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1.
Rescue archaeological excavations at an urban glass workshop of the 12th century AD in the city of Murcia (Spain) have provided one of the few evidences of glass production in the ancient Islamic territory of Al-Andalus. This paper reports the results derived from a chemical–physical characterisation study carried out on a representative sample set of glass fragments and industrial debris from that workshop. The main objectives of the research were to contribute to the knowledge of the type of glasses produced and provide some insights into the technology developed to obtain different colours in glasses. The resulting data indicated that both high-magnesia plant ash (HMG) soda-lime-silicate and soda-lime lead-silicate glasses were produced. They also indicated a deep knowledge of glass colouring techniques, which suggests that a careful control over the glass melting processes was achieved. Among others, the occurrence of bulk-coloured silver yellow and copper ruby red transparent glasses prove the skills reached by Murcian glassmakers. These results shed new light on the Islamic glass technology of a geographical area in which, up to now, little compositional and technological data from glass workshops were available.  相似文献   

2.
Although Venice is regarded as being one of the most important centres of glass manufacture and trade in Western Europe, little is known about the origins of the Venetian glassmaking. Some archaeologists suggest there is a continuity in the history of glass making, in its transplantation from the Roman centres of the mainland (Altino and Aquileia), first to some islands of the lagoon, and later to the town. Some others, instead, think that there was no continuity at all and that the art of glassmaking was imported in Venice from the Islamic glass factories of the Middle East. Of great help in answering this and other technological questions is the information about the composition of ancient glass from well-dated excavations that allows to conclude on the early technology, sources of raw materials and long-distance trade. Some significant glass findings, including fragments of pots used for glass melting, were found on the island of Torcello and, more recently, in two emergency excavations in the historic centre of Venice. In this paper, the chemical composition of a large set of glass findings (and related materials) from the Venetian lagoon dating from the 7th to the 13th centuries is determined by X-ray microanalysis in order to throw new light on the glassmaking technology in the early centuries of the Venetian tradition. The results show that in this period there occurred a gradual transition from the Roman technique (a two-ingredient formulation with silica-lime sand and natron as a fluxer), towards the use of silica sand and soda plant ash. There is evidence, therefore, for a production continuity with the Roman period (melting pots and glass scraps with a natron-based composition), yet restricted to transparent blown items. No evidence was found for a local production of glass tesserae for the mosaics of the church of St. Maria Assunta in Torcello.  相似文献   

3.
The glazed tile decorative art was one of the widely used ornamental techniques for the monumental buildings during the Mughal period, in Pakistan. Coloured tile samples from Jahangir tomb were analyzed to know the glaze composition and to identify the colouring phases used at that time. The study was performed using light microscopy (OM), scanning electron microscopy equipped with energy dispersive X-ray analyzer (SEM-EDS), Raman spectroscopy (RS) and electron microprobe analysis (EMPA). These complementary analytical techniques allowed characterizing the samples as alkali glazes made from plant ashes. The results indicated the use of lead-tin yellow type II for yellow glazes, cobalt and copper for blue glazes, mixtures of yellow and blue glazes for the green glazes, manganese for purple glazes, and a transparent glaze layer for white glazes.  相似文献   

4.
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5.
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   

6.
The application of total reflection X-ray fluorescence (TXRF) to the analysis of inorganic pigments used in five Albanian icons painted by Onufri Qiprioti, in the period from the end of 16th to the beginning of 17th century is presented. After removing the protective varnish with a solvent, a dry cotton-wool bud (Q-tip) was rubbed over the painted surface to collect the micro-samples. Samples, covering the main colors and their hues, were collected of each icon. A part of the small amount of the sample was transferred to a glass carrier and analyzed by TXRF. Main types of inorganic pigments used for different colors could be identified. The results indicate a palette which included white lead, calcium white, gold, orpiment, yellow and red ochre, vermilion, red lead; a cooper based green pigment (malachite or verdigris) and smalt.  相似文献   

7.
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8.
临近去年底,以建党九十周年为主题的＂时代先锋＂书画展在杭州萧山区开幕,以此为名的格调高雅的书画作品集同时首发。组委会向浙江图书馆、杭州图书馆、萧山图书馆等单位赠送了《时代先锋》书画作品集,还举行了联谊活动和大型笔会。此次《时代先锋》书画展共展出作品,  相似文献   

9.
The chemical composition of 11 glass panes originating from two 13th century non-figurative windows were analyzed by means of Scanning Electron Microscopy–Energy Dispersive X-ray system (SEM-EDX). The windows were discovered in the back-wall of the triforium during the restoration of the choir of the cathedral St. Michael and St. Gudule in Brussels (Belgium). In order to determine if these windows were fabricated with glass of different origin or not, the compositional difference between the panes were compared with the variation in composition as a result of the following causes: (1) compositional fluctuation between panes cut from the same sheet of glass, (2) compositional fluctuation caused when panes are cut from different sheets that were made with the same batch, (3) compositional fluctuation caused when the glass is made from different batches at the same production center, and (4) compositional fluctuation as a result of glass produced at different fabrication centers.  相似文献   

10.
Optical and SEM-EDS microscopy, X-ray powder diffraction and micro FT-IR spectroscopy investigations of the funerary klinai (couches) of Tomb 1 from Amphipolis and a stone sarcophagus from ancient Tragilos—two painted monuments made by Macedonian craftsmen of the Early Hellenistic period—identified the original materials and painting technique, as well as synthetic materials used as consolidants during past restoration treatments. The original organic binders and the superficial modern coatings have been identified by micro FT-IR spectroscopy applied directly to the sampled powders or tiny fragments and to their solvent—soluble fractions. The pigments identified on the couch of Amphipolis are: red and yellow ochre, cinnabar, Madder lake, paratacamite and antlerite, carbon black, calcium carbonate, kaolin and gypsum. The identification of egg and animal glue confirms the application of tempera and secco techniques. The detection of polymers such as polydimethylsiloxane, polyvinyl acetate and alkyd resins, is related to modern restoration products. The pigments attested on the paintings of the Tragilos' sarcophagus are: red and yellow ochre, Egyptian blue, malachite, carbon black, calcium carbonate and gypsum. The absence of organic binders combined with the constant presence of calcium carbonate in all the examined samples suggests the use of lime as the binding medium in the painted decoration of the sarcophagus. The presence of Paraloid B72 is related to recent conservation treatments.  相似文献   

11.
Red lake pigments and dyes used in works of art were characterized by microspectrofluorimetry, a new tool in the field of cultural heritage. Emission and excitation spectra were obtained with high spatial resolution (8–30 μm) in cross-sections from paintings by Vincent van Gogh and Lucien Pissarro and from millenary Andean textiles. The fluorophores were identified by comparing their spectra with those from historic reconstructions assembled in a database. In the paints, purpurin and eosin lakes were detected. In the Paracas and Nasca textiles, dated from 200 B.C. to A.D.1476, purpurin and pseudopurpurin were the red dyes used. Carminic acid was detected in textiles dated close to the Inca Empire, A.D. 1000–1476. The results obtained with this new technique were confirmed and are in agreement with those obtained with conventional methods, requiring microsampling, such as HPLC-DAD-MS and SEM-EDX.  相似文献   

12.
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13.
Nanolime dispersed in 2-propanol was extensively used for the consolidation of wall paintings. The knowledge of the advances of this methodology dealing with all the possible effects associated with the nanolime new material in conservation is fundamental to assess and improve the technique. In this paper, four different dispersions of Ca(OH)2 nanoparticles were characterised by Small Angle X-rays Scattering technique (SAXS) and Transmission Electron Microscopy (TEM) in order to achieve information on size, shape, polydispersity, agglomeration, and crystal structure (by SAED patterns) of the particles. Once characterised, the dispersions were tested in two different case studies, the Carceri dello Steri in Palermo with their graffiti and the 18th century lunettes at the SS. Giuda e Simone Cloister, Corniola (Empoli) with their lime-based mural paintings. The treated samples were characterised in relationship to either their morphology and surface chemical composition by Scanning Electron Microscopy coupled with Energy Dispersive X-rays spectroscopy (SEM-EDX), or their water absorption and mechanical properties (resistance to material abrasion). The results obtained showed that all the dispersions were nanometrically structured and their application succeeded in recovering the mechanical properties of the painting or graffito layers, not altering their permeability to water and keeping perfectly the wall transpiration. However, the dispersions constituted of the nanoparticles obtained via a synthesis able to control size and shape of the Ca(OH)2 particles resulted in a better performance in situ, even if the differences found by SAXS and TEM were slight.  相似文献   

14.
近代舟山     
展览中,一幅出自《中国国家地理》“浙江专辑”的图画,引起了我们的关注。图画中,大小船舶云集,钟楼、民居、教堂、码头、商铺等中西建筑鳞次栉比,卸货的码头工人、赶着马车的车夫、巡逻的警察、做买卖的生意人、挑担的挑夫等南来北往。再细看图画说明,这竟然是“极盛时期的双屿港：世界各地的商品和数不清的白银在这里交换、中转和集散”。  相似文献   

15.
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   

16.
The Carrera del Darro is a street within the city of Granada, Spain, which is emblematic owing to the architectural value of its buildings, to its significance for the urban structure of the city and to the implications it has for the surroundings of the Alhambra. Our study concerns the chemical analysis of the mural paintings on four façades, corresponding to numbers 23, 25, 27 and 29 of the Carrera del Darro. From the analysis of the mortar, it may be concluded that the composition is very similar, though not identical, in the four paintings studied: a limestone mortar. Ochre, white, black and red were used for the decoration of the four façades; green pigment was also observed in the second decoration of no. 29. The results of the morphological examination and EDX microanalysis of the paint samples are shown. By means of the thermogravimetric analysis we established the existence of an organically derived compound. After the existence of an oleaginous binder had been discounted by gas chromatography/mass spectrometry (GC/MS) analysis, we continued with the extraction and determination of proteins by spectrophotometry analysis, detecting low levels of proteins in the paint on the four façades analysed. The study was completed by evaluating the influence on the deterioration of the paintings by the possible surface presence of salts (such as nitrates or chlorides) and organic compounds.  相似文献   

17.
The aim of this study is to develop a laboratory technique to simulate a natural ageing of canvas paintings adopting artificial ageing methods in air (thermal oxidation), in the absence of light. Four models of canvas paintings aged up to 315 years are considered. Paintings are constituted of oil film on oil ground layer, oil film on tempera ground layer, tempera film on tempera ground layer or by tempera film on oil ground layer. Surface strength and the colour of the paintings and the degree of polymerization (DP) of linen canvas were evaluated at different steps of ageing. The degradative result was estimated as the DP of linen canvas after prefixed times of microbial attack.  相似文献   

18.
The work is focused on identification of lead tin yellow types I and II, Naples yellow, and also on discrimination of a less common, distinct yellow pigment, the ternary Pb-Sb-Sn oxide.The knowledge about all those Pb-based yellows was in fact forgotten after introduction of modern synthetic yellows in 19th century. As late as in the last decade of the 20th century, the existence of Pb-Sb-Sn yellow and its production have been rediscovered, and only then it has been identified in colour layer of artworks.Pb-Sb-Sn yellow has recently been identified in colour layer of 17th century Italian paintings by Sandalinas and Ruiz-Moreno [C. Sandalinas, S. Ruiz-Moreno, Lead tin-antimony yellow, historical manufacture, molecular characterization and identification in seventeenth-century Italian paintings, Stud. Conserv. 49 (2003) 41–52], and here we report the finding of this pigment in Mid-European painting of the 18th and 19th centuries. Lead tin yellows, lead antimony yellow (Naples yellow), and lead antimony tin yellow were synthesized in laboratory following historical recipes, their colour was analyzed, and their structure was confirmed to provide a basis for their routine identification in microsamples of artworks by X-ray microdiffraction. Unequivocal identification of Pb-based yellows could help in authentication of traditional European paintings, because their use was temporally and also geographically specific. Combination of elemental microanalysis (X-ray fluorescence electron microanalysis) and X-ray powder microdiffraction were found very efficient in the microanalysis of colour layers of artworks with Pb-based yellows and their unequivocal identification.  相似文献   

19.
The study of the interaction between silica glass and saturated Ca(OH)2 solutions can be a useful approach to resolve the problem of the adhesion between lime-sand mortar and clay bricks. Since it is reasonable that the silica–calcium hydroxide system well simulates a brick–mortar system, experimental observations concerning the interaction of silica glass and this strong basic solution should be of value for the comprehension of the chemical reactions that could take place at the mortar–brick interface, maybe affecting the adhesion between the two building materials. We demonstrated the effects of saturated Ca(OH)2 solutions on commercial pure silica glass (fused silica) and on silica films obtained via a sol–gel process by means of dip-coating. Silica samples were dipped in the solutions at different temperatures (room temperature, 60 and 80 °C) and at different time intervals (1 and 21 h) and then they were analysed by means of surface techniques: X-ray photoelectron spectroscopy (XPS), secondary ion mass spectrometry (SIMS) and atomic force microscopy (AFM). It has been shown that Ca(OH)2 reacts with the silica glass network. The experimental results clearly show a very different behaviour of sol–gel silica with respect to fused silica, probably because of their different nanostructure. Many problems concerning the interaction of silica and Ca(OH)2 are still to be solved, but the results of this research strengthen the idea that adhesion between lime-sand mortar and clay bricks is caused not only by carbonation of calcium hydroxide contained in the mortar, but even by some chemical reactions involving the brick constituents and calcium hydroxide itself. The final products, calcium silicates, may induce a chemical continuity between lime-sand mortar and clay bricks.  相似文献   

20.
The impact of cultural economics on economic theory   总被引：1，自引：1，他引：0  
The paper asks what kind of impact cultural economics has had on the development of economic theory. Six research areas are discussed: productivity differentials between artistic and non-artistic labor, variations of the public good concept, particularly in relation to environmental goods, endogenous changes in preferences, long-term rates of return on paintings, impact of new media technologies and the autonomy of artistic valuation.It is shown that these topics have relevance beyond their applications in the cultural field, and that the theoretical issues involved challenge standard assumptions and standard modelling procedures in economic theory.Presidential address delivered at the 9th international conference of the Association for Cultural Economics, held in Boston, May 8–11, 1996.  相似文献   

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