Disclosing the composition of unknown historical drug formulations: an emblematic case from the Spezieria of St. Maria della Scala in Rome.

This paper reports a pioneering study of an unknown historical drug formulation preserved in the Spezieria of Santa Maria della Scala in Rome, founded at the end of the seventeenth century by the Discalced Carmelites. Due to limited literature related to pharmaceutical remedies and drugs of the Early Modern Era (between the XV and XVIII centuries) and the complexity in their formulations, the study of these drugs represents a great challenge. The untargeted nature of the selected drug required a multi-analytical approach with complementary techniques to formulate a compositional hypothesis: FT-IR spectroscopy, gas chromatography-associated/mass spectrometry (GC-MS) and nuclear magnetic resonance (NMR) were successfully employed to identify different organic compounds. Systematic archaeobotanical research was performed as well, allowing us to acquire data related to the possible genus of plants from which these natural compounds derive and their geographical origin. The unknown drug formulation turned out to be a complex mixture used as an ointment with an anti-inflammatory purpose. It mainly contains a mixture of Venetian turpentine; a Pine resin (colophony) from the Pinaceae family; an exudate of a plant from South America, whose identified components are triterpenic compounds such as alpha- and beta-amyrins, betulin and lupeol; and saturated fatty acids which act as carriers and/or to reduce the viscosity of abovementioned exudates and resins. The study of historical drugs is important not only in order to know the practices handed down by the speziali in the past but also to reconstruct historical recipes, which can inspire new dermatological, cosmetic, hygienic and current healing products.Graphical abstract.

Investigation of modern oil paints through a physico-chemical integrated approach. Emblematic cases from Valencia, Spain.

The study and the characterisation of modern and contemporary oil paintings is still a challenging issue, in particular considering the significant changes in paint production across the 19th and 20th centuries. This paper presents the results of the first physico-chemical integrated study of the artistic materials used in six paintings from the School of Art and Higher Design of Valencia (Escola d'Art i Superior de Disseny, EASD-Valencia), artworks created between 1871 and 1943 by four famous Valencian artists: Salustiano Asenso Arozarena, Salvador Abril I Blasco, Enrique Navas Escuriet and José Bellver Delmás. A wide range of inorganic and organic compounds was identified through a multi-analytical approach by means of visible reflectance spectroscopy, XRF, µ-Raman, FTIR and GC-MS. The investigation on the binding media suggests the use of commercial paint formulations including mixtures of drying, slow- and non-drying oils and the presence of Gum Arabic as well. Traditional pigments (such as vermillion, earth pigments, lead white) and modern pigments (such as zinc white, cobalt and chromium-based pigments) were identified together with fillers and extenders. Degradation products, in particular zinc and lead soaps having strong conservation implications, were also detected. This work, focusing on the identification of the palettes and the binding media used by the selected artists, aims at providing meaningful data and interesting case studies that are useful beyond the Valencian painters solely. This study provides new insight into the use of 19th-20th century commercial oil paints and the selection of painters' palette and their artistic production techniques. Besides, this work highlights the necessity of a multi-analytical approach to obtain valuable information for documentation and preventive conservation.

Dehydroindigo: a new piece into the Maya Blue puzzle from the voltammetry of microparticles approach.

Combining a novel technique, the voltammetry of microparticles, with spectrometric, nuclear magnetic resonance, electron microscopy, and atomic force microscopy data, Maya Blue is detected in wall paintings of the Substructures A-3, A-5, and A-6, dated in the Early Classical period (440-450 a.c.), and the Substructure II-C, dated in the Late Preclassical period (150 b.C.), in the archaeological site of Calakmul (Campeche, Mexico), thus providing evidence on the use of the pigment 750 years prior to the date currently accepted. Electrochemical measurements, supported by spectrometric data, indicate that the presence of palygorskite-attached dehydroindigo, the oxidized form of indigo, contributes to the greenish color of Maya Blue. Enthalpy and entropy of attachment of such compounds to palygorskite are calculated from the temperature dependence of electrochemical data. Both attachment processes are endothermic, becoming thermodynamically spontaneous at moderate temperatures. Accordingly, ancient Mayas may modulate the hue of Maya Blue from turquoise to greenish blue by controlling the temperature during the crushing process.