Abstract: The ArmstrongBuseck correction for absorption effects in electron probe x-ray microanalysis of particles considers seven specific particle shapes, and for these geometries exact correction equations are used. This procedure implies that the analyst has to associate the particle to be analysed with a certain particle type; an arbitrary relative thickness is sometimes assumed. A theoretical study was made of this absorption correction as a function of the particle composition, type and thickness for micrometre-sized particles. It appears that a correct choice of the particle type is critical. However, when the analytical results are normalized to 100%, the differences between the models are much less pronounced, and it is justified to assume a spherical model in all cases.

Abstract: The paintings by edouard Manet in The Courtauld Gallery Dejeuner sur l'herbe (1863-68), Marguerite de Conflans en Toilette de Bal (1870-1880), Banks of the Seine at Argenteuil (1874), and A Bar at the Folies-Bergere (1882) were investigated for the first time using a range of non-invasive in situ analyses. The aims of the study were to investigate the painting techniques and materials used for this group of works and to critically evaluate the technical evidence derived from the integrated use of imaging techniques and portable spectroscopic methods in this context. The paintings were investigated by means of macro X-ray fluorescence (MA-XRF), reflection spectral imaging, portable UV-Vis-NIR spectroscopy, portable Raman spectroscopy, and reflection FTIR. MA-XRF and reflection spectral imaging allowed visualising elements in the compositions that were not visible using traditional methods of technical study. For example, MA-XRF analysis of Dejeuner sur l'herbe revealed elements of the development of the composition that provided new evidence to consider its relationship to other versions of the composition. The study also highlighted questions about the interpretation of elemental distribution maps and spectral images that did not correspond to the reworking visible in X-radiographs. For example, in A Bar at the Folies-Bergere Manet made numerous changes during painting, which were not clearly visualised with any of the techniques used. The research has wider implications for the study of Impressionist paintings, as the results will support technical studies of works by other artists of the period who used similar materials and painting methods.

Abstract: In this paper, portable X-ray fluorescence spectrometry (PXRF) was employed as a screening tool for determining and comparing the pigment use in a large series of paintings by the Belgian artist James Ensor (1860-1949). Benefits and drawbacks of PXRF as a method, and the instrument employed, are discussed from a practical, conservation and instrumental perspective. Regardless of several restrictions due to the set-up and/or the analytical method, it appeared feasible to document the evolution with time in Ensor's use of inorganic pigments and to correlate this technical evolution with stylistic developments, Nevertheless, it became clear that a full identification of all materials present can only be done by means of the analysis of (cross-sectioned) samples.

Abstract: This paper presents the results of X-ray fluorescence (XRF) analysis of bricks sampled from historical places in Pernambuco, a state in the northeastern region of Brazil. In this study, twenty bricks found in historical sites were analyzed. Two bricks made in the 17th century, presumably used as ballast in ships coming from Holland, five locally manufactured bricks: one from 18th century, three from 19th century, and one from 20th century, and thirteen bricks collected from a recent Archeological investigation of Alto da Se, in the town of Olinda. Qualitative determination of the chemical elements present in the samples was undertaken using a self-assembled portable XRF system based on a compact X-ray tube and a thermoelectrically cooled Si-PIN photodiode system, both commercially available. X-ray diffraction analysis was also carried out to assess the crystalline mineral phases present in the bricks. The results showed that quartz (SiO2) is the major mineral content in all bricks. Although less expressive in the XRD patterns, mineral phases of illite, kaolinite, anorthite, and rutile are also identified. The trace element distribution patterns of the bricks, determined by the XRF technique, is dominated by Fe and, in decreasing order, by K, Ti, Ca, Mn, Zr, Rb, Sr, Cr, and Y with slight differences among them. Analyses of the chemical compositional features of the bricks, evaluated by principal component analysis of the XRF datasets, allowed the samples to be grouped into five clusters with similar chemical composition. These cluster groups were able to identify both age and manufacturing sites. Dutch bricks prepared with different geological clays compositions were defined.

Abstract: The majority of researchers, conservators and curators recognise that atmospheric pollution is one of the major threats to works of art. In principle, all atmospheric particles, when deposited onto art objects can be considered harmful because of their potential in causing deterioration. Moreover, under certain conditions, particulate matter can induce and intensify surface damage, particularly because of its potential to serve as centre for moisture condensation and adsorbent of gaseous pollutants. To investigate the potential harm that these particles can cause, comprehensive characterisation of the particulate matter is necessary. Particulate matter was collected at the Rubens' House Museum in Antwerp, Belgium, where a unique exhibit of the paintings and living quarters of Peter Paul Rubens (1577-1640) are seen. Size segregated aerosol samples were collected for analyses of bulk and single particle elemental and molecular compositions. They were analysed by electron probe micro-analysis, utilising facilities for low-Z element determination, and by energy-dispersive x-ray fluorescence, to investigate the elemental composition of individual particles and bulk samples, and by micro Raman spectrometry, to elucidate the molecular composition. Results are interpreted separately and as a whole with the specific aim of identifying compounds that could contribute to the chemical reactions taking place on the surfaces of artefacts and which could potentially cause degradation of the objects.