“The most artistic lesson I ever heard” - a contribution to the reflection on the comment made by William James regarding a lesson by Ernst Mach

On November the 2nd 1882, William James visited Ernst Mach in Prague, and attended one of his lectures. The conversation with Mach and the lecture were marking events for James. Based, namely, on James’s lectures for teachers and on Mach’s lectures for the general public, we propose a reflection on the defining traits that made that event "the most artistic lesson [James] ever heard". We shall remark on the imaginative joy contained in these texts, which appear to embody some of James' key ideas on Education. The experience of knowledge about the world contained in the texts, reveals that "to experiment" means "not coldly to observe a thing happening outside us, but to undergo, to feel within oneself, to live oneself this or that manner of being".

New insight on the underdrawing of 16th Flemish-Portuguese easel paintings by combined surface analysis and microanalytical techniques

This paper focusses on the study of the underdrawings of 16th century easel paintings attributed to the workshop of the Portuguese-Flemish Master Frei Carlos. This investigation encompasses multidisciplinary research that relates the results of surface exams (infrared reflectography, standard light photography and infrared photography) with analytical investigations. The surface analysis of Frei Carlos’ underdrawings by infrared reflectography has shown heterogeneous work, revealing two different situations: (1) an abundant and expressive underdrawing, revealing a Flemish influence and (2) a simple and outlined underdrawing. This preliminary research raised an important question related to this Portuguese-Flemish workshop and to the analytical approach: Is the underdrawing's heterogeneity, as observed in the reflectograms, related to different artists or is this rather an effect that is produced due to the use of different materials in the underdrawing's execution? Consequently, if different materials were used, how can we have access to the hidden underdrawings? In order to understand the reasons for this dissemblance, chemical analysis of micro-samples collected in underdrawing areas and representing both situations were carried out by optical microscopy, micro Fourier transform infrared spectroscopy (μ-FTIR), scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDX) and micro-Raman spectroscopy (μ-Raman). Taking into account the different possibilities and practical and theoretical limitations of surface and punctual examinations in the study of easel painting underdrawings, the methodology of research was adjusted, sometimes resulting in a re-analysis of experimental results. This research shows the importance of combining multispectral surface exams and chemical analysis in the understanding of the artistic creative processes of 16th century easel paintings.