Microsamples collected on 27 major paintings by Old European Masters dating from the 14th to the late 19th centuries were analyzed using synchrotron-based X-ray diffraction. Two complementary analytical configurations were used at beamlines ID22 (high angle resolution) and ID21 (high lateral resolution), in order to highlight markers of the different grades of the lead white pigments (mixture of cerussite PbCO and hydrocerussite Pb(CO)(OH)). Rietveld analysis and crystalline phases mapping at the microscale revealed the composition and microstructure of the pigments, shedding light on the preparation recipes and pigment choices of the artists through History.

Based on a retrospective study of 179 MRI records covering four populations (patients presenting with impingement without known injury (n = 90), post-traumatic shoulder pain (n = 28), instability or dislocation (n = 36) and controls (n = 25)), morphologic criteria are suggested to define presumedly normal arches and arches compatible with subacromial impingement. The subacromial arch is presumed normal or without impingement if the sagittal and frontal views show it to be parallel to the humeral head, and/or if there is a fatty layer interposed between the arch and the supraspinatus m. The arch is presumed "aggressive" or actually capable of giving rise to impingement if, in either the sagittal or frontal view, there is a zone of narrowing of the subacromial passage with an impression of the arch on the supraspinatus tendon or tendinous thinning at this level or just lateral to this narrowed zone. Based on these criteria, study of the 179 MRI records demonstrated a significant difference of distribution of the arches in the four populations. "Aggressive" arches were found in 45.5% of patients with impingement, 25% of patients with posttraumatic pain, 8.9% of patients with an acute or recurrent dislocation and 12% of controls. Conversely, a presumedly normal arch was found in 56% of the controls, 55% of patients with dislocation, 25% of posttraumatic painful shoulders and only 5.5% of patients with clinical impingement. Subacromial impingement may be due to the type 3 acromial dysplasia described by Bigliani or to a thickening of the coracoacromial ligament at its acromial attachment. This study was supplemented by 15 anatomic dissections which confirmed the regularity of attachment of the coracoacromial ligament at the inferior aspect of the acromion along its lateral border.

Scanning XRF is a powerful elemental imaging technique introduced at the synchrotron that has recently been transposed to laboratory. The growing interest in this technique stems from its ability to collect images reflecting pigment distribution within large areas on artworks by means of their elemental signature. In that sense, scanning XRF appears highly complementary to standard imaging techniques (Visible, UV, IR photography and X-ray radiography). The versatile XRF scanner presented here has been designed and built at the C2RMF in response to specific constraints: transportability, cost-effectiveness and ability to scan large areas within a single working day. The instrument is based on a standard X-ray generator with submillimetre collimated beam and a SDD-based spectrometer to collected X-ray spectra. The instrument head is scanned in front of the painting by means of motorised movements to cover an area up to 300 9 300 mm 2 with a resolution of 0.5 mm (600 9 600 pixels). The 15-kg head is mounted on a stable photo stand for rapid positioning on paintworks and maintains a free side-access for safety; it can also be attached to a lighter tripod for field measurements. Alignment is achieved with a laser pointer and a micro-camera. With a scanning speed of 5 mm/s and 0.1 s/point, elemental maps are collected in 10 h, i.e. a working day. The X-ray spectra of all pixels are rapidly processed using an open source program to derive elemental maps. To illustrate the capabilities of this instrument, this contribution presents the results obtained on the Belle Ferronnière painted by Leonardo da Vinci (1452-1519) and conserved in the Musée du Louvre, prior to its restoration at the C2RMF.

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