Sub-surface terahertz imaging through uneven surfaces: visualizing Neolithic wall paintings in Çatalhöyük

Pulsed terahertz imaging is being developed as a technique to image obscured mural paintings. Due to significant advances in terahertz technology, portable systems are now capable of operating in unregulated environments and this has prompted their use on archaeological excavations. August 2011 saw the first use of pulsed terahertz imaging at the archaeological site of Çatalhöyük, Turkey, where mural paintings dating from the Neolithic period are continuously being uncovered by archaeologists. In these particular paintings the paint is applied onto an uneven surface, and then covered by an equally uneven surface. Traditional terahertz data analysis has proven unsuccessful at sub-surface imaging of these paintings due to the effect of these uneven surfaces. For the first time, an image processing technique is presented, based around Gaussian beam-mode coupling, which enables the visualization of the obscured painting.

Terahertz analysis of stratified wall plaster at buildings of cultural importance across Europe

Terahertz (THz) radiation is being developed as a tool for the analysis of cultural heritage, and due to recent advances in technology is now available commercially in systems which can be deployed for field analysis. The radiation is capable of penetrating up to one centimetre of wall plaster and is delivered in ultrafast pulses which are reflected from layers within this region. The technique is non-contact, non-invasive and non-destructive. While sub-surface radar is able to penetrate over a metre of wall plaster, producing details of internal structures, infrared and ultraviolet techniques produce information about the surface layers of wall plaster. THz radiation is able to provide information about the interim region of up to approximately one centimetre into the wall surface. Data from Chartres Cathedral, France, Riga Dome Cathedral, Latvia, and Chartreuse du Val de Bénédiction, France is presented each with different research questions. The presence of sub-surface paint layers was expected from documentary evidence, dating to the 13th Century, at Chartres Cathedral. In contrast, at the Riga Dome Cathedral surface painting had been obscured as recently as 1941 during the Russian occupation of Latvia using white lead-based paint. In the 13th Century, wall paintings at the Chapel of the Frescos, Chartreuse du Val de Benediction in Villeneuve les Avignon were constructed using sinopia under-painting on plaster covering uneven stonework.. This paper compares and contrasts the ability of THz radiation to provide information about sub-surface features in churches and Cathedrals across Europe by analysing depth based profiles gained from the reflected signal. © (2013) COPYRIGHT Society of Photo-Optical Instrumentation Engineers (SPIE).

[A_Ribera_SanEsteban] Modelo virtual de la iglesia de San Esteban de Ribera de Valderejo (Álava)

[ES] Ribera es un pueblo abandonado dentro del parque natural de Valderejo, el único edificio que queda en pie es la antigua iglesia. La razón por la que este edificio no fue derribado es la presencia de un conjunto de pinturas murales de época medieval. Por lo demás, el edificio (de unos 25 x 12 metros en planta) se encontraba en un mal estado de conservación (de hecho, un par de años más tarde de la realización de este trabajo se derrumbó la sacristía).

Modulating mythology in a post-traumatic era: Murals and re-imaging in Northern Ireland.

Arguably the most ancient of the social media, wall paintings have been a persistent vehicle of cultural meaning management. The dynamics of myth markets are reflected in the sectarian murals of Northern Ireland. In this paper, we draw from consumer research literature on mythology and street art to explore the continuous revision of these wallscapes that seeks to address the enduring contradictions of civic ideology in contested political space. In particular, we focus on the use of classical, historical and pop-cultural mythologies to transform private space into public place. We examine the decommissioning of murals occurring in the wake of the Peace Accords, and speculate on the implications of the creation of a shared mythology for the future of mural painting and the state.

Graffiti, memory and contested space : mnemonic initiatives following trauma and/or repression in Buenos Aires, Argentina

Graffiti, Memory and Contested Space: Mnemonic Initiatives Following Periods of Trauma and/or Repression in Buenos Aires, Argentina This thesis concerns the popular articulation ofmemory following periods or incidents of trauma in Argentina. I am interested in how groups lay claim to various public spaces in the city and how they convert these spaces into mnemonic battlegrounds. In considering these spaces of trauma and places of memory, I am primarily interested in how graffiti writing (stencils, spray-paint, signatures, etchings, wall-paintings, murals and installations) is used to make these spaces transmit particular memories that impugn official versions of the past. This thesis draws on literatures focused on popular/public memory. Scholars argue that memory is socially constructed and thus actively contested. Marginal initiatives such as graffiti writing challenge the memory projects of the state as well as state projects that are perceived by citizens to be 'inadequate,' 'inappropriate,' and/or as promoting the erasure of memory. Many of these initiatives are a reaction to the proreconciliation and pro-oblivion strategies of previous governments. I outline that the history of silences and impunity, and a longstanding emphasis on reconciliation at the expense of truth and justice has created an environment of vulnerable memory in Argentina. Popular memory entrepreneurs react by aggressively articulating their memories in time and in space. As a result of this intense memory work, the built landscape in Buenos Aires is dotted with mnemonic initiatives that aim to contradict or subvert officially sanctioned memories. I also suggest that memory workers in Argentina persistently and carefially use the sites of trauma as well as key public spaces to ensure official as well as popular audiences . The data for this project was collected in five spaces in Buenos Aires, the Plaza de Mayo, Plaza Congreso, La Republica Cromanon nightclub, Avellaneda Train Station and El Olimpo, a former detention centre from the military dictatorship.

Terahertz pulse imaging of stratified architectural materials for cultural heritage studies

Terahertz pulse imaging (TPI) is a novel noncontact, nondestructive technique for the examination of cultural heritage artifacts. It has the advantage of broadband spectral range, time-of-flight depth resolution, and penetration through optically opaque materials. Fiber-coupled, portable, time-domain terahertz systems have enabled this technique to move out of the laboratory and into the field. Much like the rings of a tree, stratified architectural materials give the chronology of their environmental and aesthetic history. This work concentrates on laboratory models of stratified mosaics and fresco paintings, specimens extracted from a neolithic excavation site in Catalhoyuk, Turkey, and specimens measured at the medieval Eglise de Saint Jean-Baptiste in Vif, France. Preparatory spectroscopic studies of various composite materials, including lime, gypsum and clay plasters are presented to enhance the interpretation of results and with the intent to aid future computer simulations of the TPI of stratified architectural material. The breadth of the sample range is a demonstration of the cultural demand and public interest in the life history of buildings. The results are an illustration of the potential role of TPI in providing both a chronological history of buildings and in the visualization of obscured wall paintings and mosaics.

Analysis of red pigments from the Neolithic sites of Çatalhöyük in Turkey and Sheikh-e Abad in Iran

Samples containing red pigment have been collected from two different archaeological sites dating to the Neolithic (Çatalhöyük in Turkey and Sheikh-e Abad in Iran) and have been analysed by a range of techniques. Sub-samples were examined by IR spectroscopy and X-ray diffraction, whilst thin sections were studied using optical polarising microscopy, synchrotron based IR microscopy and environmental scanning electron microscopy with energy dispersive X-ray analysis. Thin layers of red paint in a wall painting from Çatalhöyük were found to contain ochre (hematite and clay) as well as an unexpected component, grains of red and colourless obsidian, which have not been identified in any previous studies of the wall paintings at Çatalhöyük. These small grains of obsidian may have improved the reflective properties of the paint and made the artwork more vivid in the darkness of the buildings. Analysis of a roughly shaped ball of red sediment found on a possible working surface at Sheikh-e Abad revealed that the cause of the red colouring was the mineral hematite, which was probably from a source of terra rossa sediment in the local area. The results of this work suggest it is unlikely that this had been altered by the Neolithic people through mixing with other minerals.

Image retrieval techniques for THz applications in cultural heritage

Techniques to retrieve reliable images from complicated objects are described, overcoming problems introduced by uneven surfaces, giving enhanced depth resolution and improving image contrast. The techniques are illustrated with application to THz imaging of concealed wall paintings.

Estudio de los materiales que componen el sistema constructivo de las viviendas del casco histórico de Maracaibo (Venezuela)

En este trabajo de investigación que se presenta para optar al grado de Doctor, se analizan y estudian los materiales que conforman las viviendas de mampostería de arenisca “Piedra de Ojo” del casco histórico de Maracaibo, Venezuela, construidas en el siglo XIX. No existe una bibliografía descriptiva técnico-constructiva del sistema constructivo, por lo que esta tesis complementa la escasa descripción estilística existente donde apenas se mencionan algunos materiales de construcción. Definido el marco histórico y las manzanas del área en donde se encontraban las viviendas preseleccionadas a estudiar, en la visita de campo se seleccionaron 12 que se encontraban en estado de deterioro, y que permitieron recolectar las muestras más fácilmente. Para realizar la caracterización y comportamientos de los diferentes materiales utilizados: piedra y morteros en los cerramientos, maderas en armaduras de tejados, techos y carpintería de puertas y ventanas, cerámicos en muros y acabados, etc. Para complementar lo antes dicho se ha dividido esta tesis en seis capítulos: En el capítulo I se desarrolla el estado del arte a nivel nacional e internacional de trabajos de investigación, similares. Se aborda la memoria histórica, que es una reseña de la evolución de la vivienda en la ciudad de Maracaibo. En el capítulo II se describe la metodología empleada en la tesis, de acuerdo a los objetivos, tanto generales como específicos de la investigación. Que ha cubierto diferentes frentes: consulta bibliográfica, levantamiento planimétrico, toma de muestras, análisis de visu, caracterización físico-química y correlación de resultados. Se ha desarrollado el trabajo tanto in situ como en laboratorio y despacho. El capítulo III presenta la caracterización de la arenisca “Piedra de Ojo”, se desarrolla: la descripción geológica y caracterización petrológica. Se reseñan los ensayos realizados en laboratorio como: caracterización de visu, caracterización petrográfica, estudio petrográfico por microcopia óptica de trasmisión, estudio petrográfico por microcopia electrónica de barrido, microscopia electrónica de barrido en modo electrones secundarios (SSE) y microscopia electrónica de barrido en modo electrones retrodispersados. También las propiedades escalares de los mampuestos y los siguientes valores: densidades, porosidades y resistencia mecánicas, entre otros. En el capítulo IV se analizan las características de los morteros aplicados en las viviendas, y la patología o lesiones que presentan. Se clasifican en tres tipos: mortero de junta o asiento, de enfoscado y revoco. Se documenta la realización de los ensayos físicos y químicos, resistencia mecánica y de granulometría; se explican sus componentes principales: conglomerante de cal, áridos y aditivos y la tecnología de fabricación, así como las características físicas, hídricas, químicas y granulométricas. El capítulo V, contiene las aplicaciones constructivas de los materiales de albañilería, Se describen otros elementos de la vivienda como; cimentaciones, muros mixtos, molduras, apliques y pinturas y finalmente pavimentos. Y en el capítulo VI se analizan las especies de madera más representativas usadas en las armaduras de las cubiertas, así como los elementos de cubrición. De igual forma se describe la carpintería de puertas y ventanas, así como sus dinteles o cargaderos de madera y se realiza la identificación anatómica, las propiedades físicas y mecánicas de las utilizadas. Entre los resultados y conclusiones se determinó que el 90% de los materiales utilizados en su construcción proceden de zonas cercanas a la construcción de la vivienda, como la formación El Milagro convertida en cantera de piedra y que el resto de los materiales provenían de la Isla de Toas y de la exportación de las islas del Caribe y de Europa como el cemento. El principal aporte de esta investigación es el análisis técnico constructivo y la caracterización física, mecánica y química de los materiales de la vivienda, con el fin de que dicha información sea usada para definir los materiales nuevos a utilizar en las restauraciones de las viviendas y en futuras líneas de investigación. ABSTRACT In this research paper submitted to opt to the degree of Doctor, the materials that make the “Piedra de Ojo” sandstone masonry houses of the historical center of Maracaibo, Venezuela, built in the XIX century, are analyzed and studied. There exists no technical-constructive descriptive literature of the constructive system, so this thesis complements the very limited existing stylistic description, where barely some construction materials are mentioned. With the historical context and the blocks of the area where the preselected houses to be studied being defined, 12 of these houses that were in a state of decay (deterioration) were selected and this condition allowed to collect samples more easily, in order to carry out the characterization and behavior of the different materials used: stone and mortars in the walls, wood trusses in roofs, ceilings and woodwork of doors and windows, walls and ceramic finishes, etc. To complement the foregoing, this thesis has been divided in six chapters: In Chapter I, the state of art at national and international levels of similar research is developed, which is a review of the evolution of housing in the city of Maracaibo. In Chapter II, the methodology used in the thesis is described, according to the research’s objectives, general and specific ones, which have covered several fronts: literature survey, planimetric survey, sampling, visu analysis, physical-chemical characterization and correlation of results. Chapter III presents the characterization of the “Piedra de Ojo” sandstone; geological description and petrologic characterization are developed. Essays performed in the laboratory are reviewed, such as: visu characterization, petrographic characaterization, petrographic study by optical microscopy of transmission, petrographic study by electronic scanning microscopy in secondary electron mode (SSE) and electron microscopy scaning by backscattered electron mode. Also scalar properties of the masonry and the following: density, porosity and mechanical resistance, among others. In Chapter IV, characteristics of the mortars used in the houses are analyzed and pathology or damages are presented. They are classified into three types: grout, cement render and plaster. Physical and chemical testing, mechanical strength and grain size (granulometric) is documented; its main components are explained: lime binder, aggregates and additives and manufacturing technology as well as the physical, water, chemical and granulometric characteristics. Chapter V contains the constructive applications of masonry materials. Other housing elements are described, such as; foundations, mixed walls, moldings, wall paintings and finally floorings (pavements). And in chapter VI the most representative species of wood used in the overhead fixtures and cover elements are analyzed. Likewise, woodwork of doors and windows and their wooden lintels or landings are described; anatomical identification and physical and mechanical properties of the ones used is made. The results and conclusions determined that 90% of the materials used in its construction came from areas near the construction of housing, such as El Milagro formation, converted into stone quarry and other materials came from the Toas Island and from the export of the Caribbean islands and Europe, such as cement. The main contribution of this research is the constructive technical analysis and physical, mechanical and chemical characterization of the materials of the houses, in order that such information is used to define the new materials to be used in the housing restoration and future research lines.

"Fit Cradle of the Reviving Art": An inquiry into the the Evolving Material Reality of the Murals in the Camposanto of Pisa from the Perspective of their British Reception from the 17th to the 19th century

The Camposanto of Pisa is an extraordinarily complex and evocative monument, which has captured the imagination of pilgrims, both religious and secular, for centuries. The late Medieval and early Renaissance wall paintings that line the perimeter of the portico surrounding a vast inner courtyard, are unparalleled in early Italian art, not only for their striking variety of composition and narrative complexity, but also for the sheer grandeur of their proportion. However, the passage of time has scarred the structure of the Camposanto and inflicted terrible damage on its wall paintings. This thesis explores the material reality of the Camposanto as experienced over three centuries through the eyes of British travelers. In order to situate the Camposanto mural cycle within an historical and cultural context, the first chapter provides an overview of the construction and decoration of the monument. Notably, Giorgio Vasari (1511-1574), the Italian Humanist often recognized as the father of art history, included numerous descriptions of the Camposanto murals in his highly influential text Vite de' più eccellenti pittori, scultori, ed architettori. Accordingly, the second chapter provides an analysis of Vasari’s descriptions and reflects upon the influence that the Renaissance author may have had upon the subsequent British reception of the Camposanto murals. The third chapter utilizes three centuries of travel writing in order to investigate the aesthetic impact of the Camposanto mural cycle upon British tourists from the seventeenth through to the nineteenth century.

Raman microscopic investigation of paint samples from the Rosalila building, Copan, Honduras

Micro-Raman spectroscopy was applied to the study of multiple layered wall paints from the Rosalila temple, Copan, Honduras, which dates to the Middle Classic period (A.D. 520 to 655). Samples of red, green and grey paint and a thick white overcoating were analysed. The paint pigments have been identified as hematite, celadonite or green earth and a combined carbon/mica mixture. By combining Raman spectroscopy with micro-ATR infrared spectroscopy and environmental scanning electron microscopy (ESEM), a detailed study has been made of the materials and processes used to make the stucco and paints. The use of green earth as a green pigment on Maya buildings has not been reported before. The combination of carbon and muscovite mica to create a reflective paint is also a novel finding.

Online Access to the Encyclopaedia Slavica Sanctorum

Encyclopaedia Slavica Sanctorum project aims at building a repertoire of medieval and early modern Bulgarian texts for saints in combination with ethnological data and some visual sources. A basic project task is to produce an accessible on-line digital repository of this valuable cultural heritage treasure. The paper presents the Encyclopaedia Slavica Sanctorum environment, its architecture, functional specification, application modeling process and software implementation. The paper also discusses the specifics of the ―Encyclopaedia Slavica Sanctorum‖ project and its knowledge domain. The paper also presents the integration between the Encyclopaedia Slavica Sanctorum and the Bulgarian Iconographical Digital Library, a digital library keeping rare specimens, private collections of Orthodox icons, wall- paintings and other iconographical objects, selected from difficult-to-access storages, distant churches, chapels, and monasteries, objects in a risk environment or unstable conditions.

El luminoso homenaje de Goya a las mujeres

En los frescos que pintó Goya en la ermita de San Antonio de la Florida el artista aragonés no sólo creó nuevos mundos expresivos, sino que, enfrentándose a los cánones misóginos de la iglesia católica, rindió un homenaje a las mujeres que todavía en la actualidad sigue impresionándonos.

Miscellanea Epigraphica Nubica V: The Names of the Four Creatures of the Apocalypse in Christian Nubia

The fifth paper in the series brings the focus onto the inscriptions accompanying the famous wall paintings from Christian Nubia, more particularly the legends naming the Four Creatures of the Apocalypse. The identification of a very probable source of inspiration for the particular names used in Nubia turns the attention to the ritual power of such names and the role of orality in the transmission of such textual traditions.

Wall of Respect for Women

Inscription: Verso: Mural, Rutgers Street, New York.