Abstract: The chemical accessibility of the Celv oxidation state enables redox chemistry to be performed on the naturally coinagemetal -deficient phases CeM1-xSO (M = Cu, Ag). A metastable black compound with the PbFC1 structure type (space group P4/nmm: a = 3.8396(1) angstrom, c = 6.607(4) angstrom, V = 97.40(6) angstrom(3)) and a composition approaching CeSO is obtained by deintercalation of Ag from CeAg0.8SO. High-resolution transmission electron microscopy reveals the presence of large defect-free regions in CeSO, but stacking faults are also evident which can be incorporated into a quantitative model to account for the severe peak anisotropy evident in all the highresolution X-ray and neutron diffractograms of bulk CeSO samples; these suggest that a few percent of residual Ag remains. A strawcolored compound with the filled PbFCI (i.e., ZrSiCuAs- or HfCuSi2type) structure (space group P4/nmm: a = 3.98171(1) angstrom, c = 8.70913(5) angstrom, V = 138.075(1) angstrom 3) and a composition close to LiCeSO, but with small amounts of residual Ag, is obtained by direct reductive lithiation of CeAga8S0 or by insertion of Li into CeSO using chemical or electrochemical means. Computation of the band structure of pure, stoichiometric CeSO predicts it to be a Ce' compound with the 4f-states lying approximately 1 eV above the sulfide-dominated valence band maximum. Accordingly, the effective magnetic moment per Ce ion measured in the CeSO samples is much reduced from the value found for the Ce3+-containing LiCeSO, and the residual paramagnetism corresponds to the Ce3+ ions remaining due to the presence of residual Ag, which presumably reflects the difficulty of stabilizing Ce' in the presence of sulfide (S2-). Comparison of the behavior of CeCu0.8SO with that of CeCu0.8SO reveals much slower reaction kinetics associated with the Cu,_xS layers, and this enables intermediate CeCui LixSO phases to be isolated.

Abstract: Two novel lithium nickel boride polymorphs RT-LiNiB and HT-LiNiB with layered crystal structures are reported. This family of compounds was theoretically predicted by using the adaptive genetic algorithm (AGA) and subsequently synthesized via a hydride route with LiH precursor as a lithium source. Being unique among the known ternary transition metal borides, the LiNiB structures feature Li layers alternating with nearly planar [NiB] layers, composed of Ni hexagonal rings centered by B-B pairs. A comprehensive study using a combination of single crystal/synchrotron powder X-ray diffraction data, solid-state 7Li and 11B NMR, scanning transmission electron microscopy, quantum chemistry calculations, and magnetism has shed light on the intrinsic features of these polymorphic compounds. The unique layered structures of LiNiB compounds make them ultimate precursors to further study their exfoliation, paving a way toward two-dimensional transition metal borides, MBenes.

Abstract: Reaction of the n = 1 Ruddlesden-Popper oxide LaSr3CoRuO8 with CaH2 yields the oxyhydride phase LaSr3CoRuO4H4 via topochemical anion-exchange. Close inspection of X-ray and neutron powder diffraction data in combination with HAADF-STEM images reveals that nanoparticles of SrO are exsolved from the system during the reaction, with the change in cation stoichiometry accommodated by the inclusion of n > 1 (Co/Ru)nOn+1H2n ‘perovskite’ layers into the Ruddlesden-Popper stacking sequence. This novel pseudo-topochemical process offers a new route for the formation of n > 1 Ruddlesden-Popper structured materials. Magnetization data are consistent with a LaSr3Co1+Ru2+O4H4 (Co1+, d8, S = 1; Ru2+, d6, S = 0) oxidation/spin state combination. Neutron diffraction and μ+SR data show no evidence for long-range magnetic order down to 2 K, suggesting the diamagnetic Ru2+ centers impede the Co-Co magnetic exchange interactions.

Abstract: Twenty-seven glass fragments containing dark coloured grisaille paint layers of different qualities were collected from ten windows of the cathedral St. Michael & St. Gudule in Brussels (Belgium). The windows were made by J.-B. Capronnier (18141891) and cover the period between 1843 and 1878. The samples were cross-sectioned and examined in an electron microscope. Grisaille paint layers are not homogeneous and therefore, it is not meaningful to characterize them in terms of their average composition. Instead, parameters such as granularity, the number of residual gas bubbles per running millimetre of paint, the type of pigments, and the thickness of the paint layer were used to characterize them. The microscopic morphology allows a classification of the grisaille paint layers in four groups, every group associated with a quality level. Moreover, the main causes of the accelerated degradation of some of these paint layers could be explained. The classification made it possible to distinguish two periods in the work of Capronnier: (1) the early period (18431848) is characterized by the presence of either single granular paint layers or of double-layered systems consisting of a granular paint layer on top of a well-melted paint layer. The granular grisaille paint layers tend to pulverize; (2) the later period (18481878) is characterized by the presence of only well-vitrified paint layers. No sign of deterioration was found on the well-vitrified paint layers.

Abstract: Over the past several decades the painting An Old Man in Military Costume by Rembrandt Harmensz van Rijn (ca. 1630-31; J. Paul Getty Museum, 78.PB.246) has been the subject of a number of investigations carried out in order to better visualize a second painting beneath the surface figure. The underlying image – the head and shoulders of a man wearing a cloak – is oriented 180 degrees from the upper image and appears to be fairly complete. Scanning macro x-ray fluorescence (XRF) spectroscopy reveals the face is painted with lead white and a mercury-containing pigment (likely vermilion), and the cloak is painted with a copper-containing pigment. Following the revelation and digital color reconstruction of the underlying figure, a number of questions still remained. Here, through the use of infrared reflectance imaging spectroscopy (i.e., hyperspectral imaging) and macro-XRF imaging spectroscopy, together with cross-sections taken from targeted areas, the sequence of painting in both compositions was explored. Of particular interest was the discovery of evidence of multiple attempts to situate the lower figure, and the subsequent application of a blocking-out layer over the lower figure before the artist rotated the panel and executed the upper figure. In addition, examination of the placement of the two images on the panel adds to our understanding of the subtle complexities of Rembrandt's working process. RESUMEAu cours des dernieres decennies, la peinture Le vieil homme en costume militaire de Rembrandt Harmensz van Rijn (ca. 1630-31; J. Paul Getty Museum, 78.PB.246) a fait l'objet de nombreuses investigations menees dans le but de mieux visualiser une seconde peinture dissimulee sous la surface. L'image sous-jacente – la tete et les epaules d'un homme vetu d'une cape – est orientee a 180 degres de de l'image du vieil homme, et elle semble assez complete. La spectroscopie a macro-balayage de fluorescence X (MA-XRF) revele que le visage est peint avec du blanc de plomb et un pigment contenant du mercure (comme le vermillon), et que la cape est peinte avec un pigment a base de cuivre. Plusieurs questions restaient en suspens suite a cette decouverte et a la reconstruction numerique en couleur de l'image sous-jacente. Grace a l'emploi de techniques d'imagerie comme la spectroscopie proche infrarouge (ex., imagerie hyperspectrale) et l'imagerie MA-XRF, combinees a l'analyse de coupes stratigraphiques prelevees a des endroits cibles, on a pu explorer la sequence d'application des couches picturales de chacune des deux compositions. Une decouverte particulierement interessante est la preuve que l'artiste a fait plusieurs tentatives pour positionner la figure sous-jacente puis, a ensuite applique une couche pour la recouvrir completement avant de faire pivoter le panneau et peindre la figure du vieil homme. De plus, l'examen du positionnement des deux images sur le panneau ajoute a notre comprehension de la subtile complexite du processus de creation de Rembrandt. Traduit par Elisabeth Forest. RESUMONas ultimas decadas, a pintura Um Velho em Traje Militar, de Rembrandt Harmensz van Rijn (ca. 1630-31; J. Paul Getty Museum, 78.PB.246), foi objeto de uma serie de investigacoes realizadas para visualizar melhor uma segunda pintura abaixo da figura aparente. A imagem subjacente – a cabeca e os ombros de um homem usando uma capa – e orientada a 180 graus da imagem superior e parece estar bastante completa. O macro mapeamento de imagem por espectroscopia de fluorescencia de raios X (FRX) revela que a face e pintada com branco de chumbo e um pigmento contendo mercurio (provavelmente vermelhAo), e a capa e pintada com um pigmento contendo cobre. Apos a descoberta e reconstrucAo digital da cor da figura subjacente, uma serie de questoes ainda permanecem. EntAo, atraves da utilizacAo do mapeamento por imagem de espectroscopia de refletancia por infravermelhos (i.e. mapeamento hiperespectral) e macro mapeamento por imagem de FRX, juntamente com cortes estratigraficos de amostras retiradas de areas de interesse, a pintura em ambas as composicoes foi explorada. De particular interesse foi a descoberta de evidencias de multiplas tentativas de posicionar a figura subjacente, e a subsequente aplicacAo de uma camada intermediaria de separacAo sobre a figura inferior antes do artista girar o painel e executar a figura superior. Alem disso, o exame da colocacAo das duas imagens no painel aumenta nossa compreensAo das sutis complexidades do processo de trabalho de Rembrandt. Traduzido por Marcia Rozzi e Beatriz Haspo. RESUMENA lo largo de las ultimas decadas, la pintura Un anciano con traje militar de Rembrandt Harmensz van Rijn (ca. 1630-31; J. Paul Getty Museum, 78.PB.246) ha sido objeto de varias investigaciones realizadas con el fin de visualizar mejor una segunda pintura debajo de la figura de la superficie. La imagen subyacente, la cabeza y los hombros de un hombre que lleva una capa, esta orientada a 180 grados de la imagen superior y parece estar bastante completa. La espectroscopia de fluorescencia de rayos X (XRF) de barrido revela que la cara esta pintada con blanco de plomo y un pigmento que contiene mercurio (probablemente bermellon), y la capa esta pintada con un pigmento que contiene cobre. Tras la revelacion y la reconstruccion digital del color de la figura subyacente, aun quedaban algunas preguntas. Aqui, por medio del uso de la espectroscopia de imagenes de reflectancia infrarroja (es decir, imagenes hiperespectrales) e imagenes macro-XRF, junto con las secciones transversales tomadas de areas especificas, se exploro la secuencia de pintura en ambas composiciones. De particular interes fue el descubrimiento de evidencia de multiples intentos de situar la figura inferior, y la aplicacion posterior de una capa de bloqueo sobre la figura inferior antes de que el artista rotara el panel y ejecutara la figura superior. Ademas, el examen de la colocacion de las dos imagenes en el panel contribuye a nuestra comprension de las sutiles complejidades del proceso de trabajo de Rembrandt. Traduccion: Amparo Rueda.

Abstract: Understanding the molecular-level mechanisms of phase transformation in solids is of fundamental interest for functional materials such as zeolites. Two-dimensional (2D) zeolites, when used as shape-selective catalysts, can offer improved access to the catalytically active sites and a shortened diffusion length in comparison with their 3D analogues. However, few materials are known to maintain both their intralayer microporosity and structure during calcination for organic structure-directing agent (SDA) removal. Herein we report that PST-9, a new 2D zeolite which has been synthesized via the multiple inorganic cation approach and fulfills the requirements for true layered zeolites, can be transformed into the small-pore zeolite EU-12 under its crystallization conditions through the single-layer folding process, but not through the traditional dissolution/recrystallization route. We also show that zeolite crystal growth pathway can differ according to the type of organic SDAs employed.

Abstract: Oil paints comprise pigments, drying oils, and additives that together confer desirable properties, but can react to form metal carboxylates (soaps) that may damage artworks over time. To obtain information on soap formation and aggregation, we introduce a new tapping-mode measurement paradigm for the photothermal induced resonance (PTIR) technique that enables nanoscale IR spectroscopy and imaging on highly heterogenous and rough paint thin sections. PTIR is used in combination with mu-computed tomography and IR microscopy to determine the distribution of metal carboxylates in a 23-year old oil paint of known formulation. Results show that heterogeneous agglomerates of Al-stearate and a Zn-carboxylate complex with Zn-stearate nano-aggregates in proximity are distributed randomly in the paint. The gradients of zinc carboxylates are unrelated to the Al-stearate distribution. These measurements open a new chemically sensitive nanoscale observation window on the distribution of metal soaps that can bring insights for understanding soap formation in oil paint.