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This paper presents the limitations and potential of ATR-FTIR spectroscopy applied to the study of cellulosic textile collections. The technique helps to differentiate natural fibres according to the content of lignin, pectin, hemicellulose, and wax, although some problematic issues should be considered. The spectral differences derived from the environmental humidity uptake and the plant composition are reviewed and discussed in the light of new experimental data. Diagnostic bands are proposed that can discriminate between different fibres from different plants. The contribution of ageing is also considered, demonstrating that sometimes aged fibres cannot be reliably recognised. In contrast, the potential of ATR-FTIR spectroscopy to discriminate between natural and modified fibres is discussed and proven. The best results were obtained when microinvasive ATR-FTIR spectroscopy was coupled with SEM observations. The proposed protocol was tested on microsamples of various cellulosic materials from traditional Japanese samurai armours dating from the 16th to the 20th centuries (Morigi Collection, Museo delle Culture, Lugano, Switzerland). The results facilitated a complete characterisation of the materials and demonstrated that the protocol can be used to study a wide variety of cellulosic materials, including both natural and man-modified fibres, and paper.

Tattoos have been a ubiquitous phenomenon throughout history. Now, the demand for tattoo removal for aesthetic or practical reasons is growing rapidly. This study outlines the results of field investigations into the chemical and biological removal of tattoo inks (Hexadecachlorinate copper phthalocyanine—C32Cl16CuN8—CAS no° 1328-53-6). FTIR, Py-GC/MS, and NMR analyses yielded intriguing profiles pertaining to the primary chemical constituents, along with others of an ambiguous nature. A bioremoval protocol was developed on a pork rind surface to simulate human tattooing. Two previously studied microbial strains were included in this analysis: (i) a bacterial culture of Pseudomonas stutzeri 5190 DSMZ viable cells and (ii) a fungal culture of Alternaria infectoria strain NIS4, the latter already isolated and identified. A combination of physical, chemical, and microbiological analyses, along with microscopic observations, was conducted. In our experimental conditions, inocula from environmental samples (soil and compost) were capable of inducing changes in even trace organic matter (glycerin and additives in pigments) used as a binder in emulsifiers in tattoo inks. Furthermore, the two microbial strains demonstrated promising potential for removing green tattoo ink. Finally, wastewater effluents containing green ink were recovered via electrochemical treatment, and the environmental impact in terms of the CO2 equivalent of our experiments was assessed. The results are promising and warrant further investigation into the innovative biological and chemical removal of tattoo inks from human skin and wastewater, respectively.

This article offers a discussion of the possibility of distinguishing ochres from Mars pigments. The discussion addresses technological, archaeological, and artistic aspects. Natural earth pigments such as ochres, siennas, and umbers have been widely used from the Paleolithic to the present day and still find wide application despite the development of synthetic iron oxide pigment synthesis processes, called Mars pigments. The potential ability of today’s analytical techniques to distinguish between two classes of pigments of the same color with very similar chemical composition—but perhaps sufficient for reliable recognition—is also discussed. The paper begins by addressing the proper use of the terms “ochres” and “Mars pigments” and their accurate identification in artworks. It reviews the literature on the chemical–mineralogical characterization of yellow and red iron pigments and analyzes pigment catalogs to understand how companies distinguish ochres from Mars pigments. An experimental analysis using External Reflection Infrared Spectroscopy (FTIR-ER) compared painting samples made with natural ochres and Mars pigments, confirming the literature findings and suggesting future research directions. Key differences such as hematite in yellow ochres and specific spectral peaks in red ochres support the potential of FTIR-ER spectroscopy as a noninvasive tool for distinguishing pigments, especially for fragile artifacts and archaeological applications.

The goal of accurately quantifying trace elements in ultrapure silicon carbide (SiC) with a purity target of 5N (99.999% purity) was addressed. The unsuitability of microwave-assisted acid digestion followed by Inductively Coupled Plasma Mass Spectrometry (ICP-MS) analysis was proved to depend mainly on the contamination induced by memory effects of PTFE microwave vessels and by the purity levels of acids, even if highly pure ones were used in a clean environment. A new analytical protocol for the direct analysis of the solid material by laser ablation coupled with ICP-MS (LA-ICP-MS) was then exploited. Different samples were studied; the best results were obtained by embedding SiC (powders or grains) in epoxy resin. This technique has the great advantage of avoiding any source of external contamination, as grinding, pressing and sintering pretreatments are totally unnecessary. Two different laser wavelengths (266 and 193 nm) were tested, and best results were obtained with the 266 nm laser. The optimized protocol allows the determination of elements down to the sub-mg/kg level with a good accuracy level.

This paper reports on the mineralogical characterisation of samples of wall paintings from various Roman sites in Lombardy (Italy), revealing recurrent types of stratigraphy. One of the stratigraphic samples analysed was found to be a particular kind of plaster: a three-coat work featuring two coats made of clay mud, found in the site of Santa Maria alla Porta (area of the Imperial Palace of Milan—first century CE). The fragments were analysed using optical microscopy on thin sections, X-ray diffraction, scanning electron microscopy with an energy-dispersive spectrometer and infrared spectroscopy, also in non-invasive external reflection mode (7500–375 cm−1). The most interesting feature found was the finish coat made of clay mud (illite, chlorite, kaolinite and fine quartz) with a few coarse clasts and linear cavities. This clay coat was the first example ever detected in Roman Lombardy and was used in combination with a thin painted coat made of clay mud with coarse clasts together with a blue pigment (Egyptian blue) and a render coat made of lime associated with lithic clasts (sand). Our findings brought to light a particular construction technique, since in the historical sources clay is only recommended for daubing on reeds and as a render coat.

Nowadays, the use of ready-mixed mortars is widespread in the choice of materials for the conservation of architectural heritage. These are dry mixtures, which contain binders, aggregates and additives and which require only the addition and mixing with water. Their use makes it possible to avoid errors in the ratios of the components, limits waste and guarantee a constant product quality. On the other hand, there are no standards that require the declaration of all the components in the mixture, which makes difficult to select the most appropriate materials to use on historical substrates. Indeed, the presence of certain additives could alter other properties of the mortars or increase the probability of developing forms of degradation. In addition, the mixtures on the market are frequently labelled as environmentally, human and animal health friendly; but the actual sustainability of these mixtures is difficult to ascertain, because there are still few companies that study the Life Cycle Assessment (LCA) and publish the Environmental Product Declaration (EPD) of their products. In order to deepen the knowledge of this class of materials, this study proposes the characterization of five ready-mixed plasters, all labelled green by the companies. Analyses (X-ray diffraction, infrared spectroscopy, thermal analysis) have been carried out firstly to assess the compatibility of the mixtures with historical materials, to compare the results obtained with what is stated by the companies in the product data sheets, and to assess whether, through routine laboratory analyses, it is possible to certify the sustainability of these materials.

The Japanese textile tradition is renowned for its intricate designs achieved through a variety of dyeing techniques, including kasuri, shibori, and paste-resist dyeing. These techniques are often combined within a single textile, resulting in exceptionally elaborate creations. Our paper delves into the technical aspects and complexities of these methods, highlighting the dynamic interplay between tradition and innovation in Japanese textile production. Our scientific endeavour focused on some textiles dating between the 19th and 20th centuries and belonging to the Montgomery Collection of Japanese folk art. Employing non-invasive techniques such as visible reflectance spectroscopy and ER-FTIR spectroscopy, we uncovered key insights into the materials and methods utilized in the creation of these textiles. Our analysis revealed a diverse array of pigments and dyes, including plant-derived, inorganic, and synthetic variants. These findings illuminate the cultural syncretism between traditional Japanese practices and the adoption of new materials from the West, underscoring the dynamic nature of textile production in Japan. Furthermore, ER-FTIR spectroscopy elucidated the predominant use of cotton as the primary fibre in the textiles, aligning with historical records of Japan’s role as a major producer of cotton yarn. Analysis of white areas within the textiles revealed evidence of resist-paste dyeing techniques, particularly tsutsugaki and katazome, through the absence of dye penetration and the characteristic appearance of white lines. Confirmation of indigo dyeing techniques (aizome) was achieved through ER-FTIR spectroscopy, providing reliable identification of indigo and Prussian blue in various shades of blue present in the textiles. Additionally, the detection of Western-derived dyeing method (utsushi-yūzen) and free-hand painting (kaki-e), offers insights into the diversity of dyeing practices employed by Japanese artisans. The presence of proteinaceous materials and synthetic dyes observed in some textiles has implications for conservation practices, suggesting the need for tailored approaches to ensure the preservation of these culturally significant artifacts. Overall, these scientific results shed new light on the materials, techniques, and cultural contexts underlying Japanese textile production, advancing our understanding of this rich artistic heritage and informing future research endeavours in textile science and conservation.

The ‘terre di rogo’ (pyre debris) are black-coloured layers resulting from the crematory pyres, placed inside graves within the ritual of secondary deposition and containing different materials, including cremation slags. The characterisation of the slags, until now rarely conducted by chemical techniques, can provide useful data to explain more precisely the protocol of the funeral ritual and to better understand the effects of fire during cremation for the accumulation of pyre debris. In this study, a fast screening method using ATR-mode infrared spectroscopy is proposed, which may highlight the need for further investigations with SEM and XRD. The protocol was tested on the black and irregularly shaped cremation slags from the pyre debris of two Iron Age cremation necropolises in Padua (northern Italy). The results of the analysis identified several types of cremation slags within each individual pyre ground and the presence of bone fragments exposed to different intensities of combustion during cremation.

Sixteenth century wall paintings were analyzed from a church in an advanced state of decay in the Apennines of central Italy, now a remote area but once located along the salt routes from the Po Valley to the Ligurian Sea. Infrared spectroscopy (FTIR-ATR), X-ray diffraction (XRD) and scanning electron microscopy (SEM) with a microprobe were used to identify the painting materials, as input for possible future restoration. Together with the pigments traditionally used for wall painting, such as ochre, ultramarine blue, bianco di Sangiovanni, cinnabar/vermilion, azurite, some colors were also found to have only been used since the 18th century. This thus suggests that a series of decorative cycles occurred after the church was built, confirmed by the multilayer stratigraphy of the fragments. Some of these colors were also unusual, such as clinochlore, Brunswick green, and ultramarine yellow. The most notable result of the analytical campaign however, was the ubiquitous determination of aragonite, the mineralogical form of calcium carbonate, mainly of biogenic origin. Sources report its use in Roman times as an aggregate in mortars, and in the literature it has only been shown in Roman wall paintings. Its use in 16th century wall paintings is thus surprising.

Ten ukiyo-e woodblock prints from the collection of the Museo delle Culture in Lugano (Switzerland) were analyzed to identify the materials used in their production. These Japanese artworks were traditionally created with colors derived from minerals and plants, mixed with diluted animal glue and applied to paper using wooden matrices. Due to their fragility, non-invasive external reflection infrared spectroscopy and imaging analysis were employed. Spectral data were compared with reference samples of Japanese pigments and existing literature, reflecting the growing interest in the characterization of ukiyo-e prints. Within the limits of the non-invasive approach, several colorants were identified, including akane (madder), suo (sappanwood), yamahaji (Japanese sumac), kariyasu (Eulalia), and kio (orpiment), along with a proteinaceous binding medium. The extensive use of bero-ai (Prussian blue), applied both as a pure pigment and in mixtures, was confirmed. Notably, mica was detected in the background of one print, providing the first analytical evidence of the kirazuri decorative technique, which produces a sparkling, silver-like effect. Ultraviolet-induced fluorescence imaging further contributed to the assessment of conservation status, revealing faded decorative motifs and signs of previous water damage.