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Orientador: Tomaz Manabu Hashimoto / Banca: Marcelo dos Santos Pereira / Banca: Antonio Jorge Abdalla / Resumo: O ataque químico seletivo para alteração da composição superficial de ligas de ouro, é um processo que permite retirar os elementos de liga, de uma camada superficial de uma peça confeccionada com liga de ouro, produzindo assim uma camada formada por uma liga mais resistente aos ataques químicos e de cor diferente da liga original. Reagentes e procedimentos para aplicação do processo, apresentando baixa toxidez e fácil aquisição, foram aplicados em corpos de prova confeccionados com a liga de ouro ternária 75 Au, 12,5 Cu, 12,5 Ag, obtendo-se camadas com composição alterada com espessuras de até 50 æm. Reagentes diferentes produziram camadas de composições diferentes. O reagente contendo Na Cl, K NO3 e Fe2 SO4, mostrou maior eficiência na remoção do cobre, não interferindo significativamente no porcentual de prata, produzindo uma camada com porcentual de cobre praticamente igual a zero e o porcentual de prata em torno dos valores originais da liga. O reagente contendo Na Cl, K NO3 e KAl (SO4)2, apresentou remoção total da prata e do cobre, produzindo uma camada com 50 æm de espessura, composta praticamente de 100% de ouro. / Abstract: The selective chemical attack for alteration of the superficial layer of gold alloys is a process that allows the removal of base metals and silver from the surface layer, of one part made with gold alloy, thus producing a layer composed of a more resistant alloy to the chemical attacks and with different color from the original alloy. Reagents and procedures, composed of low toxicity and easy acquisition substances, had been applied in test specimens prepared with ternary gold alloy 75 Au, 12,5 Cu and 12,5 Ag, getting layers with composition modified with thicknesses up to 50 æm. Different reagents had produced layers of different compositions. The reagent contend Na Cl, K NO3 and Fe2 SO4 showed great efficiency removing copper and not intervening significantly with the silver percentage, producing a layer with practically no copper and the silver amount around the original values. The reagent contained, Na Cl, K NO3 and KAl (SO4)2 showed total removals of the silver and copper, producing a layer 50 æm thick, composed basically of gold. / Mestre

Made available in DSpace on 2014-06-11T19:28:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2003-03Bitstream added on 2014-06-13T20:37:40Z : No. of bitstreams: 1 silva_ap_me_guara.pdf: 3513689 bytes, checksum: 6088e29c7edf5f22abc24fa7d1c6a6ac (MD5) / O ataque químico seletivo para alteração da composição superficial de ligas de ouro, é um processo que permite retirar os elementos de liga, de uma camada superficial de uma peça confeccionada com liga de ouro, produzindo assim uma camada formada por uma liga mais resistente aos ataques químicos e de cor diferente da liga original. Reagentes e procedimentos para aplicação do processo, apresentando baixa toxidez e fácil aquisição, foram aplicados em corpos de prova confeccionados com a liga de ouro ternária 75 Au, 12,5 Cu, 12,5 Ag, obtendo-se camadas com composição alterada com espessuras de até 50 æm. Reagentes diferentes produziram camadas de composições diferentes. O reagente contendo Na Cl, K NO3 e Fe2 SO4, mostrou maior eficiência na remoção do cobre, não interferindo significativamente no porcentual de prata, produzindo uma camada com porcentual de cobre praticamente igual a zero e o porcentual de prata em torno dos valores originais da liga. O reagente contendo Na Cl, K NO3 e KAl (SO4)2, apresentou remoção total da prata e do cobre, produzindo uma camada com 50 æm de espessura, composta praticamente de 100% de ouro. / The selective chemical attack for alteration of the superficial layer of gold alloys is a process that allows the removal of base metals and silver from the surface layer, of one part made with gold alloy, thus producing a layer composed of a more resistant alloy to the chemical attacks and with different color from the original alloy. Reagents and procedures, composed of low toxicity and easy acquisition substances, had been applied in test specimens prepared with ternary gold alloy 75 Au, 12,5 Cu and 12,5 Ag, getting layers with composition modified with thicknesses up to 50 æm. Different reagents had produced layers of different compositions. The reagent contend Na Cl, K NO3 and Fe2 SO4 showed great efficiency removing copper and not intervening significantly with the silver percentage, producing a layer with practically no copper and the silver amount around the original values. The reagent contained, Na Cl, K NO3 and KAl (SO4)2 showed total removals of the silver and copper, producing a layer 50 æm thick, composed basically of gold.

Thesis (Ph.D.)--University of Western Sydney, 2008. / A thesis presented to the University of Western Sydney, College of Health and Science, School of Natural Sciences, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies.

Sunset Iridescence is a one of a kind sculptural bookwork which reflects the essence of the wings of the Madagascar Sunset Moth. My work is very much about the physical qualities of the materials I use. The papers, inks and gilding supplies used to recreate the colors and iridescence of the moth are described. A comparison of color created by pigment and color created by the refraction of light rays is discussed. Parallels are drawn between the structure of the codex and the behavioral patterns of the moths. The local name for the Madagascar Sunset Moth is Lolonandriana - lolo for `spirit or soul,' andriana for `noble.' I was inspired by this concept of the soul to publish a letterpress printed chapbook. Unlike Flying in an Airplane is a short memoir of one of my experiences as a flight nurse. It recalls the first moments of lifting off in a helicopter as I prepared to stabilize and transport a critically ill child.

Studies with primary focus on Viking age gilding techniques in Scandinavia has not been carried out since the sixties. During the past 50 years knowledge about prehistoric gilding techniques and traces of them in the archeological material, as well as the usage of natural sciences within archaeology, has developed considerably. The aim of this thesis was to revisit the topic of gilding and shed new light on Viking age metalworking in Scandinavia with focus on gilding techniques. The second aim was to determine the possibilities and limitations of the study of gilding with a non-destructive methodology. The surfaces of 13 metal objects, four of which are indigenous and the rest are imported goods, were analyzed with SEM-EDS. The chemical compositions of the gilded layers as well as the underlying silver- or copper alloys were analyzed. Furthermore, observations of micro morphological structures were carried out on the gilt surfaces. Interpretations of both chemical compositions and micro morphology were carried out in order to identify what technique or techniques have been used for gilding. The results show that two of artefacts have not been gilded at all, five of them have been fire gilded and the results of the remaining six objects are inconclusive mainly due to lacking reference data. It can be concluded that further research regarding the aging of gilt surfaces on gilded artefacts, more specifically the loss of mercury in fire gilded surfaces over time, needs to be carried out.

Fool’s Gold is a collection of handmade books that illustrate selected Grimms’ fairy tales and offer an unexpected interpretation of the actions of the heroes. Each book displays a unique cover decoration, inspired by medieval European treasure bindings. Treasure bindings incorporate dimensional decorative elements such as gems, gold or other metalwork and often depict Christ's suffering. In a similar way, Fool's Gold beautifies the suffering of the protagonists using gold leaf, glass beads and lush illustrations. A traditional hidden fore-edge painting technique is used to reveal more scenes from each story. When the pages are fanned opened, the fore-edge paintings display the gruesome revenge the perceived heroes take upon the villains.

L’étude des matériaux et des décors colorés de l’abbatiale Cluny III s’inscrit dans le cadre du projet Gunzo (Arts et Métiers ParisTech – Cluny) qui avait pour but la valorisation du patrimoine clunisien par l'intermédiaire des technologies numériques en réalité virtuelle. Un des axes de ce projet était d’élaborer une restitution virtuelle de la Maior Ecclesia en recréant une architecture la plus proche possible de la réalité à l’aide de l’étude des vestiges et des sources iconographiques et historiques qui nous sont parvenus associée aux recherches archéologiques les plus récentes. Outre l’architecture, il s’agissait également de proposer une restitution des décors de l’abbatiale et de son ambiance colorée. Nous avons concentré nos recherches, dans ce travail doctoral, sur les fragments de vitraux archéologiques mis au jour sur les sites de Cluny et de Paray-le-Monial, ainsi que sur les polychromies des fragments lapidaires du portail roman de Cluny, par une approche archéométrique. Les vitraux sont des éléments filtrants qui modulent la lumière tant en quantité qu’en coloration et jouent donc un rôle important dans la création d’une ambiance lumineuse et colorée. Les décors polychromes participent également à l’amélioration et la coloration de l’éclairement. De plus la connaissance des matériaux d’origine est préalable à toute restitution virtuelle en raison de la possible altération des pigments ou des décors métalliques (modification de la couleur) et d’éventuels repeints pouvant induire des changements de parti coloré.Une grande majorité des fragments de verre ont été mis au jour dans des contextes de remblais limitant leur datation à une approche typo-chronologique. Les classifications archéologiques élaborées ont été confrontées aux résultats d’analyses physico-chimiques qui nous ont permis d’affiner la datation de certains fragments et nous ont apporté de nombreux détails techniques. En ce qui concerne le portail de la Maior Ecclesia, qui occupe une place centrale dans l’art roman, nous avons précisé l’image de ce « puzzle lapidaire » tant au niveau de l’iconographie que de la polychromie. L’analyse physico-chimique des restes colorés a permis d’identifier les différents matériaux mis en œuvre dans la décoration du portail. Nous avons pu observer quatre phases polychromes, l’utilisation de pigments coûteux et l’abondance des décors métalliques.Nous avons ainsi contribué à la compréhension des décors colorés de l’abbatiale clunisienne. Cette étude représente une étape dans la compréhension d’un patrimoine archéologique qui, tôt ou tard, sera enrichi ; rappelons en effet qu’une partie des fragments de l’abbatiale est encore enfouie. / The study of materials and coloured decors of the abbey-church Cluny III is part of the Gunzo project (Arts et Métiers ParisTech – Cluny) which led the research and the promotion of the cluniac heritage thanks to digital technologies and virtual reality. This interdisciplinary team worked on the creation of a new digital model of the Maior Ecclesia, according to the latest scientific research, including the archaeological excavations and the study of the documentary and iconographic sources. Besides the architecture, it was also to propose a restoration of the decors of the abbey-church and its colourful atmosphere.The research in this doctoral work is focused on the fragments of archeological glass windows excavated in the sites of Cluny and Paray-le-Monial, as well as on the polychromies of the lapidary fragments of the Great Portal of Cluny using an archaeometric approach. The stained glass windows are filter elements that modulate the light in quantity and in colour. As such, they play a key role in creating a luminous and colourful atmosphere. The polychrome decors also contribute to the improvement and coloration of the lighting. Moreover, knowing the original materials is a prerequisite for any virtual restoration because of the possible alteration of pigments or metal decorations (color change) and possible repaints which can induce changes in colourful design.A large majority of glass fragments were excavated in the ruins of the churches, restricting their dating to a typo-chronological approach. The archaeological classifications performed from the relative chronology, typology and appearance of the vitreous material were compared with results of physicochemical analyses. These helped to refine the dating of certain fragments and identified many technical details. With regard to the portal of the Maior Ecclesia, which occupies a central place in the Romanesque art, the picture of this "lapidary puzzle" in iconography and in polychromy has been clarified. The characterization of the colourful remains has enabled identification of the different materials used in the decoration of the portal. Four polychrome phases, the use of expensive pigments and abundance of metal decorations were observed.In this way, this research has contributed to the understanding of the colourful decors of the Maior Ecclesia. This study represents a stage in the comprehension of an archaeological heritage which, sooner or later, will be further enhanced. It is important to remember that fragments of the abbey-church remain buried.

In the early-15th-century book Il libro dell’arte by Cennino Cennini, the author uses the word diadema about a dozen times. The most recent Swedish edition from 2011 interprets this not as an object but as a halo, a divine light. The earlier edition from 1947/2000 keeps the closest meaning, a diadem, and by that the physical item. Both a material diadem and an immaterial halo would be represented in gold in the paintings described, consequently the symbolism of this material is closely linked to the interpretation of the motives Cennini could be describing.        The time around 1400, in Florence, is an important period of transition, where a fashion that differs for men and women has just been born, the boundaries of the sumptuary laws concerning headdress and jewellery are constantly challenged by women, and the rise of a more secular world where an individual dignity developed may instead be an argument that the word diadema is an essential sign of a more materialistic lifestyle emerging. Several factors come together arguing that the golden headdress of the early renaissance played just as important a role in paintings as the divine light and therefore showing that not every item gilded is a symbol of divinity, it can also be earthly belongings such as insignia, jewellery and dress decoration.

The text deals with various types of ironwork from ca 1550-1740, which we can encounter in sepulchral spaces in Bohemia. The text includes notable examples of individual types of ironwork related to sepulchral monuments in Bohemia and even Central Europe, especially when the works were inspired by Bohemian examples. The main research subject matter of the dissertation is a typological group of ironwork that defined the space around a tombstone or mausoleum freely situated in a sacred environment, e.g. the most important cited work - the ironwork surrounding the Royal Mausoleum in Prague, or the ironwork surrounding the Cenotaph of Maxmilian I located in the Court Church of Innsbruck. Other types of ironwork related to sepulchral monuments are mentioned complementarily, such as ironwork closing off interior chapels, freely standing ironwork, and ironwork protecting sepulchral niches. Powered by TCPDF (www.tcpdf.org)