2O) and calcium oxide, in both the positive and negative ion mode. The major molecular ions, appearing in the positive mass spectrum, can be divided into three series, namely CamOm-1+, (CaO)m+ and (CaO)mH+ (m = 1-4). In the case of the former two series the relative intensities of the mass peaks as a function of the fragment valence K = (1 + 2n)/m, for CamOn+, can be fitted to a Gaussian distribution curve, as was earlier demonstrated for secondary ion mass spectrometry. The high stability of the (CaO)mH+ series can be explained by the favourable fragment valence of +2 corresponding to the usual oxidation state of calcium.

Abstract: The late antique/early medieval age in Central Italy is a well-suited context to verify the implications of the end of the natron glass supplies, and to explore the beginnings of the new plant-ash glass technology. We present the results of a LA-ICP-MS analysis campaign conducted on archaeological glass finds excavated at the Santa Maria della Scala hospital site in Siena and in Donoratico. This provided us with major, minor and trace element quantitative data for 49 glass samples belonging to drinking vessels and lamps, dated mainly between the 5th and the 8th century. On the basis of these data, we have sought to identify the working processes and possible glassware trade that are reflected in the glass composition. Major and minor element contents revealed that most samples, also at the later boundary of the explored timeframe, fit well within known late Roman glass classifications (e.g. HIMT, Levantine). Trace element analysis provided further information on the raw materials that were used in the glassmaking process, indicating the use of coastal sands as a silica source and allowing us to formulate different hypotheses on the materials used for the colouring process.

Abstract: Co-adsorption of norfloxacin (Nor) and Cu(II) on montmorillonite at pH 4.5, 7.0 and 9.0 was studied by integrated batch adsorption experiments and extended X-ray absorption fine structure (EXAFS) spectroscopy. Under such pH conditions the dominant species of Nor are cation (Nor+), zwitterion (Nor±), and anion (Nor−), respectively. Results indicated that Nor sorption decreased with an increase of solution pH. The presence of Cu(II) slightly suppressed the Nor+ sorption at pH 4.5, while increased Nor± and Nor−sorption on montmorillonite at pH 7.0 and 9.0, respectively. In contrast, Nor increased Cu(II) adsorption at pH 4.5, but had little effect on the adsorption of Cu(II) on montmorillonite at pH 7.0 and 9.0. Spectroscopic results showed that, at pH 4.5, Nor+ was sorbed on montmorillonite by the formation of outer-sphere montmorilloniteNorCu(II) ternary surface complex. At pH 7.0, montmorilloniteNorCu(II) and montmorilloniteCu(II)Nor ternary surface complexes co-exist. At pH 9.0, montmorilloniteCu(II)Nor ternary surface complex was likely formed, which was different to Cu(II)(Nor)2 precipitate of the solution.

Abstract: A study has been conducted on the leaching of two fungicides, tebuconazole and cymoxanil, in a soil amended with spent mushroom substrate (SMS), with an evaluation of how different factors influence this process.The objective was based on the potential use of SMS as a biosorbent for immobilizing pesticides in vulnerable soils, and the need to know how it could affect the subsequent transport of these retained compounds. Breakthrough curves (BTCs) for C-14-fungicides, non-incubated and incubated over 30 days, were obtained in columns packed with an unamended soil (S), and this soil amended with SMS at rates of 5% (S + SMS5) and 50% (S + SMS50) under saturated and saturated-unsaturated flows. The highest leaching of tebuconazole (> 50% of the total C-14 added) was found in S when a saturated water flow was applied to the column, but the percentage of leached fungidde decreased when a saturated-unsaturated flow was applied in both SMS-amended soils. Also a significant decrease in teaching was observed for tebuconazole after incubation in the column, especially in S + SMS50 when both flows were applied. Furthermore, cymoxanil leaching was complete in S and S + SMS when a saturated flow was applied, and maximum peak concentrations were reached at 1 pore volume (PV), although BTCs showed peaks with lower concentrations in S + SMS. The amounts of cymoxanil retained only increased in S + SMS when a saturated-unsaturated flow was applied. A more relevant effect of SMS for reducing the leaching of fungidde was observed when cymoxanil was previously incubated in the column, although mineralization was enhanced in this case. These results are of interest for extending SMS application on the control of the leaching of fungicides with different physicochemical characteristics after different ageing times in the soil and water flow conditions applied. (C) 2017 Elsevier B.V. All rights reserved.

Abstract: In this work we attempt to elucidate the chronological and geographical origin of deeply coloured and black glass dating between 100 bc and ad 300 on the basis of their major and trace element compositions. Samples from the western and eastern parts of the Roman Empire were analysed. Analytical data were obtained by means of a scanning electron microscope – energy-dispersive system (SEM-EDS, 63 samples analysed) and laser ablation – inductively coupled plasma – mass spectrometry (LA-ICP-MS, 41 samples analysed). Among the glass fragments analysed, dark brown, dark purple and dark green hues could be distinguished. Only among the dark green fragments could a clear compositional distinction be observed between fragments dated to the periods before and after ad 150. In the early samples (first century bc to first century ad), iron, responsible for the green hue, was introduced by using impure sand containing relatively high amounts of Ti. In contrast, a Ti-poor source of iron was employed, containing Sb, Co and Pb in trace quantities, in order to obtain the dark green colour in the later glass samples. The analytical results obtained by combining SEM-EDS and LA-ICP-MS are therefore consistent with a differentiation of glassmaking recipes, detectable in glass composition, occurring in the period around ad 150.

Abstract: The revolutionary development in digital theory and technology calls for non-trivial decisions in bridging between the virtual and real worlds. The field of conservation of cultural heritage thus provides various challenges, especially with regards to learning, study and investigation of tangible heritage through applications of intangible ICT technologies. This paper examines the interaction between e-learning, and the actual on-site learning and study of historic buildings and sites, with an emphasis on their visual characteristics. In this context, the paper presents some aspects of application of a methodology which allows basic documentation, monitoring and primary analysis of data on cultural (built) heritage sites by general public through educational process enabled by an e-learning platform.

Abstract: Often, just micrometers below a paintings surface lies a wealth of information, both with Old Masters such as Peter Paul Rubens and Rembrandt van Rijn and with more recent artists of great renown such as Vincent Van Gogh and James Ensor. Subsurface layers may include underdrawing, underpainting, and alterations, and in a growing number of cases conservators have discovered abandoned compositions on paintings, illustrating artists practice of reusing a canvas or panel. The standard methods for studying the inner structure of cultural heritage (CH) artifacts are infrared reflectography and X-ray radiography, techniques that are optionally complemented with the microscopic analysis of cross-sectioned samples. These methods have limitations, but recently, a number of fundamentally new approaches for fully imaging the buildup of hidden paint layers and other complex three-dimensional (3D) substructures have been put into practice. In this Account, we discuss these developments and their recent practical application with CH artifacts. We begin with a tabular summary of 14 IR- and X-ray-based imaging methods and then continue with a discussion of each technique, illustrating CH applications with specific case studies. X-ray-based tomographic and laminographic techniques can be used to generate 3D renditions of artifacts of varying dimensions. These methods are proving invaluable for exploring inner structures, identifying the conservation state, and postulating the original manufacturing technology of metallic and other sculptures. In the analysis of paint layers, terahertz time-domain spectroscopy (THz-TDS) can highlight interfaces between layers in a stratigraphic buildup, whereas macrosopic scanning X-ray fluorescence (MA-XRF) has been employed to measure the distribution of pigments within these layers. This combination of innovative methods provides topographic and color information about the micrometer depth scale, allowing us to look into paintings in an entirely new manner. Over the past five years, several new variants of traditional IR- and X-ray-based imaging methods have been implemented by conservators and museums, and the first reports have begun to emerge in the primary research literature. Applying these state-of-the-art techniques in a complementary fashion affords a more comprehensive view of paintings and other artworks.