花状氧化铁的制备及其在废水处理中的应用

研究目的：研究花状氧化铁的制备并探讨其对砷的吸附性能和亚甲基蓝的催化性能。 创新要点：1.合成了花状氧化铁;2.发现Langmuir模型能更好地模拟砷的吸附过程;3.发现花状氧化铁对亚甲基蓝有很好的催化降解性能。 研究方法：1.使用扫描电镜、投射电镜、X射线衍射和BET比表面及孔径分析仪对合成的花状氧化铁进行表征;2.采用静态实验法研究砷的吸附性能及亚甲基蓝的催化行为。 重要结论：1.采用一种低成本的溶剂热法合成了花状氧化铁;2.合成的花状氧化铁有着较大的比表面积并对砷有着很好的吸附性能,并且吸附率随着pH的增加而降低。同时发现Langmuir模型能更好地模拟砷的吸附过程;3.亚甲基蓝的初始浓度和花状氧化铁的用量对催化性能影响较为明显,花状氧化铁有较好的重复利用性;4.合成的花状氧化铁可以应用于大批废水的处理。     

Light-induced color changes and chemical modification of treated and untreated chestnut wood surface

Abstract

The aim of this work is to study the surface modifications of chestnut (Castanea sativa Mill.) wood by reflectance spectrophotometry and Fourier transform infrared spectroscopy (FTIR) in order to understand the mechanisms that cause changes and to suggest possible solutions to avoid degradation phenomena. The experimental data were statistically treated to evaluate their significance. Concerning the surface protection of wood, starting from the results obtained by testing different commercial products, attention was focused on a novel organic preservative/consolidant product (Linfoil^®) that has attracted great interest in the field of conservation of wooden artifacts. Color monitoring showed that wood surface color undergoes an important variation due to photoirradiation, occurring within the first 24 hours and mainly due to L* decrease and b* increase. Though the protective treatment modifies wood color, nevertheless the product tested seems to protect the wood surface by reducing photoyellowing. FTIR analysis indicated that irradiation caused the degradation of lignin and increased the concentration of the chromophore groups on the wood surface. Changes in the chromaticity coordinates can be linked to the degradation of lignin and to increase of the concentration of carbonyl groups.     

A note on Chinese Bamboo paper: The impact of modern manufacturing processes on its photostability

Papermaking has a special place in the cultural heritage of China. Papers made from different types of plant fibers were, and are still used for particular applications. Bamboo paper is a handmade paper that has been traditionally used for book printing and restoration of ancient paper objects since antiquity in China, whereas Xuan paper, the subject of recent previous study, is used for traditional Chinese calligraphy and painting. Following our previous approach on Xuan paper, four modern Bamboo papers manufactured using traditional or chemically-facilitated techniques were artificially aged by UVA radiation and changes to their optical properties were evaluated by reflectance and 3D-fluorescence spectroscopies. Paper samples produced by different methods displayed different fluorescence spectra and UVA photolysis of paper resulted in decreases in the fluorescence intensities and reflectance values, manifested as differing photoyellowing of the papers. Assays of reactive oxygen species, ROS, revealed that papers made by chemically-assisted pulping methods generally produce more hydrogen peroxide or superoxide radicals than those made by traditional methods, which correlates with their relative yellowing rates. Different spatial distributions of calcium and chlorine were also observed by SEM/EDS analysis in the chemically-manufactured papers, probably arising from the specific pulping and/or bleaching chemicals used in their manufacture.     

Early aqueous dispersion paints: Portuguese artists’ use of polyvinyl acetate, 1960s–1990s

Abstract

The ageing of poly(vinyl acetate), PVAc, paints was assessed in works by Ângelo de Sousa and Joaquim Rodrigo. The materials and techniques of the artists were studied through interviews and by chemical analysis. They were both using PVAc in 1961, preparing their own paints by mixing commercial PVAc emulsions with selected colorants. It is shown that in most cases the emulsion employed was based on a PVAc homopolymer and that the paints are in good condition with no signs of deterioration. Finally, this study allowed a comparison to be made between paint samples aged naturally and those aged under artificial conditions. This means that these artificially aged samples may be used as reference materials for PVAc paintings. Both sets exhibit molecular infrared fingerprints that are undistinguishable from an unaged PVAc, suggesting little chemical degradation over 50 years of natural ageing.