School of the Museum of Fine Arts

Abstract Surface‐enhanced Raman scattering (SERS) is a powerful technique for the detection of natural dyes found in archeological and historical textiles, in paintings, and in other works of art. Natural organic products historically used as textile dyes or lake pigments are often fluorescent under normal dispersive Raman measurement conditions. To add to the fluorescence problem, the amount of dye actually present on works of art is minimal, requiring extremely sensitive analytical techniques. The enhancement of the Raman signal and the quenching of the background fluorescence resulting from the adsorption of dye molecules on metal nanoparticles in SERS concur to solve the problems encountered when studying dyes by Raman spectroscopy. Reproducible spectra of several reference dyes were obtained, and extraction and adsorption protocols to optimize the analysis of samples from actual work of art were developed. SERS supports evaluated include citrate‐reduced and hydroxylamine‐reduced Ag colloids, as well as Tollens mirrors and silver nanoisland films. Dyes for which SERS spectra were observed include: alizarin, purpurin, laccaic acid, carminic acid, kermesic acid, shikonin, juglone, lawsone, brazilin and brazilein, haematoxylin and haematein, fisetin, quercitrin, quercetin, rutin, and morin. The incompatibility with SERS of techniques traditionally used to extract dyes from artwork samples was demonstrated, and a nonextractive hydrolysis technique specially suited to prepare SERS microscopic samples was developed. Finally, SERS was successfully used to identify alizarin in a 1mm by 50 µm (diameter) single fiber sample form a sixteenth‐century tapestry. Copyright © 2006 John Wiley & Sons, Ltd.

(1956). The Chinese Indoctrination Program for Prisoners of War. Psychiatry: Vol. 19, No. 2, pp. 149-172.

Abstract In the National Museums of Scotland (NMS) widespread alterations have been observed in the glass collections of 19th to 20th century, affecting British, Islamic and Asian glasses. It is important for museums to be able to distinguish between stable and unstable glasses, so that particular care can be taken to preserve the most sensitive objects. Elemental analysis by electron microprobe of a selection of stable and unstable British and Islamic glasses indicated that the composition was directly linked to the degree of stability of the glass. Because sampling of glass objects is often difficult or impossible, we investigated the ability of Raman spectroscopy, which can be applied in situ and non‐destructively, to distinguish between stable and unstable glasses. The analysis concentrated on the soda‐lime silicate glasses, which displayed a mixed stability. We show, by combining the elemental composition and the Raman spectroscopy data, that a correlation can be established between the 550 cm −1 band shift and the SiO 2 content (or degree of polymerisation). A second correlation was established between the 950 cm −1 band and the number of cations charge‐coordinated to the silicate with two non‐bridging oxygens (NBOs). Finally, a method based on the peak area ratio ( A 900 + A 950 + A 990 )/( A 900–1150 ) from the Raman spectrum is proposed to determine the stability of soda silicate glass. Copyright © 2006 John Wiley & Sons, Ltd.

A recent analytical study by SEM–WDS was carried out on 226 glasses from the Late Bronze Age, analysing each of the glasses for a total of at least 22 elements, the largest such analytical study conducted on these glasses. The aim of the analysis was first to identify which elements were brought in with each of the raw materials and, second, to accurately characterize those raw materials. Since different glassmaking sites in Egypt and the Near East would probably use at least some local raw materials and these raw materials will vary slightly from site to site, this has potential for provenancing the glass. Analysis showed new patterns in the compositions of glass from the various sites and led to new conclusions about the supply of raw materials and personnel for the glass workshops. This forms the basis for further work by LA–ICPMS to be presented in part 2 of this paper.

1962), and certain aspects of ancient trade have received some more attention.The present collection of essays was designed primarily to give some idea of the incredible diversity of economic and social systems that can be investigated in Southeast Asia.This diversity is all the more fascinating because, as a number of the papers show, many if not most of the systems organized on very different levels of integration interact with each other.

Gold punchwork and underdrawing in Renaissance panel paintings are analyzed using both three-dimensional swept source / Fourier domain optical coherence tomography (3D-OCT) and high resolution digital photography. 3D-OCT can generate en face images with micrometer-scale resolutions at arbitrary sectioning depths, rejecting out-of-plane light by coherence gating. Therefore 3D-OCT is well suited for analyzing artwork where a surface layer obscures details of interest. 3D-OCT also enables cross-sectional imaging and quantitative measurement of 3D features such as punch depth, which is beneficial for analyzing the tools and techniques used to create works of art. High volumetric imaging speeds are enabled by the use of a Fourier domain mode locked (FDML) laser as the 3D-OCT light source. High resolution infrared (IR) digital photography is shown to be particularly useful for the analysis of underdrawing, where the materials used for the underdrawing and paint layers have significantly different IR absrption properties. In general, 3D-OCT provides a more flexible and comprehensive analysis of artwork than high resolution photography, but also requires more complex instrumentation and data analysis.

The creation of multiarticulated mechanisms for use with minimally invasive surgical tools is difficult because of fabrication, assembly, and actuation challenges on the millimeter scale of these devices. Nevertheless, such mechanisms are desirable for granting surgeons greater precision and dexterity to manipulate and visualize tissue at the surgical site. Here, we describe the construction of a complex optoelectromechanical device that can be integrated with existing surgical tools to control the position of a fiber-delivered laser. By using modular assembly and a laminate fabrication method, we are able to create a smaller and higher-bandwidth device than the current state of the art while achieving a range of motion similar to existing tools. The device we present is 6 millimeters in diameter and 16 millimeters in length and is capable of focusing and steering a fiber-delivered laser beam at high speed (1.2-kilohertz bandwidth) over a large range (over ±10 degrees in both of two axes) with excellent static repeatability (200 micrometers).

Variations in the isotopic composition of Cu and Sb as determined using multi-collector ICP-mass spectrometry (MC-ICPMS) have been investigated as a proxy for provenancing ancient glass. Cu and Sb were added during the manufacturing of ancient (pre-Roman and Roman) glass to obtain colour and opacity. In previous work, the analytical methodology for sample digestion and isolation of Sb preceding isotopic analysis via multi-collector ICP-MS was developed. Although applications of Cu isotopic analysis can be found in the literature, this approach has not been used for provenancing glass raw materials yet. Therefore, the protocols for digestion and Cu isolation were optimized and validated, relying on the use of both an in-house multi-elemental standard and NIST SRM 610 glass reference material. The methods for Sb and Cu isotopic analysis were subsequently applied to a series of late Bronze Age Mesopotamian–Egyptian to Hellenistic–Roman glasses. Results obtained show that the isotopic composition of Cu, expressed as δ65Cu, varies from −1.9 to −0.2‰, thus covering a range of approximately 2‰. Unfortunately, the use of Cu isotope ratios to characterize raw materials used in glass manufacturing is complicated by the fact that Cu ores from within a single deposit can exhibit a similar range in δ65Cu values, certainly for co-existing Cu sulfides and oxides. Sb in stibnite ore, on the other hand, only shows a variance in isotopic composition of ∼10 ε units (or 0.1‰), but Sb isotopic analysis offers more potential to pinpoint the location of an antimony source used in antiquity.

Abstract The combination of an unstable glass composition, fluctuating humidity and a high concentration of organic pollutants is responsible for the widespread alteration of part of the glass collections of the National Museums of Scotland (NMS). The alteration has resulted in the formation of crystalline corrosion at the surface and strong modification of the chemical structure of the glass. The chemical structure before and after alteration of two soda‐silicate glasses from the NMS collection was examined by Raman spectroscopy assisted by electron microprobe. Decomposition of the Raman spectra offered an insight into the modified glass structure and the mechanisms of the alteration. The acidic pollutants, acetic and formic acids, were identified as the main cause of alteration, as they provide a source of H + ions that enhanced the ion‐exchange reaction. The ion‐exchange reaction in the soda glasses causes leaching of sodium ions out of the structure and formation of silanols (Si‐OH), but leaves the stabiliser ions such as calcium and lead ions undisturbed. The ion exchange is followed by a polymerisation reaction of the silanols inducing the formation of new SiOSi bonds including four‐fold silica D 1 rings and the release of molecular water into the structure. The polymerisation reaction is likely to be responsible for the cracking and flaking of the surface through the tensile stresses generated in the glass structure. The alteration process, and in particular the polymerisation reaction, implies that the structural modification of the glass is irreversible. Copyright © 2006 John Wiley & Sons, Ltd.

SYNOPSIS. We describe here a multidisciplinary investigation of the stimuli and mechanisms controlling reproduction in the green anole lizard, Anolis carolinensis. Bothenvironmental and social stimuli that vary seasonally are used as proximate cues to reproduction. In order for these ecological factors to initiate breeding, they must be perceived and integrated in the central nervous system. External and internal stimuli converge upon the hypothalamus, the major neuroendocrine integrative area of the brain, which, in turn, directly regulates pituitary and autonomic function. In addition to their role in reproduction, the gonadal hormones are important throughout the life of the organism, acting both peripherally and centrally, to adapt the individual to its environment. Thus, the environment, behavior, and physiology interact in complex ways to synchronize the social and reproductive activities of individuals.

Wounds that exhibit delayed healing add extraordinary clinical, economic, and personal burdens to patients, as well as to increasing financial costs to health systems. New interventions designed to ease such burdens for patients with cancer, renal, or ophthalmologic conditions are often cleared for approval by the U.S. Food and Drug Administration (FDA) using multiple endpoints but the requirement of complete healing as a primary endpoint for wound products impedes FDA clearance of interventions that can provide other clinical or patient-centered benefits for persons with wounds. A multidisciplinary group of wound experts undertook an initiative, in collaboration with the FDA, to identify and content validate supporting FDA criteria for qualifying wound endpoints relevant to clinical practice (CP) and patient-centered outcomes (PCO) as primary outcomes in clinical trials. As part of the initiative, a research study was conducted involving 628 multidisciplinary expert wound clinicians and researchers from 4 different groups: the interdisciplinary core advisory team; attendees of the Spring 2015 Symposium on Advanced Wound Care (SAWC); clinicians employed by a national network of specialty clinics focused on comprehensive wound care; and Association for the Advancement of Wound Care (AAWC) and Wound Healing Society (WHS) members who had not previously completed the survey. The online survey assessed 28 literature-based wound care endpoints for their relevance and importance to clinical practice and clinical research. Fifteen of the endpoints were evaluated for their relevance to improving quality of life. Twenty-two endpoints had content validity indexes (CVI) ≥ 0.75, and 15 were selected as meriting potential inclusion as additional endpoints for FDA approval of future wound care interventions. This study represents an important first step in identifying and validating new measurable wound care endpoints for clinical research and practice and for regulatory evaluation.

A multidisciplinary study of a unique group of Late Bronze Age (LBA) ceremonial glass axe heads and other artefacts shows that these are the first significant group of glasses coloured with cobalt to be identified from the Near East. The axes were excavated from the site of Nippur, in present‐day Iraq. Several are incised with the names of three kings, which dates the material to the 14th–13th centuries bc . Analysis by laser ablation inductively coupled plasma mass spectrometry (LA–ICPMS) indicates that the glass had high magnesia (MgO) and potash (K 2 O) associated with a plant‐ash flux and was coloured blue by copper or a combination of copper and cobalt. These glasses are similar, but not identical, in major element composition to blue‐coloured glasses manufactured in ancient Egypt and elsewhere in Mesopotamia in the same period. However, the Nippur cobalt‐ and copper‐coloured glasses exhibit significantly different trace elemental compositions compared to Egyptian glass coloured with cobalt, showing that the ancient Near Eastern glassmakers had clearly identified and utilized a distinctive cobalt ore source for the colouring of this glass. Since it was previously thought that the only cobalt ores exploited in the LBA were exclusively of Egyptian origin, this new finding provides new insights on the origins of glass and how it was traded during the Bronze Age period.

This paper re‐analyses a considerable corpus of glass from the Late Bronze Age site of Nuzi, found near Kirkuk in Iraq. SEM–WDS and Sr and Nd isotopic analysis were applied, in addition to cataloguing the glass. The work showed that the glass technology at Nuzi was subtly different from contemporary Egyptian sites, using different ways of opacifying and working glass. At least two, perhaps three, Near Eastern production sites are postulated. The range of glass colours and the skill of their application at Nuzi was perhaps not on a par with the Egyptian sites. This led to a reconsideration and review of the accepted wisdom that the Near East is the source of the innovation that is glass‐making. This opinion is based on limited textual and iconographic sources and is dominated by an erroneous early date for a very developed Nuzi glass industry along with a few finds of glass vessels in early contexts. Some of this evidence has now been at least questioned, suggesting that glass‐making in Egypt, at least as early as the middle of the 15th century bc , and probably earlier, is no later than that in the Near East. It is argued that it is far from clear that the Near East was the source of the innovation and that a more cautious approach would better fit the evidence.

Abstract Over 50 works on paper from Egypt, Iraq, Iran and Central Asia dated from the 13th to 19th centuries were examined and analyzed at the Straus Center for Conservation and Technical Studies. Forty-six of these were detached folios, some of which had been removed from the same dispersed manuscript. Paintings and illuminations from five intact manuscripts were also examined and analyzed, although not all of the individual works were included. The study was undertaken to better understand the materials and techniques used to create paintings and illuminations from the Islamic World, with particular attention paid to the diversity of greens, blues and yellows present. The research aimed to determine the full range of colorants, the extent of pigment mixing and the various preparatory drawing materials. The issue of binding materials was also addressed, albeit in a preliminary way.

Abstract Micro‐samples from the earliest complete copy of the Japanese masterpiece The Tale of Genji were analyzed by Raman and FTIR spectroscopy to determine the materials used. The album was commissioned in 1509 and consists of 54 illustrations by Tosa Mitsunobu with matching calligraphic pages painted by six different court calligraphers. The pages were originally pasted onto a folding screen but were remounted in an album in the 17th century and a frontispiece and finispiece illustration painted by Tosa Mitsuoki. The illustration for chapter 52 is a replacement of unknown date. The following materials were identified in the illustrations: azurite, indigo, malachite, atacamite, botallackite, chrysocolla, gamboge, vermilion, lead(II,IV) oxide (red lead), red ochre/haematite, calcite and basic lead carbonate (lead white). A smaller range was used on the calligraphic pages: vermilion, lead(II,IV) oxide (red lead), indigo, gamboge, yellow ochre and calcite. Most of the materials identified are part of the traditional Japanese palette, and a wide range of tones was created by mixing pigments from this relatively restricted set. The hydrated copper chlorides, atacamite and botallackite, may be alteration products of original malachite. The chrysocolla, a natural amorphous copper silicate, was probably incorporated accidentally with the malachite, as the two can occur together in nature. Chrysocolla occurs with malachite only on the replacement illustration for chapter 52, which lacks copper chlorides. The lead carbonate and red lead are both discolored in many areas. Lead sulfate was identified in some altered areas of red lead and probably represents a secondary alteration product. The primary alteration product of both lead pigments is assumed to be lead(II) sulfide, as silver in the manuscript has altered to silver sulfide. The alternative alteration product, lead(IV) oxide, is considered less likely. Copyright © 2006 John Wiley & Sons, Ltd.

The first systematic series of single-crystal diffraction structures of azo lake pigments is presented (Lithol Red with cations=Mg(II), Ca(II), Sr(II), Ba(II), Na(I) and Cd(II)) and includes the only known structures of non-Ca examples of these pigments. It is shown that these commercially and culturally important species show structural behaviour that can be predicted from a database of structures of related sulfonated azo dyes, a database that was specifically constructed for this purpose. Examples of the successful structural predictions from the prior understanding of the model compounds are that 1) the Mg salt is a solvent-separated ion pair, whereas the heavier alkaline-earth elements Ca, Sr and Ba form contact ion pairs, namely, low-dimensional coordination complexes; 2) all of the Lithol Red anions exist as the hydrazone tautomer and have planar geometries; and 3) the commonly observed packing mode of alternating inorganic layers and organic bilayers is as expected for an ortho-sulfonated azo species with a planar anion geometry. However, the literature database of dye structures has no predictive use for organic solvate structures, such as that of the observed Na Lithol Red DMF solvate. Interestingly, the Cd salt is isostructural with the Mg salt and not with the Ca salt. It is also observed that linked eight-membered [MOSO](2) rings are the basic coordination motif for all of the known structures of Ca, Sr and Ba salts of sulfonated azo pigments in which competing carboxylate groups are absent.

Recent advances in the study of natural products made by bacteria have laid the foundation for engineering these molecules and for developing cost-effective ways to manufacture them. In our lab, we study a number of natural products that are synthesized by harmless soil bacteria of the Streptomyces genus. Whereas our primary interest in these molecules is due to their antibiotic properties, many of these natural products have distinct colors [1]. (The reasons for why Streptomyces make antibiotics or pigments remain mysterious.) This article is intended to make the case to the scientific and educational communities that Streptomyces-derived natural products are an untapped source of useful biopigments. By sharing some of our own experiences in harnessing these pigments to create paint and paintings, we also hope to inspire others to explore the potential of Streptomyces-derived pigments in art, industry, and perhaps most importantly, the classroom. The pedagogical value of bacterial pigments is highlighted by the wide range of concepts and methods in chemistry, biology, and art that can be introduced to students in this context (see Box 1). Teachers can incorporate bacterial pigments into their lessons while introducing fundamental scientific principles ranging from the physics of color to the chemistry behind paints that fade in sunlight. Painting with living bacteria (Box 2) or extracting pigments from bacterial cultures (Box 3) provides a visual and kinesthetic activity to support key aspects of scientific investigations and methods learned in the classroom. Because the methods to do so are safe, inexpensive, and easily implementable in the everyday world, it is possible to use biopigments as a vehicle to introduce school children to science via art and vice versa. While many of these concepts and techniques are appropriate for the advanced high school or undergraduate classroom, even elementary school children can use bacterial paints prepared by their teacher to create art, an activity that may teach children at a young age that bacteria are a source of valuable materials rather than merely agents of disease. Box 1: Concepts at a Glance Leads into chemistry, microbiology, and biotechnology Chemical composition of paint (solubility and states of matter)¥, ‡ Structures of pigment molecules (electromagnetic radiation, electron configuration, valence bonds, molecular orbital theory)‡ Culturing Streptomyces and extracting their pigments (sterile culture techniques, natural product extraction techniques, solubility)‡ Painting Streptomyces on agar plates (bacterial growth control)¥,‡ Engineering bacteria to make new pigments (metabolic engineering of microbial systems)‡ Scaling up the production of bacterial pigments (large scale bioprocessing techniques, recombinant DNA technology)‡ UV absorber and radical scavengers as additives to paints (chemical structure and reactivity, radical reactions)‡ Leads into fine arts The perception of color (electromagnetic radiation, the eye as a spectrometer)¥, ‡ Paint constituents (pigments, binders, solvents, surfactants, additives)‡ Sources of pigments‡ Making paints from pigments (grinding pigments, suspending in binder)¥, ‡ History of pigments (art history)*, ¥, ‡ Fun stuff Drawing on paper with bacteria-derived paint*, ¥, ‡ Creating living art by painting with bacteria on agar medium*, ¥, ‡ ‡ = for undergraduate or advanced placement high school courses; ¥ = for high school courses; * = for elementary school courses

Abstract Samples from Thai manuscripts dated to the 18th to 20th century were analyzed by Raman spectroscopy and Fourier‐transform infrared spectroscopy (FTIR) to determine the pigments used. This suggested a change in palette from the 18th to 20th century, with use of imported pigments in the later manuscripts. In the 18th century, the main green used was an organic copper salt, which was replaced by emerald green and mixtures of Prussian blue with gamboge, chrome yellow and zinc yellow (zinc potassium chromate). Chrome yellow was used in addition to gamboge in one later 19th century manuscript. Similarly, indigo in the 18th century manuscripts was replaced by Prussian blue and then synthetic ultramarine in the 19th century manuscripts. Lead white was the main white pigment in all but one manuscript, which contained huntite, a magnesium calcium carbonate. Huntite also occurred in mixtures with other pigments in two other manuscripts. In all the works studied, red lead, vermilion and red earth were used for red, orange and pink shades and red earth in brown areas. The organic copper salt used in the 18th century gave good FTIR spectra but could not initially be matched with any published compound. X‐ray diffraction (XRD) suggested this was a copper citrate phase, and examination of the literature showed that the FTIR spectra matched those published for a hydrated copper citrate. Raman spectra were obtained from this organic copper salt, which showed close agreement with those obtained from synthetic copper citrate. Copper citrate has not been identified previously as an artist's material, although its use has been postulated on the basis of historical texts. Minor copper formate and/or copper chloride were also identified by XRD and scanning electron microscopy (SEM) in some green samples containing copper citrate. Copyright © 2008 John Wiley & Sons, Ltd.

Freud's "The Aetiology of Hysteria" (1896) begins with the description of an excavation. With this passage as a point of departure, the role of archaeology in Freud's early psychoanalytic formulations is examined. The archaeological imagery in his later writings and the collection of ancient objects that came to fill his consulting room and library are well known, but the passage must be contextualized in its own moment to show the influences that led Freud to articulate an "expanse of ruins" at this particular time. In the late nineteenth century, archaeology provided an innovative representation of "topography"--one that exceeded the limitations of this concept in neuroanatomical visualizations and that offered the layered site as an analogy for psychic processes. Schliemann's highly publicized excavations of Troy are recognized as an important but not exclusive source for Freud's narrative of 1896. The additional, perhaps dominant, impact of Austrian archaeological projects in the 1880s and 1890s is noted. These enjoyed considerable visibility in Vienna, and were used by Freud to symbolize the processes of destruction and rebuilding in the city itself. The excavation imagery in "Aetiology" is thus posited as the continuation of a complexity of meanings that Freud brought early on to his engagement with acts of unearthing.

This book brings together a distinguished group of scholars from music, drama, poetry, performance art, religion, classics and philosophy to investigate the complex and developing interaction between performance and authenticity in the arts. The volume begins with a perspective on traditional understandings of that relation, examining the crucial role of performance in the Poetics, the marriage of art with religion, the experiences of religious and aesthetic authenticity, and modernist conceptions of authenticity. Several essays then consider music as a performative art. The final essays discuss the link of authenticity to sincerity and truth in poetry, explain how performance, as an authentic feature of poetry, embodies a collective effort, and culminate in a discussion of the dark side of performance - its constant susceptibility to inauthenticity. Together the essays suggest how issues of performance and authenticity enter into consideration of a wide range of the arts.