1,720,972 research outputs found
Raphael’s workshop at Villa Farnesina in Rome: the frescoed vault of Cupid and Psyche investigated by macro-X-ray fluorescence scanning
No full textAbstract: An acquisition campaign of macro-X-ray fluorescence scanning measurements on the vault of the Loggia of Cupid and Psyche, frescoed by Raphael and his workshop in the Villa Farnesina (Rome), supplied the occasion of testing the potentialities for such diagnostic tool/technique in studying wall paintings in situ. In this paper, the methodological approach is considered in depth, to highlight significant problematics deriving from nature of materials, painting technique and spatial peculiarities of this kind of artwork, as well as from the treatment and decoding of raw data. Data obtained through a single-spot XRF campaign, carried out during the past restorations of the Loggia, have been considered for comparisons. Graphical abstract: [Figure not available: see fulltext.]. © 2018, Accademia Nazionale dei Lincei
Valutazione dello stato di conservazione e delle tecniche esecutive del disegno "La liberazione di Clelia dopo il suo ritorno al campo nemico" attribuito a Giulio Romano
Full text linkOggetto del presente rapporto tecnico è una disamina relativa allo stato di conservazione ed alle tecniche esecutive del disegno preparatorio per l’affresco “Liberazione di Clelia dopo il suo ritorno al campo nemico”, attribuito a Giulio Romano. La valutazione, redatta sulla base di un’attenta osservazione diretta dell’opera, appartenente alla Bibliotheca Hertziana di Roma, e delle fotografie tecniche eseguite dal personale della Fototeca della Bibliotheca stessa, ha permesso di distinguere le parti originali del disegno da quelle interessate da un restauro tardo Ottocentesco
The Pietà di Ragusa panel: A science-based contribution to its dating by dendrochronology, wood anatomy and pigment analysis
No full textThis paper discusses the results of scientific investigations on a panel painting whose past attribution to Michelangelo has been recently taken again into account. The panel was investigated by means of dendrochronology, wood anatomy and pigment analysis. The wooden support is made of spruce and its last tree ring was dendrochronologically dated to 1497. Taking the time for wood working and seasoning into account, the terminus post quem for the creation of the painting is between 1525 and 1535. According to chemical analysis, the paint's binder is mainly egg tempera with some parts in fat tempera and finishings on the sky with azurite in glue tempera over a layer of smalt bound in fat tempera. These pigments are coherent with the expected period and help to date this panel. Obviously, we cannot confirm that Michelangelo himself painted the panel, but our results are coherent with his lifetime (1475–1564) and executive career. Our study contributes new science-based data to an on-going art historical debate. Aim The aim is to locate the chronological and geographical contexts by scientific analyses of the painted panel “Ragusa Pietà” under debate because of a possible attribution to Michelangelo who is believed to have painted it for Vittoria Colonna. © 2016 Elsevier Masson SA
Metal threads in Qing Dynasty Chinese ‘silk and metal carpets’
No full textChinese ‘silk and metal carpets,’ mainly made by imperial workshops during the Qing Dynasty (1644–1911), are very luxurious and until now have not scientifically and technically been investigated. From the point of view of materials, a typical feature is the presence of metal threads which embellish backgrounds or details with a precious and golden appearance. Metal threads from a wide number of Chinese carpets were non-destructively investigated by XRF, while an in-depth characterization by SEM-EDS was performed on samples from few carpets. Although copper is always the main constituent of very thin metallic strips wound around a core of silk, the obtained results showed three types of strips, different in terms of materials and/or methods of making. The most frequent typology, covering over 85% of the investigated carpets, derives from the drawing of brass-plated copper wires. The obtained results are read and interpreted according to geographical and historical context, pertaining to the metallurgy and the making of metal threads, extending the comparisons also to other contexts in eastern and western world, during the ages
Obsidian use in the mosaic of the St. Juvenal church, Narni (Italy): Chemical characterization and origin
No full textTesserae from the mosaic on the front of the San Giovenale chapel inside the Narni Cathedral were analyzed through non-destructive XRF analysis for the characterization of both colouring matters and opacifiers of the glass matrix. Subsequently, the concentration of the elements present at trace levels (μg g-1) was determined by means of Instrumental Neutron Activation Analysis (INAA) for comparisons with obsidians of known provenance and well-studied micro-elemental composition, in order to identify the geographical origin of the obsidian used in this Middle Ages mosaic. The main result is that the black tesserae were made with obsidian fragments coming from the Sardinia deposits (probably, Arci Mountain site C). © 2013 Avino et al.; licensee Chemistry Central Ltd
Detection and study of a palimpsest: macro-X-ray fluorescence scanning in the Loggia Room of Galatea
No full textWithin the frame of a collaboration among the Accademia Nazionale dei Lincei, XGLab-Bruker and ENEA, some of the Renaissance wall paintings decorating Villa Farnesina interiors have been investigated by macro-X-ray fluorescence (MAXRF). In this paper is presented and discussed a case study concerning some sketches discovered about 50 years ago during the detachment of painted curtains. Results have brought to light a palimpsest whose discussion calls into question the attribution proposed when it has been discovered
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
From noise to information. Analysing macro-XRF mapping of strontium impurities in Raphael's Baglioni Entombment in the Galleria Borghese, Rome
No full textIn the paintings of the Old Masters, strontium is present only as an impurity of the materials, that is the gypsum used for the preparation of the panels, and for this reason its presence is generally considered – at best – accidental information. However, an in-depth study of the distribution of strontium beneath the surface of Raphael's Entombment in the Borghese Gallery in Rome by means of MA-XRF provided detailed information regarding a reapplication of the preparatory gypsum ground layers on an area probably damaged before the painter began the execution of the painting. Furthermore, the comparison of MA-XRF distribution maps for lead and strontium with radiographic images, aimed to establish at what point the painter decided to eliminate a female figure in the centre of the painting, and the state of completion of the figure when this occurred
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