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1.
Telemaco Signorini (Florence 1835-1901), one of the most important Italian painters of the 19th century, was particularly famous among his colleagues for his way of depicting dark details and shadows by using primarily blue colors. The restoration of his painting Pascolo a Pietramala (c. 1889, Galleria di arte moderna, Palazzo Pitti, Florence) gave the authors the opportunity to study Signorini's blue palette using non-invasive fiber optics reflectance spectroscopy (FORS) in the ultraviolet (UV), visible (vis), and near infrared (NIR) regions (350-1700 nm). Furthermore, to help in the identification of the pigments used, a suitable spectroscopic database was created for Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue), and cerulean blue modern blue pigments, in masstone and in mixtures with lead white as well as zinc white. The main pigments used by the artist in the aforesaid painting were found to be Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue).  相似文献   

2.
The paper examines Pierre Bourdieu’s extensive writings on the production of scientific knowledge. The study shows that Bourdieu offered not one but two - significantly different - approaches to scientific knowledge production, one formulated in his theoretical, or programmatic, writings on the subject, the other developed in his empirical writings. Addressing the question as to the relevance of Bourdieu’s work for science studies, the analysis argues that the former of these two approaches is at once very visible in Bourdieu’s work but characterized by limitations from the standpoint of scholarship in STS, whereas the latter approach is less conspicuous but of broader empirical value.  相似文献   

3.
Zinc oxide nanoparticles were prepared and used for surface treatment of oil paintings painted on paper supports. The prepared coating mixture containing 2% of ZnO nanoparticles showed excellent transparency. The effect of coating on protecting the paper support and paintings against microbial attack by Trichoderma reesei and Aspergillus niger, dirt accumulation, and UV aging was studied. Coatings containing ZnO nanoparticles enhanced the durability of linseed oil-based paintings toward UV aging regarding the change in color. Coatings containing ZnO nanoparticles improved resistance to microbial attack when subjected to inoculums containing T. reesei or A. niger fungi. In addition, coatings containing ZnO nanoparticles reduced accumulation of dirt on oil paintings when left in open air for 6 months; cleaning of paintings was quite easy compared to the non-coated paintings or those coated with the varnish without ZnO nanoparticles.  相似文献   

4.
This paper presents the first extensive investigation of the composition of both the organic and inorganic media used by Lorenzo Lotto, one of the outstanding artists of the Italian Renaissance in the early 16th century. By investigating four paintings from The State Hermitage Museum collection (Saint-Petersburg, Russia), new insights into the artist's painting techniques were obtained, which contribute to our understanding of the transition from egg tempera to oil painting techniques that took place in Italian paintings between the 15th to the mid 16th century. Inorganic materials were determined using SEM-EDX and PLM, revealing information on the artist's palette. Of particular note was the powdered colourless glass found in the priming layer of the Madonna delle Grazie, which was most likely used as dryer. Organic materials were analysed in individual paint layers using GC-MS, and revealed a mature use of drying oils as paint binders, skilfully mixed with other organic materials and inorganic driers, to obtain the desired aesthetical and technical qualities of the paint. The study revealed that Lotto used the tempera grassa technique through most of his creative life.  相似文献   

5.
Theorists of discourse have long recognised the complexities of attributing reported speech in textual circulation. Yet rarely does one follow words from an original speech event through their many re-entextualisations, and it has proved particularly difficult to capture such circulations between oral events, print, and online media. This article captures such movements by following the mediatised – and politicised – afterlife of a speech event that would normally be classified, in academia, as ‘a talk’. It begins with a talk on Russia, given by the author-anthropologist of this paper, that was (mis)reported in Russian by a Voice of America (VOA) journalist, then traces the resulting text's subsequent movement from the VOA website into the Russian fieldsite that the oral talk described. It explores how the tone and substance of debates over politics and representation were enabled, constrained, and otherwise shaped by the particular textual circulations made possible in digital media. As the text traversed online newspapers, comments forums, blogs, social media networks, and private-turned-public personal emails, it produced a body of commentary that was both directly and indirectly a struggle over representation. While substantive debates unfolded over ethnic and national politics, much of the online commentary concerned the expertise of the commenters weighing in and the expertise and identity of the anthropologist who had been cited. This essay argues that Russian commenters and posters were productively using the intertextual gaps offered by digital circulation, while minimising those gaps' increasing breadth and depth by attributing ‘original’ authorship to a discrete, stable person.  相似文献   

6.
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7.
This article presents the first study of a painting, possibly the Forty Martyrs of Sebaste, which has been concealed for over 500 years, and which has, this century only, re-emerged through plaster removal in the church of SS. Peter and Paul in Famagusta, N. Cyprus. Though very badly damaged the painting, which has remained undocumented and unstudied in the history and art history of Cyprus, may offer vital clues concerning internationalism and cultural interaction in Cyprus in the 14th and 15th centuries. It also offers specialists a rare glimpse at Italian ecclesiastical wall painting from this rich period in western art history, and makes clear the intellectual loss that might be felt if some basic conservation processes are not begun soon. Lastly, in the light of the changing political situation in that island it invites scholarship in a range of disciplines to the church and to other historic landmarks within the old city walls.  相似文献   

8.
The experimental procedures and most important conclusions of the first on-site Raman study of the stained glass windows in the upper chapel of the Sainte-Chapelle, Paris are discussed. Some of the windows suffered damage during/after the French Revolution and were partly restored in the 19th century. Measurements were performed with a new portable Raman instrument on colourless, blue and green stained glasses. We illustrate how the Raman signature of the glass makes it possible to distinguish between medieval K/Ca or 19th century restored Na/Ca-based silicates and to determine their weathering degree. This is achieved by means of the extraction of vibrational parameters and then processing them, using chemometric approaches, principal components and cluster variation analyses with varying degrees of complexity. The Raman scattering intensity of weathered glasses is used to determine their relative age. The results differ from those presented in the Corpus Vitrearum Medii Aevi (obtained by visual inspection) and therefore demonstrate the need for updating these reports with modern methods such as in situ Raman spectroscopy.  相似文献   

9.
The brownish spots known as foxing, commonly found on old paper artefacts contain sometimes structures, which look like filamentous fungi. Attempts to grow these structures in vitro have been always unsuccessful so far. In order to study the role of these biological elements in paper decay, it is essential to identify them. This study is aimed at the identification of isolates from these brownish areas by culture-independent approaches using molecular biology techniques. The two Internal Transcribed Spacers and the 5.8 S gene (ITS1-5.8S-ITS2) from the nuclear ribosomal DNA were amplified, cloned and sequenced. Following a preliminary treatment with cellulase from Trichoderma reesei, DNA extractions were successfully achieved directly from paper samples. From 22 selected stained spots from a book dating from the 19th century, 8 extracts of genomic DNA were entirely analysed, which yielded 145 sequenced clones. No DNA could be sampled in unstained areas. Multiple alignment of the ITS sequences and comparison with reference sequences published in the NCBI database allowed to identify 14 groups of fungi belonging mainly to the following genera: Aspergillus, Bjerkandera, Chaetomium, Gloeotinia, Penicillium, Polyporus, Saccharicola, Trichoderma and Ulocladium. Some of these fungi are cellulolytic species but are not commonly found as indoor contaminant in storage rooms of graphic documents. The majority of the foxing spots exhibited sequences identified as Penicillium minioluteum. Gloeotinia temulenta occurred also frequently. Few isolates such as Aspergillus japonicus, Aspergillus oryzae, Chaetomium globosum, Penicillium citrinum, Trichoderma citrinoviride, Ulocladium chartarum and Ulocladium cucurbitae were present in only 1 or 2 clones. One of the foxing spots produced only one type of sequence similar to both Cordyceps sinensis and Fusarium lateritium, which have identical sequences in this rDNA region. This molecular approach, simple and rapid, could provide additional data for further discussion on the origin of the phenomenon of biological foxing.  相似文献   

10.
This paper describes GPR (ground penetrating radar) surveys performed inside the crypt of the San Miguel de los Reyes Monastery (1546–1835) in order to detect the exact location of its founders' remains, the Dukes of Calabria (16th century). This Monastery was erected to house their family mausoleum and the bodies of the founders were buried near the high altar of the church (1645). However, in the 18th century, the tombs were exhumed to provide them with a worthier burial site: the crypt below the high altar. There is no documentation specifying the exact location of the tombs inside the crypt. Therefore, in order to reveal the exact location of the tombs the GPR survey was conducted inside the crypt.In our specific study, the available historical documentation led us to suppose that the Dukes of Calabria's remains were inside their mausoleums. However, after having performed the GPR analysis, we discovered that the mausoleums were solid and not hollow. The project required data collection on four areas in the crypt: the altar crypt, the Fernando de Aragón mausoleum, the Germana de Foix mausoleum and the floor between the two mausoleums and the altar.In this study, we have processed the GPR records in three different ways: the radargrams were processed in a standard manner, a detailed spectral analysis of all anomalous areas was carried out, and finally a 3D representation was generated. After this complete analysis we concluded that the bodies were not located inside their mausoleums, because they were shown to be solid. Besides, a burial site was located in the crypt subsurface near the Germana de Foix mausoleum, in which four different elements could be identified. Two of them may well be the tombs of the Dukes of Calabria and the other two the tombs of the Germana de Foix sisters.The results obtained in this survey are a good example of GPR application as an efficient and respectful tool for use in Cultural Heritage restoration studies, providing it with a very useful technique for similar projects such as those carried out in the restoration of historical buildings and those in which the elements to be examined are beneath a shallow coating of material.  相似文献   

11.
In this paper, we present an application of the infrared thermography to the study of illuminations. In particular, we analyze a 15th century antiphonary from the Biblioteca Angelica of Rome to characterize the conservation state and the structure of the illuminations on the occasion of its planned restoration. We show the results achieved from the stratigraphic investigation of the gilded surface, the parchment substrate and the underdrawing. The obtained information have been, then, used to direct the necessary restoration steps and also to assess the effectiveness of the treatments by a comparative analysis of the thermograms recorded before and after the restoration.  相似文献   

12.
The possibility to use laser radiation to clean historical objects has been established for several years. A complex case and widely met problem are polychromes. They react (chemically as also physically) very sensitively towards laser radiation. In this study, the reaction of pigments was investigated in dependency on the incident wavelength (Nd:YAG, λ = 1064, 532, 355, 266 nm) and energy density. The chemical and also the physical interactions were investigated. In this work, the following analytical methods were utilised: differential thermal analysis (DTA), colour measurements (CIE-L*a*b*), X-ray diffraction (XRD) and energy dispersive X-ray analysis (EDX). It turned out that the colour change of the pigments can have different origins: they can for instance be induced by laser induced oxidation, reduction or phase changing. Most of the pigments show reactions at very low energy densities (H < 100 mJ cm–2). Overall the fundamental wavelength of the Nd:YAG-laser (λ = 1064 nm) proved to be most suitable, whereas λ = 355 nm shows most influence on the colour change.  相似文献   

13.
Abstract

News translation, which takes many forms, encounters two types of cultural resistance that hinder intercultural understanding. The first is apparent in the need to transform a text in order to make it meaningful in a new context, while the second results from the irreducibility of culture as a way of life to the form of a text. This article illustrates both forms of resistance by analyzing a story originally broadcast on The National in Canada in 1992, and it concludes by considering the implications of the power relations between journalists and the people they describe in acts of news translation.  相似文献   

14.
On-line monitoring or even closed-loop control is necessary to avoid over-cleaning in case the ablation process is not self-limiting. Therefore, the laser-induced breakdown spectroscopy (LIBS) was used. Basic investigations were carried out on original sandstone samples (Elbsandstein) with strong encrustations as well as medieval stained glass samples (13th century from Cologne Cathedral). The spectroscopic study has shown that the plasma emission can be used for determination of the elemental composition of the ablated material. The plasma was initiated by 248-nm pulses of an KrF-excimer laser (30 ns FWHM). For the spectroscopic analysis, a grating spectrograph in combination with an optical multichannel analyser was used. For the glass and stone samples we obtained a continual alteration of the LIBS spectrum (vanishing of peaks and generating of new element peaks) during the removal process. Thus, certain element peaks can be used to distinguish between encrustation layer and valuable underlying material. To show the potential of LIBS we designed an experimental laser cleaning set-up including closed-loop LIBS control and demonstrated successful automatic cleaning of an original glass fragment.  相似文献   

15.
Wool samples collected from thirteen Arraiolos carpets from the 17th–19th century belonging to the National Museum of Ancient Art (NMAA, Lisboa, Portugal) collection were analysed to identify the natural dyes and mordants employed in the traditional dyeing process, in a way to complement and improve actual knowledge on this rugs. Natural dyes were extracted from Arraiolos historical wool fibres using a mild extraction method, followed by high-performance liquid chromatography with diode array and mass spectrometry detection (HPLC-DAD-MS) for compound identification. Colourimetry was used to measure colour parameters in all historical samples. Quantification of mordants in the historical fibres was carried out by inductively coupled plasma-mass spectrometry (ICP-MS). Weld, indigo, spurge flax, brazilwood, madder and cochineal were identified as dye sources in the fibres. Alum was the most commonly used mordant, but the presence of iron and zinc was also detected in some darker samples. The use of madder and cochineal is not referred in the available historical dyeing recipes. This study also proved that the actual visual perception of these carpets is strongly affected by the natural dyes photodegradation, which was mostly unaccounted for before.  相似文献   

16.
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17.
This paper reports results derived from a chemico-physical characterisation study undertaken on an important ensamble of early 20th century stained glass windows from Madrid and signed by the prestigious and well-known Maumejean Fréres company. The study is part of an on-going project of restoration and conservation carried out by the National Glass Centre Foundation (FCNV, La Granja de San Ildefonso, Segovia, Spain). The basic aim of the research was to assess their current state of conservation and to study the degree of damage suffered throughout the last century by different materials employed in their production, namely colourless and coloured glasses, grisailles, lead cames, and putties used to fix glass pieces into the lead cames. Selected samples from these materials were characterised through optical microscopy (OM), X-ray fluorescence (XRF), scanning electron microscopy (SEM), energy dispersive X-ray microanalysis (EDX), VIS spectrophotometry, and X-ray diffraction (XRD). As a general rule, most of them presented an acceptable state of conservation, without any of the known degradation phenomena of more ancient stained glasses (e.g. Medieval, Renaissance, etc.). However, some remarkable alterations were observed. Important deposits of soot and dirt particles coming from a polluted urban environment were detected, producing a slow blackening of the panels. Resulting data have been useful to design and optimise a combined conservation and restoration strategy in the recovery of this valuable legacy of early 20th century stained glass windows from Madrid.  相似文献   

18.
To create photorealistic three-dimensional (3D) models of real scenes and objects is a challenging problem that demands advanced knowledge of computer vision and computer graphics. Systems that can reconstruct the 3D model of cultural artefacts have found many applications such as virtual museum and historical archiving. While there are methods for 3D digitization of cultural artefacts with high geometric resolution, there are still limitations in achieving high textural resolution for virtual exhibition. One major problem is that the object surface exhibits specular reflection of illuminated light during the acquisition of surface texture. The shading of the target object does not match to other objects or pictures in the virtual scene. Also, if texture of the object must be composed of multiple images, the mismatch of shading (radiometric difference) among the images can be very prominent. In order to create high visual quality exhibition, the specular reflections must be eliminated and then the virtual scene is relit by a synthetic light source. Most existing methods for the identification and removal of specular reflection component demand special device or rely on information obtained in a single image. In order to reconstruct a complete 3D model, we need to acquire a multi-view image sequence. We therefore propose a new method that is applicable for the separation of diffuse and specular reflection components in multi-view image sequence. Also, our method can tackle the specular reflection across the texture boundary. The image sequence is first normalized by the estimated illumination color. Based on the dichromatic reflection model, the specular chromaticity is replaced by the corresponding diffuse chromaticity, which can always be found in neighboring views with the highlights already faded away. We test the new method in modeling Yixing ceramic teapots. The shape model of the teapot is obtained by a laser scanner. The diffuse image sequence is then used to generate the texture map. We create the virtual scene with the photorealistic 3D teapot model, some synthetic 3D models and still pictures. Interactive exhibition of the artefact is achieved with the control of the mouse and simple keyboard commands. This paper gives an account of the procedures for the creation of interactive virtual exhibition of ceramic artefacts.  相似文献   

19.
The painting “Madonna with Child”, attributed to Pietro Lorenzetti (14th century) and reworked around the middle of the 16th century, was studied by several techniques in order to characterize the materials used in the original and in the repainted areas. FORS, light microscopy, ESEM-EDX, ToF-SIMS and GC-MS were used. Red ochre and raw sienna earth were identified by FORS in the original parts of the painting. On the repainted parts of the panel, cinnabar, ultramarine blue and lead white were found. By means of GC-MS and ToF-SIMS measurements it was possible to identify the organic binding media used in the preparatory and painted layers.  相似文献   

20.
Transylvanian glass icons are very specific heritage items of Romanian folk art, produced from the middle of 18th century until now. The present research reports the results of a study on the organic components of the paint layers, analyzing the binding media of a series of glass icons belonging to three important icon making centers: Nicula, Olt County (?ara Oltului) and Brasov area (?cheii Bra?ovului). The analysis of the binding media has been done by means of gas chromatography coupled with mass spectrometry (GC/MS). The applied analytical procedure allowed the characterization of the proteinaceous, polysaccharide and lipid-resinous content of the binding media starting from a unique microsample. Results showed that a wide range of materials were used by the icons painters, mostly applied as mixtures of a proteinaceous material and a lipid one. The proteinaceous component proved to be mainly egg, though animal glue and casein were ascertained too, and proteins were often mixed; the lipid material was identified as linseed oil. In some of the icons pine resin and saccharide material were found. Data also highlighted that though the materials used in all the glass icons under study are similar, some particularities could be observed in the painting technique of the studied producing centers and icon painters.  相似文献   

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