Palaeoproteomics guidelines to identify proteinaceous binders in artworks following the study of a 15th-century painting by Sandro Botticelli’s workshop
Abstract Undertaking the conservation of artworks informed by the results of molecular analyses has gained growing importance over the last decades, and today it can take advantage of state-of-the-art analytical techniques, such as mass spectrometry-based proteomics. Protein-based binders are among...
| Main Authors: | , , , , , |
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| Format: | Article |
| Language: | English |
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Nature Portfolio
2022-06-01
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| Series: | Scientific Reports |
| Online Access: | https://doi.org/10.1038/s41598-022-14109-w |
| _version_ | 1811334324414316544 |
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| author | F. Di Gianvincenzo D. Peggie M. Mackie C. Granzotto C. Higgitt E. Cappellini |
| author_facet | F. Di Gianvincenzo D. Peggie M. Mackie C. Granzotto C. Higgitt E. Cappellini |
| author_sort | F. Di Gianvincenzo |
| collection | DOAJ |
| description | Abstract Undertaking the conservation of artworks informed by the results of molecular analyses has gained growing importance over the last decades, and today it can take advantage of state-of-the-art analytical techniques, such as mass spectrometry-based proteomics. Protein-based binders are among the most common organic materials used in artworks, having been used in their production for centuries. However, the applications of proteomics to these materials are still limited. In this work, a palaeoproteomic workflow was successfully tested on paint reconstructions, and subsequently applied to micro-samples from a 15th-century panel painting, attributed to the workshop of Sandro Botticelli. This method allowed the confident identification of the protein-based binders and their biological origin, as well as the discrimination of the binder used in the ground and paint layers of the painting. These results show that the approach is accurate, highly sensitive, and broadly applicable in the cultural heritage field, due to the limited amount of starting material required. Accordingly, a set of guidelines are suggested, covering the main steps of the data analysis and interpretation of protein sequencing results, optimised for artworks. |
| first_indexed | 2024-04-13T17:06:12Z |
| format | Article |
| id | doaj.art-94e25f30749f46e5909c0cb12f0bb67a |
| institution | Directory Open Access Journal |
| issn | 2045-2322 |
| language | English |
| last_indexed | 2024-04-13T17:06:12Z |
| publishDate | 2022-06-01 |
| publisher | Nature Portfolio |
| record_format | Article |
| series | Scientific Reports |
| spelling | doaj.art-94e25f30749f46e5909c0cb12f0bb67a2022-12-22T02:38:27ZengNature PortfolioScientific Reports2045-23222022-06-0112111310.1038/s41598-022-14109-wPalaeoproteomics guidelines to identify proteinaceous binders in artworks following the study of a 15th-century painting by Sandro Botticelli’s workshopF. Di Gianvincenzo0D. Peggie1M. Mackie2C. Granzotto3C. Higgitt4E. Cappellini5Globe Institute, University of CopenhagenNational Gallery Scientific DepartmentGlobe Institute, University of CopenhagenGlobe Institute, University of CopenhagenNational Gallery Scientific DepartmentGlobe Institute, University of CopenhagenAbstract Undertaking the conservation of artworks informed by the results of molecular analyses has gained growing importance over the last decades, and today it can take advantage of state-of-the-art analytical techniques, such as mass spectrometry-based proteomics. Protein-based binders are among the most common organic materials used in artworks, having been used in their production for centuries. However, the applications of proteomics to these materials are still limited. In this work, a palaeoproteomic workflow was successfully tested on paint reconstructions, and subsequently applied to micro-samples from a 15th-century panel painting, attributed to the workshop of Sandro Botticelli. This method allowed the confident identification of the protein-based binders and their biological origin, as well as the discrimination of the binder used in the ground and paint layers of the painting. These results show that the approach is accurate, highly sensitive, and broadly applicable in the cultural heritage field, due to the limited amount of starting material required. Accordingly, a set of guidelines are suggested, covering the main steps of the data analysis and interpretation of protein sequencing results, optimised for artworks.https://doi.org/10.1038/s41598-022-14109-w |
| spellingShingle | F. Di Gianvincenzo D. Peggie M. Mackie C. Granzotto C. Higgitt E. Cappellini Palaeoproteomics guidelines to identify proteinaceous binders in artworks following the study of a 15th-century painting by Sandro Botticelli’s workshop Scientific Reports |
| title | Palaeoproteomics guidelines to identify proteinaceous binders in artworks following the study of a 15th-century painting by Sandro Botticelli’s workshop |
| title_full | Palaeoproteomics guidelines to identify proteinaceous binders in artworks following the study of a 15th-century painting by Sandro Botticelli’s workshop |
| title_fullStr | Palaeoproteomics guidelines to identify proteinaceous binders in artworks following the study of a 15th-century painting by Sandro Botticelli’s workshop |
| title_full_unstemmed | Palaeoproteomics guidelines to identify proteinaceous binders in artworks following the study of a 15th-century painting by Sandro Botticelli’s workshop |
| title_short | Palaeoproteomics guidelines to identify proteinaceous binders in artworks following the study of a 15th-century painting by Sandro Botticelli’s workshop |
| title_sort | palaeoproteomics guidelines to identify proteinaceous binders in artworks following the study of a 15th century painting by sandro botticelli s workshop |
| url | https://doi.org/10.1038/s41598-022-14109-w |
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