Manganese toxicity in Portuguese Cambisols derived from granite: causes, limitations of soil analyses and possible solutions

Cambisols are the major soil type in Portugal. The yield of annual crops in these soils is generally poor, and the situation is aggravated in wet winters. In the south of Portugal, manganese toxicity has been identified as the major cause of poor growth and leaching as the main reason for the negative effect of rainfall observed in Cambisols derived from granite Manganese toxicity also appears to be present in the Cambisols in other regions of Portugal. Manganese toxicity is cross-related to the magnesium concentration, either in the soil solution or in plant shoots. Therefore soil amendment using dolomitic limestone is needed to overcome the problem. Current soil test methods are unable to predict the level of Mn toxicity. However, new approach using the extraction of soil solution is proposed, although further work is needed to fully implement the method.

Uncover the mantle: rediscovering Gregório Lopes palette and technique with a study on the painting “Mater Misericordiae”

Grego´rio Lopes (c. 1490–1550) was one of the most prominent painters of the renaissance and Mannerism in Portugal. The painting “Mater Misericordiae” made for the Sesimbra Holy House of Mercy, circa 1535–1538, is one of the most significant works of the artist, and his only painting on this theme, being also one of the most significant Portuguese paintings of sixteenth century. The recent restoration provided the possibility to study materially the painting for the first time, with a multianalytical methodology incorporating portable energy-dispersive X-ray fluorescence spectroscopy, scanning electron microscopy–energy-dispersive spectroscopy, micro-X-ray diffraction, micro-Raman spectroscopy and high-performance liquid chromatography coupled to diode array and mass spectrometry detectors. The analytical study was complemented by infrared reflectography, allowing the study of the underdrawing technique and also by dendrochronology to confirm the date of the wooden panels (1535–1538). The results of this study were compared with previous ones on the painter’s workshop, and significant differences and similitudes were found in the materials and techniques used