Fluorescein for resection of high-grade gliomas: A safety study control in a single center and review of the literature

Background: The importance of a complete resection of high-grade gliomas (HGGs) has been highlighted in scientific literature, in order to limit tumor recurrence and above all to improve disease-free survival rates. Several fluorescent biomarkers have been tested to improve intraoperative identification of residual tumor; 5-aminolevulinic acid (5-ALA) and fluorescein sodium (FS) are now starting to play a central role in glioma surgery. We performed a retrospective analysis on 47 patients operated for HGGs. Here we report our preliminary data. Methods: Data of 47 consecutive patients with HGG have been collected in our study (25 males, 22 females; mean age: 60.3 years, range: 27-86 years). Fluorescein (5 mg/kg of body weight) was injected intravenously right after the induction of general anesthesia. A YELLOW 560 filter was used on an OPMI Pentero 900 microscope (Carl Zeiss Meditec, Oberkochen, Germany) to complete a microsurgical tumor removal. Glioma resection and quality of life were evaluated preoperative and postoperatively. Results: Gross total resection (GTR) was achieved in 53.2% (n = 25) of patients. A subtotal resection (STR) (>95%) was achieved in 29.8% (n = 14), while a partial resection (PR) (<95%) was obtained in 17% (n = 8) of patients. Overall, in 83% (n = 39) of patients who underwent fluorescence-guided surgery the resection rate achieved was >95%. No adverse effects correlated to fluorescein have been recorded. Conclusion: Fluorescein seems to be safe and effective in the resection of HGGs, allowing a high rate of gross total removal of contrast enhanced areas

Facilities for in situ diagnostics and monitoring of paintings

The laboratory of Archaeometry of the University and INFN of Ferrara in the last years has developed facilities suited for in situ diagnostics of Cultural Heritage. The more recent efforts have been applied on digital X-radiography and on macrophotography. In this paper, the two tools are described, highlighting their portability and easy to handle peculiarities. Both the facilities have been applied on paintings directly in the museums or exhibition spaces where they were conserve

A scanner for in situ X-ray radiography of large paintings: the case of “Paolo and Francesca” by G. Previati

A scanner for digital radiography of large paintings has been designed and developed, aimed to in situ performances. We report here the application to “Paolo and Francesca” (260×230cm2), masterpiece by the Italian divisionist painter Gaetano Previati (1909). The scanner has given the whole radiography in 1137 X-ray shots, which were corrected for X-ray inhomogeneities and finally processed, minimizing the visual impact of the frame structure. The original version of the painting has been brought to the light, and it appears to be a further step in the evolution of the theme frequently experienced by the artist

K-edge differential radiography for works of art

Digital radiography is a invaluable technique to get information concerning the conservation state of a painting, while it offers qualitative data about the composition of the work of art. On the other hand, K-edge differential radiography maps the distribution of a chosen element in the whole painted surface and can univocally characterize the art work. This technique is subtracting two images obtained by monoenergetic X-rays, bracketing the K-edge of a chemical element. It was initially proposed in the medical field and was successfully applied in angiography and mammography. For the study of paintings, it was formerly applied using X-ray source monochromatized by Bragg diffraction and synchrotron radiation. An alternative method for K-edge RX is filtering a commercial X-ray generator by filters made of adjacent elements in the periodic table, bracketing the absorption edge of the target element. If this method should be effective, it could be easily implemented with any commercial system and applied for in situ applications. First maps of Cadmium in XX century paintings have been obtained filtering by thin slices of Silver (Z = 47), Cadmium (Z = 48) and Indium (Z = 49). Studies are progressing concerning the threshold of sensitivity to Cadmium and other elements in pigments

Portable X-ray fluorescence device reveals the artistic palette of Carlo Bononi, Baroque artist from Ferrara

The principal aim of the in situ X-ray fluorescence (XRF) analysis on the canvas “The Coronation of the Virgin” was to characterise the colour palette of Carlo Bononi (Ferrara, 1580–1632), a lesser-known artist of the early Baroque period in Ferrara. More than 100 points were collected by means of an XRF spectrometer, but the presence of many overlapping painted layers left some doubts about the preparation and the background layers. The scanning electron microscopy with energy dispersive spectrometer analysis on two samples resolved some of these doubts. The results obtained indicate the use of typical 17th century pigments, such as lead white, vermilion, azurite and a copper-based green. For yellow pigments, the artist used the yellow ochre in some cases, while in others he used lead-tin yellow. We also individuated at least three different shades of umber. Almost all the pigments have been identified and they are the first step in establishing the technical apparatus necessary to understand the modus operandi of the Ferrarese artist

THE PALETTE OF A XVI CENTURY VENETIAN ARTIST: MATERIALS AND METHODS OF GIOVANNI DA MEL

Giovanni da Mel (ca. 1480 - 1549) was an Italian Renaissance artist, who worked in the region of Veneto and was devoted to the fresco technique in his family workshop. In his later years, he painted the altarpiece for the church of Trichiana, in the Prealps of Belluno (Veneto). This painting is the only one on canvas acknowledged by the artist. For this reason, the main question arisen by the art historians was if he simply employed the fresco materials and related methodologies, or if he adopted any variation. Thanks to the collaboration between restorers and scientists, it has been possible to deeply study this peculiar painting. Many diagnostic techniques, most of them non-invasive, has been used in order to characterize the altarpiece for art materials. Starting from the imaging techniques (i.e. raking light, UV fluorescence, IR reflectography and X-ray radiography), passing through the point ones, such as X-ray fluorescence and spectrophotometry, many information have been obtained, regarding not only the material used, but also the conservative state and the history of the painting. All these measurements have been performed in-situ by means of portable instruments. When the non-invasive techniques were not sufficient for a comprehensive analysis, 12 small samples were taken and analyzed under optical and electronic microscopy (SEM). Furthermore, some of them have been analyzed with microchemical tests in order to identify binders. Results of the analysis on this painting and their comparison with some frescoes of the Da Mel’s workshop, show both differences and affinities in the art technique