Läckö Castle is an historic building that has never been permanently heated but has been dehumidifiedsince the early 2000s to house museum collections. The purpose of the work was to evaluate thedehumidification performance and compare the climate with the state of preservation of wooden wallpaintings. Compiled climate recordings for different rooms in the castle from 1997 to 2009, before andduring dehumidification, were used and compared to the outside climate. The RH set point value of 70 % for dehumidification was not reached often, especially in winter with high outside RH. Wood painted witha linseed oil paint performed well, whereas paint containing resin was seriously damaged. It is concludedthat microclimatic differences in relation to dominating wind direction are important. The air exchangeof the building is very decisive for dehumidification efficiency.

Novels with love as a theme often deal with a passionate or forbidden love. In 1925 William Somerset Maugham wrote a different version of the typical love story we have read so many times. It tells a story about a married couple who never really shares the same love for each other. Maugham mentions that he was inspired by Dante when he wrote The Painted Veil. Indeed, he uses different sources of inspirations, such as poems from Shelley and Goldsmith. The aim of this essay is to investigate what these intertextual references bring to the novel and what their functions are. The method I use is looking at the different references used by Maugham and stating their purpose and significance to the novel. The result of my investigation illustrates how the use of Shelley’s theme of veiling signifies hiding, as well as not wanting to see the truth, while Goldsmith’s poem shows the true relationship between the married couple and how corrupted society is. Maugham also lets Dante’s Purgatorio demonstrate how Kitty, the wife, gets the chance to change her life for the better.

Although Fremont ceramic design styles have the potential to tell archaeologists a great deal about Fremont social interaction and boundaries, they have never been studied in detail. In the Fremont world, painted designs appear almost exclusively on the inside of bowls produced in two different regions of Utah. The firstis the Snake Valley production zone in southwestern Utah where Snake Valley Black-on-gray was produced; the second is the Emery production zone in central Utah where white-slipped Ivie Creek Black-on-white bowls were produced. The similarities in designs on the two main types of Fremont painted bowls indicates regional interaction and exchange of both materials and ideas between the two production zones, while the differences suggest regional distinctions existed within a larger Fremont complex.

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L'objet de cette thèse est d'analyser le rapport de l'île de Chypre avec les civilisations qui l'entouraient lors des bouleversements qui ont marqué la fin de l'Age du Bronze et le début de l'Age du fer en Méditerranée orientale. L'analyse porte sur les vestiges matériels, indépendamment des traditions orales et écrites.<br /> <br />La période Chypriote Récent III est définie par la céramique Proto White Painted (1175-1050B.C.) et la période Chypriote Fer I (1050-950) par la White Painted I. Tout le matériel Proto White Painted et White Painted I accessible dans les publications en 1982 est présenté dans le catalogue, avec leurs références de publication. J'ai pu aussi avoir accès au matériel non-publié de Skalès et de Kaloriziki. Le catalogue est divisé en trois catégories : céramique, architecture et tombes, objets autres que la céramique (bijoux, armes, objets domestiques, objets de culte). Ces donnés ont ensuite été comparées au matériel analogue du siècle précédent, retrouvé sur les sites égéens, syro-palestiniens, anatoliens, et égyptiens.<br /><br />Les résultats sont résumés dans dix tableaux, et leur distribution est indiquée sur quatre cartes. Ces tableaux et cartes devraient permettre la modification des hypothèses historiques au fur et mesure de la découverte de nouveaux vestiges. L'objectif recherché est une nouvelle approche vers l'interprétation du matériel CR III, autant qu'une nouvelle hypothèse concernant les événements qu'il reflète. Les résultats ont ensuite été confrontés aux traditions écrites qui témoignent de cette époque (notamment la guerre de Troie et les migrations des Peuples de la Mer).<br /><br />Les résultats présentés ici ne s'accordent pas avec l'idée d'une colonisation de Chypre par les Achéens telle qu'elle est rapportée par la tradition et généralement acceptée. Il suggère plutôt un déplacement des populations par voie de l'Anatolie, et surtout de la Syrie Palestine.

Zwei Beobachtungen bilden den Ausgangspunkt dieser Arbeit: Zum einen sind in der zweiten Hälfte des Quattrocento in der italienischen Malerei auffallend viele Bilder zu finden, in denen Triumphbögen die Hintergründe beherrschen. Zum anderen haben sich einige der berühmtesten Maler der Zeit wiederholt mit dem Motiv Triumphbogen auseinandergesetzt: Botticelli, Mantegna, Ghirlandaio und Perugino. Im Zentrum der Arbeit steht der individuelle Umgang der Künstler mit dem antiken Monument. Es stellen sich die Fragen, auf welchem Wissenstand die Auseinandersetzung mit antiker Architektur durch die Maler basiert und in welchem Verhältnis in ihren Werken Studium, Rekonstruktion und künstlerische Imagination stehen. Um die Grundlage zu diesen Überlegungen zu schaffen, werden im ersten Teil der Arbeit zahlreiche Quellentexte daraufhin befragt, welche zeitgenössischen Auffassungen über die Genese, die Funktion und die Bedeutung römischer Triumphbögen es gab. Außerdem ergibt die Analyse der Texte eine Bestandsaufnahme des Ausgangsmaterials: Aus ihnen geht hervor, zu welcher Zeit welche Triumphbögen wahrgenommen wurden, welche Monumente den Malern überhaupt als Vorbilder zur Verfügung standen. Einer Fülle von Architekturzeichnungen ist zu entnehmen, auf welche Weise Probleme der Rekonstruktion gelöst wurden. Auf Bildern ist die Vermischung von archäologischer Treue und freier Umarbeitung besonders groß. Im Hauptteil geht es deshalb um die Frage, welche Sicht Künstler auf die antiken Bauten hatten und nach welchen Methoden sie verfuhren, um sie in ihre Bilder einzufügen. Dazu gehören Untersuchungen sowohl der Art und Weise der formalen Aneignung römischer Vorbilder, des Verständnisses ihrer baulichen Funktion, der Rolle, die in diesem Zusammenhang die alltäglichen visuellen Erfahrungen für die Wiedergabe und Interpretation dieser Bauten spielten, als auch der Ikonographie, der inhaltlichen Bedeutung, die Triumphbögen in Bildern haben. / Two observations form the starting-point of this thesis: On the one hand there is a remarkable number of pictures whose backgrounds are dominated by triumphal arches in the second half of the Quattrocento in Italian painting. On the other hand some of the most famous painters of the time explored this motif repeatedly: Botticelli, Mantegna, Ghirlandaio and Perugino. The centre of this thesis is dedicated to the individual treatment of the antique monument by the artists. It implies questions in regard to the level of knowledge on which the painter’s exploration with antique architecture was based and to the relation between study, reconstruction and artistical imagination in their works. To create the basis for these considerations, in the first part of the thesis numerous sources are consulted with regard to the contemporary conceptions on genesis, function and meaning of Roman triumphal arches. In addition the analysis of the sources results in an account of the material: The sources reveal at which time what kind of arches have been perceived, which monuments have been actually available as models to the painters. How problems of reconstruction have been solved can be inferred from a vast number of architectural drawings. In the paintings the mixture of archeological faithfulness and free interpretation is especially obvious. Therefore the main part of the thesis is about the question which point of view on the antique architectures the artists had and which methods they applied to introduce them into their paintings. To this aspect also belong examinations of the kind of the formal acquisition of Roman models, of the understanding of their structural function, of the role, which the everyday visual experiences played for the reproduction and interpretation of these buildings, as well as of the iconography, the meaning the triumphal arches had in the paintings.

This thesis presents the first full study of the anonymous illuminator known by the name of convention, the Master of Spencer 6, after his finest work, ms. 6 in the Spencer Collection at the New York Public Library. Active at the turn of the sixteenth century, during the transitional period between the Middle Ages and the Renaissance, this artist provides a revealing case study for examining the changing tastes and preoccupations of the patrons, as well as the way in which illuminators were operating in order to secure work and forge a career. The career of the Master of Spencer 6 can be reconstructed from nearly forty surviving books and fragments. He appears to have painted manuscripts for a wide range of clientele, from unknown merchants to figures such as Henry VII of England. The quality of his execution is equally varied, from modest, hastily prepared images, to exquisite paintings invested with verisimilitude and invention that deserve wider acknowledgement. This illuminator, presumably based in Bourges, seems to have travelled as far as Troyes, Paris, Tours, and possibly Lyon, in search of patronage. Although he specialised in devotional images, he also illustrated texts of historical and moral interest. The Master of Spencer 6 was particularly talented in drawing. He appears to have been required to work quickly, in order to respond to the high demand for books; yet, despite the haste, he was able to produce images that were pleasing. A large part of the appeal in his images seems to rely on the quality of line. While his colours were clean and bright, he often applied them hastily or carelessly over the contour lines. Nearly always these shortcomings appear unnoticeable due to the beauty of the lines that define the design. The variety of decorative schemes, layouts, spatial devices, compositions and iconographic motifs utilised by the Master of Spencer 6 demonstrate one of the keys to his success. He was able to diversify his canon to realise any potential order from the vast geographical and social range of his clientele. He also managed to develop his style according to current tastes and fashions. He adapted ideas and techniques from his collaborators, the Colombe workshop and Jacquelin de Montluçon. This thesis provides also the first study of Jacquelin de Montluçon, the painter identified here as the main collaborator of the Master of Spencer 6. Methods of technical art history are used to analyse his sophisticated manner of mixing pigments to produce convincing effects of light. The way in which he applied paint onto a surface, on parchment, panel and stained glass, is used to support attributions and explore the versatile artist that emerges from the analysis. This investigation into these two hitherto little-known artists demonstrates, on one hand, what was required for artists to succeed over others in the profession of manuscript illumination in late fifteenth-century France, and on the other hand, what the concerns of the individuals commissioning images were.

Sex ratio theory suggests that the strength of intersexual selection will increase as a population more male-biased; reflecting increased selectivity in mate choice. Populations of pond turtle have varying adult sex ratios, in painted turtles (Chrysemys picta), reported sex ratios range from female biased (1:3) to male biased (3:1). I investigated the effect of sex ratio on male reproductive success (quantified as “fertilization success”) in painted turtles. I examined the mating system of painted turtles in a female-biased population using microsatellite paternity analysis, relating variation in male fertilization success to male phenotype and offspring survival, employed ex situ behavioural observation to clarify the mechanism behind the variation in male fertilization success and used agent-based modeling to simulate the effects of changing sex ratio, population density and proportions of male phenotype on male fertilization success. Small males contributed sperm to a greater number of clutches than did larger males, but were not more likely to reproduce in a season than larger males. There was no offspring fitness advantage related to male body size and no relationship between male claw length and fertilization success. Large male painted turtles courted at a higher frequency than small males. I found no relationship between male courtship behavior and claw length. Females showed no preference for males of any phenotype. Agent-based simulations were based on the distribution of best fit from the observed data; an amalgam of two Poisson distributions, each with its own probability of success and proportional representation in the final distribution. Increased female sex ratio bias, increased population density and increased proportions of “more successful” males all increased the mean and variance of male fertilization success, based on increased encounter rate among turtles. Small and large male painted turtles enjoy different fertilization success. It is uncertain whether this difference is based on active female choice, cryptic female choice, sperm competition or a combination of factors. Sex ratio simulations predict the opposite result as that predicted by sex ratio theory. These contrary results should be compared to simulations manipulating choosiness and field data from painted turtle populations to clarify mechanisms influencing male reproductive success.

The Colors at Tambo colorado: A ReevaluationThe research visit to the Inca site of Tambo Colorado, in the Pisco Valley, reported on in this paper took place a hundred years after the visit of Max Uhle’s. Tambo Colorado takes its name from the many colors that adorn its walls. It is one of the aims of the present project to determine whether or not the colors have any architectural or symbolic significance. So far, the research suggests that there is a close correlation between the site’s layout, the highly hierarchical organization of its spaces, and the distribution of colors. / Cien años después de Max Uhle, los autores visitaron nuevamente el sitio inca de Tambo Colorado, ubicado en el valle de Pisco, con el fin de llevar a cabo investigaciones en este complejo que debe su nombre a los muchos colores que adornan sus muros y estructuras. Uno de los objetivos del proyecto actual es determinar si dichos colores tuvieron algún significado arquitectónico o simbólico. Hasta el momento, las investigaciones sugieren que existe, efectivamente, una correlación bien estrecha entre el trazado del sitio, la organización bastante jerárquica de los espacios y la distribución de los colores.

The Franciscan Bible from the National Museum Library in Prague (XII.B.13) Within the Context of 13th Century Painting The painted miniatures decorating the so-called Franciscan Bible (Prague, KNM XII.B.13), which dates in around the 1270s, illustrate the development of painting in Central Europe during the transition period between Late Romanesque and Gothic style. Illuminations in the Franciscan Bible are the work of four masters, the first of whom illustrated the Old Testament, and the latter three worked on the New Testament. The style of the illuminations places its authors firmly in the circle of artists drawing inspiration from the workshop of Giovanni da Gaibana. The Gaibanesque style is characterized by using traditional local motifs, with elongated tails expanding into the borders. Color tones gradually shift toward the cooler palette; form tends toward more schematic drawings and simplified shapes; imitation of Western style is characterized by gradual abandonment of heavy impasto modeling. The First Master most likely came from the Central Rhenish region, but his ornamental motifs are inspired by the Gaibanesque tradition; the other three masters, on the other hand, fully adopted the Gaibanesque style. Their works differ in the way they chose to interpret the common motifs, their use of...