One-dimensional Model for Fluids of Third-grade in Tubes with Constant Radius

Our goal in this paper is to extend previous results obtained for Newtonian and secondgrade fluids to third-grade fluids in the case of an axisymmetric, straight, rigid and impermeable tube with constant cross-section using a one-dimensional hierarchical model based on the Cosserat theory related to fluid dynamics. In this way we can reduce the full threedimensional system of equations for the axisymmetric unsteady motion of a non-Newtonian incompressible third-grade fluid to a system of equations depending on time and on a single spatial variable. Some numerical simulations for the volume flow rate and the the wall shear stress are presented.

Flow Phenomena: Fluids, Heat and Mass

In this book are published results of high-tech application of computational modeling and simulation the dynamics of different flows, heat and mass transfer in different fields of science and engineering.

Uncover the mantle: rediscovering Gregório Lopes palette and technique with a study on the painting “Mater Misericordiae”

Grego´rio Lopes (c. 1490–1550) was one of the most prominent painters of the renaissance and Mannerism in Portugal. The painting “Mater Misericordiae” made for the Sesimbra Holy House of Mercy, circa 1535–1538, is one of the most significant works of the artist, and his only painting on this theme, being also one of the most significant Portuguese paintings of sixteenth century. The recent restoration provided the possibility to study materially the painting for the first time, with a multianalytical methodology incorporating portable energy-dispersive X-ray fluorescence spectroscopy, scanning electron microscopy–energy-dispersive spectroscopy, micro-X-ray diffraction, micro-Raman spectroscopy and high-performance liquid chromatography coupled to diode array and mass spectrometry detectors. The analytical study was complemented by infrared reflectography, allowing the study of the underdrawing technique and also by dendrochronology to confirm the date of the wooden panels (1535–1538). The results of this study were compared with previous ones on the painter’s workshop, and significant differences and similitudes were found in the materials and techniques used