WHAT PROTEOMICS CAN DO FOR CULTURAL HERITAGE? Gabriella Leo1, Piero Pucci1, Gennaro Marino1, Leila Birolo1. 1Dipartimento di Chimica Organica e Biochimica, Università di Napoli “Federico II”, Napoli, Italy. Laura Cartechini2, Antonio Sgamellotti3 2Istituto di Scienze e Tecnologie Molecolari, CNR, c/o Dipartimento di Chimica, Università degli Studi di Perugia, Perugia, Italy 3Dipartimento di Chimica, Università degli Studi di Perugia, Perugia, Italy Ilaria Bonaduce4, Alessia Andreotti4, Maria Perla Colombini4. 4Dipartimento di Chimica e Chimica Industriale, Università di Pisa, Italy. In the context of artistic and historic objects, the identification of proteins is still a challenging task, because of the very low amount of sample available, because of the complex and quite variable chemical composition of the paints, because of the possible simultaneous presence of several components, and because of degradation of the original materials as a result of aging and pollution. We proposed to adapt proteomic strategies for the identification of proteins in binders of paintings, but also in seeds, food remains in archeological find, etc.., to overcome requirements and difficulties presented by specific samples. In particular, tryptic hydrolysis in heterogeneous phase, followed by the analysis by LC-MS/MS, was successfully used to unambiguously identify milk proteins in a sample from a painting decorating the vaults of the upper church in the Basilica of St. Francis in Assisi (Leo et al., 2009). Moreover, similar strategies were exploited for the characterization of the natural and unnatural aging products in masterpieces. We identified deamidation as a major modifications of proteins in binders. This could be related to treatments undergone by the binders in the realisation of the work of art, as well as aging of artistic and historic objects (Leo et al., in preparation). The systematic analysis in fact of samples from the 14th century frescoes of the Monumental Cemetery in Pisa indicate extensive deamidation occurring on most of the peptides identified, suggesting that the miniature molecular clock, as Robinson and Robinson defined any amide residue present in peptides or proteins (2004), might well be used as molecular marker in artworks.
What proteomics can do for cultural heritage? / Birolo, Leila. - (2010). (Intervento presentato al convegno ICOM-Interim meeting tenutosi a Pisa nel 7-8 Ottobre 2010).
What proteomics can do for cultural heritage?
BIROLO, LEILA
2010
Abstract
WHAT PROTEOMICS CAN DO FOR CULTURAL HERITAGE? Gabriella Leo1, Piero Pucci1, Gennaro Marino1, Leila Birolo1. 1Dipartimento di Chimica Organica e Biochimica, Università di Napoli “Federico II”, Napoli, Italy. Laura Cartechini2, Antonio Sgamellotti3 2Istituto di Scienze e Tecnologie Molecolari, CNR, c/o Dipartimento di Chimica, Università degli Studi di Perugia, Perugia, Italy 3Dipartimento di Chimica, Università degli Studi di Perugia, Perugia, Italy Ilaria Bonaduce4, Alessia Andreotti4, Maria Perla Colombini4. 4Dipartimento di Chimica e Chimica Industriale, Università di Pisa, Italy. In the context of artistic and historic objects, the identification of proteins is still a challenging task, because of the very low amount of sample available, because of the complex and quite variable chemical composition of the paints, because of the possible simultaneous presence of several components, and because of degradation of the original materials as a result of aging and pollution. We proposed to adapt proteomic strategies for the identification of proteins in binders of paintings, but also in seeds, food remains in archeological find, etc.., to overcome requirements and difficulties presented by specific samples. In particular, tryptic hydrolysis in heterogeneous phase, followed by the analysis by LC-MS/MS, was successfully used to unambiguously identify milk proteins in a sample from a painting decorating the vaults of the upper church in the Basilica of St. Francis in Assisi (Leo et al., 2009). Moreover, similar strategies were exploited for the characterization of the natural and unnatural aging products in masterpieces. We identified deamidation as a major modifications of proteins in binders. This could be related to treatments undergone by the binders in the realisation of the work of art, as well as aging of artistic and historic objects (Leo et al., in preparation). The systematic analysis in fact of samples from the 14th century frescoes of the Monumental Cemetery in Pisa indicate extensive deamidation occurring on most of the peptides identified, suggesting that the miniature molecular clock, as Robinson and Robinson defined any amide residue present in peptides or proteins (2004), might well be used as molecular marker in artworks.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
