Effects of dark or of red, blue or white light on germination of subterranean clover seeds

Dry or imbibed seeds of the negatively photoblastic burr burying subterranean clover cv. ‘Seaton Park’ were treated with dark or with red, blue or white light to evaluate the effects of light on seed germination. Dry seeds treated with constant white light, red light or blue light during 8 days and subsequently incubated in dark had final germination and duration of germination reduced, and the distribution of germination changed from highly asymmetric to symmetric respectively. Imbibing seeds incubated under constant blue or white light had final germination strongly reduced seven days after sowing (7.3% and 50.1% of the germination under dark) with significant differences between them. After transferral to dark, true complete recovery of germination of seeds treated with white light was observed 19 days after sowing, but only partial recovery in seeds treated with blue light. Results of dry and imbibed seeds are consistent with no activity of phytochromes, as expected in negatively photoblastic seeds. Results of dry seeds are seemingly contradictory because total germination data imply the inactivity of red and blue light photoreceptors, the opposite being implied by duration and shape of germination. A tentative hypothetical solution for the contradiction is presented. Results of imbibed seeds are fully consistent with cryptochromes but not with phototropins mediation of responses to light of seed germination in ‘Seaton Park’. The ecological and adaptive significance of such responses are discussed in the framework of light attenuation in soil and the requirement and ability of subterranean clover ‘Seaton Park’ to bury seeds.

Tortoiseshell or Polymer? Spectroscopic Analysis to Redefine a Purported Tortoiseshell Box with Gold Decorations as a Plastic Box with Brass

The study and preservation of museum collections requires complete knowledge and understanding of constituent materials that can be natural, synthetic, or semi-synthetic polymers. In former times, objects were incorporated in museum collections and classified solely by their appearance. New studies, prompted by severe degradation processes or conservation-restoration actions, help shed light on the materiality of objects that can contradict the original information or assumptions. The selected case study presented here is of a box dating from the beginning of the 20th century that belongs to the Portuguese National Ancient Art Museum. Museum curators classified it as a tortoiseshell box decorated with gold applications solely on the basis of visual inspection and the information provided by the donor. This box has visible signs of degradation with white veils, initially assumed to be the result of biological degradation of a proteinaceous matrix. This paper presents the methodological rationale behind this study and proposes a totally non-invasive methodology for the identification of polymeric materials in museum artifacts. The analysis of surface leachates using 1H and 13C nuclear magnetic resonance (NMR) complemented by in situ attenuated total reflection infrared spectroscopy (ATR FT-IR) allowed for full characterization of the object s substratum. The NMR technique unequivocally identified a great number of additives and ATR FT-IR provided information about the polymer structure and while also confirming the presence of additives. The pressure applied during ATR FT-IR spectroscopy did not cause any physical change in the structure of the material at the level of the surface (e.g., color, texture, brightness, etc.). In this study, variable pressure scanning electron microscopy (VP-SEM-EDS) was also used to obtain the elemental composition of the metallic decorations. Additionally, microbiologic and enzymatic assays were performed in order to identify the possible biofilm composition and understand the role of microorganisms in the biodeterioration process. Using these methodologies, the box was correctly identified as being made of cellulose acetate plastic with brass decorations and the white film was identified as being composed mainly of polymer exudates, namely sulphonamides and triphenyl phosphate.