Arities in the painting method adopted by every single artist [90]. Ling et al. (2007) examined many Chinese art artifacts, working with Py-GC-MS method. Among the numerous materials identified Tung oil, also known as “Chinese wood oil” has been identified as binding medium of wall ancient Chinese palace architecture paintings [91]. A paper by Maa et al. (2016) have studied black residues of supposed binding media in a tomb archaeological website in the Tang dynasty (61807AD), which was probably the most prosperous periods in the ancient Chinese history. The study was conducted making use of FTIR and GC-FID. The results from the analysis indicated that the black residue was certainly the binding medium, consisting of a mixture of animal glue and egg [92]. Zhang et al. in a current report, illustrate the characterization of organic supplies utilized within the gilding decoration of wall paintings in Kizil Grottes, China, making use of Py-GC-MS technique. They saw that drying oil was employed because the mordant for the adhesion of tin foils, although lac resin was employed for gold foils [93]. In recent years, proteomics procedures have become increasingly popular for the characterization of proteinaceous supplies in ancient samples of various cultural heritage objects. A simplified protocol of in-situ protein digestion was proposed. They demonstrated the possibility of using an extremely compact piece of hydrophilic gel loaded with trypsin to digest proteins straight in-situ on works of art with excellent efficacy. The approach was developed on fresh and aged paint replicas, allowing the recognition from the normally employed organic binder depending on egg, collagen, and casein [94]. A proteomic strategy, spectrometry employing liquid chromatography-tandem mass spectrometry (LC-MS/MS) was applied to study the degradation of proteins 20-HETE References present inside the wall paintings of your Monumental Cemetery in Pisa, Italy. The authors noted that the deamidation of some amino acids present in the proteinaceous binder causes a method of deterioration in functions of art, like wall paintings [95]. Calvano et al. (2020) has proposed a quasi-non-invasive evaluation of paint medium, based on the in situ digestion on the proteins, using a hydrogel previously loaded with trypsin, and applied onto the objects surface. The digested peptides have been examined by MALDI-ToF-MS and/or LC-ESI-MS/MS [96]. In the report, the authors report the outcomes of the investigations, via ToF-SIMS and HPLC, of samples taken from the wall painting “Madonna and Youngster enthroned with saints” (1335338) by Ambrogio Lorenzetti. The outcomes of this study show that the ToF-SIMS approach is in a position to recognize protein-based binding supports within the samples regarded as. Within the secco-applied layers, markers for the elements of egg (cholesterol and phosphocholine) had been observed in the ToF-SIMS spectra obtained [43]. Chambery et al. (2009) have created a process for identifying protein binders for molecular characterization of samples in the mural painting of St. Dimitar Cathedral in Vidin, Bulgaria, making use of LC-ESI/Q-q-TOF tandem mass spectrometry. The usage of the proteomic survey produced it possible to recognize each egg yolk proteins and egg white proteins [97]. Constantly linked for the decay with the organic binder in ancient wall paintings, a current short article addressed the problem of blurring with the paint layer. Depending on the experimental outcomes obtained, the authors believe the decay with the organic binder can cause the blurring of wall paintings although maintaining the pigment unchang.
