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The determination of secondary volatile degradation products in drying oil extracts is substantial to prevent formation of undesirable metal formates in paintings and/or other artefacts. This study develops a simple, cost-effective, and reliable, high-performance liquid chromatography with diode array detector (HPLC-DAD) method to determine three secondary volatile degradation products (methanol, formaldehyde, and formic acid) in drying oils, including linseed, poppy-seed, and walnut oil. Extraction of analytes was performed using QuEChERS-based procedure followed by metal oxide-based dispersive solid-phase extraction (d-SPE) clean-up and presented a good performance for all of the volatile analytes of interest with recoveries in the range of 90-120% after application of the nanostructured cerium oxide-based (CeO2) and zirconia-based (ZrO2) sorbents prepared by favorable and ecological-friendly methods. With a new clean-up solution for samples with high-fat content, it was possible to achieve higher recoveries than with commercial Z-Sep/C18 sorbent. In all cases, relative standard deviations (RSD) of less than 10% were achieved. No significant matrix interference was observed due to the application of effective sorbents in nanostructured form. The developed method was applied to samples of drying oils, and it was found that after storage for three months, all methanol was most likely oxidized to formaldehyde and formic acid. The concentrations of formaldehyde were in the range of 260 - 304 µg∙g-1, while formic acid concentrations ranged between 72 - 386 µg∙g-1. The highest concentration of formaldehyde (304 µg∙g-1) and formic acid (386 µg∙g-1) was found in linseed oil.

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RESUMEN

Saponification, resulting from pigment-binder interactions, is one of the most endangering phenomena affecting the appearance and stability of painted works of art. The crystallization of metal carboxylates (soaps) in paint layers is recently assumed as the most critical point for the development of undesirable changes induced by saponification, however, the factors triggering it are not fully understood. The red pigment cinnabar (HgS) has been suspected of contributing to saponification, however, the paucity of reliable reference structural data limited the experimental research of its effect at the molecular level. Within this study we synthesized mercury(II) carboxylates of the formula Hg(C16)x(C18)2-x (x = 0.0; 0.2; 0.5; 0.8; 1.0; 1.2; 1.5; 1.8; 2.0) where C16 and C18 are hexadecanoate (palmitate) and octadecanoate (stearate), respectively, and characterize them by combination of X-ray powder diffraction (XRPD) and 13C and 199Hg solid state NMR (ssNMR). For a more detailed interpretation of their structural and thermal behavior, Fourier transform infrared spectroscopy (FTIR) and differential scanning calorimetry (DSC) were used. The crystal structure of the studied mercury carboxylates was described on the basis of complementary ssNMR and XRPD measurements, Rietveld refinement and DFT calculations. All the subjected compounds crystallize in a monoclinic lattice of the C2/c symmetry. Mercury atoms are arranged in a slightly distorted square antiprismatic geometry and are monodentatically bonded to carboxylate anions. The structural disorder at the aliphatic end of the stearic acid chains was detected in the mixed carboxylates. Within the paper, the structural (dis)similarity with the corresponding lead carboxylates is discussed. The synthesized and characterized mercury carboxylates were applied to describe neo-formed mercury soaps in a model experiment simulating an egg-based paint system.

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The lack of an appropriate methodology makes numerous important issues related to miniature paintings unresolved-despite the fact that the portrait miniatures of the seventeenth to the nineteenth century represent a highly specific and significant field of European fine art. One of these issues is represented by chemical degradation of miniatures and its analytical evidence. Fragility, variability of the employed materials, and detailed execution make their analysis highly challenging-since no sampling is usually allowed and any change on their surface is immediately noticeable. Therefore, this study focused on finding a fully non-invasive multi-analytical approach to describe degradation processes resulting from the interaction of lead pigments and oils. For this purpose, a representative set of miniature portraits on various supports (ivory, metal, glass) has been selected. For the first time, Pb carboxylates (lead soaps) have been evidenced in miniatures painted in oil and also in a combined technique (gum + oil). Their distribution and crystallinity was described by a combination of X-ray-based (X-ray fluorescence and X-ray diffraction) and micro-spectroscopic methods. At the same time, a number of new findings about the employed painting technique and involvement of various pigments in the degradation processes were obtained. For example, a possible saponification of a mixed Pb-Sn-Sb yellow was indicated for the first time. Although the degradation is clearly at an advanced stage, it has not shown yet any visible symptoms that might warn restorers and curators. Therefore, without targeted analysis, it would remain overlooked.

RESUMEN

Lead carboxylates are an extensive group of compounds studied for their promising industrial applications and for their risky behavior when they are formed in oil paintings as corrosion products of lead-based pigments, leading to serious deterioration of paintings. Although the processes leading to the formation of aggregates, protrusions or inclusions, affecting undesirably the appearance of paintings, are assumed to be long term, neo-formed lead carboxylates are detectable in the early stage of paint drying. To uncover the chemical changes in lead pigments during the drying of oil paint films, model systems consisting of minium (Pb3O4) and four common drying oils were studied by X-ray powder diffraction (XRPD), 13C and 207Pb solid state NMR (ssNMR) spectroscopy and Fourier-transformed infrared spectroscopy (FTIR). For the first time, a degradation mechanism of Pb3O4via the crystallization of lead formate (Pb(HCOO)2), at the end of oxidative polymerization of oil paint films, was uncovered. The formation of formic acid in oils was proved by gas chromatography-mass spectrometry (GC-MS). Vapor experiments evidenced the susceptibility of Pb3O4 to react with volatile formic acid released during the autoxidation of oils comparably to the direct pigment-binder interactions in paint films. The investigation of the local environment of lead atoms in the paint film by 207Pb WURST-CPMG NMR spectroscopy showed that Pb(ii) atoms reacted with linseed oil preferentially to form highly crystalline Pb(HCOO)2, while the local chemical environment of Pb(iv) atoms did not change. The results proved the co-existence of (i) highly crystalline Pb(HCOO)2, (ii) a highly mobile amorphous phase corresponding to free carboxylic acids or a nascent lead soap phase and (iii) the remaining Pb3O4 in the polymeric/ionomeric network. Pb(HCOO)2 is assumed to be an intermediate for the conversion of Pb3O4 to lead soaps and/or lead carbonates.

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Long-chain lead carboxylates, on the one hand, represent compounds for versatile industrial applications in high-tech industries, while on the other hand, they are predominant constituents of secondary products of saponification of paint layers in works of art. Affecting significantly the appearance and stability of painted works of art, saponification is one of the most serious problems of preservation of cultural heritage objects. Despite their versatility as well as hazardousness, there is a paucity of single-crystal X-ray structures of long-chain carboxylates, due to difficulties in preparing single crystals of sufficient quality. We studied the crystal structure of polycrystalline mixed lead carboxylates of the formula Pb(C16)2-x(C18)x (x = 0; 0.25; 0.5; 0.75; 1; 1.5; 2), where C16 and C18 stand for hexadecanoate (palmitate) and octadecanoate (stearate) anions, respectively, by complementary X-ray powder diffraction (XRPD) and 13C and 207Pb solid state NMR (ssNMR). Mixed lead carboxylates consisting of hexadecanoate and octadecanoate are relevant to the formation of soaps in egg yolk and/or oil-based binders combined with lead-based pigments, which belong to the most common pigments in history. Combining an advanced XRPD analysis with a comparative analysis of ssNMR parameters, we described the structural model of mixed lead carboxylates. We revealed that both hexadecanoate (C16) and octadecanoate (C18) chains are present in one crystal structure, creating the statistical disorder at the ethyl end of the chains. Based on the 207Pb ssNMR spectra, we revealed two distinct local environments of lead atoms, corresponding to the symmetrically (i.e., (C16)-Pb-(C16) and/or (C18)-Pb-(C18) and asymmetrically (i.e., (C16)-Pb-(C18)) substituted lead carboxylates, and we confirmed the formation of a holo-directed structure for both the structural motifs. The structural models were applied to identify the neo-formed crystalline lead soap in a model experiment simulating the simplified historic paint consisting of the pigment lead tin yellow type I and emulsion binder prepared from egg yolk and linseed oil. We identified the secondary product as a mixed lead carboxylate of the composition Pb(C16)(C18).

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Temperature-related degradation of pure synthetic as well as partly oxidised natural vivianite has been studied by high-temperature X-ray diffraction (HT-XRD) covering the whole extent of the temperature-related stability of its structure. While temperatures around 70°C are already damaging to vivianite, exposition to 160°C results in complete amorphisation of both the vivianite and its oxidation products. As indicated by Mössbauer spectroscopy, temperature-induced oxidation of vivianite starts at 90°C. To study the occurring structural as well as accompanying colour changes in more detail, model vivianite paint layer samples with different historic binders were prepared and subjected to increased temperatures. Exposition to 80°C caused pronounced colour changes of all the samples: ground natural blue vivianite became grey--a colour change which has been described in actual works of art. Regarding the binders, the oil seemed to facilitate the transfer of heat to vivianite's grains. To simulate conditions of conservation treatment under which the painting is exposed to increased temperatures, oil-on-canvas mock-ups with vivianite were prepared and relined in a traditional way using iron. The treatment affected preferentially larger grains of vivianite; the micro-samples documented their change to grey, and their Raman spectra showed the change from vivianite to metavivianite.

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An unambiguous identification of pigments in paint layers of works of art forms a substantial part of the description of a painting technique, which is essential for the evaluation of the work of art including determination of the period and/or region of its creation as well as its attribution to a workshop or an author. Copper pigments represent a significant group of materials used in historic paintings. Because of their substantial diversity and, on the other hand, similarity, their identification and differentiation is a challenging task. An analytical procedure for unambiguous determination of both mineral-type (azurite, malachite, posnjakite, atacamite, etc.) and verdigris-type (copper acetates) copper pigments in the paint layers is presented, including light microscopy under VIS and UV light, electron microscopy with elemental microanalysis, Fourier transformed infrared micro-spectroscopy (micro-FTIR), and X-ray powder micro-diffraction (micro-XRD). Micro-Raman measurements were largely hindered by fluorescence. The choice of the analytical methods meets the contemporary requirement of a detailed description of various components in heterogeneous and minute samples of paint layers without their destruction. It is beneficial to use the combination of phase sensitive methods such as micro-FTIR and micro-XRD, because it allows the identification of both mineral-type and verdigris-type copper pigments in one paint layer. In addition, preliminary results concerning the study of the loss of crystallinity of verdigris-type pigments in proteinaceous binding media and the effect of lead white and lead tin yellow as highly absorbing matrix on verdigris identification in paint layers are reported.

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Fly ashes generated by power and heating plants are commonly used in the production of building materials in some countries, mainly as partial replacement of cement or aggregates in concrete. The ashes from municipal solid waste incinerators can be applied in a similar way. However, their chemical and mineralogical composition, granulometry and toxic constituents have to be taken into account. In this paper, four types of municipal solid waste incinerator (MSWI) ashes produced by the modern MSWI facility in Liberec, Czech Republic, were investigated. The relationship between the particular ash properties (morphology, chemical composition) and its separation temperature in the incinerator line is discussed. A coal fly ash (class F) is characterized as well, for a comparison because its utilization in building industry is more developed. The studied MSWI ashes exhibit high concentration of chlorides and sulfates which is an unfavourable feature for a potential concrete admixture. On the other hand, three of four ashes are found to be pozzolanic active and certain hydration reactions are indicated.

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Application of X-ray diffraction (XRD)-based techniques in the analysis of painted artworks is not only beneficial for indisputable identification of crystal constituents in colour layers, but it can also bring insight in material crystal structure, which can be affected by their geological formation, manufacturing procedure or secondary changes. This knowledge might be helpful for art historic evaluation of an artwork as well as for its conservation. By way of example of kaolinite, we show that classification of its crystal structure order based on XRD data is useful for estimation of its provenance. We found kaolinite in the preparation layer of a Gothic wall painting in a Czech church situated near Karlovy Vary, where there are important kaolin deposits. Comparing reference kaolin materials from eight various Czech deposits, we found that these can be differentiated just according to the kaolinite crystallinity. Within this study, we compared laboratory powder X-ray micro-diffraction (micro-XRD) with synchrotron radiation X-ray diffraction analysing the same real sample. We found that both techniques led to the same results.

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The uniqueness and limited amounts of forensic samples and samples from objects of cultural heritage together with the complexity of their composition requires the application of a wide range of micro-analytical methods, which are non-destructive to the samples, because these must be preserved for potential late revision. Laboratory powder X-ray micro-diffraction (micro-XRD) is a very effective non-destructive technique for direct phase analysis of samples smaller than 1 mm containing crystal constituents. It compliments optical and electron microscopy with elemental micro-analysis, especially in cases of complicated mixtures containing phases with similar chemical composition. However, modification of X-ray diffraction to the micro-scale together with its application for very heterogeneous real samples leads to deviations from the standard procedure. Knowledge of both the limits and the phenomena which can arise during the analysis is crucial for the meaningful and proper application of the method. We evaluated basic limits of micro-XRD equipped with a mono-capillary with an exit diameter of 0.1 mm, for example the size of irradiated area, appropriate grain size, and detection limits allowing identification of given phases. We tested the reliability and accuracy of quantitative phase analysis based on micro-XRD data in comparison with conventional XRD (reflection and transmission), carrying out experiments with two-phase model mixtures simulating historic colour layers. Furthermore, we demonstrate the wide use of micro-XRD for investigation of various types of micro-samples (contact traces, powder traps, colour layers) and we show how to enhance data quality by proper choice of experiment geometry and conditions.

RESUMEN

Correct identification of pigments and all accompanying phases found in colour layers of historical paintings are relevant for searching their origin and pigment preparation pathways and for specification of their further degradation processes. We successfully applied the analytical route combining non-destructive in situ X-ray fluorescence analyses with subsequent laboratory investigation of micro-samples by optical microscopy, scanning electron microscopy/energy-dispersive spectroscopy and X-ray powder micro-diffraction (micro-XRD) to obtain efficiently all the data relevant for mineralogical interpretations of the copper pigments origin. Cu salts (carbonates, chlorides, sulphates, etc.) used as pigments exist in a range of polymorphs with similar or identical composition. The efficiency of the micro-XRD for direct identification of such crystal phases present in micro-samples of colour layers was demonstrated in the presented paper. A new, until now unpublished, type of copper pigment--cumengeite, Pb(21)Cu(20)Cl(42)(OH)(40)--used as a blue pigment on a sacral wall painting in the Czech Republic was found by means of micro-XRD. Furthermore, azurite, malachite, paratacamite, atacamite and posnjakite were identified in fragments of colour layers of selected Gothic wall paintings. We found Cu-Zn arsenates indicating the natural origin of azurite and malachite; artificial malachite was distinguishable according to its typical spherulitic crystals. The corrosion of blue azurite to green basic Cu chloride was clearly evidenced on some places exposed to the action of salts and moisture-in a good agreement with the results of laboratory experiments, which also show that oxalic acid accelerates the corrosion of Cu pigments.