Dot blot immunochemical and infrared analyses of the adhesive layer applied to the painting Imago Pietatis by Domenico Morone

Purpose To investigate the nature of the materials used in the adhesive layer of the Imago Pietatis painting (end of the fifteenth century—beginning of the sixteenth century) by Domenico Morone as a prerequisite for its restoration. Methods Micro-FTIR spectra of the animal glue and a polished cross-section were acquired by a Jasco IRT3000 spectrometer, equipped with a 32× Cassegrain objective. A dot blot immunoassay was used to characterise a minor component of the adhesive layer. Results Micro-FTIR was used as an effective diagnostic tool to detect the major component of the adhesive layer and the binder of the paint. Despite the ageing, the complex matrix and the micro-size of the sample, using a dot blot immunoassay, it was possible to quantify 3.7 ± 2.0 ng of ovalbumin per microgram of sample (corresponding to 0.004 ± 0.002% of the weight). Conclusions The findings were in line with conservation practices described in the old treatises, confirming the correct interpretation of the adhesive layer compounds added to the painting and suggesting for the cleaning the use of an anionic water-soluble surfactant highly effective in the removing of proteinaceous materials.

Microanalyses and Spectroscopic Techniques for the Identification of Pigments and Pictorial Materials in Monet's Pink Water Lilies Painting

In this work, the technique and the pictorial materials employed by Claude Monet in Pink Water Lilies, presently housed at the National Gallery of Modern and Contemporary Art in Rome, were investigated. The painting underwent noninvasive investigations such as energy-dispersive X-ray fluorescence and visible reflectance spectroscopies. The combined use of these techniques allowed us to identify most of the inorganic pigments such as cobalt blue and violet, zinc oxide, cadmium yellow, vermilion, and mixtures. Particularly, the spectrophotometric curves allow for the detection of the anhydrous and hydrated chromium greens. Two micro-fragments of the painting were also examined with micro-Fourier transform infrared spectroscopy and the cross-sections obtained were analyzed with the optical microscope and with scanning electron microscopy (SEM) and energy-dispersive X-ray spectrometry (EDS). Fourier Transform Infrared spectroscopy analyses allowed us to recognize the animal glue used for priming the canvas, which was covered with a ground layer consisting of calcite and lead white mixed with an oil binder. A lipidic binder was also detected in the color layer. Optical microscopy and SEM-EDS were useful to retrieve information about the stratigraphy, the distribution of pigments, and a more complete palette identification of phosphate, arsenate, and magnesium arsenate cobalt violets, and the red lake was possible.

Multi-Analytical Research on the Caisson Painting of Dayu Temple in Hancheng, Shaanxi, China

In this research, the caisson painting of Dayu Temple in Hancheng, Shaanxi, China, was analyzed via a multi-analytical methodology, using a pH meter, an ultra-depth-of-field optical microscope, a scanning electron microscope–energy dispersive spectrometer (SEM-EDS), a high-resolution X-ray diffractometer (XRD), a micro-confocal laser Raman spectrometer, a gas chromatography mass spectrometer (GC-MS), and X-ray fluorescence spectroscopy (XRF). With the corroborative evidence derived from the above analyses, it could be determined that the caisson painting of Dayu Temple was painted on bamboo paper and attached to hemlock wood substrate of the Pinaceae Tsuga genus using starch paste, with common colorants such as carbon black, cinnabar mixed with a small amount of red lead, ultramarine, and ultramarine mixed with Paris green, with animal glue having been adopted as a sizing agent. These results provide important scientific data for the production craft of precious caisson paintings, contributing to the revelation of their historic, artistic, and scientific value, and should enable conservators to make informed decisions in restoration.

Properties Change of Korean Traditional Animal Glue Depending on The Parts of Cattle Hide and Extraction Conditions

We investigated the properties of Korean traditional animal glue which are associated with the use of different parts of cattle hide and extraction conditions. Both average molecular weight(Mw, Mz) and polydispersity (PDI) of the animal glue increased with extraction time, whereas only PDI decreased after 48h. There were no differences in the average molecular weight and PDI for the different cattle hide parts used, although a individual difference was observed with regard to total molecular weight. Differences in extracts over time were compared by investigating the amide regions representing the gelatien component of the animal glue. The triple helix structure of the belly skin deteriorated in a manner proportional to the extraction time, and differences were observed for each cattle hide part. The yellowness increased with the extraction time; however, the viscosity was not proportional to the average change in molecular weight. This study has some limitations because of difficulties in the quality control of cases where small amounts of glue were extracted as small differences might impact the overall results considerably. Further research exploring various extraction conditions is required to ensure the prodiction of traditional animal glue with optimum qualities.

A Scientific Analysis of Gold Threads Used in Donggungbi-Wonsam(Ceremonial Robe Worn by a Crown Princess, National Folklore Cultural Heritage No.48)

This study identified material properties through scientific analysis on Jikgeumdan(satin with gold threads) from Donggungbi-Wonsam and the gold threads used in the embroidery. The Donggungbi-Wonsam’s base of gold threads were estimated to have used mulberry fiber’s Korean paper(Hanji) because non-wood-based fibers were observed. The X-ray spectrometer showed that the Tongsuseulan of Donggungbi-Wonsam was a flat gold thread of pure gold and Jikgeumdan of flat silver thread of its Saekdong and Hansam. High sulfur levels were detected in the flat silver thread, which appeared to have formed silver sulfide by either manufacturing process using sulfur or conservation environment. he dragon insignia’s embroidery is also described as two types twisted gold threads; pure gold and alloying-gold and silver. while dragon insignia’s border line is decorated with a twisted gold thread of pure gold. In particular, it was investigated that adhesives such as an animal glue, a protein-based compound by gas chromatography mass spectrometry. Additionally, XRF and Raman spectroscopy analysis on the mixture substances between the metal surface and the base paper of gold threads identified talc and quartz in the gold threads and Seokganju(hematite) in the flat silver threads.

The Characterization of the Materials Used by Gino Severini in His 20th C Wall Paintings at Semsales in Switzerland

The modern decoration of the Saint Nicolas de Myre Church at Semsales (1924–1926), is the first by renowned Italian artist Gino Severini in Switzerland. Following archival research and visual examination, the materials and the techniques used by Severini for the wall paintings of this church were examined through a multi-technique analytical approach that included both non-invasive and invasive investigations. Archival research revealed lists of some of the materials purchased for the church and notes of the artists. In situ investigations included imaging methods and point analyses (X-ray fluorescence and reflection FT-IR spectroscopy). Based on non-invasive results, a limited number of representative samples were collected for laboratory invasive analyses (SEM-EDS, FTIR-FPA imaging, μ-Raman and GC-MS) to characterize the stratigraphy and the composition of the paintings. Results were coherent with artist’s notes and revealed protein-based binders, i.e. animal glue and casein, exclusively on the Trinity mural (in the apse) confirming the use of a secco technique. All the other wall paintings analyzed at Semsales are painted without the use of organic binders. These findings, integrated with archival researches and the visual examination by conservators, provided significant insights into the materials and techniques used by Gino Severini in his first Swiss murals.

Non-Destructive Analytical Investigation of Decorative Wallpapers Samples of the Nineteenth Century before Their Restoration

In this work, decorative wallpapers (19th century) from an historical palace located in Oiartzun (Basque Country, Spain) were analyzed before their restoration. Micro-energy dispersive X-ray fluorescence spectroscopy, Raman spectroscopy, and attenuated total reflectance infrared spectroscopy were used to investigate the elemental and molecular composition of pigments, the presence of binders, and the state of conservation of the paper support. The aim of the investigation was trying to understand the possible degradation pathways and identify the raw materials in order to choose the best restoration protocol according to the original aspect of wallpapers. As stated from both the elemental distribution and the identification of mineral phases by Raman spectroscopy, the most used pigment was lead chromate. It was mixed with other pigments such as ultramarine blue, zinc chromate, hematite, and atacamite among others to obtain different shades and they were applied mixed with an animal glue. Brass, identified thanks to elemental micro-EDXRF maps, was employed as a shiny decorative element. In addition, a partial degradation of cellulose was detected due to its natural ageing, the acidic nature of lignin, and to a phenomenon of humidity of the walls. Probably the deposition of black particulate matter was the cause of the darkening of the painting surfaces.

A fresh look: technical analysis and treatment of Picasso's Science and Charity at the Museu Picasso

The condition of the Picasso’s Science and Charity has always been a matter of concern for the Conservation Department at the Museu Picasso in Barcelona. In the last few years, several historical and technical lines of research (based on vintage photographs and physicochemical studies) have increased the understanding of the painting’s materials and how they have responded to the different environments since the painting was created. In 2017, a campaign was launched to consolidate flaking paint, remove traces of animal glue, and correct colour retouching from previous inpainting campaigns and filling issues from previous treatments from 1970. The new treatment was successful, with cracks and cuppings being stabilized. The treatment heavily relied on high-resolution, multi-band images, as well as research from a previous study published in 2010. Infrared reflectography and colorimetry provided new information and corroborated a new vision of the creative process that had previously only been based on micro-analyses of samples. Science and Charity provides a relevant case study as the painting suffers from many degradation problems that are found in other Picasso paintings restored in the same period.

Allyl glycidyl ether-modified animal glue binder for improved water resistance and bonding strength in sand casting

This paper aims to develop a modified animal glue sand binder for foundry casting with improved water resistance and bonding strength. An efficient method is reported by using sodium hydroxide as the catalyst to improve the operability of animal glue binder and allyl glycidyl ether as the modifier to improve the water resistance and bonding strength. Sand specimens prepared using allyl glycidyl ether-modified animal glue binder were cured by compressed air at room temperature. The proposed method saves energy and is environmentally friendly and inexpensive. Compared with unmodified animal glue binder, standard dog bone sand specimens with allyl glycidyl ether-modified animal glue binder had higher tensile strength of 2.58 MPa, flowability of 1.95 g, better water resistance (a lower decrease in tensile strength at 25 °C and relative humidity of 60%), and good collapsibility. This allyl glycidyl ether-modified animal glue binder is suitable for practical application in the foundry industry.