Analysis and Treatment of a male portrait in oil and a study of the size layer with reconstructions from Vibert’s recipe (1892)

This thesis project concentrated on both the study and treatment of an early 20th century male portrait in oil from Colecção Caixa Geral de Depósitos, Lisbon, Portugal. The portrait of Januário Correia de Almeida, exhibits a tear (approximately 4.0 cm by 2.3 cm) associated with paint loss on the right upper side, where it is possible to observe an unusually thick size layer (approximately 50 microns) and an open weave mesh canvas. Size layers made from animal glue remain subject to severe dimensional changes due to changes in relative humidity (RH), thereby affecting the stability of the painting. In this case, the response to moisture of the size layer is minimal and the painting is largely uncracked with very little active flaking. This suggests that the size layer has undergone pre-treatment to render it unresponsive to moisture or water. Reconstructions based on late nineteenth century recipes using historically appropriate materials are used to explore various options for modifying the characteristics of gelatine, some of which may relate to the Portrait’s size layer. The thesis is separated into two parts: Part 1: Describes the history, condition, materials and techniques of the painting. It also details the treatment of Januário Correia de Almeida as well as the choices made and problems encountered during the treatment. Part 2: Discusses the history of commercial gelatine production, the choice of the appropriate animal source to extract the collagen to produce reconstructions of the portrait’s size layer as well as the characterization of selected reconstructions. The execution of a shallow textured infill led to one publication and one presentation: Abstract accepted for presentation and publication, International Meeting on Retouching of Cultural Heritage (RECH3), Francisco Brites, Leslie Carlyle and Raquel Marques, ‘’Hand building a Low Profile Textured Fill for a Large Loss’’.

AQUILINO RIBEIRO AND THE MODERNISTS - PORTRAITS OF THE FIRST PORTUGUESE REPUBLIC

Portuguese version:

Variabilidade ou Convergência? Análise Regional da Fecundidade em Portugal (1980-2009)

Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Gestão do Território

Prática e Receção da Música Improvisada em Portugal: 1960 a 1980

Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais, variante de Etnomusicologia

A prática interpretativa da música coral portuguesa do século XVII: análise de registos fonográficos da música da Escola da Sé de Évora (1980‐2013)

Os estudos na área da Performance Practice têm conhecido, nos últimos dez anos, uma grande expansão no meio académico. Os trabalhos, neste campo, repartem-se por três grandes temas que reflectem a diversidade de metodologias e perspectivas deste campo de estudos: teoria da interpretação, prática interpretativa e interpretação historicamente informada. O tema desta dissertação recai sobre este último tópico. O projecto incide sobre a interpretação histórica e os pressupostos teóricos que fundamentam as práticas interpretativas da musica coral seiscentista ibérica. Através da recolha e análise de um corpus de registos fonográficos da polifonia dos compositores que se formaram na Escola de Música da Sé de Évora, pretende-se compreender qual o peso da evidência documental nas opções interpretativas. Além da análise das gravações, foi realizado um questionário aos directores corais sobre os critérios na escolha de diversos parâmetros como transposição, tactus, articulação, dimensão do coro, entre outros.

Owner portraits and heraldry in the "Lamoignon Hours"

Because of the distance in time and the lack of testifying documents, one should be extremely careful when labelling portraits in medieval books of hours as donor portraits or owner portraits. There are, however, manuscripts that reveal their first owner within their decorative programme, and the Lamoignon Hours (Lisbon, Gulbenkian, ms LA 237) is one of these. This article aims to discuss the iconography of the three portraits found on f.165v, f.202v and f.286v, as well as the relevance of portraiture and heraldic insignia in books of hours and the significance of such content to the original owner and to those who possessed the book afterwards.