TECHNART 2009
INSTRUCTIONS FOR ABSTRACT AUTHORS
GENERAL
Please use the TECHNART 2009 Abstract Template (see next page) to ensure uniformity. Abstracts should NOT exceed one page in length.
ABSTRACT STRUCTURE
1. Title
Please type a concise but informative title of no more than 110 characters (includingspaces).
2. Authors and affiliations
The names and affiliations of allauthors should appear on the abstract (the layout is given in the template). Clearly indicate the corresponding author with an asterisk* and be sure that you have typed correctly his/her e-mail address and complete postal address.
3. Abstract classification data
Please choose one of the conference scientific topics:
X-ray Microanalysis (XRF, PIXE, XRD, SEM-EDX)
Confocal X-ray Microscopy (3D Micro-XRF, 3D Micro-PIXE)
Synchrotron, Ion Beam and Neutron based techniques/instrumentation
FT-IR and Raman microscopy
UV-Vis and NIR absorption/ reflectance and fluorescence
Laser-based analytical techniques
Magnetic resonance techniques
Chromatography & Mass spectrometry (GC, HPLC)
Optical imaging & coherence techniques
Mobile spectrometry & remote sensing
4. Abstract main text
Introduction: Please outline briefly the state-of-the-art and aim of the work.
Experimental: Give a short description of the instrumentation and materials used. Please refer to already published papers, where instrumentation is fully described.
Results: The most outstanding results have to be presented in this section. Figures (graphs or b&w photographs) or Tables may be used within the one-page space limit.Figures should be accompanied by an appropriate caption (Figure number and content). Tables should have a brief heading and if required, explanatory footnotes may be typed below the table.
Conclusions: This section should include a small discussion on the significance and innovation of the presented results.
Acknowledgements: Optional field.
References:Literature references may be provided by inserting in the text the reference number in square brackets. The reference list at the end of the abstractmust conform to the following style:
Journal:G.M. Aguilar, M.I. Osendi, J. Lumin. 27, 365 (1982).
Book – Chapter in a book: J.J. Rorimer, Ultraviolet rays and their use in the examination of works of art (Metropolitan Museum of Fine Arts, Boston, 1931).
M.D. Lumb, Organic luminescence, in: M.D. Lumb (Ed.), Luminescence Spectroscopy, Academic Press, New York, 1978, pp. 93-148.
Proceedings: F. Colao1, L. Fiorani, R. Fantoni, A. Palucci, J. Striber, Diagnostics of stone samples by laser induced fluorescence, in: V. I. Vlad (ed.), ROMOPTO 7th International Conference on Optics, SPIE Proceedings 5581 (2004), 455-464.
COLOR FIGURES AND TABLES
Please DO NOT include color figures. Try to use other ways for interpretation of color photograph features or to clarify complex data plots.
Please note that abstracts not complying with these Instructions may be returned to the author(s) for revision!
RELIABILITY OF UV – INDUCED FLUORESCENCE PHOTOGRAPHY
FOR DETECTING ANCIENT MARBLE FORGERY
K. POLIKRETI1* and C. CHRISTOFIDES2
1Hellenic Ministry of Culture, Directorate of Conservation of Ancient and Modern Monuments, Dept. of Applied Research, Pireos 81, 105 53, Athens, Greece,
2University of Cyprus, Department of Physics, Photonics and Optoelectronics Laboratory, P.O. Box 20537, Nicosia 1678, Cyprus
Main scientific topic:
Preferred type of presentation : ORAL POSTER
I intend to submit a full paper to Analytical Bioanalytical Chemistry: YES NO
TECHNART 2009
Introduction
In the case of marble there is no physicochemical technique to ensure reliable answers to all authenticity or dating problems. Numerous of museum items have been accused of being forgeries in the last 20 years and many controversies over important artifacts have remained unresolved due to lack of conclusive evidence. UV-induced fluorescence photography has been adopted worldwide by museums and art collectors as a standard authenticity test. According to empirical observations of the thirties [1], fresh marble surfaces display an even “purple” color under ultraviolet light, while long-buried surfaces are distinguished by a “spotty bluish-white” color. However, these colors have never been related to marble properties and the reliability of the technique has often been questioned. The present work aims to investigate the origins of “blue” emission under UV and test the reliability of the technique.
Experimental
The analysed samples include 7 excavated archaeological marble pieces and 27 pieces from building material buried after 1970. The samples were excited by an argon ion laser (Spectra-Physics 2025-5 at 363 nm) and the measurements carried out with a double monochromator system coupled to an Olympus microscope. Details on the experimental set-up are given in ref. [2]. The micro-photoluminescence spectra (PL) obtained this way simulates the PL recorded on a common photographic film by a curator after UV excitation.
Results
The “bluish” luminescence emitted by long-buried marble surfaces (Fig. 1) originates from humate complexes existing in the weathered layers [3]. Ancient surfaces but also surfaces buried for at least 30 years exhibit this typical “bluish” emission. For burial periods less than 20 years and soil pH values lower than 6.0 no blue-green PL is observed indicating absence of humates in the marble patina.
Conclusions
The examination of a large number of ancient and recentlyburied surfaces shows that both types may give similar photoluminescence spectra (Fig. 1), therefore complementary techniques should also be used in cases of ambiguous authenticity.
Newly cut surface –Purple photoluminescence /Ancient excavated surface –Blue photoluminescence /
Surface buried since 1971 –Blue photoluminescence /
Figure 1: Comparison of PL spectra from newly cut, ancient and recently buried marble surfaces. The dramatic resemblance between the ancient and recently buried spectra proves that UV-induced fluorescence is unreliable for authentication testing
Acknowledgements
This work was funded by the Cyprus Research Promotion Foundation Project AUTHENTIC (“Authentication of ancient marble objects by luminescence methods”- KOINW/0104/07/2004).
References
1.J.J. Rorimer, Ultraviolet rays and their use in the examination of works of art (Metropolitan Museum of Fine Arts, Boston, 1931).
2.K. Polikreti, C. Christofides. Appl. Phys. A 90: 285 (2008).
3.K. Polikreti, C. Christofides. Phys. Chem. Miner. (online first).