The article describes how art historians collaborate with biologists and use molecular analysis to examine works of art.[1][5] The oil paint is referred to in the text as a "recording device" because, as it slowly dries, it captures DNA fragments of people, animals, and microorganisms, as well as the dust and air of the studio.[1] Biophysicist Andrew Miranker's team at Yale University is analyzing microscopic samples from alleged Blakelock paintings to distinguish originals from forgeries.[1] This approach is part of an emerging field called arteomics, which complements traditional methods such as visual assessment, spectroscopy, and X-ray imaging.[1] Thanks to modern techniques, it is possible to extract DNA and proteins from very small particles of paint or parchment without damaging the work, for example by gently rubbing the back of a Leonardo da Vinci drawing.[1] Other projects extend arteomics to objects such as Egyptian amulets, medieval chess pieces or 17th-century harpsichord keys, from which diagnostic fragments of collagen are obtained as a more durable biomolecular "signature" than DNA.[1] For example, the researchers found that an Egyptian figurine dated to 3900 to 3500 BC. l. it was made of hippopotamus ivory, rather than cow bone or ivory.[1] This collection of biomolecules from works of art provides new information not only about the authors, but also about the environment and living organisms around the creation of the work.[1][5]