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Røde ræv, røde ræv!:Ræv- og menneskenatur.
No full textGennem fire nedslag i tysk og dansk naturvidenskabelig og jagtlig litteratur i perioden 1754-2017 undersøger artiklen træk af den historiske relation mellem menneske og ræv i et flerartsperspektiv. Artiklen viser, hvordan forholdet mellem menneske og ræv udvikler sig fra tidlig moderne tid til nutiden. I den tidlige moderne periode optræder ræven som liminal figur og et mere komplekst og identificerbart væsen, der tillægges karaktertræk, vi som mennesker kan relatere til i en form for væsensfællesskab. I den post-domesticerede nutid er ræven fremstillet med poterne solidt plantet i dyrenes og naturens sfære – klart adskilt fra mennesket, men stadig i rollen som grænsefigur, der frit bevæger sig mellem dyrenes og menneskets sfære
Peeling back the past:Sheepskin delamination and patch repairs in parchment
Get PDFThe ability of sheepskin to delaminate has been exploited in the production of Late Antique manuscripts, offering the advantages of high-quality parchments and patch repairs. This study investigates delamination in sheepskin parchment using Scanning Electron Microscopy (SEM) and micro-Raman spectroscopy. By analysing a sample from experimentally produced lambskin parchment, this research identifies the delamination site within the skin structure and explores the bonding process of patch repairs. SEM imaging suggests involvement of the papillary dermis in the delamination. Micro-Raman spectroscopy indicates removal of epidermal layers and a portion of the papillary dermis during peeling. Wetting dynamics experiments with ferrogallic ink shows differences in absorption between delaminated and non-delaminated surfaces. The adhesion of patch repairs demonstrates stronger bonding in intentionally applied patches compared to accidental adhesion. This research clarifies the reasons for sheepskin parchment’s susceptibility to delamination and provides insights into traditional repair techniques and the material’s surface properties
Inside out - Rembrandt or not Rembrandt:Reflections on a replication project
No full textThis paper recounts the extensive research conducted over twenty-five years into the early painting techniques of the young Rembrandt van Rijn. It highlights the evolution of understanding regarding Rembrandt's techniques, beginning with a pivotal 1998 discovery of an underdrawing in a 1629 portrait. This finding led to a reattribution of the Mauritshuis portrait as a copy and the Nuremberg painting as an original Rembrandt. Subsequent infrared examinations of numerous early Rembrandt works and those of his contemporaries revealed significant technical differences, furthering the distinction between authentic Rembrandt works and others.A recent replication study by Vrije Universiteit Amsterdam, in collaboration with The Mauritshuis, reassessed previous findings with advanced technologies, confirming the reliability of earlier research. The study emphasized the importance of continuous re-evaluation and meticulous documentation in art historical research, demonstrating how modern tools can offer new insights into historical art practices. The findings underscore the evolving nature of understanding Rembrandt's techniques and the collaborative aspects of his workshop.<br/
