The 3389 copper (alloy) bells from offerings included in successive building phases of Late Postclassic Templo Mayor (A.D. 1325 – 1520) of Tenochtitlan (Mexico City) are the results of production processes influenced by social, economic, ideological and technological factors. The compositional and morphological variability of the bells in the earlier construction phases of the Templo Mayor suggests the presence of several workshops in or around Tenochtitlan, while the reduction of this spectrum on one bell type made of copper-tin bronze, points towards a standardization of the production process and a decrease in the number of workshops that supplied the Templo Mayor in later phases. The compositional and morphological information, as well as contextual analysis and comparison with other Mexican bells, give insights into the bells' symbolism, the mechanisms used to supply the Templo Mayor with offerings, the organization of metalwork and the rationale behind some of the technological choices of the artisans. The detected changes through time seem to point to important shifts in the social, technological, economic and ideological influences on the choices of the artisans in the latter half of Aztec rule.

In this paper are presented the studies of the paint materials and the technique used in 18th century wall paintings, originated from the orthodox church of St Athanasius, in the city of Maschopolis, a flourishing economical and cultural center, in Albania. The church was painted in 1745 by Konstantinos and Athanasios Zografi, and during the last years, restoration activities are being performed at the church. Samples that included plasters and pigments of different colors were collected from important points of the wall paintings. Additionally, as some parts of the wall-paintings were over-painted, the analysis was extended to the compositional characterization of these areas. The identification of the used materials was done by using complementary analytical methods such as Optical Microscopy, Fourier Transform Infrared spectroscopy (FTIR), Scanning Electron Microscopy (SEM-EDS) and X-ray fluorescence (TXRF).

The presence of calcite in almost all the pigments is indicative for the use of the fresco technique at the studied areas, while the detection of gypsum and calcium oxalate, indicates an environmental degradation along with a biodegradation. Common pigments used in this area at 15-16th centuries, such as cinnabar, green earth, manganese oxide, carbon black and calcite were identified.

While geochemical analysis of obsidian artifacts is now widely applied around the world, both new instrumental methods and new research questions continue to be applied in archaeology. In the Mediterranean, many analytical methods have been employed and proven successful in distinguishing all of the island sources. In this study, results are presented from the virtually non-destructive, LA-ICP-MS multi-element analysis of 95 carefully selected obsidian artifacts from four neolithic period sites in southwestern Sardinia. The patterns of exploitation of specific Monte Arci obsidian subsources revealed in this study support a down-the-line model of obsidian trade during the neolithic period, but with chronological changes that are best explained by increased socioeconomic complexity.

The Grolier Codex has been a controversial document ever since its late discovery in 1965. Because of its rare iconographical content and its unknown origin, specialists are not keen to assure its authenticity that would set it amongst the other tree known Maya codes in the world (Dresden, Paris Codex and Madrid Codex).

The document that has been kept in the Museo Nacional de Antropología in Mexico City, after its exposure in 1971 at the Grolier Club of New York, has been analyzed by a set of non-destructive techniques in order to characterize its materials including paper fibers, preparation layer and colors composition. The methodology included UV imaging, IR reflectography and optic microscopy examinations as well as Particle Induced X-ray Emission (PIXE) and Rutherford Backscattering Spectrometry (RBS) using an external beam setup for elemental analysis. All the measurements were carried out at 3MV Pelletron Accelerator of the Instituto de Física, UNAM. The aim of this work is to verify if the materials in the Grolier Codex match those found for other pre-Hispanic documents.

From the elemental composition we concluded that the preparation layer shows the presence of gypsum (CaSO4), color red is due to red hematite (Fe2O3) and black is a carbon-based ink. These results agree with previous analyses carried out by Scanning Electron Microscopy (SEM-EDX) on few samples. However, the presence of Maya Blue in the blue pigment cannot be assured. The examination using UV and IR lights shows homogeneity in the inks and red color but dark areas that contain higher amounts of K in the preparation layer. This paper discusses the results obtained for the UV-IR examinations and the elemental analysis. A comparison with other studies on pre-Hispanic and early colonial codex is presented.

Reported here is the development of a novel evolved gas analysis technique; Sub-Ambient Thermal Volatilization Analysis (SATVA) and its application in characterizing key analyte species from conservation artifacts. In this work SATVA has been applied to the study of volatiles evolution processes occurring in number of model conservation artifacts. The evolution of volatile species from cured formaldehyde resin, leather and metallic artifacts has been studied by SATVA. The specific analytes making up the total quantity of evolved material in each case have been separated and identified using sub-ambient differential distillation and a combination of online mass spectrometry, gas phase IR spectroscopy and GC-MS. The data gathered has been used to provide information on both the degradation processes occurring within the artifacts and the environmental history of the artifacts themselves.

Across Europe, lead-tin alloy organ pipes are suffering from atmospheric corrosion. This deterioration can eventually lead to cracks and holes, preventing the pipes from producing sound. Organ pipes are found in compositions ranging from >99% Pb to >99% Sn. For very lead-rich (>99% Pb) pipes, organic acids emitted from the wood of organ cases have previously been identified as significant corrosive agents. In order to study the role of alloy composition in the susceptibility of pipes to organic acid attack, lead-tin alloys containing 1.2-15 at.% Sn were exposed to acetic acid vapors in laboratory exposure studies. Corrosion rates were monitored gravimetrically, and corrosion product phases were identified using grazing incidence angle X-ray diffraction. In a new method, focused-ion beam (FIB) cross-sections were cut through corrosion sites, and SEM and WDX were used to obtain detailed information about the morphology and chemical composition of the corrosion layers. The combination of FIB and SEM has made it possible to obtain depth information about these micron-scale layers, providing insight into the influence of acetic acid on alloys in the 1.2-15 at.% Sn range.

The Hurrian city of Nuzi, in modern Iraq, was an important site during the Mesopotamian Bronze Age. Excavations in the late 20s and early 30s yielded a large and important assemblage of glass and other vitreous materials and smaller but significant assemblages of metals and ceramics. Although the vitreous materials have been widely studied in the past, the other assemblages have received little attention. However a recent study of some metal artifacts indicated the presence of brass and dirty copper rather than the expected bronze. This study was, however, limited to a few objects and the proportions of the different alloys was not investigated. Recent analytical studies on the glass beads have highlighted compositional differences between Egyptian and Mesopotamian glass and attempted to link these to the raw materials used. The lack of significant tin or zinc in glasses colored with copper is interesting given the presence of brass and the apparent scarcity of bronze in the copper alloys. The current study involves reassessment of the entire assemblage, concentrating initially on the vitreous materials, glazes and metals. Variations in preservation across the site and within individual buildings are currently being examined. Full characterization of the assemblages will allow relationships between different manufacturing technologies and the raw materials needed to be investigated.

The 17th c. Flemish painting on panel, The Armorer's Shop, has long been attributed to David Teniers the Younger (1610-1690). The painting depicts an opulent pile of parade armor at the bottom left foreground, a seated armorer at the bottom right foreground, and a forge surrounded by workers in the middle ground. The Teniers attribution is derived from his signature at the bottom right as well as figural groups and other visual elements that are commonly associated with him and executed in his style. During dendrochronological examination of the painting, a portion of the oak plank comprising the overall structure was found to have been carved out so that a smaller plank (containing the parade armor) could be inserted into the resulting depression. This unusual construction, combined with the identification of several paintings by Jan Brueghel the Younger (1601-1678) depicting the same parade armor, raised questions about the attribution and chronology of construction of the painting. Art historical research suggests that the smaller plank with the armor was painted by Brueghel and that the remainder of the panel with the workers and forge was painted by his brother-in-law Teniers. While Brueghel writes of collaborating with Teniers in his journal, this appears to be the only identified collaboration of the two artists. Conventional microanalysis methods did not resolve the painting's construction chronology. However, confocal x-ray fluorescence microscopy (CXRF) revealed the composition and location of buried paint layers at the panel interfaces by combining depth scans at a number of adjacent lateral positions to produce virtual cross-sections over 20 mm in length. The relationship of the paint layers at the panel interfaces provided evidence for the armor panel having been painted separately and prior to the rest of the composition. This data, along with dendrochronological and IRR data, provided a chronology of construction for the painting that provided additional evidence for a Brueghel attribution. An overview of the CXRF technique will be provided along with a discussion of how CXRF data relates to data collected using SEM-EDS, FTIR, Raman, conventional XRF, x-radiography, IRR, and dendrochronology.

Frederick Carder popularized art glass in America and is remembered as the founder of Steuben Glass. He was a designer and glass technologist whose factory produced colored and highly decorated glass vessels that competed with but were less expensive than those of Tiffany Studios. To understand the differences in technology between the competing products of Carder and Tiffany, opalescent white glass formulations, fumed gold lusters and silver-containing glasses used in trailed decoration were analyzed and compared by electron beam microprobe analysis and scanning-electron microscopy with simultaneous energy dispersive x-ray analysis. Analytical results show standardized processing that includes opalescent compositions in a narrow range of soda-lime-silicate and lead-alkali-silicate glasses, fumed “golden” lusters made from tin and silver, and iridized surface layers formed by multiple heat treatments.