Neste trabalho foram analisados 49 diamantes coloridos da coleção Luiz Paixão incorporados 1954 ao acervo do Museu de Geociências do IGc-USP. Os diamantes foram pesados, medidos, fotografados e alguns foram escolhidos para análise espectroscópica no UV-VIS com a finalidade de auxiliar no estudo de centros de cor e distinção sobre a origem da cor nos diamantes quanto esta ser natural ou artificialmente induzida. Pelo resultado da interpretação dos espectros obtidos, uma parte desta coleção de diamantes coloridos sofreu tratamentos de cor por irradiação, demonstrando que no Brasil na época da formação desta coleção já era possivel de encontrar diamantes tratados o que é um fato interessnte considerando os poucos reatores nucleares existentes na época. / This work presents results of an analysis of 49 colored diamonds from the Luiz Paixão Collection, donated 1954 to the Geological Museum of Geoscience Institute of University of São Paulo. They have been measured, photographed and some have been selected for detailed spectroscopic analysis by UV/VIS spectroscopy. By this method it is possible to detect if the color of the diamond is natural or produced by treatment. The presence of specific absorption peaks and their intensity in the spectrograms revealed that all blue and green diamonds indeed showed signs of treatment and their color is not natural. This is a very interesting fact and shows that already in times before the donation treated diamonds were apparently easily available in Brasil. Considering the paucity of nuclear reactors in the United States or in Europe in those times this result is very surprising.

The issue of a sceptre for the newly founded Faculty of Science was first discussed on the meeting of Faculty professors on the 25th November 1921, more than a year after the separation of the Faculty of Science from the Faculty of Arts. The commission elected from among the professors proposed a motion that the new Faculty sceptre should resemble the sceptre of the parental Faculty of Arts. Through a mediation of the Ministry of Education and National Enlightment the design of the new sceptre was ordered from the Academy of Arts, Architecture and Design and it was elaborated by prof. Jaroslav Horejc. However, in January 1923, his design was rejected, because it didn't meet the requirements of the professors' conservative approach. When prof. Horejc refused to make a modified copy of the sceptre of the Faculty of Arts, the professors addressed Tengler, the goldsmith who had made the sceptres of other faculties and of the rector in previous years. Alois Tengler was willing to make a modified copy of the sceptre of Faculty of Arts, but he also proposed a new design (with estimated price of 20 000 K), which the professors found more suitable and subsequently this design was adopted. Tengler committed himself to manufacture the sceptre by the 15th November 1924 and to incorporate any additional design...

common articles of daily use, the goldsmith's works had additional meanings and functions, and - - monarch's court. Its aim is to distinguish two types of the goldsmith's works associated with Charles IV: those based can be proved by signs or inscriptions found directly on the works, or by other written sources. If there's a lack of written altar at the time of Charles IV as a specific kind of goldsmith's work, whose use interconnects the and Vienna, the catalog includes a number of solitary goldsmith's works spread across European church treasuries a liquary Bust of St. Sigismund in Plock. Two women's crowns are also included, the the Środa Treasure. From the total of thirty here described goldsmith's works placed abroad,