Abstract: In this paper, we used the semiconducting and lightfastness properties of synthetic and mineral arsenic sulfide pigments to study their stability by means of electrochemical and microfadometric techniques. A combination of these techniques shows that in the early stage of the degradation process, amorphous arsenic sulfides are more stable than both crystalline forms, while upon longer exposure time, amorphous pigments will fade more than both mineral pigments, making it less suitable. While the stability study was carried out on unbound pigments, the influence of the organic binder on the relative degradation of the arsenic sulfide pigments was investigated through a multi-analytical approach on pigment/binder mock-up paint samples. For this purpose, the formation of arsenic trioxide was assessed by micro Fourier transform infrared (μ-FTIR) spectroscopy while the influence of the binder on the formation of sulfates was studied by means of synchrotron radiation X-ray near edge structure (μ-XANES). Both techniques elucidate a higher stability of all pigments in gum arabic while the use of egg yolk as binder leads to the most degradation, most likely due to its sulfur-rich composition. In the context of the degradation of arsenic sulfide pigments, other binders such as animal glue, egg white or linseed oil show an intermediate impact.

Abstract: Fossil-bearing shale specimens that include sulfides in their compositions are chemically reactive and sometimes also mechanically fragile. This decay is often related to iron sulfate efflorescence resulting from the oxidation of sulfide compounds. The processes underlying these degradations are poorly known, thus impeding the elaboration of curative or preventive treatments. The present contribution aims to identify the origin of museum specimen alterations. It focuses on the Flouest collection housed at the Museum National d'Histoire Naturelle (MNHN, Paris, France) and originating from the Autun Basin (Saone-et-Loire, France, Permian). To evaluate the alteration of MNHN specimens, it appeared necessary to compare their composition with that of unaltered shale so as to identify chemical changes occurring during ageing. Therefore, new material was collected in the Autun Basin, among others on the locality of Muse that corresponds to the same lithostratigraphic unit as that of the MNHN specimens. This material was, if necessary, artificially aged. The first part of this work, presented elsewhere, deals with the use of Xray diffraction and Mossbauer spectroscopy for characterizing iron reactivity and speciation. It leads to the conclusion that the reactivity of iron in the shale matrix was limited and could not account for the large efflorescence of iron (II) sulfate occurring nearby the fossil. The second part presented here focuses on the use of S K-edge X-ray Absorption Near Edge Structure (XANES) spectroscopy for characterizing sulfur speciation and reactivity. Measurements were performed on the shale matrix and on thin layers of maceral found in the proximity of damaged areas. As sulfur may be found in association with calcium or organic matter, complementary techniques were implemented, such as FTIR spectroscopy, Rock-Eval pyrolysis (characterization of organic matter content) and Ca K-edge XANES (analysis of calcium speciation) spectroscopy. It was shown that sulfur is mainly related to thioether, sulfoxide, iron sulfide, and sulfates whereas calcium is mainly bound to carboxylate, carbonate and/or sulfate groups. FTIR analysis of the macerals confirmed the presence of vitrinite on damaged MNHN specimens. The low oxygen content of new shale samples determined by Rock-Eval pyrolysis indicates that the organic matter is well preserved, despite the fact that samples come from outcrop surface. In the newly collected material, sulfur is mainly related to organic sulfides (thioether) with a minor occurrence of iron sulfide. In the shale fraction of damaged MNHN specimens, sulfur is mostly oxidized into a mixture of iron and calcium sulfate. However, in the vitrinite layers of the same specimens, a large proportion of sulfur corresponds to organic sulfides. Also the oxidation of sulfur does not occur homogeneously but preferentially in the shale fraction, probably because this latter is porous whereas vitrinite is not. Artificial ageing of new shale material showed that the oxidation of organic sulfides could be reproduced at 90 degrees C, 80% of relative humidity. However, the obtained efflorescence almost exclusively corresponds to calcium sulfate whereas iron (II) sulfates are mostly observed on MNHN specimens. The new material collected on site is probably to be questioned, and future studies will have to select new samples with fossil remains. This will be the object of the third part of this work. (C) 2015 Elsevier Masson SAS. All rights reserved.

Abstract: The palaeontological collections of the Muséum national dHistoire naturelle (MNHN, Paris, France) and the Muséum dHistoire naturelle dAutun (MHNA, Autun, France) include many fossil specimens originating from the argillaceous shales of the Autun basin (Saône-et-Loire, France). These fossils are preserved within sedimentary rocks containing unstable sulphide compounds, such as pyrite, which may deteriorate in contact with water and oxygen. This alteration provokes crystalline efflorescence and cracks, thus compromising the preservations of the fossils. This work constitutes the first step of a project that aims to understand the mechanisms of alteration of these materials in order to define conservation guidelines for palaeontological collections. For this purpose, eight damaged specimens originating from the Permian Autun basin (Saône-et-Loire, France) were selected and analyzed by X-ray diffraction (XRD), Raman spectroscopy, scanning electron microscopy coupled to energy dispersive X-ray spectrometry (SEM/EDS) and X-ray absorption spectroscopy at the threshold of the sulphur Kα-edge (XANES). This methodology enabled the characterization of the matrices composition and the chemical nature of the alterations. Subsequently, we have sought to reproduce by artificial ageing the alteration phenomena encountered in the collections. New shale samples were collected on seven outcrops of the same Autun basin. They were analyzed and subjected to artificial ageing at 50% relative humidity (RH) and at temperatures ranging between 40 °C and 90 °C. Our work shows that damaged specimens and newly collected shale have a similar mineralogical composition. Yet the crystalline efflorescence material formed on the surface of damaged specimens belongs to the iron sulphate group whereas gypsum predominates on artificially aged shale samples. Reproducing the alterations observed on specimens by artificial ageing remains therefore problematic. Additionally, it appears that the temperature of ageing controls the nature of the damage: at 40 °C, many samples are mechanically damaged whereas no or minor crystalline efflorescence occurs. At 90 °C, it is the opposite tendency that is observed. Finally, mechanical damages do not seem to be correlated with the development of the efflorescence: samples with efflorescent crystals generally do not show clearly visible cracks; those that seem most fragmented do not show any visible efflorescence.

Abstract: Roman-period mummy portraits are considered to be ancient antecedents of modern portraiture. However, the techniques and materials used in their manufacture are not thoroughly understood. Analytical study of the pigments as well as the binding materials helps to address questions on what aspects of the painting practices originate from Pharaonic and/or Graeco-Roman traditions, and can aid in determining the provenance of the raw materials from potential locations across the ancient Mediterranean and European worlds. Here, one of the largest assemblages of mummy portraits to remain intact since their excavation from the site of Tebtunis in Egypt was examined using multiple analytical techniques to address how they were made. The archaeological evidence suggests that these portraits were products of a single workshop and, correspondingly, they are found to be made using similar techniques and materials: wax-based and lead white-rich paint combined with a variety of iron-based pigments (including hematite, goethite and jarosite), as well as Egyptian blue, minium, indigo and madder lake to create subtle variations and tones.