Abstract: A detailed account is given of neutron and γ-ray attenuation effects in 14-MeV neutron activation analysis of oxygen. Appropriate neutron cross-section values have been determined in two different ways and compared with literature values. It appears that the attenuation process is best described in terms of nonelastic scattering cross-sections. It is also shown that the narrow beam total γ-ray attenuation coefficients at 6 MeV, given in the literature are suitable for correction purposes if 16N γ-rays are counted with a window of 4.56.5 MeV. Attention was paid to the contribution of β-rays when the 16N activity is counted in this energy interval with a NaI(Tl) detector.

Abstract: The present work reports on the application and the evaluation of a multitude of crosslinking approaches including high-energy irradiation, redox-initiating systems and conventional carbodiimide-coupling chemistry for frozen and/or freeze-dried porous gelatin scaffolds. The latter is particularly relevant for a plethora of biomedical applications such as tissue engineering supports, wound dressings, adhesive and absorbent pads for surgery, etc. Moreover, the results obtained for gelatin can be considered a proof-of-concept to be extrapolated to other polymer systems containing double bonds and/or amines and carboxylic acids to also realize scaffold crosslinking in dry or frozen state. The results showed that high-energy irradiation at -5 A degrees C enabled sufficient segmental mobility to induce chemical crosslinking after performing a cryogenic treatment of methacrylamide-modified gelatin scaffolds. Alternatively, although several redox-initiating systems were unable to chemically crosslink functionalized gelatin, the combination of ammonium persulphate and TEMED resulted in the formation of scaffolds with a reasonable gel fraction. Interestingly, carbodiimide-coupling was found suitable to crosslink freeze-dried gelatin matrices.

Abstract: Marine aerosols have extensively been monitored in the framework of a research project to investigate the inorganic and organic nutrient fluxes of the atmospheric nitrogen input into the North Sea. As a part of this project bulk analysis was also performed by energy dispersive X-ray fluorescence (EDXRF) on a total of 366 samples in order to provide detailed elemental composition. Samples have been clustered per campaign and differences were related to backward trajectories. Elements as Cl, Si, and S appeared to be the best tracers for coastal aerosols. Therefore they have been chosen to represent each campaign and to map the seasonal variations. It is clear that Cl is an excellent tracer for oceanic trajectories, while a less clear correlation between the soil dust components and the air mass trajectories is found.

Abstract: The soft modelling of the skin tones in Vermeer's Girl with a Pearl Earring (Mauritshuis) has been remarked upon by art historians, and is their main argument to date this painting to c. 1665. This paper describes the materials and techniques Vermeer used to accomplish the smooth flesh tones and facial features of the Girl, which were investigated as part of the 2018 Girl in the Spotlight research project. It combines macroscopic X-ray fluorescence imaging (MA-XRF), reflectance imaging spectroscopy (RIS), and 3D digital microscopy. Vermeer built up the face, beginning with distinct areas of light and dark. He then smoothly blended the final layers to create almost seamless transitions. The combination of advanced imaging techniques highlighted that Vermeer built the soft contour around her face by leaving a 'gap' between the background and the skin. It also revealed details that were otherwise not visible with the naked eye, such as the eyelashes. Macroscopic imaging was complemented by the study of paint cross-sections using: light microscopy, SEM-EDX, FIB-STEM, synchrotron radiation mu-XRPD and FTIR-ATR. Vermeer intentionally used different qualities or grades of lead white in the flesh paints, showing different hydrocerussite/cerussite ratios and particle sizes. Lead isotope analysis showed that the geographic source of lead, from which the different types of lead white were manufactured, was the same: the region of Peak District of Derbyshire, UK. Finally, cross-section analysis identified the formation of new lead species in the paints: lead soaps and palmierite (K2Pb(SO4)(2)), associated with the red lake.

Abstract: As part of the NWO Science4ArtsREVISRembrandtproject (2012-2018), novel chemical imaging techniques were developed and applied to the study of Rembrandt's late experimental painting technique (1651-1669). One of the unique features in his late paintings is his abundant use of smalt: a blue cobalt glass pigment that he often combined with organic lake pigments, earth pigments and blacks. Since most of these smalt-containing paints have discolored over time, we wanted to find out more about how these paintings may have originally looked, and what the role of smalt was in his paint. This paper reports on the use of smalt in complex pigment mixtures in Rembrandt'sHomer(1663), Mauritshuis, The Hague. Macroscopic X-ray fluorescence imaging (MA-XRF) assisted by computational analysis, in combination with SEM-EDX analysis of paint cross-sections, provides new information about the distribution and composition of the smalt paints in the painting. Paint reconstructions were carried out to investigate the effect of different percentages of smalt on the overall color, the drying properties, translucency and texture of the paint. Results show that the influence of (the originally blue) smalt on the intended color of the paint of theHomeris minimal. However, in mixtures with high percentages of smalt, or when combined with more transparent pigments, it was concluded that the smalt did produce a cooler and darker paint. It was also found that the admixture of opaque pigments reduced the translucent character of the smalt. The drying tests show that the paints with (cobalt-containing) smalt dried five times faster compared to those with glass (without cobalt). Most significantly, the texture of the paint was strongly influenced by adding smalt, creating a more irregular surface topography with clearly pronounced brushstrokes. Optical coherence tomography (OCT) was used as an additional tool to reveal differences in translucency and texture between the different paint reconstructions. In conclusion, this study confirmed earlier assumptions that Rembrandt used substantial amounts of smalt in his late paintings, not for its blue color, but to give volume and texture to his paints, to deepen their colors and to make them dry faster.

Abstract: The zirconium/hafnium ratios of zircons are determined using proton induced X-ray emission. Submilligram samples, imbedded in a starch layer and deposited on a 50 μg/cm2 polystyrene carrier, are irradiated for 1020 min with a 5 nA beam of 3.7 MeV protons, while the Hf-Lβ and Zr-Kα X-rays are counted with a Si(Li) detector. The standard deviation per analysis is in the 36 % range. Only few interferences are possible. To eliminate errors due to absorption effects the zircon layer thickness should be above 40 μm or reproducibly thin samples should be employed. Measuring the Hf-Lβ/Hf-Lα ratio for samples and standards might provide a practical check for the absence of absorption errors. The sensitivity is so favourable that, in practice, the minimal sample size is only limited by the minimal amount that can be handled properly.