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Abstract Identifying evidence of human modification of extinct animal remains, such as Pleistocene megafauna, is challenging due to the similarity of anthropogenic and non-anthropogenic taphonomic features observed under optical microscopy. Here, we re-investigate a Late Pleistocene ground sloth tooth from northeast Brazil, previously suggested as human-modified based only on optical observation. To characterize the macro- and micro-morphological characteristics of the marks preserved in this tooth and evaluate potential human modification, we used stereomicroscope and scanning electron microscopy (SEM) supplemented by energy dispersive spectroscopy (EDS), UV photoluminescence (UV/PL), synchrotron-based X-ray fluorescence (SR-XRF), and synchrotron micro-computed tomography (SR-µCT). These methods allowed us to discriminate non-anthropogenic taphonomic features (root and sedimentary damage), anthropogenic marks, and histological features. The latter shows the infiltration of exogenous elements into the dentine from the sediments. Our evidence demonstrates the sequence of anthropogenic and non-anthropogenic taphonomic modification of this tooth and supports its initial intentional modification by humans. We highlight the benefits of emerging imaging and spectral imaging techniques to investigate and diagnose human modification in fossil and archaeological records and propose that human modification of tooth tissues should be further considered when studying possibly anthropogenically altered fossil remains.

Knowledge of the early evolution of post-Palaeozoic crinoids mainly relies on the well-preserved and abundant material sampled in Triassic Konservat-Lagerstätten such as those from the Anisian Muschelkalk (Middle Triassic) of the Germanic Basin. These crinoid-bearing Lagerstätten have been central to understanding the rapid evolution and diversification of crinoids after the dramatic Permian/Triassic Boundary biological crisis that led the class to near-extinction. The Encrinida are the emblematic crinoids of the Triassic. They are mainly known from rich fossil deposits where their abundant ossicles are at the origin of the extensive crinoidal limestone beds of the German Upper Muschelkalk. So far, they were first represented in the Middle Triassic by the family Dadocrinidae and genus Dadocrinus. In the present work, a new species Dadocrinus montellonis sp. nov., is described based on a well-preserved, almost complete articulated specimen from the Spathian (Lower Triassic) of Nevada (USA). The new species differs from other species of Dadocrinus by its palaeobiogeographic position but also by its earlier stratigraphic occurrence and ancestral morphology. It represents the first reported occurrence of Dadocrinus outside the Germanic Basin prior to the Middle Triassic and also the oldest firm evidence of its presence in the Early Triassic (middle–late Spathian). This discovery sheds new light on the origin of post-Palaeozoic crinoids. It suggests a much wider distribution than commonly assumed for the genus Dadocrinus and implies that the first dadocrinids originated either in the Panthalassa or Tethys oceans, and then dispersed over long distances in a relative short period of time.

Picrolite artefacts comprise some of the most distinctive material remains in the prehistory of the island of Cyprus, in the Eastern Mediterranean. Picrolite exploitation dates from at least 12,000 years ago for the manufacture of personal ornaments and items with a symbolic function. It is commonly assumed that picrolite nodules were collected in secondary deposits on an ad hoc basis. This narrative, however, ignores the fact that picrolite carriers can only be found in very specific locations on the island, discrete from each other. Here we report initial outcomes of the application of handheld portable X-ray fluorescence (HHpXRF) and synchrotron-based X-ray fluorescence spectroscopy (SR-μXRF) to the analysis of picrolite raw materials performed at the newly opened PUMA beamline of the SOLEIL Synchrotron Radiation Facility. Our work refines the basic characteristics of the elemental constituents of the picrolite raw material and highlights key micro-structural differences between two distinct source regions on the Troodos Massif in western Cyprus. Picrolite source characterisation is expected to contribute significant new knowledge to the study of rare raw material consumption, prehistoric social organisation, networking and possible long-distance exchange of this idiosyncratic raw material within and beyond the island’s geographic boundaries.

Abstract Cellulose nitrate (CN) is an intrinsically unstable material that puts at risk the preservation of a great variety of objects in heritage collections, also posing threats to human health. For this reason, a detailed investigation of its degradation mechanisms is necessary to develop sustainable conservation strategies. To investigate novel probes of degradation, we implemented deep UV photoluminescence micro spectral-imaging, for the first time, to characterize a corpus of historical systems composed of cellulose nitrate. The analysis of cinematographic films and everyday objects dated from the nineteenth c./early twentieth c. (Perlov's collection), as well as of photo-aged CN and celluloid references allowed the identification of novel markers that correlate with different stages of CN degradation in artworks, providing insight into the role played by plasticizers, fillers, and other additives in stability. By comparison with photoaged references of CN and celluloid (70% CN and 30% camphor), it was possible to correlate camphor concentration with a higher rate of degradation of the cinematographic films. Furthermore, the present study investigates, at the sub-microscale, materials heterogeneity that correlates to the artworks' history, associating the different emission profiles of zinc oxide to specific color formulations used in the late nineteenth and early twentieth centuries.

Abstract Leonardo da Vinci (1452–1519) is a key artistic and scientific figure of the Renaissance. He is renowned for his science of art, taking advantage of his acute observations of nature to achieve striking pictorial results. This study describes the analysis of an exceptional sample from one of Leonardo’s final masterpieces: The Virgin and Child with St. Anne (Musée du Louvre, Paris, France). The sample was analyzed at the microscale by synchrotron-based hyperspectral photoluminescence imaging and high-angular X-ray diffraction. The results demonstrate Leonardo’s use of two subtypes of lead white pigment, thus revealing how he must have possessed a precise knowledge of his materials; carefully selecting them according to the aesthetical results he aimed at achieving in each painting. This work provides insights on how Leonardo obtained these grades of pigment and proposes new clues regarding the optical and/or working properties he may have tried to achieve.

The identification of the chemical nature of varnish is essential for art restorers in order to choose a suitable solvent during its removal. Until today, such identification has been performed using chemical analysis after sampling. An innovative technique is presented here, using ultraviolet (UV) fluorescence spectroscopy. The method is nondestructive, workable in situ, and leads to results in real time. It is based on the comparison between the emission spectrum of an unknown varnish with those of fresh, artificially aged, or old reference resins and varnishes, for different monochromatic excitation wavelengths. The resin and the nature of the varnish as spirit, oil, or mixed can thus be identified. Various examples are presented on home-made samples applied on fluorescent backgrounds and on real works of art. [ABSTRACT FROM AUTHOR]