Egyptian blue has been identified in a painting from 1524 by the Italian artist Ortolano Ferrarese (Giovanni Battista Benvenuto). Egyptian blue is the oldest known synthetic pigment, invented by the Egyptians in the fourth dynasty (2613-2494 BC) of the Old Kingdom and extensively used throughout Antiquity. From about 1000 A.D., it disappeared from the historical record and was only reinvented in the late nineteenth and early twentieth century. The discovery of Egyptian blue in Ortolano Ferrarese's painting from 1524 shows that Egyptian blue was in fact available in the period from which it is normally considered not to exist. The identification of Egyptian blue is based on optical microscopy supported by energy-dispersive spectroscopy and visual light photon-induced spectroscopy, and finally confirmed by Raman microspectroscopy.

The current interdisciplinary study of a funerary portrait has provided the first identification of a blue pigment on Palmyrene sculpture. The exceptional attestation of lapis lazuli on the examined portrait confirms the use of this highly valuable semiprecious stone in ancient polychromy, which was previously thought to be a later addition to the painter's palette. Considering that the archaeological record contains numerous minor objects carved from lapis lazuli, there are astonishingly few known instances of its use as a pigment. This Palmyrene discovery is only the third known example from Antiquity.

A sample of the Vinland Map remaining from the radiocarbon dating was analysed with the purpose of identifying the post‐1950 contaminant and establishing other evidence on the material composition, identity and condition. The analyses revealed that the parchment originates from a bovid and contains hair remnants. The fibre structure was in poor condition, with fragmented collagen fibres and a low hydrothermal stability. Greenish and reddish particles were observed on the parchment. The greenish particles were identified as basic copper(II) chloride, most probably atacamite, and the reddish particles as rust; that is, various iron(III) oxides. The extracted modern contaminant was identified as being naturally produced glycerol monostearate.

The current study is the first comprehensive investigation of the polychromy of Palmyrene funerary portraits. It presents the technical examinations of six portraits (ca. 150–250 CE) from the collection of the Ny Carlsberg Glyptotek, illustrating the marvellous splendour of the cultural heritage of ancient Palmyra. The six portraits were examined with various analytical methods, including microscopy, ultraviolet-induced visible fluorescence imaging and visible light-induced infrared luminescence imaging, X-ray fluorescence spectroscopy, scanning electron microscopy coupled to energy-dispersive X-ray spectroscopy, and Fourier transform infrared spectroscopy. Finally, two samples were collected for liquid chromatography–tandem mass spectrometry to obtain the amino acid sequence information. Various pigments were detected in the polychromy including lapis lazuli, pyromorphite, mimetite, yellow ochre, red ochre, a red lake, lead carbonate, zinc oxide, bone black, and charcoal black. The proteinaceous binding medium was identified as collagen-based and possibly also keratin-based animal glue. The examinations of the Palmyrene portraits in the Ny Carlsberg Glyptotek have proven that these artefacts, despite their current uniform, white appearance, originally presented themselves in a wealth of colours. This is illustrated by the digital reconstructions carried out of two of the examined portraits, which show how the original painting of these portraits would have given them an entirely different expression from what we see today.

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