Optical properties, such as the attenuation coefficients of multi-layer tissue samples, could be used as a biomarker for diagnosis and disease progression in clinical practice. In this paper, we present a method to estimate the attenuation coefficients in a multi-layer sample by fitting a single scattering model for the OCT signal to the recorded OCT signal. In addition, we employ numerical simulations to obtain the theoretically achievable precision and accuracy of the estimated parameters under various experimental conditions. Finally, the method is applied to two sets of measurements obtained from a multi-layer phantom by two experimental OCT systems: One with a large and one with a small Rayleigh length. Numerical and experimental results show an accurate estimation of the attenuation coefficients when using multiple B-scans.

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We demonstrate multi-scale multi-parameter optical coherence tomography (OCT) imaging and visualization of Johannes Vermeer’s painting Girl with a Pearl Earring. Through automated acquisition, OCT image segmentation, and 3D volume stitching we realize OCT imaging at the scale of an entire painting. This makes it possible to image, with micrometer axial and lateral resolution, an entire painting over more than 5 orders of length scale. From the multi-scale OCT data we quantify multiple parameters in a fully automated way: the surface height, the scattering strength, and the combined glaze and varnish layer thickness. The multi-parameter OCT data of Girl with a Pearl Earring shows various features: Vermeer’s brushstrokes, surface craquelure, paint losses, and restorations. Through an interactive visualization of the Girl, based on the OCT data and the optical properties of historical reconstructions of Vermeer’s paint, we can virtually study the effect of the lighting condition, viewing angle, zoom level and presence/absence of glaze layer. The interactive visualization shows various new painting features. It demonstrates that the glaze layer structure and its optical properties were essential to Vermeer to create an extremely strong light to dark contrast between the figure and the background that gives the painting such an iconic aesthetic appeal.@en

As part of the NWO Science4Arts REVISRembrandt project (2012–2018), novel chemical imaging techniques were developed and applied to the study of Rembrandt’s late experimental painting technique (1651–1669). One of the unique features in his late paintings is his abundant use of smalt: a blue cobalt glass pigment that he often combined with organic lake pigments, earth pigments and blacks. Since most of these smalt-containing paints have discolored over time, we wanted to find out more about how these paintings may have originally looked, and what the role of smalt was in his paint. This paper reports on the use of smalt in complex pigment mixtures in Rembrandt’s Homer (1663), Mauritshuis, The Hague. Macroscopic X-ray fluorescence imaging (MA-XRF) assisted by computational analysis, in combination with SEM-EDX analysis of paint cross-sections, provides new information about the distribution and composition of the smalt paints in the painting. Paint reconstructions were carried out to investigate the effect of different percentages of smalt on the overall color, the drying properties, translucency and texture of the paint. Results show that the influence of (the originally blue) smalt on the intended color of the paint of the Homer is minimal. However, in mixtures with high percentages of smalt, or when combined with more transparent pigments, it was concluded that the smalt did produce a cooler and darker paint. It was also found that the admixture of opaque pigments reduced the translucent character of the smalt. The drying tests show that the paints with (cobalt-containing) smalt dried five times faster compared to those with glass (without cobalt). Most significantly, the texture of the paint was strongly influenced by adding smalt, creating a more irregular surface topography with clearly pronounced brushstrokes. Optical coherence tomography (OCT) was used as an additional tool to reveal differences in translucency and texture between the different paint reconstructions. In conclusion, this study confirmed earlier assumptions that Rembrandt used substantial amounts of smalt in his late paintings, not for its blue color, but to give volume and texture to his paints, to deepen their colors and to make them dry faster.

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The attenuation coefficient (AC) is an optical property of tissue that can be estimated from optical coherence tomography (OCT) data. In this paper, we aim to estimate the AC accurately by compensating for the shape of the focused beam. For this, we propose a method to estimate the axial PSF model parameters and AC by fitting a model for an OCT signal in a homogenous sample to the recorded OCT signal. In addition, we employ numerical analysis to obtain the theoretical optimal precision of the estimated parameters for different experimental setups. Finally, the method is applied to OCT B-scans obtained from homogeneous samples. The numerical and experimental results show accurate estimations of the AC and the focus location when the focus is located inside the sample.

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The Rijksmuseum holds four valuable albums with 187 photographs made by Eduard Isaac Asser (1809–1894), one of the first figures in photography in the Netherlands. Based on visual examination, most of these prints have been identified as salted paper prints with a coating, but they can be hard to distinguish from matte or glossy albumen prints, especially where the coating is thick. In order to be more accurate in our descriptions and to better understand Asser’s technique, a technical study of his work was conducted. Fourier transform infrared spectroscopy (FTIR) helped us to identify, to a certain extent, the nature of the coatings. Before the analysis, the prints had been described either as “shellac coated” or as “waxed,” based on their varying degree of sheen. FTIR identified a larger number of substances in the coatings: gum, protein, natural resin, and possibly starch. Optical coherence tomography (OCT) was also used to study the coatings. Because OCT has limitations when dealing with very thin layers, it was not always suitable for distinguishing coated salted paper prints from coated albumen prints. However, it did turn out to be a useful tool to explore the topography and structure of the paper supports and the coatings.

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A seventeenth-century canvas painting is usually comprised of varnish and (translucent) paint layers on a substrate. A viewer’s perception of a work of art can be affected by changes in and damages to these layers. Crack formation in the multi-layered stratigraphy of the painting is visible in the surface topology. Furthermore, the impact of mechanical abrasion, (photo)chemical processes and treatments can affect the topography of the surface and thereby its appearance. New technological advancements in non-invasive imaging allow for the documentation and visualisation of a painting’s 3D shape across larger segments or even the complete surface. In this manuscript we compare three 3D scanning techniques, which have been used to capture the surface topology of Girl with a Pearl Earring by Johannes Vermeer (c. 1665): a painting in the collection of the Mauritshuis, the Hague. These three techniques are: multi-scale optical coherence tomography, 3D scanning based on fringe-encoded stereo imaging (at two resolutions), and 3D digital microscopy. Additionally, scans were made of a reference target and compared to 3D data obtained with white-light confocal profilometry. The 3D data sets were aligned using a scale-invariant template matching algorithm, and compared on their ability to visualise topographical details of interest. Also the merits and limitations for the individual imaging techniques are discussed in-depth. We find that the 3D digital microscopy and the multi-scale optical coherence tomography offer the highest measurement accuracy and precision. However, the small field-of-view of these techniques, makes them relatively slow and thereby less viable solutions for capturing larger (areas of) paintings. For Girl with a Pearl Earring we find that the 3D data provides an unparalleled insight into the surface features of this painting, specifically related to ‘moating’ around impasto, the effects of paint consolidation in earlier restoration campaigns and aging, through visualisation of the crack pattern. Furthermore, the data sets provide a starting point for future documentation and monitoring of the surface topology changes over time. These scans were carried out as part of the research project ‘The Girl in the Spotlight’.

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The background of Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) has, until recently, been interpreted as a flat dark space. The painting was examined in 2018 as part of the research project The Girl in the Spotlight using a combination of micro- and macro-scale analytical techniques. The stratigraphy of the background was determined from samples mounted as cross-sections, and its material composition was analysed using electron microscopy and chromatographic techniques. The underlayer contains mainly charcoal black, and the glaze contains two organic colourants—indigo and weld—and a copper drier. Deterioration of the glaze has made features in the background difficult to discern with the naked eye. Complementary imaging techniques were able to visualise Vermeer’s signature, and the suggestion of folded fabric (possibly a curtain) on the right side of the painting. The distribution of the layer(s) in the background were imaged using: infrared reflectography (900–1100 nm), multi-scale optical coherence tomography scanning, macroscopic X-ray fluorescence and 3D digital microscopy. Vermeer applied the black underlayer vigorously with overlapping brushstrokes that varied in thickness. When he applied the glaze on top, it levelled out to make a smooth flat surface. The visual effect of the background contrasts the figure of the Girl and projects her forward in space, closer to the viewer.

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The attenuation coefficient (AC) is a property related to the microstructure of tissue on a wavelength scale that can be estimated from optical coherence tomography (OCT) data. Since the OCT signal sensitivity is affected by the finite spectrometer/detector resolution called roll-off and the shape of the focused beam in the sample arm, ignoring these effects leads to severely biased estimates of AC. Previously, the signal intensity dependence on these factors has been modeled. In this paper, we study the dependence of the estimated AC on the beam-shape and focus depth experimentally. A method is presented to estimate the axial point spread function model parameters by fitting the OCT signal model for single scattered light to the averaged A-lines of multiple B-scans obtained from a homogeneous single-layer phantom. The estimated model parameters were used to compensate the signal for the axial point spread function and roll-off in order to obtain an accurate estimate of AC. The result shows a significant improvement in the accuracy of the estimation of AC after correcting for the shape of the OCT beam.@en

In this paper we present a novel method for the segmentation of thin corrugated layers in high resolution optical coherence tomography (OCT) images. First, we make an initial segmentation, for example with graph based segmentation that, for highly corrugated interfaces, leads to many segmentation errors. Second, we resegment the initial outcome, based on the OCT attenuation coe cient image with our matching layer attenuation coe cient segmentation (MLAS) algorithm. This algorithm repositions the initial segmentation such that it finds the point where the attenuation coe cient is close to the mean centerline attenuation. The algorithm does not utilize any sample specific prior knowledge in the attenuation coe cient based segmentation step. For simulated and measured data of strongly corrugated samples, such as is the case for varnish layers on paintings and furniture, the MLAS algorithm performs much better than the conventional segmentation. Finally, we show 3D segmentation of 190 mm³ OCT volume of a thin corrugated varnish layer. Our technique can aid in the rapid characterization of layer stratigraphy and deepen our understanding of their condition.

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