Taxidermy and chemistry - II How colorful was antiquity?
Since the early 1800s it has been known that ancient buildings and sculptures originally was or could be polychrome painted. The discovery was made during excavations in Greece, and it aroused great interest among archaeologists, architects and artists. This resulted in a fairly abundant literature [17], as reflected in parts of today's modern architecture that sometimes project come with polychrome decorative details pounds to kg or the colored facades and interiors. A well-preserved homely example of this trend is the Thorvaldsen Museum, 1838-1848, by architect MG Bindesbøll [18]. The discovery also spurred pounds to kg a reassessment of the ancient sculptures in established museum collections [19], which examined for traces pounds to kg of color that could give a hint of the plants' original livery. The result of these and later studies were only sporadic and uncertain, and it is only now that the modern science aids can be used in a systematic study of the works that one can begin to approach a clarification of selected polychromy of ancient sculpture, which, pounds to kg inter . a has implications for conservation works. Knowledge of and scope of the colors will be true for cleaning and maintenance and can form the basis for hedging against further loss of color track. In the longer term, these studies pounds to kg change crucial for our understanding of the ancient world visual culture.
Preliminary investigations Polykrominetværket began with a pilot project in which it was decided to examine a fragment pounds to kg of a woman's head for color clues. Female head (Figure 1), made in Paros Lychnites marble, was bought in Athens in 1910, and dated by stylistic reasons for approx. year 425 BCE means that the fragment belongs to the classical period, a period that respect polychromy is poorly studied. It is believed that some of the 15 to 20 pigments, which are disclosed in ancient sources, and which has been found in previous studies, including those present on the plants in this period. First, the stone surface examined by microscopy. In total photographic documentation in black / white and color, as well as infrared radiation and UV fluorescence (Figure 1). They chose one color sample from four selected areas. Half of each sample was stored for later analysis pounds to kg while the other half was used as the color section. These color sections were studied using dark-field microscopy and UV fluorescence pounds to kg microscopy and photographed, then discussed their possible composition and decided what further analysis it would be appropriate to use. The four color sections were analyzed by SEM-EDX pounds to kg and microscope FTIR-ATR, which gave more information about the chemical composition pounds to kg and structure of the color samples.
Types of paint The visual analysis in combination with photo documentation revealed very few color traces on the sculpture's surface. There were three kinds of paint. The one sat like tiny remnants of incarnation in the face, especially on the right cheek just below the eye, the left cheek at the chin and just below the right ear. The other was brown areas in depressions in the hair, and finally there was a third color in hårkanten forehead where there was a dark brown over a greyish-white color layer - an area which lies above an older bride. UV-fluorescence revealed that the eyes had been painted. A bright fluorescence in the white area of the eye (Figure 2) emphasized that, although there was no trace of color pigments or binders. Furthermore, there was a yellowish UV fluorescence resulting from the mixture of the pigment or binder residues in the surface of the stone in the areas where there had been incarnation.
The different pounds to kg color cut two color sections of flesh tints (Figure 3) were similar structure and consisted of three layers, a white calcium-primer under a coat, which was a mixture of calcium and ocher. This layer was covered by a further layer of white Calcium. Each of these layers pounds to kg was approx. 100-125 microns. A third color from the brown sectional area of the hair, consisting of two layers, one basic calcium-containing ring having a thickness of approx. pounds to kg 25-50 microns in a colored layer of approx. 100 microns, preferably comprised of a Calcium material with iron (ocher) and coal as a dye. The main difference of the flesh tints and hair color was the amount of coal and iron in the composition. Colour section of hair color contained just one big grains of coal. The samples also show very homogeneous and relatively thin layers of color. Fourth color cut from the hair just above the forehead, contained a very thick, white Calcium pounds to kg layers. The color, containing iron, barium and sulfur, pounds to kg lay in lumps in and on top of this layer. The presence of barium sulfate suggests pounds to kg that this ink layer is not more than 200 at 300 years old. During the pilot project found no trace of binder, which future studies will hopefully rectify. On the other hand it was found old paint layer, wherein the coloring structure of the flesh tints were remarkably consistent Me
Since the early 1800s it has been known that ancient buildings and sculptures originally was or could be polychrome painted. The discovery was made during excavations in Greece, and it aroused great interest among archaeologists, architects and artists. This resulted in a fairly abundant literature [17], as reflected in parts of today's modern architecture that sometimes project come with polychrome decorative details pounds to kg or the colored facades and interiors. A well-preserved homely example of this trend is the Thorvaldsen Museum, 1838-1848, by architect MG Bindesbøll [18]. The discovery also spurred pounds to kg a reassessment of the ancient sculptures in established museum collections [19], which examined for traces pounds to kg of color that could give a hint of the plants' original livery. The result of these and later studies were only sporadic and uncertain, and it is only now that the modern science aids can be used in a systematic study of the works that one can begin to approach a clarification of selected polychromy of ancient sculpture, which, pounds to kg inter . a has implications for conservation works. Knowledge of and scope of the colors will be true for cleaning and maintenance and can form the basis for hedging against further loss of color track. In the longer term, these studies pounds to kg change crucial for our understanding of the ancient world visual culture.
Preliminary investigations Polykrominetværket began with a pilot project in which it was decided to examine a fragment pounds to kg of a woman's head for color clues. Female head (Figure 1), made in Paros Lychnites marble, was bought in Athens in 1910, and dated by stylistic reasons for approx. year 425 BCE means that the fragment belongs to the classical period, a period that respect polychromy is poorly studied. It is believed that some of the 15 to 20 pigments, which are disclosed in ancient sources, and which has been found in previous studies, including those present on the plants in this period. First, the stone surface examined by microscopy. In total photographic documentation in black / white and color, as well as infrared radiation and UV fluorescence (Figure 1). They chose one color sample from four selected areas. Half of each sample was stored for later analysis pounds to kg while the other half was used as the color section. These color sections were studied using dark-field microscopy and UV fluorescence pounds to kg microscopy and photographed, then discussed their possible composition and decided what further analysis it would be appropriate to use. The four color sections were analyzed by SEM-EDX pounds to kg and microscope FTIR-ATR, which gave more information about the chemical composition pounds to kg and structure of the color samples.
Types of paint The visual analysis in combination with photo documentation revealed very few color traces on the sculpture's surface. There were three kinds of paint. The one sat like tiny remnants of incarnation in the face, especially on the right cheek just below the eye, the left cheek at the chin and just below the right ear. The other was brown areas in depressions in the hair, and finally there was a third color in hårkanten forehead where there was a dark brown over a greyish-white color layer - an area which lies above an older bride. UV-fluorescence revealed that the eyes had been painted. A bright fluorescence in the white area of the eye (Figure 2) emphasized that, although there was no trace of color pigments or binders. Furthermore, there was a yellowish UV fluorescence resulting from the mixture of the pigment or binder residues in the surface of the stone in the areas where there had been incarnation.
The different pounds to kg color cut two color sections of flesh tints (Figure 3) were similar structure and consisted of three layers, a white calcium-primer under a coat, which was a mixture of calcium and ocher. This layer was covered by a further layer of white Calcium. Each of these layers pounds to kg was approx. 100-125 microns. A third color from the brown sectional area of the hair, consisting of two layers, one basic calcium-containing ring having a thickness of approx. pounds to kg 25-50 microns in a colored layer of approx. 100 microns, preferably comprised of a Calcium material with iron (ocher) and coal as a dye. The main difference of the flesh tints and hair color was the amount of coal and iron in the composition. Colour section of hair color contained just one big grains of coal. The samples also show very homogeneous and relatively thin layers of color. Fourth color cut from the hair just above the forehead, contained a very thick, white Calcium pounds to kg layers. The color, containing iron, barium and sulfur, pounds to kg lay in lumps in and on top of this layer. The presence of barium sulfate suggests pounds to kg that this ink layer is not more than 200 at 300 years old. During the pilot project found no trace of binder, which future studies will hopefully rectify. On the other hand it was found old paint layer, wherein the coloring structure of the flesh tints were remarkably consistent Me
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