Morphological and chemical characterization of tintypes and ambrotypes

The present work was done on two ambrotypes and two tintypes. It aimed evaluate their chemical and physical characteristics, especially their degradation patterns. Moreover, to understand the materials used for their production and cross-check analytical and historical information about the production processes. To do so multi-analytical, non-destructive methods were applied. Technical photography highlighted the surface morphology of the objects and showed the distribution of the protective coatings on their surfaces through UV radiation, which were very different between the four pieces. OM allowed for a detailed observation of the surfaces along with the selection of areas of interest to be analysed with SEM-EDS. SEM-EDS was the technique used most extensively and the one that provided the most insightful results: it allowed to observe the morphology of the image forming particles and the differences between highlights, dark areas and the interfaces between them. Also, elemental point analysis and elemental maps were used to identify the image forming particles as silver and to detect the presence of compounds related to the production, particularly gold used to highlight jewellery, iron as the red pigment and traces of the compounds used in the photographic process containing Ag, I, Na and S . Also, some degradation compounds were analysed containing Ag, Cu, S and Cl. With μ-FT-IR the presence of collodion was confirmed and the source of the protective varnishes was identified, particularly mastic and shellac, in either mixtures of the two or only one. μ-Raman detected the presence of metallic silver and silver chloride on the objects and identified one of the red pigments as Mars red. Finally, μ-XRD showed the presence of metallic silver and silver iodide on both ambrotypes and tintypes and hematite, magnetite and wuestite on the tintypes; RESUMO: O presente estudo foi desenvolvido sobre dois ambrótipos e dois ferrótipos. O propósito consiste em estudar as suas características químicas e físicas, dando particular ênfase aos padrões de degradação. Também é pretendido compreender os materiais usados na sua produção e relacionar esta informação analítca com dados históricos de manuais técnicos contemporâneos à produção dos objectos. Para tal foram utilizadas técnicas multi-analíticas e não destrutivas. O uso da fotografia técnica permitiu uma observação da morfologia das superficies dos objectos e da distribuição das camadas de verniz através da radiação UV, muito diferente entre os quatro. A microscopia óptica proporcionou uma observação detalhada das superfícies assim como a selecção de pontos de interesse para serem analisados com SEM-EDS. SEM-EDS foi a técnica usada mais extensivamente e a que proporcionou os resultados mais detalhados: observação da morofologia das partículas formadoras da imagem e as diferenças entre zonas de altas luzes, baixas luzes e as interfaces entre elas. A análise elemental e os mapas elementares foram usados para detectar prata nas partículas formadoras da imagem e a presença de compostos relacionados com a produção, em particular ouro utilizado para realçar joalharia, ferro no pigmento vermelho e vestígios de compostos utilizados no processo fotográfico incluindo Ag, I, Na e S. Do mesmo modo, alguns compostos de degradação foram analisados contendo Ag, Cu, S e Cl. Com μ-FT-IR a presença de colódio foi confirmada e identificada a origem dos vernizes, mástique e goma-laca, tanto em misturas dos dois como apenas um. Com μ-Raman foi detectada a presença de prata metálica e de cloreto de prata e identificado um dos pigmentos vermelhos como Mars red. Finalmente, μ-DRX revelou a presença de prata metálica e iodeto de prata tanto nos ambrótipos como nos ferrótipos e hematite, magnetite e wuestite nos ferrótipos.

Preparação, caracterização e modificação de adsorventes para remoção de pesticidas de águas

O objectivo principal deste trabalho de mestrado consistiu em avaliar a potencial utilização de materiais adsorventes, nomeadamente, de carvões activados (AC) preparados por activação química com KOH, a partir de PET reciclado, e de materiais com estrutura mesoporosa ordenada, do tipo MCM-41 e SBA-15, na remoção de ácido 4 - cloro - 2 - metilfenoxiacético (MCPA) e de azul de metileno (MB), presentes nas águas. Nesta tese apresentam-se estudos de preparação e caracterização de materiais micro e mesoporosos e também estudos de avaliação da capacidade adsortiva em fase líquida. Prepararam-se três materiais microporosos, nomeadamente, PET-2-700, PET-2-700ox (AC oxidado) e PET-2-700red (AC reduzido), dois materiais constituídos exclusivamente por mesoporos, Si-MCM-41 e Ti-MCM-41-50 e dois materiais contendo maioritariamente mesoporos, mas que também possuem alguma microporosidade, tais corno, Si-SBA-15 e Ti-SBA-15-50. A caracterização textural dos adsorventes foi inferida por adsorção de azoto a 77K e por de difracção de raios X. Recorreu-se a três métodos de análise das isotérmicas, nomeadamente, Dubinin-Radushkevich, Brunauer-Ernrnett-Teller e alfa-s (as). A caracterização química dos AC foi realizada recorrendo-se a técnicas de análise elementar (AE) e espectroscopia de infravermelho com transformadas de Fourier (FTIR) e à determinação do ponto de carga zero. Os três carvões activados possuem valores de área superficial externa idênticos, o PET-2-700 possui o maior volume microporoso e o PET-2-700ox exibe o maior diâmetro de poros. Por outro lado, o PET-2-700ox possui um carácter fortemente ácido, o PET-2-700 exibe carácter ligeiramente ácido e o PET-2-700red apresenta propriedades ligeiramente alcalinas. Com base na AE, todas as amostras possuem percentagens de carbono elevadas, sendo que o PET-2-700red apresenta o valor mais elevado. Os resultados obtidos para a caracterização estrutural dos revelaram a obtenção de materiais mesoporosos de alta qualidade, definida pela elevada regularidade e uniformidade da estrutura porosa. A análise dos parâmetros de caracterização textura! permitiu inferir que os quatro materiais mesoporosos possuem valores de área superficial elevados, e que os materiais SBA-15 apresentam valores de volume poroso total e de tamanho de poros superiores aos manifestados pelos MCM-41. A incorporação de titânio não conduziu a uma perda significativa de qualidade dos materiais substituídos em relação às correspondentes amostras de sílica. Efectuaram-se estudos de adsorção em fase líquida de forma a avaliar a possível aplicação dos vários adsorventes na remoção de MCPA e de MB de efluentes líquidos. concluiu-se que o tempo de equilíbrio de 72 horas seria adequado e que a capacidade de adsorção dos vários AC era superior em meio ácido. Com base nas isotérmicas de adsorção do MCPA e do MB e na aplicação da representação de Langmuir e de Freundlich, foi possível concluir que o PET-2-700 possui a maior capacidade de adsorção do MCPA, 1.42 mmol/g, enquanto que o PET-2-700ox revelou a maior capacidade de adsorção do MB, 1.43 mmol/g. Na realidade, os materiais microporosos estudados apresentaram percentagens de remoção elevadas, tanto do MCPA como do MB. Relativamente aos materiais mesoporosos ordenados preparados neste trabalho, a percentagem de remoção de para os poluentes em estudo foi relativamente baixa, constatando-se que nesta fase dos estudos não constituem uma alternativa viável à utilização dos AC. No entanto, uma funcionalização criteriosa dos mesmos pode eventualmente proporcionar um aumento da capacidade adsortiva. ABSTRACT: The work presented in this master thesis, consisted of evaluating the potential use of different adsorbents materials, like activated carbon (AC) prepared by chemical activation with KOH, from recycled poly (ethylene terephthalate) (PET) and materials with ordered mesoporous structure such as MCM-41 and SBA-15, for removing acid 4-chlorine-2-metilfenoxiacétic and methylene blue from aqueous phase. We had prepared three microporous materials, PET-200-700, PET-2-700ox (AC oxidized) and PET-2-700red (reduced AC), two materials consisting exclusively of mesopores, Si-MCM-41 and Ti-MCM-41-50 and two materials containing mainly mesopores, but also having some microporosity, such as Si-SBA-15 and Ti-SBA-15-50. The textural characterization of the adsorbents was inferred by nitrogen adsorption at 77K and X-ray diffraction. Three methods were used to analyse the isotherms, namely, Dubinin-Radushkevich, Brunauer-Emmett-Teller and alpha-s (as). The chemical characterization of AC was performed using the elementary analysis, Fourier transform infrared spectroscopy (FTIR) and determination of the point of zero charge. Concerning the AC, the three present almost the same externa! surface area, PET-2-700 has a high micropore volume and PET-2-700ox shows the largest pore size diameter. On the other hand, PET-2-700ox had a strong acid character, PET-2-700 exhibits just a slightly acid character and PET-2-700red presents alkaline properties. The AE analysis allows confirming the high carbon content of theses AC, with PET-2-700red exhibiting the highest carbon proportion. The results from the structural characterization of the mesoporous materials, had disclosed the attainment of materials with high quality, defined by the raised regularity and uniformity of the porous structure. The analysis of the textural parameters allowed inferring that the four studied mesoporous materials possess high superficial area. The SBA-15 type materials present higher values of total porous volume and pores size diameter as the MCM-41. Also, the titanium incorporation did not lead to a significant loss of quality of the materials substituted in relation to the corresponding silica samples. The adsorption studies in liquid phase allow evaluating the possibility of using the different adsorbents for the MCPA and the MB removal. The kinetic studies had allowed to state the equilibrium time as 72 hours and a higher adsorption capacity was achieved in an acid medium. The influence of the pH of the medium, on the MCPA adsorption was evaluated. The MCPA and MB isotherms were analysed based on the Langmuir and Freundlich equation, the representations presented an excellent linearity, indicating the applicability of these equations to these systems. Also, it allows concluded that PET-2-700 had a higher adsorption capacity for MCPA, 1.42 mmol/g, and PET-2-700ox had a higher adsorption capacity for MB, 1.43 mmol/g. The AC used presented high removal percentages for MCPA and MB. Concerning the mesoporous materials prepared in this work, the percentage removal for the pollutants in study was relatively low, and evidencing that at the moment these mesoporous materials do not constitute a viable alternative to the AC. However, an astute funcionalisation of the same ones can, eventually provide an increase of the adsorption capacity.

19th c. Coloured stuccos and plasters from Grilos' Church (Oporto, Portugal): Materials and techniques employed

The Oporto's St. Lourenço Church of the Jesuit College is locally known, since the St. Augustin Barefooted Eremites occupation (1779/80), as Grilos' Church. The Oporto's siege laid by D. Pedro and D. Miguel (1832/33) succeed in the college abandonment by Grilo's Friars. Throughout Augustin Friars presence period, the white plasters of the nave (end of 18th c.) were executed and it was constructed the Holly Sacrament Chapel (early 19th c.) with neoclassic coloured stuccos and plasters, influenced by Robert Adam, Luigi Chiari and Teixeira Barreto ornamental motifs. Pigments were added to the external layer to imitate the marble and to achieve the “base” colour of the panels. This study of the blue, rose and white stuccos and plasters of H.S. Chapel of Grilo's Church allows carrying out useful database on the original mortars composition by the use of different analytical techniques, important to select the most adequate solutions for restoration interventions. Optical microscopy, XRD, TG-DTA, SEM-EDS, XRF analysis results were considered to identify the composition of different layers and to provide mineralogical, microstructure and chemical characterization of the mortars components and to quantify the binder content in those mortars. These results were compared with collected information on compositions from other sources. This study allowed the identification of the decay causes of decorative stuccos and plaster, suggesting that water retention in the masonries and wooden laths structure of the dome of the chapel is the main factor.

Francisco Pizarro' s banner of arms: an analytical work contributing to latin America's history

The study of textiles is an open area of scientific research, which for its variety of material components and physical chemical diversity of conditions, makes a field of interest for scientific studies in the cultural heritage field. Archaeological/historical textiles offer the possibility to carry out studies on organic materials such as fibers, adhesion elements, dyes, paper, etc., as well as on inorganic compounds for instance metals, alloys, precious stones and other added ornamentation. That variety of composition, allow to use a combination of analytical techniques to solve the questions coming from the object in an archaeometric research. One kind of textile object that provides a valuable cultural information because of its linguistic representation employed by its carrier societies, are the flags/banners/emblems, objects made with a nonverbal communication purpose. As long as depending on the use and/or purpose of each object, varies both the materials/techniques used in its production and its iconography (style, color, emblem, shape), its study gives the possibility to extract information through their materials and manufacturing techniques about a temporal-spatial frame, a particular event or a specific character. The flags/banners have been used since the eleventh century as representative objects of power, hierarchy, social or military organization, or as communicative media. The use of these objects has been spread throughout the world, possibly due to its easy interpretation and/or appropriation by different societies, making it part of their own culture. The flags as symbols of territorial control, using emblems that represent a family, order or army, were introduced to the New World (America) with the arrival of the European conquerors at the end of the fifteenth century. Flags/banners representing the Royal dominion over conquered territories, the Catholic Church and conquistadors’ armies were the first to arrive. One of those flags that have endured over time, that have an invaluable cultural meaning for both American and Iberian societies, is the so-called Francisco Pizarro’s Banner of Arms. It is a textile object with metal threads decoration over a Royal emblem. According to historical sources, this object was used by Francisco Pizarro in 1532 on the conquest process of Peru, after received the permission by King Charles V to on behalf of him, to conquer the lands of the New World today known as Peru. After Pizarro’s control of the Inca territory, it is believed that Pizarro left his banner on top of the Inca’s Sun’s Temple as symbol of his rule. Centuries later, in the America libertarian campaigns, General Sucre, military at charge of the independence army in Peru, reports have found what he considered the Pizarro’s Banner, sending it to Bogotá as a symbol of victory, being kept since that time until today by the National Museum of Colombia. Due to historical discrepancies in the different movements of the so-called Pizarro’s Banner of Arms, its real meaning has been under discussion and because of the passage of time its physical condition has suffer deterioration. That is because its scientific study is now an interesting case study to respond to both historical and conservation questions of it. Through a collaboration with the National Museum of Colombia, a set of 25 samples of so-called Pizarro’s Banner of Arms were collected, covering the various components and areas from the object of study. These samples were subjected to analytical studies for physical and chemical characterization. Microscopic observation, VSEM-EDS analysis, Raman spectroscopy, chromatographic analysis (HPLC-MS, GCMS) and radiocarbon dating were done. Similarly, was sought through a direct in situ physical inspection to the object and through a research into historical sources, adequate information to solve the object’s problems. Results obtained allowed to identify as silk the textile used in the elaboration of the Banner’s fabric, as well as the use of natural dyes for dyeing the fibers used on the emblem: use of cochineal and brazil wood as a source of red, luteolin plant-based for yellow color, indigotine plant-based for blue, and a mixture of yellow and blue dyes for green were identified. Similarly, the use of animal glue in the manufacturing process and the use of rag paper was evident. The metal threads study from the Banner give a confirmation to a silver core wire gilded with a thin gold sheet, being flattened and entwined with silk threads for their use. Finally, using the radiocarbon results, it was possible to postulate with huge accuracy that the Banner date manufacture was between the XV-XVI century and subject to restoration processes with addition of textiles in modern times. Together with, was evident that the state of degradation of the fabric is due to natural degradation in the silk fibers, having that its color has faded and its mechanical properties decreased, leading to loss of rigidity and disappearance of the physical structure. Similarly, it was clear the original colors of the emblem and highlight problems of detachment of paper due to crystallization of the adhesive. In the same way, was found that the metal threads suffer corrosion by sulfur and detachment of its crystals. Finally, combining the analytical results and the historical sources data found from the so-called Francisco Pizarro’s Banner of Arms, allows to postulate that its manufacture process was done in Europe employing precious materials to obtain a long-life object with a deep message for its viewers. Also, the data obtained helps to support the possible idea that the object was employed by Francisco Pizarro in the Peru conquest process. However, by the symbols present in the object, its elaboration date and materials, this object its clearly unique in its kind, and the most important, by its linguistic message, does not represent to Francisco Pizarro or his army, meanwhile, represents the Spanish crown. Therefore, instead to be labeled as Francisco Pizarro’s Banner of Arms, it should be called the Colonial Royal Banner of Charles V in the New World; RESUMEN: El estudio de textiles es un área abierta de investigación científica, la cual por su variedad de componentes materiales y la diversidad de condiciones físico-químicas presentes en estos objetos, lo hace un campo de interés para estudios científicos en el patrimonio cultural. Los textiles arqueológicos/históricos brindan la posibilidad de realizar estudios en materiales orgánicos como fibras, elementos de adhesión, tinturas, papel, etc., e inorgánicos como metales, aleaciones, piedras preciosas y demás materiales decorativos añadidos. Por su variedad de composición, es posible emplear diversas técnicas analíticas para resolver aquellas preguntas propias del objeto en una investigación arqueométrica. Uno de los objetos textiles que brinda gran información cultural debido a su representación lingüística empleada por las sociedades portadoras, son las banderas/estandartes/emblemas. Donde varía dependiendo de su uso y/o propósito, los materiales empleados en su elaboración, al igual que su iconografía (estilo, color, emblema, forma). El estudio de estos objetos construidos con un propósito de comunicación no verbal, da la posibilidad de extraer información a través de sus materiales y técnicas de elaboración sobre un rango temporal-espacial, un evento determinado en la historia o incluso a un personaje en específico. Las banderas han sido empleadas desde el siglo XI como objetos representativos de poder, jerarquía, organización social o militar, o como medio de comunicación. El uso de estos objetos se ha extendido a lo largo del mundo posiblemente debido a su fácil interpretación y/o apropiación por distintas sociedades, haciéndolo parte de su cultura. Las banderas como símbolos de control territorial, empleando símbolos que representan a una familia, orden o armada fueron introducidas a el Nuevo Mundo (América) con la llegada de los conquistadores europeos al final del siglo XV. Las banderas/estandartes que representaban el dominio Real sobre territorios dominados, la iglesia católica y las banderas de ejércitos y/o conquistadores fueron las primeras en llegar al nuevo mundo. Una de aquellas banderas que ha soportado el paso del tiempo, teniendo un gran valor cultural tanto para las sociedades americanas como para las ibéricas, es el denominado Estandarte de armas de Francisco Pizarro. Siendo un objeto textil con decoración en hilos metálicos sobre un emblema Real. De acuerdo a fuentes históricas, este objeto fue usado por Francisco Pizarro en 1532 en el proceso de conquista del Perú, quien recibe por parte del Rey Carlos V el poder para que, en su nombre, Pizarro pueda conquistar las tierras del nuevo mundo hoy conocidas como Perú. Luego del dominio de Pizarro sobre el territorio Inca, se cree que Pizarro dejó su estandarte en la cima del templo Inca del sol como símbolo de su control. Siglos más tarde, en las campañas libertarias de América, el General Sucre, militar encargado de la armada independentista en Perú, reporta haber encontrado lo que él considera como el estandarte de Pizarro, enviándolo a Bogotá como muestra de victoria, siendo custodiada desde ese momento por el Museo Nacional de Colombia hasta la actualidad. Debido a discrepancias históricas, el verdadero significado del llamado estandarte de Pizarro ha sido objeto de discusión y debido del pasar del tiempo su estado de conservación se ha deteriorado. Dejando de este modo, un caso de estudio interesante para que por medio de estudios científicos al objeto se pueda dar respuesta a preguntas tanto históricas como de conservación del mismo. De este modo, por medio de una colaboración con el Museo Nacional de Colombia, se obtuvo un juego de 25 muestras del llamado Estandarte de armas de Francisco Pizarro, abarcando los diferentes componentes y áreas del objeto de estudio. Dichas muestras fueron sometidas a estudios analíticos para su caracterización físico-química. Análisis de observación al microscopio, análisis VSEM-EDS, espectroscopia Raman, análisis cromatográficos (HPLC-MS, GC-MS) y datación por radiocarbono catorce fueron realizados. Del mismo modo, por medio de una inspección física al objeto in situ y una profunda investigación en fuentes históricas del mismo, se buscó la información adecuada para resolver sus problemáticas. Los resultados obtenidos permitieron identificar como seda el textil empleado en la elaboración del estandarte, así como el uso de colorantes naturales para teñir las fibras en el emblema: uso de cochinilla y palo de Brasil como fuente del color rojo, plantas a base de luteolin para el color amarillo, plantas a base de indigotina para el color azul y mezcla de colorantes amarillos y azules para el color verde fueron identificadas. Del mismo modo se evidencio el uso de adhesivos animales y el uso de papel de trapos en el proceso de manufactura. El estudio de los hilos metálicos, permitió evidenciar el uso de alambres con núcleos de plata con un fino recubrimiento de oro en su exterior, siendo aplanados y entrelazados con hilos de seda para su uso. Finalmente usando la datación por radiocarbono, fue posible conocer con alta precisión que el estandarte fue elaborado entre los siglos XV-XVI y sufrió procesos de restauración con añadidura de textiles en tiempos modernos. Junto a lo anterior, es posible postular que el estado de degradación de la tela es debido a degradación natural en las fibras de seda, teniendo así que su color se ha desvanecido y sus propiedades mecánicas disminuidas, conllevando a perdida de rigidez y desaparición de la estructura. Del mismo modo se pudo conocer los colores originales del emblema y evidenciar problemas de desprendimiento del papel debido a cristalización del adhesivo. Asimismo, se comprobó que los hilos metálicos presentan corrosión por azufre y desprendimiento de sus cristales. Finalmente, combinando los resultados analíticos y la información de fuentes históricas encontradas del llamado Estandarte de armas de Francisco Pizarro, se puede postular que su elaboración fue realizada en Europa, usando materiales preciosos para obtener un objeto de larga vida con un profundo mensaje para sus observadores. También, los datos obtenidos ayudan a dar soporte la posible idea de que este objeto fue usado por Francisco Pizarro en el proceso de conquista del Perú. Sin embargo, debido a los símbolos presentes en el objeto, fecha y materiales de elaboración, este objeto es claramente único en su tipo, y lo más importante, por su mensaje lingüístico, este no representa a Francisco Pizarro o su armada, al contrario, representa a la Corona de España. Por ende, en vez de denominarse como Estandarte de armas de Francisco Pizarro, este objeto debería nombrarse como el Estandarte Real de la Colonia de Carlos V en el Nuevo Mundo.