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The oilseed pressing process for the production of vegetable oils creates large amounts of cakes as by-products that contain high-added-value substances such as proteins and lipids. This work targets the chemical characterization of flax cake (FC), camelina cake (CC), and sunflower cake (SC) in order to evaluate the composition of proteins and residual oil, which are two of the main components, and to assess further technological applications of these biowastes. The use of a deep eutectic solvent (DES) was developed for protein extraction as a green alternative to conventional organic solvents. The lipid component, on the contrary, was extracted with n-hexane, which is typically used in oil industries. Several analytical techniques were used to characterize the cakes and the extracts (thermogravimetric analysis, attenuated total reflectance-Fourier transform infrared spectroscopy, elemental analysis; HPLC-ESI-Q-TOF/MS). In general, proteins were extracted with DES and precipitated with water, obtaining a higher yield for FC and CC. An improvement in extraction was obtained by increasing the temperature of the treatment. Different acyl glycerides profiles were identified in the residual oils obtained by solvent extraction from the cakes.

The environmental pollution by plastic debris directly dispersed in or eventually reaching marine habitats is raising increasing concern not only for the vulnerability of marine species to ingestion and entanglement by macroscopic debris, but also for the potential hazards from smaller fragments down to a few micrometer size, often referred to as “microplastics”. A novel procedure for the selective quantitative and qualitative determination of organic solvent soluble microplastics and microplastics degradation products (<2 mm) in shoreline sediments was adopted to evaluate their concentration and distribution over the different sectors of a Tuscany (Italy) beach. Solvent extraction followed by gravimetric determination and chemical characterization by FT-IR, Pyrolysis-GC-MS, GPC and 1H NMR analyses showed the presence of up to 30 mg microplastics in 1 kg sand, a figure corresponding to about 5.5 g of generally undetected and largely underestimated microplastics in the upper 10 cm layer of a square meter of sandy beach ! The extracted microplastic material was essentially polystyrene and polyolefin byproducts from oxidative degradation and erosion of larger fragments, with accumulation mainly above the storm berm. Chain scission and oxidation processes cause significant variations in the physical and chemical features of microplastics, promoting their adsorption onto sand particles and thus their persistence in the sediments.

This study concerns the application of non-invasive and micro-invasive analyses for the study of a contemporary artwork entitled La Caverna dell’Antimateria(“The Cave of Antimatter”) which was created by Pinot Gallizio in 1958–1959. The work represents one of the most significant examples of industrial painting. It consists of a total of 145 meters of painted canvas, designed in order to cover the entire floor plan of the René Drouin gallery in Paris, where it was displayed for the first time. Gallizio wanted to create an environment in which visitors could find themselves immersed in painting, in what he termed as a “work-environment”. Non-invasive (Fibre Optic Reflectance Spectroscopy) and micro-invasive analyses (Fourier Transform Infrared and micro-Raman Spectroscopies, Pyrolysis-Gas Chromatography and Gas Chromatography/Mass Spectrometry) were performed on three of the canvases which constitute this work of art in order to obtain information regarding the artistic materials used by Gallizio. Pigments and unconventional materials (such as metal wires, sand) are present in the canvases that form the ceiling. The colours are unevenly distributed on the surface, thus revealing large areas of the white preparation below. In the canvas of the wall, instead, the paint is applied more uniformly and gives a dark colour cast. The analytical results led to the identification of many of the materials used by Gallizio. The pictorial palette consists of both inorganic and organic pigments, while polyvinylacetate, pure or mixed with a siccative oil, was identified as a binder thus confirming what was reported by the artist in his notes. The results of this research provide information concerning the artistic technique used by Pinot Gallizio. The analyses were successfully performed both in situand on micro-samples in order to characterise the pigments of the coloured area, the ground layer and the organic binders.

An amendment to this paper has been published and can be accessed via the original article.

Two types of materials were sampled as part of an investigation of the relics of the Holy Catholic Church of the Apostles St Philip and St James in the Basilica dei Santi Apostoli in Rome: bone- and mummy-materials and architectural samples. The analyses encompassed radiocarbon dating, thermoluminescence dating, gas and liquid chromatographic separation with mass spectrometric detection, X-Ray fluorescence, X-Ray diffraction, inductively coupled plasma mass spectrometry, Raman spectroscopy, and Fourier transform infrared spectroscopy. The results show that the samples were subjected to a number of conservational and exhibition-related treatments. The alleged femoral bone of St James was dated between AD 214 and 340 (2σ confidence), which shows that this cannot be the bone of St James. An encrustation found in a canal in the reliquary in the high altar construction showed the presence of heavily oxidized rapeseed oil, which was radiocarbon dated between AD 267 and 539 (2σ confidence), and a ceramic shard also found in the high altar construction was TL-dated to AD 314–746 (2σ confidence). The two latter dates are consistent with a translationof the relics following the erection of the church at the time of Pope Pelagius I in AD 556–561.

The cathedral in Odense, Denmark, has for nine centuries held the relics of the Danish King St Canute the Holy and his brother Benedikt. They were both murdered in the predecessor church at the site in AD 1086, and Canute was sanctified in already in AD 1100. The history of the relics has been that of turmoil at times, varying from initial worship of the Catholic believers, to being walled up and hidden away after the protestant reformation in AD 1536, and since the 19th Century on display as important heritage objects of national importance. In the present work we have characterised some of the textiles and analysed the air inside the glass showcases exhibiting the 11th Century wooden coffins holding the remains of St King Canute the Holy and his brother together with some precious textiles. Contrary to previous belief, we now prove that all the textiles analysed have the same age, which is consistent with the time of the enshrinement of the King and his brother in AD 1100. It is also shown that some of the textiles were treated with paraffin wax, most likely during attempts at conservation at the National Museum in the nineteenth century. The results of the air chemistry analyses show the problematic side of simultaneously storing of slowly decaying wood, fine textiles, and human bones in rather airtight environments. The wood continuously releases organic acids, the soaring concentrations of which are potentially harmful to the 11th Century textiles and probably also to the bones.