Chemie und Prozesstechnik
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Spatial heterodyne spectroscopy (SHS) is an optical setup that combines both dispersive and interference based methods to obtain spectroscopic information. It has the high light throughput characteristic for interference based methods, but at the same time it has the high resolution typical of grated spectrometers. The basic SHS optical setup is similar to that of the Michelson interferometer, with the mirrors replaced by diffraction gratings positioned at fixed, equal distances from the beamsplitter and are slightly tilted. The resulting interference pattern is recorded by a digital camera and the spectrum is recovered by using Fourier Transformation. Although initially SHS was developed for astronomical and satellite-based atmospheric measurements, where spectroscopy of faint but large light sources are investigated, but in recent years the application of SHS spectroscopy is gaining popularity.
Our research group is active both in Raman-SHS and LIBS-SHS, due to the fact that there are many overlapping challenges for the two spectroscopies in terms of optical and optoelectronic optimization. In the present study, we investigated the possibility of using SH detection for the qualitative and quantitative Raman spectroscopy of liquid samples. We constructed our own compact spatial heterodyne spectrometer using 300 mm-1 gratings (Newport), a 50:50 cube beamsplitter (Thorlabs), dischroic mirrors, bandpass and notch filters (Semrock), a Tamron telelens and a Retiga R1 CCD camera. A DPSS laser (532 nm, 20 ns) with variable energy and repetition rate (up to 100 µJ and 80 kHz) was used for excitation, with its beam driven through a 10x microscope objective (Thorlabs) to focus the laser light inside the liquid samples. The evaluation of the recorded interference patterns was carried out by self-developed software written in Octave.
In the qualitative experiments, we investigated several oils and additives and employed principal component analysis (PCA) for their classification. It was found that the recorded spectra could be separated well in the subspace of just two principal components. The quantitative experiments were conducted with two sets of binary solvent mixtures (isopropanol-cyclohexane, glycerol-water). The simple univariate method based on the net intensity of one spectral peak did not give good results, but principal component regression (PCR) gave rise to fairly good and robust calibrations.
Our results therefore show that a relatively simple and robust SHS setup can be advantageously used for both quantitative and qualitative Raman spectroscopy.
First insights into Chinese reverse glass paintings gained by non invasive spectroscopic analysis
(2019)
A non-invasive methodological approach (X-ray fluorescence (XRF), diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS), Raman spectroscopy) has been carried out to identify the pigments and classify the binding media in two Chinese reverse glass paintings (The Archer, Yingying and Hongniang) from the late 19th and early 20th centuries. The results reveal a combined use of traditional Chinese and imported European materials. Several pigments like cinnabar, lead white, orpiment, carbon black and copper-arsenic green (probably emerald green) were found in both paintings; red lead, artificial ultramarine blue, Prussian blue and ochre appear in at least one of the paintings.
The presence of portlandite (Ca(OH)2) along calcite (CaCO3) in the fine-grained, white backing layer of Yingying and Hongniang indicates the presence of limewash. In Chinese tradition, limewash was produced from clamshells, and was then sold as clamshell white. In contrast to the Japanese pigment, Chinese clamshell white was made of finely grounded shells, which were heated over a low fire. The residue (CaO) forms portlandite (Ca(OH)2) when water is continuously added. This water-rich mixture is applied on the painting. Portlandite reacts with atmospheric CO2 during drying and forms fine-grained calcite (CaCO3) [1,2].
The identification of emerald green (The Archer) suggests an earliest manufacturing date in the 1830s [3] and promotes the sinological dating of the painting. Drying oil was classified as a binding media in most areas of both paintings. However, the orange background of The Archer yielded prominent bands of both proteinaceous and fatty binder.
This work addresses the identification of synthetic organic pigments (SOP) in ten modern reverse paintings on glass (1912-1946) by means of an in-situ multi-analytical approach. The combination of the complimentary properties of mobile Raman spectroscopy and diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS) enabled the detection of sixteen SOP even in complex mixtures with inorganic compounds and binders. For the β-naphthol pigments, both Raman and DRIFTS yield appropriate results. DRIFTS was the preferred method for the detection of synthetic alizarin (PR83). Its diagnostic band pattern even allows its detection in complex mixtures with mineral pigments, binders and fillers. Raman spectroscopy yielded distinctive spectra for the triaryl carbonium pigments (PG1, PV2, PR81) and the two-yellow azo SOP (PY3, PY12), whereas DRIFT spectra were affected by extensive band overlapping. This may also occur in Raman spectra, but in less problematic amounts. Fluorescence is the major problem with Raman and it significantly hampers the SOP spectra even with the 785 nm laser. On the one hand the big spot size of DRIFTS (10 mm) limits the technique to rather large sampling areas, whereas the use of a 50× objective for in-situ Raman measurements permits a focus on small spots and aggregated SOP flakes. Moreover, “environmental” factors like temperature changes, artificial light, limited space and vibrations when people pass by need to be considered for in-situ measurements in museums.
Finally, the results show the experimental use of SOP in modern reverse glass paintings. Among several rare SOP (e.g. PB52, PR81), two of them (PG1, PV2) have never been reported before in any artwork.