Table 7. Data interpretation of the sugar composition of the samples analyses in the case a): there are no proteinaceous materials simultaneously present and there seems to be no contamination.

origin	Artwork	sample	analytical procedure	sugar content (DCCI: µg) (GCI %)	xylose	arabinose	rhamnose	fucose	galacturonic acid	glucuronic acid	mannose	galactose	glucose	proteinaceous material identified*	correlation coefficient	decisional scheme: - result	conclusions
Near Huaca de La Luna, Peru	mural painting, El Brujo	P-b m	GCI	0.47	1.1	43.8	5.6	1.4	-	-	3.1	44.9	yes	no	0.95 A; 0.95 F	N/I	not identified
		P t m	GCI	0.003	11.1	33.3	29.6	11.1	-	-	3.7	11.1	no	no	0.89 A	N/I	not identified
The Metropolitan Museum of Art, New York, USA	painting “Beggar No. 1”, by Jacob Lawrence, tempera on paper	1938 JL u	GCI	4.11	0.5	35.5	17.0	0.0	-	-	0.5	46.5	yes	no	0.99 A	A	arabic gum
National Museum of American Art, Washington, D. C., USA	painting “New Jersey”, by Jacob Lawrence, gouache on paper	1946 JL r	GCI	13.74	0.5	32.8	12.9	0.1	-	-	0.2	53.6	yes	no	0.99 A	A	arabic gum
Detroit Institute of Arts, Detroit, MI, USA	painting “Composition for Clarinets and Tin Horn”, by Ben Shahn, tempera on panel	1951 BS	GCI	3.07	0.7	37.4	13.9	0.1	-	-	0.6	47.3	yes	no	0.99 A	A	arabic gum
Temple of the Winged Lions, Petra, Jordan	polychromy on pottery	P-b	GCI	0.06	23.1	36.7	21.9	5.5	-	-	3.9	9.0	yes	no	0.95T	N/I	not identified
Tomb 826, Petra, Jordan	mural painting	P-CO82654B	GCI	0.08	6.1	12.7	7.4	2.0	-	-	21.7	50.0	yes	no	no	N/I	not identified

F fruit tree gum; T tragacanth gum; A arabic gum; E egg; M milk; G animal glue; N/A = not analysed.; N/I = not identified; proteinaceous media were analysed at DCCI according to Lluveras et all [35] , and at GCI according to Shilling et all [36] .