La cappella degli Scrovegni e gli affreschi di Giotto in essa dipinti /

Includes bibliographical references.

L'oeuvre de P.-V. Galland,

At head of title: Le peinture décorative au XIXe siècle.

Ecclesiae anglicanae trophæa, siue, Sanctor̄ martyrum, qui pro Christo catholicæq̀ fidei veritate asserenda : antiquo recentioriq̀ persecutionum tempore, mortem in Anglia subierunt, passiones, Romæ in Collegio Anglico /

Cavalieri has engraved reproductions of Circignano's frecoes in the church of St. Thomas of Canterbury of the English College in Rome.

Ecclesiae militantis trivmphi, sive, Deo amabilium martyrvm gloriosa pro Christi fide certamina : prout opera RR Patrum Societatis Iesv Collegij Germanici et Hungarici moderator impensa S.D.N. Gregorii PP XIII in ecclesia S. Stephani Rotundi Romae Nicolai Circiniani pictoris manu uisuntur depicta, ad exictandam pior deuotionem /

Cavalieri has engraved reproductions of Circignano's frescoes in S. Stefano Rotondo in Rome.

Pietro da Cortona e gli affreschi nel Palazzo Pitti : notizie documentate /

Includes bibliographical references.

Giovanni Sanzio and his fresco at Cagli.

Cover-title.

Über die Maltechnik der Alten : mit besonderer Berücksichtigung der römisch-pompejanischen Wandmalerei, nebst einer Anleitung zur mikroskopischen Untersuchung der Kunstwerke /

Includes bibliographical references.

Chambre sépulcrale avec fresques découverte en 1872 près de Kertch ...

Extract from Report for 1872 of Russia. I. Arkheologicheskaia kommissïia.

Murais modernos de Newton Navarro e Dorian Gray

This research aims to study wall paitings created by artists Newton Navarro and Dorian Gray, installed in public buildings of modern architecture, in Natal/RN from 1950 to 1970. The subject is seen by focusing on its concepts and characterization, linked to the ideia of integration of the arts and the meaning of modern mural painting in Brasil. The study presents an analyses of those paitings considering themes, techiniques and dimensions, comparing the solutions of local artists with brasilian muralist painters, particularly the work of Cândido Portinari. Registers of artistic works show a view of the inclusion of arts in modern architecture in the city

Murais modernos de Newton Navarro e Dorian Gray

This research aims to study wall paitings created by artists Newton Navarro and Dorian Gray, installed in public buildings of modern architecture, in Natal/RN from 1950 to 1970. The subject is seen by focusing on its concepts and characterization, linked to the ideia of integration of the arts and the meaning of modern mural painting in Brasil. The study presents an analyses of those paitings considering themes, techiniques and dimensions, comparing the solutions of local artists with brasilian muralist painters, particularly the work of Cândido Portinari. Registers of artistic works show a view of the inclusion of arts in modern architecture in the city

Darkening on Lead based pigments: microbiological contribution

The biodeterioration/biodegradation process is an important issue for the conservation of cultural heritage that needs urgent answers to their rehabilitation. In this way, the role of microorganisms in surfaces alteration was exploited. This work revealed a strong relationship between the microbiological proliferation and the damaged areas, evidencing the important role of the microorganisms in mural paintings alteration process. The oxidation of lead-based pigments noticeably contributes to the pigments alteration, and seems to be correlated with the presence of biodeteriorative microorganisms. The study of the mechanisms underlying the microbiological attack of mural paintings has been explored to understand as much as possible the proliferative ability and biodeteriorative capacity of the microorganisms, related to darkening on lead-based pigments

José de Escovar at the Chapel of the Souls: Technical and Material Study of a 1603 Panel Painting

This article reports the preliminary results of a technical and material study carried out on a 17th century panel painting located at the Chapel of the Souls in the main church of Vila Nova da Baronia (30 km away from Evora city, in southern Portugal). This painting is attributed to Jose the Escovar, a painter that worked for Evora Archiepiscopate between 1583 and 1622. Jose the Escovar is known by his mural paintings all across the Alentejo region. This is the first time that a panel painting made by this artist was studied. Analytical methods used included in situ technical photography (visible (Vis), raking light (RAK), infrared (IR), and ultraviolet (UV)), optical microscopy of cross sections, scanning electron microscopy with energy dispersive X-ray spectrometry (SEM-EDS), micro Raman spectroscopy, and micro Fourier transform infrared spectroscopy (m-FT-IR). The goal was to ascertain the techniques and colored materials used by Escovar on this painting so that the data can be used in future comparisons with others works attributed to this painter based on stylistic aspects.

Romano-British wall-painting fragments: a spectroscopic analysis

Raman spectroscopic analyses of fragmented wall-painting specimens from a Romano-British villa dating from ca. 200 AD are reported. The predominant pigment is red haematite, to which carbon, chalk and sand have been added to produce colour variations, applied to a typical Roman limewash putty composition. Other pigment colours are identified as white chalk, yellow (goethite), grey (soot/chalk mixture) and violet. The latter pigment is ascribed to caput mortuum, a rare form of haematite, to which kaolinite (possibly from Cornwall) has been added, presumably in an effort to increase the adhesive properties of the pigment to the substratum. This is the first time that kaolinite has been reported in this context and could indicate the successful application of an ancient technology discovered by the Romano-British artists. Supporting evidence for the Raman data is provided by X-ray diffraction and SEM-EDAX analyses of the purple pigment.

Multicultural melting pot : painting for the planet

This brief paper gives an outline of a series of painting workshops held over a two year period (2010 and 2011) with the principal aim of raising the awareness of University students to human impact on the planet and on its biodiversity. The workshops were part of a Post-graduate research students' network engagement programme instigated and supported by a number of staff in Counselling Services and International Student Services. Two of the United Nations International years were celebrated and student engagement in practical painting workshops had many benefits that are discussed in the body of the paper.