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1.
Using late medieval examples from Switzerland, this paper argues that the emergence of formally organized archives around 1500 was part of an important shift in how documents could be deployed. However, this shift was not away from an oral and toward a literate culture, as argued in some earlier studies, but rather away from seeing documents as testimony that reminded a community about past authoritative actors, and toward relating the texts of documents to other texts, that is, to contexts. This shift took place largely through the appropriation of methods for using and organizing written material that had been developed in the realms of scholastic theology and liturgy, and applying them to secular lordship and administration. These methods provided new models for organizing collections of parchments and papers into connected archives and gave rise to new forms of text collection such as reorganized versions of law books (Spiegel, Coutumiers) containing new search tools such as tables of contents (capitulationes) and indices (abecedaria). Individual charters and scattered legal norms were also organized into textus–glossae structures in larger and smaller administrative units. In the Swiss case, the contextualization of legal texts was accompanied by an increased attribution of authority to ‘custom’ in general, because the community-oriented attribution of meaning found in earlier use was lost. Ultimately, recasting individual documents as part of larger textual contexts increased the power of rulers and ushered in an age of lawyers and of archives.  相似文献   

2.
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3.
ABSTRACT

This present work focuses on the mapping of marbles, decorative patterns and area of the mosaics of the St. Nicola’s Basilica in Bari (Italy) by their photogrammetric survey. The extraordinary importance of these mosaics is due to the stylistic uniqueness and the undisputed workmanship and to the employed materials for tesserae. These mosaics include the white and polychrome marbles, used in the Roman age and reused in medieval artistic production, and imitation stones used as substitutes during the past restorations. The digital survey was realised by the photogrammetric reconstruction of mosaics collecting a photo dataset, after the mosaics redrawing by an image processing software and finally implemented it with lithological identification marbles. It allowed to obtain a punctual mapping of materials, through which to identify original areas and restoration areas, decorative patterns, recurring geometries. The research carried out, supported by the photogrammetric reconstruction as established method for high resolution digital reproduction and mapping, not only ensures the conservation and improvement of the enjoyment of the mosaic floors of the St. Nicola’s Basilica, but allows to conduct studies on materials, decorative patterns and restoration areas directly on the digitized product.  相似文献   

4.
Copper trihydroxychloride [Cu2Cl(OH)3] exists with four polymorphs: atacamite, paratacamite, clinoatacamite, and botallackite. They have all been used as green pigments, usually under the name atacamite. For many years, atacamite was regarded as a pigment mainly used in ancient South America, China, and Egypt. However, the last decades have shown that atacamite has been found in European medieval paintings, and quite often in Sweden. This paper gives a brief overview of the history of atacamite and its polymorphs. Green pigments from medieval murals in 56 Swedish churches were analyzed. The results show that atacamite and malachite are common, while green earth is less frequent and green vivianite rare. In particular, atacamite often occurs in medieval wall paintings on the island of Gotland in the Baltic Sea. The atacamite minerals are rare in Europe and are not found in the Swedish bedrock. Their occurrence in Swedish murals and their origin is discussed. Atacamite may be synthesized by various methods and is in fact often observed on corroded outdoor bronze statues in marine surroundings.  相似文献   

5.
This contribution examines the social, material, and epistemic practices of historians and their counterparts engaged in the textual and visual reproduction of historical sources in nineteenth-century Austria and Switzerland. The Schweizerische Urkundenregister (1863–1877), a Swiss register of medieval charters, and the Monumenta graphica medii aevi (1859–1883), an Austrian collection of photographic facsimiles of medieval sources, were both intended to make historical sources accessible outside the archives in the framework of national history. The article analyzes institutional collaborations and the social interactions among the actors involved and follows the trajectories of the mobilized archival objects. These projects for national source publications appear as a negotiated social practice, in which archival objects were dislocated conceptually as well as materially in order to be stabilized and reified again in new infrastructures of research. The conflicts surrounding the projects reveal disputes about authority over the archival records, their significance, and the techniques required to represent them properly, and show how the emergence of scholarly source publications accompanied a conscious erasure of older contexts of meaning.  相似文献   

6.
Despite substantial literature on the dyeing of textiles, there is a lack of research about colouring Japanese mending papers (tissue papers) used for paper conservation purposes. This study investigates the fungal bioreceptivity of Japanese tissue papers after they have been treated with various dyes and pigments. A variety of toning materials including plant dyes, watercolours, acrylic paints, inks, pastels, gouaches, and colour pencils are commonly used by conservators for paper toning purposes. In this study, two Japanese tissue papers (Yukyu-shi and Sekishu Mare) were treated with selected plant dyes, watercolours, and acrylic paints and then inoculated with fungal species. Quantitative real-time polymerase chain reaction (qPCR) was used to quantify the DNA from Aspergillus niger and Penicillium rubrum as a proxy for fungal species abundance before and after inoculation and artificial moist heat ageing. qPCR primers which were universal for fungi amplified DNA from papers inoculated with A. niger and P. rubrum and these species were found to grow less on treated Sekishu Mare and Yukyu-shi papers compared with untreated papers. Sekishu Mare papers treated with artists' acrylic paints were found to be more resistant to fungal growth than similarly treated Yukyu-shi papers. This study suggests that for the best long-term preservation outcomes for paper materials in archives, libraries, galleries, and museums, acrylic paints generally perform better in conservation terms than most plant dyes and watercolours, although most colourants displayed some bioinhibition.  相似文献   

7.
《文物保护研究》2013,58(3):162-168
Abstract

As the great majority of photographic prints have a paper support, their conservation has been based on conservation treatments traditionally used by paper conservators. It cannot be assumed, however, that these standard treatments, that are employed on paper without any problem, will give comparable results on photographic prints. The effects of mechanical cleaning, solvent cleaning, wet cleaning, bleaching and deacidification on salted papers, cyanotypes and platinotypes are investigated and discussed. The treatments were separated into those that gave clearly negative results and should be rejected, and those that should be studied in depth before accepting them as suitable. It was shown that the use of some types of bleaching and deacidification agents can be very dangerous in the case of plain paper prints. Cyanotypes proved to be the most sensitive to any treatment method and platinotypes the most resistant.  相似文献   

8.
This work presents the results of the investigation carried out on a group of terracotta sculptures (modelli) (sixteenth to eighteenth century) belonging to the extraordinary collection of Palazzo Venezia in Rome. The study, the diagnostic analysis, and the conservation work, were possible thanks to the grant supplied by the Getty Foundation of Los Angeles and by the bank Intesa San Paolo. The terracotta modelli had a practical function as they were of great use as sketches to the creation of the final masterpieces or as models for restoration. As a consequence, the terracotta models allow reconstructing the creative process of artists and restorers, fundamental to outlining the ancient workshop production. X-ray fluorescence spectroscopy, micro-stratigraphic investigation, Fourier transform infrared spectroscopy, and micro-Raman spectroscopy were chosen as useful techniques to study the morphology and composition of the surface-painted layers. Usually the surfaces were painted in order to simulate the materials of the sculpture for which the model was created, for example lead white was used to obtain a white surface simulating marble. But, often the models were re-painted to make them more attractive for the antique trade. So, several pigments have been found on the surfaces such as zinc white, Prussian blue, chrome yellow, and mono-azo pigment. In some cases, the characterization of the surface paintings was particularly important to the final decision about removing or leaving the surface paint in place.  相似文献   

9.
The gellan hydrogel is used as a cleaning agent for paper artworks. The purposes of this work were to give the gellan hydrogel both a microbial resistance and a cytocidal action against the biodeteriogens using hydrolates. Broth microdilution assays were performed to identify the fungicidal action of 16 hydrolates vs 3 fungal strains. The study concerned the Minimal Fungicidal Concentration and pH, colour, and ultra-structural variations on all paper samples, by placing them in contact with GELYD (GELlan?+?hYDrolat). The in vitro tests showed that eight out of 16 hydrolates strongly inhibited fungal growth, but only two of them (Monarda fistulosa, Citrus aurantium subsp amara) showed in situ fungicidal action. Data indicate a new and interesting eco-innovative use of hydrolates, since GELYD is able not only to clean paper artworks, but also to kill the fungal cells present on paper that are potentially harmful for paper and operators.  相似文献   

10.
This paper investigates the feelings of individuals who have been exposed to the continuous demands for managing and beautifying the body. Through audience research on Korean reality shows about body/beauty, Get It Beauty and The Body Show, we attempt to understand how the discourses of body care work at the individual level. Our interviewees’ feelings of being stressed, burdened, and annoyed about the discourses in the shows signify their (un)conscious acknowledgment of the false promises of the self-care rhetoric. However, the discourses of willpower and the embedded voyeuristic pleasure of watching the shows make it difficult to place such feelings in the public domain. We conclude that individuals’ feelings lose their potential as resistant voices when “feeling bad” is discounted as personal, while a feeling of individual achievement is excessively celebrated.  相似文献   

11.
The surviving gilded and polychrome altarpieces and sculptures in Portuguese churches, and the historical documents relating to them, offer an opportunity for understanding material and technological choices regarding gesso grounds. This paper focuses on the historical documentary research about gessoes — one aspect of a wider research project which also involved investigation of physical/chemical evidence, and archaeological reconstructions of gilded gesso grounds. Documentary research sheds light on the meaning of the terms used in historical documents, and on artists’ choice of materials and practices, production, and trade patterns of materials. It informs technological investigations and conservation decisions. The paper also stresses the importance of the evidence gained by using the historical and archaeological methodology applied in material culture studies, in which documentary, analytical, and experimental information complement and/or elucidate each other, leading to a comprehensive understanding of this technology.  相似文献   

12.
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13.
In Byzantium1     
During Spring 1997 we experimented with a research method combining quantitative and qualitative approaches to documenting visitor experiences in The Glory of Byzantium, a special exhibition of the Metropolitan Museum of Art. In addition to using standard demographic and behavior surveys, a small team of researchers and volunteers gathered information, compared experiences, and summarized their observations of people in the exhibition. Each team member conducted about a dozen structured conversations with visitors as they left the exhibition. Subsequently the team met as an informal focus group to describe their experiences. We found that many museum users arrived with relevant experiences and high expectations for this somewhat specialized exhibition; we also found users whose approach to the exhibition was less well‐informed, but whose enthusiasm and trust for the museum experience moved them to attend with satisfaction. We believe that such team approaches to research might well be used as a regular part of museum work as we search for answers to the many elusive questions about museum use.  相似文献   

14.
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15.
Continuing education is important to the individual, to the library, and to society as a whole, and therefore each should attempt to foster continued learning and the questioning mind. Today, librarians are seeking "philosophies" for what they do because the changes in the world about them have denied them the comfort of the implicit assumptions about their work which librarians of earlier periods had. The professional association, like the medieval guilds, has a responsibility to its members to aid in their search for reality ("philosophy") and specifically in their need for continuing education.  相似文献   

16.
《文物保护研究》2013,58(1):55-64
Abstract

Plaster of Paris field jackets are commonly employed for lifting fragile archeological and paleontological material during excavation. When the plaster has been applied directly to the object surface its removal poses a severe risk of damage and loss. This study documents the development of an experimental method to test the suitability of various techniques for removing plaster of Paris from sub-fossil bone. The use of digital microscopic elevation models, already in use in other disciplines, was tested as a method for quantifying surface loss resulting from conservation treatments. The study concludes that citric acid is not suitable for use in close proximity to sub-fossil bone. Air abrasion and laser ablation proved extremely damaging, but ultrasonic cleaning caused no detectable damage. This study has relevance to the removal of plaster of Paris from other materials, such as carbonaceous statuary. The analytical technique itself has a far wider application and is recommended for evaluation of all surface treatments that have the potential to cause loss on a microscopic scale.  相似文献   

17.
Abstract

The object of this study is to assess Texas A&M University (TAMU) students/faculty/staff members’ use and awareness of the Libraries’ free document delivery and interlibrary loan service, branded as “Get It For Me.” Since 2010, we have continued to see a decline in new user registrations each year. Previous Get It For Me user surveys conducted in 2003 and 2011 indicated that the overall satisfaction of registered users was high and customer feedback gleaned from these surveys was used to initiate a number of service improvements. But what about the large percentage of the campus community who do not use the Get It For Me service? Are they aware of what this service has to offer? If so, why might they choose not to use it? If they are not aware of the service, might they use it if they knew more about how it can assist them in their scholarly endeavors? Instead of only surveying those customers who have used this service, we invited everyone on TAMU College Station campus to participate in the survey. Promoting the service is a vital component of service delivery.  相似文献   

18.
This paper investigates chemical bleaching of wood to make species-specific practical recommendations for colour adjustment of veneer in furniture conservation. In more detail, chemical bleaching of Honduras mahogany (Swietenia macrophylla), European walnut (Juglans regia), Rio rosewood (Dalbergia nigra), padauk (Pterocarpus spp.), and purpleheart (Peltogyne spp.) is investigated using 11 different bleach solutions. Both oxidative (e.g. hydrogen peroxide and potassium permanganate) and reductive (e.g. oxalic acid and sodium bisulphite) solutions were used. The results show that the wood species react differently with the investigated bleach solutions. It can also be noted that not all investigated solutions were suitable for all wood species. Based on the results, wood species-specific bleach solutions are recommended.  相似文献   

19.
ABSTRACT

Hampton Court Palace’s Great Hall located in Surrey, UK, is a magnificent late medieval hall. Its large hammer-beam roof is sumptuously decorated while its walls for the past century have been rehung with Henry VIII’s five-hundred-year-old tapestries illustrating The Story of Abraham, and one of the most internationally significant sets of sixteenth-century tapestries, commissioned for the same hall. This paper presents research which began in 2007, exploring conservation solutions based on evidence-based decision-making, through to successful implementation of measures that conserve these invaluable tapestries without damaging the aesthetic or physical integrity of the Great Hall. The impacts of environmental exposure conditions mapped in detail were assessed to evaluate risk for each tapestry. Next, feasibility studies identified the effectiveness of a range of potential mitigating options to address each local risk, now being incrementally implemented over many years. The research has enabled us to develop, test and deliver permanent interventions that have – when considered together as a holistic management regime – allowed the tapestries to remain in situ. These interventions will continue to be monitored and evaluated for at least a further year to confirm their effectiveness.  相似文献   

20.
《文物保护研究》2013,58(3):199-210
Abstract

Descente des vaches (1836) by Théodore Rousseau in the Mesdag Collection in The Hague is barely readable and its paint layers are in poor condition. The surface of the painting is strongly deformed and cracked, the whole painting has darkened and especially the greens have lost all or most of their colour resulting in brown passages. Large passages of the painting that were painted with multiple thick and medium-rich layers have darkened dramatically. This paper proposes that the degradation of Emerald green (Cu(C2H3O2)2·3Cu(AsO2)2, copperacetoarsenite) – the main green pigment used in this painting – is a significant factor in the cause of the darkening. Electron backscatter images reveal that the Emerald green particles are shown different degrees of degradation: from partially to completely disintegrated. Elemental maps show that arsenic is distributed throughout the paint cross section, with relatively higher concentrations around iron- and aluminium-containing particles, and in the varnish layer. Imaging-Fourier-transform infrared microscopy detects copper soaps in the degraded Emerald green-containing layers. Analytical data from four paint cross sections strongly suggest that Emerald green reacts with free fatty acids derived from the binding medium forming copper soaps and mobile arsenic-based species. Chemical laboratory experiments fully support this hypothesis. Emerald green and palmitic acid in chloroform form copper palmitate and arsenic trioxide (arsenolite, cubic) under room temperature and normal light conditions. The degradation of Emerald green particles in Descente des vaches has resulted in a loss of light-reflecting surfaces and in newly formed compounds in the paint, both contribute to the colour change from green to brown.  相似文献   

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