Les pintures murals negres del monestir de Pedralbes: problemes de conservació-restauració causats per l’envelliment de l’acetat de polivinil

Aquesta tesi s’inicia com un treball de recerca i posteriorment passa a formar part delprojecte de recerca BHA2002-02411 fi nançat pel Ministerio de Ciencia y Tecnología, dins elPlan Nacional de I+D+I (2000-2003).La idea principal, però, s’origina a partir d’un encàrrec professional del Museu-Monestir dePedralbes i del Museu d’Història de la Ciutat l’any 2000.Les pintures murals negres (Figura 1) són una de les obres menys vistoses, de les que tenenmenys protagonisme, d’entre les que integren la col·lecció del Museu-Monestir de Pedralbes.No semblen, a priori, l’obra més interessant des del punt de vista d’un encàrrec professionalper a un conservador-restaurador. Però el poc que es coneix de les pintures negres i la sevararesa (es desconeixen altres pintures similars que s’hagin pogut conservar), així com lespatologies derivades del seu arrencament i traspàs l’any 1974, aconsellaven aprofundir en el seu estudi, que, mica en mica, va acabar resultant absorbent.

Teollisuuden jätteet ja niiden hyötykäyttö Kouvolan seudulla

Vuonna 2000 Suomessa syntyi jätteitä ja niihin rinnastettavia sivutuotteita yhteensä noin 127miljoonaa tonnia. Tästä määrästä lähes 17 miljoonaa tonnia oli peräisin teollisuudesta. Kouvolan seudun teollisuus tuottaa vuosittain jätettä noin 650 000 tonnia, josta suurimman osan muodostaa metsäteollisuus. Suurin osa teollisuuden jätteestä Kouvolan seudulla on kuitenkin helposti hyödynnettävää puujätettä. Hyötykäytön kannalta hankalia jätejakeita ovat etenkin paperiteollisuuden suuret jätevirrat, kuten kattilatuhkat. Kouvolan seudun teollisuusyrityksille suunnatuissa haastatteluissa selvisi, että jätteiden hyödyntäminen ja siihen suunnattavat resurssit vaihtelevat varsin paljon yrityksittäin ja toimialoittain. Parhaiten jätteitä pystytään hyödyntämään suurimmissa yrityksissä. Tyypillisiä syitä jätteiden hyödyntämättä jäämiselle ovat mm. kiinnostuksen, tiedon ja jätteelle sopivan hyötykäyttökohteen puuttuminen. Jos teollisuuden jätteiden hyötykäyttöä halutaan Kouvolan seudulla lisätä, tulee huomiota kiinnittää erityisesti alueella syntyviinsuuriin hyödyntämättä jääviin jätevirtoihin, mutta myös pk-yritysten tilanteeseen. Osassa pk-yrityksiä kaikki jäte toimitetaan edelleen kaatopaikoille. Jätealan lainsäädännössä annetaan tavoitteita jätteen hyötykäytön lisäämiseksi. Tavoitteiden saavuttamiseksi Suomessa tarvitaan runsaasti lisää jätteenkäsittelykapasiteettia. Jätevirtojen ympärille tuleekin tulevaisuudessa kehittymään uutta jätealan liiketoimintaa. Kouvolan seudulla jätealan toimintaa on muodostunut erityisesti Anjalankosken Ekoparkin alueelle. Alueelle voisi tulevaisuudessa kehittääesimerkiksi metsäteollisuuden sivutuotteiden ympärille rakentuvan osaamiskeskuksen. Liiketoimintamahdollisuuksia on myös esimerkiksi rakennusjätteen ja lasin kierrätyksessä sekä jätteen biologisessa käsittelyssä.

Tarkkuusannostelulaitteen kehittäminen

Prosessiteollisuuden aloilla, kuten lasin raaka-ainelaitoksissa ja laasti- ja tasoitetehtaissa, prosessin onnistumisen kannalta jauhemaisten raaka-aineiden tarkka annostelu on avainasemassa. Diplomityön tarkoituksena oli kehittää olemassa olevan idean pohjalta uusi materiaalin annostelulaite jauhemaisille ja fluidisoituville aineille. Tavoitteena oli suunnitella annostelulaite toimivalle prototyyppiasteelle ja saamaan siitä informaatiota materiaalilaboratoriossa tehtävien annostuskokeiden avulla. Työssä tarkasteltiin aluksi yleisesti jauhemaisen aineen ominaisuuksia ja ongelmia, tyypillisiä annostelulaitteita ja annostustarkkuuteen ja punnitustarkkuuteen vaikuttavia tekijöitä. Varsinainen laitekehitys eteni tyypillisen tuotekehitystyön mukaisesti. Annostuslaite kattaa laaj an dynaamisen toiminta-alueen eli massavirran säätömandollisuus on samalla toimilaitteella aikaisempia annostelulaitteita laajempi. Laite soveltuu erittäin tarkkaan annostukseen hyvin lyhyellä annostusajalla. Hyvät ja luotettavat annostusjärjestelmät myötävaikuttavat merkittävästi koko tehdaskaupan saamiseen, koska asiakas säästää työvoimakustannuksissa ja laatukustannuksissa. Kehittämällä jauhemaisten aineiden annostusta saadaan tekninen etumatka kilpailijoihin nähden.

Art, història i ideologia. Programes de les cases i palaus barcelonins al segle XVIII

El fet que la pintura decorativa del darrer quart del Set-cents sigui una de les manifestacions plàstiques més interessants de la producción catalana del moment ha estat el motor impulsor de la nostra dedicació al tema dins el marc del projecte de recerca ACAF/ART. Així, centrarem la nostra ponéncia en els programes decoratius del palaus barcelonins d'aquest període.

Terässiilojen mitoitusohjelman kehittäminen

Siiloja käytetään jauhemaisten ja rakeisten aineiden varastointiin ja annosteluun maataloudessa sekä mm. lasi-, laasti- ja tasoiteteollisuudessa. Tällaiset laitokset toimitetaan usein kokonaistoimituksina, joissa tavanomaisten teräsrakenteiden kustannusvaikutus voi olla jopa 30 % koko toimituksen arvosta. Niinpä osaltaan siilojen tehokkaalla mitoituksella ja erilaisiarakenneratkaisuja vertailemalla voidaan alentaa toimitusten kokonaiskustannuksia. Tässä diplomityössä perehdyttiin siilojen rakenteisiin ja niiden lujuustekniseen mitoitukseen etenkin tuentaratkaisujen osalta. Mitoituksen osalta työssä perehdyttiin pääasiassa uusiin Eurooppalaisiin standardeihin SFS-EN 1991-4 ja SFS-EN 1993-4-1. Niiden mukaan määritetään mitoituskuormat sekä tehdään lujuustekninen mitoitus. Työn tuloksena laadittiin Microsoft Excel -pohjainen mitoitusohjelma, jolla voidaan nopeasti mitoittaa siilojen olennaisimmat teräsrakenteet. Ohjelmalla voidaan määrittää mitoitus koskien siilon lieriön ja kartion seinämiä sekä tuentaratkaisuja. Ohjelma nopeuttaa erityisesti tarjousvaiheen suunnittelua ja antaa pohjan varsinaiselle siilojen yksityiskohtaiselle mitoittamiselle ja suunnittelulle.

Spray coating technique asa surface treatment for woodcontaining paper grades

The objective of this work was to introduce the emerging non-contacting spray coating process and compare it to the existing coating techniques. Particular emphasis was given to the details of the spraying process of paper coating colour and the base paper requirements set by the new coating method. Spraying technology itself is nothing new, but the atomisation process of paper coating colour is quite unknown to the paper industry. The differences between the rheology of painting and coating colours make it very difficult to utilise the existing information from spray painting research. Based on the trials, some basic conclusion can be made:The results of this study suggest that the Brookfield viscosity of spray coating colour should be as low as possible, presently a 50 mPas level is regarded as an optimum. For the paper quality and coater runnability, the solids level should be as high as possible. However, the graininess of coated paper surface and the nozzle wear limits the maximum solids level to 60 % at the moment. Most likelydue to the low solids and low viscosity of the coating colour the low shear Brookfield viscosity correlates very well with the paper and spray fan qualities. High shear viscosity is also important, but yet less significant than the low shear viscosity. Droplet size should be minimized and besides keeping the brrokfield viscosity low that can be helped by using a surfactant or dispersing agent in the coating colour formula. Increasing the spraying pressure in the nozzle can also reduce the droplet size. The small droplet size also improves the coating coverage, since there is hardly any levelling taking place after the impact with the base paper. Because of the lack of shear forces after the application, the pigment particles do not orientate along the paper surface. Therefore the study indicates that based on the present know-how, no quality improvements can be obtained by the use of platy type of pigments. The other disadvantage of them is the rapid deterioration of the nozzle lifetime. Further research in both coating colour rheology and nozzle design may change this in the future, but so far only round shape pigments, like typically calcium carbonate is, can be used with spray coating. The low water retention characteristics of spray coating, enhanced by the low solids and low viscosity, challenge the base paper absorption properties.Filler level has to be low not to increase the number of small pores, which have a great influence on the absorption properties of the base paper. Hydrophobic sizing reduces this absorption and prevents binder migration efficiently. High surface roughness and especially poor formation of the base paper deteriorate thespray coated paper properties. However, pre-calendering of the base paper does not contribute anything to the finished paper quality, at least at the coating colour solids level below 60 %. When targeting a standard offset LWC grade, spraycoating produces similar quality to film coating, but yet blade coating being on a slightly better level. However, because of the savings in both investment and production costs, spray coating may have an excellent future ahead. The porousnature of the spray coated surface offers an optimum substrate for the coldset printing industry to utilise the potential of high quality papers in their business.

'La Manteria'. Pinturas murales de la iglesia de Santo Tomás de Villanueva

La iglesia de Santo Tomás de Villanueva de Zaragoza es lo único que se conserva de lo que fuera el convento de agustinos observantes, llamado popularmente convento de la Mantería por ubicarse en la plaza del mismo nombre. Fué edificada entre 1663 y 1683 bajo el patronazgo del arzobispo de Zaragoza don Francisco Gamboa. Es un edificio barroco construido en ladrillo, con planta de cruz latina, de una sola nave, cubierta en sus tramos y brazos por cúpulas elípticas, siendo semiesférica la del crucero. Lo más destacable del edificio es su decoración mural. En un principio las pinturas cubrían la totalidad de las paredes y bóvedas. Los avatares históricos, desamortización y posterior empleo como almacén, así como el deterioro por efecto de la humedad, han hecho que sólo hayan llegado hasta nosotros las pinturas de las cúpulas. La ejecución de la pintura se debe al pintor de cámara de Carlos II, Claudio Coello, ayudado por su discípulo Sebastián Muñoz y por una serie de pintores locales. Claudio Coello trabajó entre 1683 y 1684, prolongándose las tareas hasta 1686.

Exploring transparent approaches to the authentication of signatures on artwork

This thesis is composed of three main parts. The first consists of a state of the art of the different notions that are significant to understand the elements surrounding art authentication in general, and of signatures in particular, and that the author deemed them necessary to fully grasp the microcosm that makes up this particular market. Individuals with a solid knowledge of the art and expertise area, and that are particularly interested in the present study are advised to advance directly to the fourth Chapter. The expertise of the signature, it's reliability, and the factors impacting the expert's conclusions are brought forward. The final aim of the state of the art is to offer a general list of recommendations based on an exhaustive review of the current literature and given in light of all of the exposed issues. These guidelines are specifically formulated for the expertise of signatures on paintings, but can also be applied to wider themes in the area of signature examination. The second part of this thesis covers the experimental stages of the research. It consists of the method developed to authenticate painted signatures on works of art. This method is articulated around several main objectives: defining measurable features on painted signatures and defining their relevance in order to establish the separation capacities between groups of authentic and simulated signatures. For the first time, numerical analyses of painted signatures have been obtained and are used to attribute their authorship to given artists. An in-depth discussion of the developed method constitutes the third and final part of this study. It evaluates the opportunities and constraints when applied by signature and handwriting experts in forensic science. A brief summary covering each chapter allows a rapid overview of the study and summarizes the aims and main themes of each chapter. These outlines presented below summarize the aims and main themes addressed in each chapter. Part I - Theory Chapter 1 exposes legal aspects surrounding the authentication of works of art by art experts. The definition of what is legally authentic, the quality and types of the experts that can express an opinion concerning the authorship of a specific painting, and standard deontological rules are addressed. The practices applied in Switzerland will be specifically dealt with. Chapter 2 presents an overview of the different scientific analyses that can be carried out on paintings (from the canvas to the top coat). Scientific examinations of works of art have become more common, as more and more museums equip themselves with laboratories, thus an understanding of their role in the art authentication process is vital. The added value that a signature expertise can have in comparison to other scientific techniques is also addressed. Chapter 3 provides a historical overview of the signature on paintings throughout the ages, in order to offer the reader an understanding of the origin of the signature on works of art and its evolution through time. An explanation is given on the transitions that the signature went through from the 15th century on and how it progressively took on its widely known modern form. Both this chapter and chapter 2 are presented to show the reader the rich sources of information that can be provided to describe a painting, and how the signature is one of these sources. Chapter 4 focuses on the different hypotheses the FHE must keep in mind when examining a painted signature, since a number of scenarios can be encountered when dealing with signatures on works of art. The different forms of signatures, as well as the variables that may have an influence on the painted signatures, are also presented. Finally, the current state of knowledge of the examination procedure of signatures in forensic science in general, and in particular for painted signatures, is exposed. The state of the art of the assessment of the authorship of signatures on paintings is established and discussed in light of the theoretical facets mentioned previously. Chapter 5 considers key elements that can have an impact on the FHE during his or her2 examinations. This includes a discussion on elements such as the skill, confidence and competence of an expert, as well as the potential bias effects he might encounter. A better understanding of elements surrounding handwriting examinations, to, in turn, better communicate results and conclusions to an audience, is also undertaken. Chapter 6 reviews the judicial acceptance of signature analysis in Courts and closes the state of the art section of this thesis. This chapter brings forward the current issues pertaining to the appreciation of this expertise by the non- forensic community, and will discuss the increasing number of claims of the unscientific nature of signature authentication. The necessity to aim for more scientific, comprehensive and transparent authentication methods will be discussed. The theoretical part of this thesis is concluded by a series of general recommendations for forensic handwriting examiners in forensic science, specifically for the expertise of signatures on paintings. These recommendations stem from the exhaustive review of the literature and the issues exposed from this review and can also be applied to the traditional examination of signatures (on paper). Part II - Experimental part Chapter 7 describes and defines the sampling, extraction and analysis phases of the research. The sampling stage of artists' signatures and their respective simulations are presented, followed by the steps that were undertaken to extract and determine sets of characteristics, specific to each artist, that describe their signatures. The method is based on a study of five artists and a group of individuals acting as forgers for the sake of this study. Finally, the analysis procedure of these characteristics to assess of the strength of evidence, and based on a Bayesian reasoning process, is presented. Chapter 8 outlines the results concerning both the artist and simulation corpuses after their optical observation, followed by the results of the analysis phase of the research. The feature selection process and the likelihood ratio evaluation are the main themes that are addressed. The discrimination power between both corpuses is illustrated through multivariate analysis. Part III - Discussion Chapter 9 discusses the materials, the methods, and the obtained results of the research. The opportunities, but also constraints and limits, of the developed method are exposed. Future works that can be carried out subsequent to the results of the study are also presented. Chapter 10, the last chapter of this thesis, proposes a strategy to incorporate the model developed in the last chapters into the traditional signature expertise procedures. Thus, the strength of this expertise is discussed in conjunction with the traditional conclusions reached by forensic handwriting examiners in forensic science. Finally, this chapter summarizes and advocates a list of formal recommendations for good practices for handwriting examiners. In conclusion, the research highlights the interdisciplinary aspect of signature examination of signatures on paintings. The current state of knowledge of the judicial quality of art experts, along with the scientific and historical analysis of paintings and signatures, are overviewed to give the reader a feel of the different factors that have an impact on this particular subject. The temperamental acceptance of forensic signature analysis in court, also presented in the state of the art, explicitly demonstrates the necessity of a better recognition of signature expertise by courts of law. This general acceptance, however, can only be achieved by producing high quality results through a well-defined examination process. This research offers an original approach to attribute a painted signature to a certain artist: for the first time, a probabilistic model used to measure the discriminative potential between authentic and simulated painted signatures is studied. The opportunities and limits that lie within this method of scientifically establishing the authorship of signatures on works of art are thus presented. In addition, the second key contribution of this work proposes a procedure to combine the developed method into that used traditionally signature experts in forensic science. Such an implementation into the holistic traditional signature examination casework is a large step providing the forensic, judicial and art communities with a solid-based reasoning framework for the examination of signatures on paintings. The framework and preliminary results associated with this research have been published (Montani, 2009a) and presented at international forensic science conferences (Montani, 2009b; Montani, 2012).

Les pintures murals de la basílica paleocristiana de «Es Cap des Port» (Fornells, Menorca): materials i tècniques

[cat]El present treball ofereix una revisió de les pintures murals de la basílica de «Es Cap des Port» (Fornells, Menorca), així com un estudi de caracterització arqueomètrica deIs materials i tècniques per microscòpia òptica, tant amb lupa binocular com amb microscopi petrogràfic mitjançant làmina prima, difracció de raigs X i microscòpia electrònica de rastreig. Els resultats han permès identificar els pigments emprats, així com la seva tècnica d'aplicació. Igualment, han permès caracteritzar els morters i han desvelat l' existència de dos tipus diferents de suport. Malgrat aquestes diferències en els morters, els pigments són sempre els mateixos per a tots els conjunts pictòrics caracteritzats [eng] The present paper offers a revision of the wall paintings found at the early Christian church of 'Es Cap des Port' (Fornells, Menorca). Moreover, the materials and techniques employed have been archaeometrically studied by means of optical microscopy, both with steromicroscope and petrographic microscope by thin section, X-ray diffraction and scanning electron microscopy. The results enable to identify the pigments used, as well as the techniques of application. It has also been possible to characterize the mortars, revealing the existence of two different types of support. In spite of these differences in the mortars, the pigments used are the same ones for all the studied wall paintings

Can chest high-resolution computed tomography findings diagnose pulmonary alveolar microlithiasis?

AbstractObjective:The present study was aimed at retrospectively reviewing high-resolution computed tomography (HRCT) findings in patients with pulmonary alveolar microlithiasis in order to evaluate the frequency of tomographic findings and their distribution in the lung parenchyma.Materials and Methods:Thirteen patients (9 females and 4 males; age, 9 to 59 years; mean age, 34.5 years) were included in the present study. The HRCT images were independently evaluated by two observers whose decisions were made by consensus. The inclusion criterion was the presence of abnormalities typical of pulmonary alveolar microlithiasis at HRCT, which precludes lung biopsy. However, in 6 cases lung biopsy was performed.Results:Ground-glass opacities and small parenchymal nodules were the predominant tomographic findings, present in 100% of cases, followed by small subpleural nodules (92.3%), subpleural cysts (84.6%), subpleural linear calcifications (69.2%), crazy-paving pattern (69.2%), fissure nodularity (53.8%), calcification along interlobular septa (46.2%) and dense consolidation (46.2%).Conclusion:As regards distribution of the lesions, there was preferential involvement of the lower third of the lungs. No predominance of distribution in axial and anteroposterior directions was observed.

El recurs del buit en la pintura de Ma Yuan

Peer-reviewed

Membrane interaction of a new synthetic antimicrobial lipopetide sp-85 with broad spectrum activity

Antimicrobial peptides offer a new class of therapeutic agents to which bacteria may not be able todevelop genetic resistance, since their main activity is in the lipid component of the bacterial cell mem-brane. We have developed a series of synthetic cationic cyclic lipopeptides based on natural polymyxin,and in this work we explore the interaction of sp-85, an analog that contains a C12 fatty acid at theN-terminus and two residues of arginine. This analog has been selected from its broad spectrum antibac-terial activity in the micromolar range, and it has a disruptive action on the cytoplasmic membrane ofbacteria, as demonstrated by TEM. In order to obtain information on the interaction of this analog withmembrane lipids, we have obtained thermodynamic parameters from mixed monolayers prepared withPOPG and POPE/POPG (molar ratio 6:4), as models of Gram positive and Gram negative bacteria, respec-tively. LangmuirBlodgett films have been extracted on glass plates and observed by confocal microscopy,and images are consistent with a strong destabilizing effect on the membrane organization induced bysp-85. The effect of sp-85 on the membrane is confirmed with unilamelar lipid vesicles of the same com-position, where biophysical experiments based on fluorescence are indicative of membrane fusion andpermeabilization starting at very low concentrations of peptide and only if anionic lipids are present.Overall, results described here provide strong evidence that the mode of action of sp-85 is the alterationof the bacterial membrane permeability barrier.

Confecção de um perfurador de lamínulas de vidro por corrosão ácida

A simple device for glass plate drilling, which is an important step in microfabrication procedures, is described. A reservoir of concentrated hydrofluoric acid with a hole in its bottom is affixed against the glass plate. Leakage is prevented by using a neoprene O-ring. A plastic pipet tip inserted in the reservoir, close to the corrosion region, provides forced convection by pressure variations inside it. A device to make 5 simultaneous holes in a plate is also presented. For a 140 µm thickness alkaline glass lamina and 1/8" O-ring, 5 holes are drilled in 20 min.

Imobilização de enzimas a partir de "kit" comercial: determinação de parâmetros metabólicos em sangue animal empregando multicomutação em fluxo

Automatic flow procedures based on the multicommutation concept, dedicated to the determination of 3-hydroxybutyrate, glucose and cholesterol are proposed. The enzymes were immobilized on glass beads and packed into mini-columns that were coupled to a flow system. Sampling throughputs of 55, 40 and 40 determinations per hour, linear response from 10 to 150, 50 to 600, 25 to 125 mg L-1, detection limits of 1.5, 14 and 4 mg L-1 and relative standard deviations of 1, 2 and 2% for 3-hydroxybutyrate, glucose and cholesterol, respectively, were achieved.

La Conservació dels murals de la capella de Sant Miquel del Reial Monestir de Santa Maria de Pedralbes

Quan l'abadessa del monestir de Pedralbes estableix en el contracte de Ferrer Bassa que els murals de la capella de Sant Miquel es facin a l'oli segurament fa referència a una tècnica pictòrica consistent a aglutinar els pigments amb oli i a la seva aplicació damunt d'una capa prèvia feta a base de blanc de plom. Però la tècnica que ens trobem no és aquesta: si bé s'utilitza l'oli, s'empren altres aglutinants proteics i resines terpèniques, essent la fase prèvia una pintura al fresc. Els murals estan pintats al fresc i al sec gairabé en la mateixa proporció,i la distribució dels dos procediments està perfectament planificada abans de començar a pintar. També està previst fer la profusa decoració amb daurats i platejats. Els principals problemes de conservació són es inherents a la utilització d'aglutinants orgànics. La tècnica executiva és l'element que més ha condicionat la conservació dels murals, mentre que l'ambient estable de la capella i la seva ubicació han permès que aquest cicle pictòric hagi superat prop de set-cents anys d'història en un estat molt intacte i complet.