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1.
Monica Favaro Pietro A. Vigato Alessia Andreotti Maria Perla Colombini 《Journal of Cultural Heritage》2005,6(4):295-305
The oil painting “La Medusa” executed by Caravaggio at the end of the XVI century on a wooden shield, was investigated by integrated physical–chemical and analytical methodologies in order to obtain scientific data capable of elucidating the state of conservation and the painting technique. Optical (OM) and electronic (SEM-EDS) microscopy, micro-FT-IR spectroscopy, gas chromatography–mass spectrometry (GC–MS) and pyrolysis GC–MS were applied on two microfragments and some organic samples obtained by solvent extraction using the swab cleaning technique. The obtained results indicated that Caravaggio probably reused an old shield as a previous gypsum preparation layer has been detected under the original painting layers. He used white lead, natural earths, verdigris and lead–tin yellow type I mixed with drying oils to paint. The considerable amount of amorphous particles of copper chlorides found in the green pigment verdigris suggests that it could have been produced according to the ancient recipe of verde salsum described by Theophilus. Mordant gilding has been identified on the upper part of the shield that can be related to an abandoned experiment to give the painting a mirror-like reflecting effect. Three different varnishes layers have been detected above the painted surface. The original and restoration varnishes have been identified and they contain a mixture of drying oil, mastic and turpentine and some beeswax. Cleaning tests, performed with different organic solvents, suggest the use of isopropyl alcohol as cleaning agent because it is less efficient in comparison to others solvents; thus it ensures a careful and controlled removal of the varnishes. 相似文献
2.
In this article we present an empirical analysis of the ‘patterns of cultural choice’ in the musical domain in Italy. The
main goal of the article is to verify whether musical tastes in Italy are diversified, with the presence of a group of ‘cultural
omnivores’. Our study is based on the theoretical model of the demand for cultural goods proposed by Lévy-Garboua and Montmarquette
(1996). In the empirical analysis we simultaneously evaluate the probability of choosing different musical genres. Through the
specification of the set of alternatives into three groupings of musical genres —“only classical music”, “only popular music”
and “all music”—we were able to detect the relative impact of several socio-economic characteristics on the probability of
having “univorous” or “omnivorous” musical likings. In addition, our approach allows us to verify the existence of different
patterns of music consumption by testing the significance of differences among the estimated coefficients of the probability
functions related to the three groupings of musical genres. We find that age, gender and education are important predictors
of an omnivorous taste.
相似文献
| Carlofilippo FrateschiEmail: |
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《Journal of Cultural Heritage》2014,15(1):57-63
The most popular photographic technique in the USA between 1856 and 1900 was the tintype, with millions of these objects created by photographers in established studios, by itinerant artists in portable workshops, and by amateurs working from ‘how-to’ manuals and journal articles. Whereas the fundamentals for this photographic process (collodion binder on a japanned metal support) were largely invariant, historical documents recommended a wide variety of protective varnish materials. A collection of 221 tintypes was analyzed using pyrolysis gas chromatography-mass spectrometry (py-GC-MS) to compare the components of actual tintype varnishes with recipes from the historical literature. Several resins in published tintype varnish recipes, including mastic, copal, and amber, are entirely absent from this collection and only five constituents – shellac, Pinaceae resin (Canada balsam or colophony), dammar, sandarac, and camphor – are detected alone or in combination. Each detected resin appears in historical recipes, but just 24% of the samples have varnish layer constituents consistent with published tintype varnish recipes. Forty-four percent of the tintypes have varnish constituents consistent with formulations recommended for other collodion images, but the varnishes of the remaining samples have no direct literature equivalents. The preponderance of shellac- and Pinaceae-based varnishes suggests that these correspond to inexpensive commercial varnishes, but tintypists may have developed their own preferred mixtures or simply used what was at hand. This first in-depth technical analysis of tintype materials suggests that the cheapest and most readily available materials were employed in the varnishing process and that the artists were not bound by literature recommendations. 相似文献
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Agns Lattuati-Derieux Jean-Philippe Echard Sylvie Thao-Heu Bertrand Lavdrine 《Journal of Cultural Heritage》2010,11(4):1-481
Nicéphore Niépce carried out a lot of meticulous experiments that led him to the invention of photography. In particular, in the 1820s, he obtained heliographs by coating a substrate with a light-sensitive substance, which was then exposed to light under a paper print made translucent with the help of varnish. The objective of the work described here is to determine how Niépce made these paper prints transparent. Did he use his experimental knowledge on photosensitive resins, or did he apply commonly used recipes of his time to make paper transparent? To date, no studies have been carried out on the varnish used by Nicéphore Niépce and no previous research has undertaken analytical investigations on Nicéphore's prints, using Attenuated Total Reflection Fourier Transform Infrared Spectroscopy (ATR-FTIR) and Gas Chromatography/Mass Spectrometry (GC/MS). In this paper, we identify the varnishes used by Nicéphore Niépce on four transparent prints, now belonging to the Nicéphore Niépce museum in Chalon-sur-Saône, France. The varnish he used was based on a diterpenic Pinaceae sp. resin (most probably colophony). The finding is supported by historical knowledge about varnishes. 相似文献
7.
ABSTRACTBanned from the U.S. during the “war on terror,” the British/Sri Lankan hip-hop artist M.I.A. responded by recording her 2007 album Kala in multiple locations throughout the global South, collating indigenous musical styles and unorthodox recording techniques. Via a critical/cultural analysis, this paper explores M.I.A.’s work on Kala as subaltern resistance mobilized by “differential movement,” particularly in its mode of production, which operated outside of, and in opposition to, institutional mechanisms designed to expunge or neutralize politically subversive art and artists. Yet M.I.A.’s musical sampling also surfaces conflicts between creative freedom and cultural appropriation, emblematizing “postcolonialist/postmodern schizophrenia” (Vályi, 2011. Remixing cultures: Bartók and Kodály in the age of indigenous cultural rights. In K. McLeod & R. Kuenzli (Eds.), Cutting across media: Appropriation art, interventionist collage, and copyright law (pp. 219–236). Durham, NC: Duke University Press.). 相似文献
8.
On the economics of musical composition in Mozart's Vienna 总被引：2，自引：1，他引：1
The article provides historical evidence suggesting that a substantial element in the explanation of the profusion of talented composers in the 18th century Habsburg empire was the fragmentation of the state into many near-independent states, each with its own court seeking entertainment and prestige through new musical offerings. The resulting profusion of jobs attracted people into the profession and provided hearings for their work. The article also examines the data on Mozart's finances and using a rough translation of 18th century Austrian currency into current dollars supports recent revisionist findings that, with the exception of several years, he was relatively well off. 相似文献
9.
To assess the possible effects of mechanical loading on the conservation of historical wooden musical instruments, a research project was carried out on the violin Guarneri “del Gesù” (1743), known as the “Cannone”. This paper refers to the results obtained by studying the deformations to which a violin is subjected after being tuned, with special attention to the viscous and mechano-sorptive behaviour (as in a concert environment for example). The amount of viscoelastic creep was quantified under normal tuning conditions, and the mechano-sorptive creep was quantified using a dead mass resulting in 55% of the elastic deformation obtained after tuning. The viscoelastic and mechano-sorptive deformations were clearly observed. These deformations were completely recovered once the violin was unloaded, demonstrating that this violin structure is appropriately dimensioned for the applied stresses. 相似文献
10.
《Journal of Cultural Heritage》2009,10(1):30-40
The aging of natural triterpenoid resins used as varnishes on paintings is still insufficiently understood. Although progress has been made, questions concerning the aging pathways in light vs. darkness, or the correlation of oxidation with yellowing, remain open. The influence of aging conditions, primarily the amount of light, but also resin composition, on the aging process were investigated. The aging reactions are followed using a variety of mass spectrometric and spectroscopic techniques. Aging processes in dammar and mastic varnishes are shown to be more dynamic and extensive than had generally been believed. In unaged bulk resins, large quantities of radicals develop within weeks after application as a varnish, due to the greatly increased surface-to-volume ratio. This is true for all aging conditions, including aging in darkness, and is accompanied by considerable oxidation as well. After a few months, most of the initial triterpenoids are oxidized. Natural aging in light and darkness leads to the same main aging products. All these findings point to the conclusion that aging largely proceeds by the same pathways in both light and darkness, mainly autoxidation. Without light, enough radicals are formed to maintain extensive autoxidation, although more slowly. Thus, differences between light and dark aging mechanisms are much smaller than often believed. In mastic, the absence of the polymeric constituents is found to enhance oxidation, but reduce yellowing. It appears that the polymer acts as a natural radical stabilizer, favoring the pronounced intrinsic yellowing tendency of mastic. The manipulation of resin composition might lead to improved aging properties of triterpenoid resin varnishes. 相似文献
11.
Emiliano Carretti Marco Milano Luigi Dei Piero Baglioni 《Journal of Cultural Heritage》2009,10(4):501-508
The present work was one of the first attempts to analyze the conservation status of two ferrotypes, ancient photographic plates realized on a support made of iron. The photographic material was constituted of collodion as binder for the photosensitive silver halides grains. The two ferrotypes studied belonged to a private collection of a family from Durham, UK, and were made at the end of the 19th century. The analytical techniques used for the morphological and physicochemical characterization were noninvasive. The surface morphology was studied by means of optical microscopy (OM) and environmental scanning electron microscopy (ESEM) coupled with an energy dispersive X-rays (EDX) system for the elemental analysis. These techniques, together with microreflectance Fourier transform infrared spectroscopy (μ-FTIR) and contact angle, allowed to obtain information on both the chemical – elemental – composition of the materials constituting the ferrotypes, and the conservation status of these photographic plates. The study showed that the physicochemical diagnostics allowed to characterize the two ferrotypes that, despite their similar age and provenance, showed different conservation status, surface properties, and elemental composition. 相似文献
12.
Section 1 introduces the hypothesis that competition among neighboring states may favor cultural innovation, and it surveys
the available quantitative evidence. Section 2 starts from the assumption that European instrumental music had its breakthrough
during the Baroque era and that the most famous composers came from the two countries characterized by the highest degree
of political fragmentation: Italy and Germany. It suggests that political fragmentation has promoted musical composition and
performance in several ways. The average duration of employment is proposed as a proxy for competition on the demand side.
Section 3 shows that the most famous Italian and German composers of the Baroque period changed their employers significantly
more often than their French and British counterparts did. Moreover, the Reformation led to musical competition between the
Catholic and Protestant churches. Section 4 argues that competition for composers has also been important in other periods
of European history – including competition between the Church and the courts. It shows that composers moved no less in the
Renaissance than in the Baroque. Section 5 raises the question whether European music may also be said to express a competitive
spirit.
JEL classification: Z11 相似文献
13.
Exhibition of objects such as paintings or historical artefacts often involves a common problem: the objects presented are unique, delicate and, therefore, very valuable. On the other hand, these objects should be made accessible to scholars and educators. We present an application of modern 3D computer graphics in the field of reconstructing ancient scientific instruments. The first-four-species calculator of Wilhelm Schickard is made accessible to the public in the World Wide Web using Java 3D. 相似文献
14.
The aim of this work was to use non-destructive optical measurement techniques to assess the conservation state of ancient Italian paintings and to experiment outside of the laboratory with the most recent ESPI (electronic speckle pattern interferometry) portable instruments developed within the Photonic Technologies and Diagnostic Laboratory of the European Commission Joint Research Centre of Ispra, Italy. The measurements described here took place at the Laboratori di Restauro dei Dipinti dell'Opificio delle Pietre Dure in Florence, Italy. The technique detects hardly visible and invisible defects on paintings on panel during the restoration phase and allowed the production of both qualitative and quantitative data, owing to its high resolution and sensitivity to thermal deformation. The system used allowed the inspection of a larger area (400×300 mm) in comparison to that reported in literature concerning continuous wave portable ESPI systems applied in the conservation field. 相似文献
15.
Ivan L. Pitt 《Journal of Cultural Economics》2010,34(3):219-236
This paper examines the economic accomplishments of individual members in a Performing Rights Organization (PRO), sometimes
referred to as a Performing Rights Society. Today, there is the growing importance of intellectual property and copyright
protection for authors and creators of literary, dramatic, musical, artistic and other intellectual works. The digital age
has placed added pressure on songwriters, lyricists and composers in their ability to derive economic benefits from their
intellectual creativity in the form of a copyright. Copyright laws protect and enable the creation of music by allowing authors and composers to license the control and use
of their creations, and receive compensation in the form of royalty payments for their work. The PROs license, collect and
distribute royalty payments for non-dramatic public performances of copyrighted musical works created and owned by its members or affiliates. In this paper, skewness and heavy tail of returns
in the form of member royalty payments are estimated using the skew-normal and skew-t distributions in a parametric approach. We found strong evidence of the so-called ‘superstar effect’ in which the average
royalty payment made by a PRO is still dominated by extreme outcomes, and relatively few members earned a substantial share
of royalty payments from blockbuster hits that have endured over time. There is little evidence of smaller niche members dominating
or replacing the ‘superstars.’ Economists and others will benefit from this empirical study which emphasizes a new understanding
of the music industry from a PRO, member royalty payment and performance copyright perspective. 相似文献
16.
In recent times there has been a surge in interest on policy instruments to stimulate scientific and engineering research
that is of greater consequence, advancing our knowledge in leaps rather than steps and is therefore more “creative” or, in
the language of recent reports, “transformative.” Associated with the language of “transformative research” there appears
to be much enthusiasm and conviction that the future of research is tied to it. However, there is very little clarity as to
what exactly it is and what criteria might be used to design policy instruments to make more of it happen. In this paper,
we contribute to the construction of a framework within which some conceptual clarity might be gained. We develop four analogies,
or metaphors, that are found in the discourse about “transformative research” and show what they imply for the meaning of
the notion and, as a result, both the phenomena that might be associated with it and the levers that would be available to
design policy instruments. The analogies serving as theoretical metaphors that we propose, and also document to be present
either explicitly or implicitly in the discourse about “transformative research,” are the stock market highlighting risk;
the process of evolution and its selection mechanisms; the process of popular culture and the power of “hot” events; and exploration
of the frontier of the unknown. No single analogy covers all the relevant issues. Together they help identify a field of phenomena
and the potential and challenges “transformative research” presents to policy. 相似文献
17.
Maria-Luisa Carvalho Marta Manso Sofia Pessanha Ana Guilherme Fernando Rodrigues Ferreira 《Journal of Cultural Heritage》2009,10(3):435-438
This work describes the quantitative analysis of mercury present in the ink used to colour some books of XVIII century. The mercury content was determined by Energy Dispersive X-ray Spectrometry. This is a non-destructive technique which allows elemental identification and quantification (Z > 13) by atomic physics processes. The organic pigments cannot be identified by this technique, taking into account that its composition is mainly C, O and H. Levels of 2 wt.% and 4.5 wt.% were measured in 1756 and 1753 books respectively. No significant amount of mercury was observed in other red books, on a total of 11, all from XVIII century: 1720, 1732, 1753, 1756, 1780, 1798, 1800. More than one book for each year were analysed. The studied books belong to a private collection, and were selected taking into account the age and the reddish colour of their external parts. High content on Fe were observed in some of the books. This work highlights the application of a physics technique in a very important aspect for art and cultural heritage conservation and restoration, considering that high levels of toxic elements might be found in ancient documents. It is of great importance that preliminary elemental analyses are performed on ancient documents before handling them, because they might constitute some danger for restorers, conservators and collectors. This work highlights, for the first time, the danger of some ancient books. They might contain a very high concentration of mercury, which is toxic for the organism. This is also a particularly important problem of public health never mentioned in literature before. 相似文献
18.
Nela Filimon Jordi López-Sintas Carlos Padrós-Reig 《Journal of Cultural Economics》2011,35(2):137-161
This article compares and contrasts Adler and Rosen’s theories regarding the stardom and popularity of musical artists through
the impact of local linguistic policies on consumers’ decisions to buy recorded music (CDs). Spain, with local linguistic
policies implemented in Catalonia and the Basque Country, serves as an ideal quasi ‘natural experiment’ for testing these
theories. The authors’ predictions are addressed within a multilevel regression framework, with two main results: first, contrary
to Rosen’s predictions, the impact of local linguistic policies on the probability of buying music CDs is positive; second,
local linguistic policies seem to contribute to increasing the production of music CDs in local languages, increasing the
popularity of local artists with their audiences. 相似文献
19.
An archaeological excavation has been carried out at Pisa (Italy), unearthing an ancient metallurgical workshop. Since archaeological burnt materials provide important records of direction and intensity of the Earth's magnetic field in the past and they can be used to better improve geomagnetic secular variation curves (SVCs), an archaeomagnetic study has been performed. This small copper-alloy furnace presents a circular concave shape covered with a thin layer of mortar, with some traces of heated clay surrounding the feature that confirms the high temperature reached inside it. Archaeological context dating points to the last firing of the furnace between the last quarter of the 13th century and the first quarter of 14th century AD, when then the metallurgical workshop was transformed in a warehouse. Archaeomagnetic sampling has been performed using the modified Thellier method, by collecting several, large and independently oriented aliquots of heated clay, forming the bottom part of the circular wall of the structure. Laboratory treatments have been conducted at the IGG-CNR ARCHEO_LAB (Pisa, Italy) and at St. Maur Palaeomagnetic laboratory (Paris, France). Analytical measurements of the thermo-remanent magnetization index acquired from the samples have been performed using a large cell induction magnetometer for large samples, and the characteristic remanent magnetization (ChRM) has been successfully isolated after an alternate field demagnetization cleaning procedure for each sample. The final mean archaeomagnetic direction has been calculated at sampling site (D = 6.9°; I = 52.8°; N = 9; k = 305; α95 = 2.6°) following the Fisher Statistics, and it exhibits a perfect agreement with some coeval already published directions obtained from Mt. Arso lava flows, these latter being an important anchor point in the preliminary Italian secular variation curve. Comparison with the preliminary Italian SVC, the French SVC and the SCHA.DIF.3K archaeomagnetic regional model have permitted to define an archaeomagnetic absolute age confirming the conventional archaeological age, underlining the importance of this result into the Italian archaeomagnetic data set. 相似文献
20.
Shuya Wei Xiaoyang Fang Jun Yang Xuejun Cao Valentina Pintus Manfred Schreiner Guoding Song 《Journal of Cultural Heritage》2012,13(4):448-452
Chinese ink stick has a long history and a special importance in the Chinese culture. For the first time, Pyrolysis Gas Chromatography and Mass Spectrometry (Py-GC/MS) was used to identify the materials in an ancient Chinese ink stick. Four types of constituents could be detected in the archaeological ink stick of the Eastern Jin period (317–420 AD): (1) borneol (Chinese name bing piàn); (2) compounds related to essential oil or tar of conifer wood: cedrene, aromadendrane, cedrane, cuparene, cedrol, retene, methyl dehydroabietate and 9-methyl retene; (3) marker compounds from animal glue; (4) polycyclic aromatic hydrocarbons (PAHs) from soot. The information obtained through this study provides conclusive evidence for use of additives of borneol and cedar oil, binding media of animal glue and pine wood soot in the ancient ink stick. 相似文献