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The research carried out on the wall paintings of Hernán Pérez del Pulgar’s Palace chapel in Granada (Spain) was aimed at determining its historical–artistic, stylistic, technical, and compositional aspects. For this, a 16th century frieze and an 18th century pendentive were studied. The mineralogical, chemical, and textural characterization of the constituent materials and the study of the state of conservation of the paintings have helped to determine the pictorial technique used, identify the nature of the salts present in the paintings, and other pathologies including a dormant fungal attack. To this end, optical microscopy (OM), X-ray diffraction (XRD), Field emission scanning electron microscopy with microanalysis (FESEM-EDS), and micro-Raman spectroscopy (MRS) were used. The information obtained helps clarify important aspects of the painting technique used, laying a basis to ensure effective and suitable conservation and restoration measures on the paintings that will ensure their durability over time.

From the true production of the picture using the tempera technique, I inspect a drawing process from materials side, a technique side.This studied work made white wall material on a panel of F4. I started from the white floating appearance that used hatching and sfumato properly on colored imprimatur and recorded a process to describe it by the repetition with the transparent layer, and to push it forward by image shooting and inspected a drawing process from materials and the both sides of the technique.

RESUMO O uso de tratamentos em aços tem como característica melhorar o desempenho mecânico desses materiais durante aplicação. Nesse contexto, a cementação sólida é um tratamento termoquímico que possibilita o aumento da dureza nas superfícies dos metais, por meio da difusão de carbono da atmosfera de um forno para a superfície do metal. A têmpera, por sua vez, é um tratamento térmico que tem o intuito de elevar a dureza do aço, por meio do aquecimento do metal até a austenitização e o posterior resfriamento rápido, formando uma microestrutura predominantemente martensítica. O objetivo do presente trabalho foi caracterizar as microestruturas formadas após a aplicação de têmpera e cementação sólida em aços ABNT/SAE 1020, utilizando técnicas metalográficas e ensaios de dureza. Após a realização dos tratamentos, as amostras foram analisadas via ensaios de dureza Rockwell e microdureza Vickers, microscopia óptica e macrografia. Os resultados dos ensaios de dureza mostraram que a dureza das amostras temperadas e cementadas foi superior à dureza das amostras sem tratamento. Além disso, não houve influência significativa da granulometria do carvão vegetal na dureza das amostras cementadas, devido à alta variabilidade dos valores. Por meio da microscopia óptica e dos resultados de ensaios de microdureza Vickers, foi possível identificar que as amostras cementadas apresentaram elevada dureza da região da camada cementada, causada pela formação de martensita de alto e baixo carbono, com um núcleo mais tenaz, devido à presença de ferrita e perlita. As amostras com têmpera, por sua vez, apresentaram uma microestrutura de baixa dureza, o que também foi verificado pelo ensaio de microdureza. ABSTRACT The use of steel heat treatments aims to improve the mechanical performance of these materials during their application. In this context, solid cementation is a thermochemical treatment that makes it possible to increase the hardness on metal surfaces, through the diffusion of carbon from the atmosphere of an oven to the metal surface. On the other hand, quenching is a heat treatment that aims to increase the hardness of the steel, by heating the metal until austenitization and subsequent rapid cooling, forming a predominantly martensitic microstructure. The objective of the present work was to characterize the microstructures formed after the application of the quenching and solid carburizing of ABNT/SAE 1020 steels, using metallographic techniques and hardness tests. After carrying out the treatments, the samples were analyzed using Rockwell hardness tests, Vickers microhardness tests, and by optical microscopy and macrography. The results of the sample hardness tests showed that the hardness of the carburized and quenched samples is superior to the hardness of the untreated samples. In addition, there was no significant influence of the granulometry of charcoal on the hardness of the carburized samples, due to the high variability of the hardness values obtained. Through the optical microscopy and the results obtained in the Vickers microhardness tests, it was possible to notice that the carburized samples showed a great increase in the hardness of the region of the carburized layer, caused by the formation of high and low carbon martensite, with a more tenacious due to the presence of ferrite and pearlite. The quenched samples presented a low hardness microstructure, which was also verified by the microhardness test.

Оптическая организация полотна является одним из аспектов экспертизы картин классической эпохи, значительно обогащающим традиционную систему технологических исследований. Подробное изучение послойной структуры живописи двух произведений итальянской школы из собрания Екатеринбургского музея изобразительных искусств, выполненных на основе масляного и темперного связующего, позволило провести сравнение оптических приемов, характерных для определенного исторического периода. The optical organization of the canvas is one of the aspects of the examination of the painting of the classical era, significantly enriching the traditional system of technological research. A detailed study of the layered structure of the painting of two works of the Italian school from the collection of the Ekaterinburg Museum of Fine Arts, made on the basis of oil and tempera binder, allowed us to compare optical techniques characteristic of a certain historical period.

Trevor Evans was responsible for revealing the main physical processes which take place in natural diamond both in the upper mantle of the earth, where it is stabilized by high pressure and temperature, and as it is ejected by volcanic action to the surface. By measuring the activation energies required for graphitization, he clarified the reason for its very long life as a metastable crystal, valuable both as a gemstone and as an industrial abrasive. He learned how to make diamond specimens for examination in the transmission electron microscope, which enabled his discovery of dislocation loops and platelet precipitates in nitrogen-containing (type 1) stones. In a series of exacting laboratory experiments under geologically relevant conditions he pioneered the study of the emergence of nitrogen from solution to precipitation during the ejection process. In synthetic diamonds, using high-energy electron irradiation, he was able to reproduce the sequence of all the various types of nitrogen aggregation found in natural diamond. His work played a major role underpinning the characterization of gemstones, explaining many features of their colour. For many years he led diamond research in the UK, supported by De Beers. His work stimulated and has been confirmed by research in many other laboratories around the world.

Статья посвящена исследованию картины «Ригден-Джапо — Владыка Шамбалы» (1927) из собрания Музея изобразительных искусств имени Г. Дзанабадзара в Улан-Баторе. Автор дает анализ исторических предпосылок создания произведения Н.К. Рерихом, известным исследователем Центральной Азии, русским художником и ученым, представляет идею Шамбалы и замысел картины, подробности преподнесения картины в дар правительству Монголии того времени. Также приведены результаты спектрального и химического анализа, что подтвердило подлинность картины и одновременно внесло вклад в создание базы данных об использовании красок художником. Идея картины носит символический характер и воплощает мечты и чаяния народов Монголии и всего буддийского мира о приходе новой эпохи Справедливости, Братства и Счастья народов.

[CA] El present treball final de grau es centra en l´estudi histórico-tècnic i proposta d´intervenció d´una Vera Icona de Crist pintada al tremp sobre taula a finals del segle XV principis del segle XVI, atribuida al Mestre de Perea. Al seu revers no es troba representat el rostre de la Verònica o Dolorosa, com és habitual en aquestes representacions, fet que resulta de gran interés per a l´anàlisi de l´obra, a més d´envoltar d´incògnites l´objecte, el qual no ha sigut estudiat en profunditat fins al moment. L´estudi es centra en un primer apropament històric de la peça, així com la realització de diferents estudis diagnòstics per a la posterior elaboració de la proposta d´intervenció i conservació preventiva. Per altra banda, es destaquen distintes obres amb característiques estilístiques i formals similars a l´estudiada, així mateix es mostren obres en condicions paregudes a la presentada analitzant les seues característiques, que junt amb els resultats dels diferents estudis realitzats, es permeti entendre la morfología original que va poder tindre l´obra., [EN] The current final degree research is focused on the historic-technical analysis and intervention proposal of a Vera Icon of Christ painted in tempera on panel in late 15th century early 16th century, atributed to Mestre de Perea. On the reverse side is not represented the Veronica or Dolorosa face, which it is usual in that kind of artworks, fact that is of great interest for the painting analysis in addition to surrounding the object in unknowns, which it hasn¿t been deep studied until now. The document is focused on a first historical approach of the work, as well as the making of differents diagnostic studies for the subsequent build-up of the intervention and preventive conservation proposal. Besides that, different works are highlighted with similar formal and stylistic features to the object of study, in addition panel paintings are showed up in similar conditions to the exhibed, analyzing its peculiarities, that along with the results of studies performed it is enabled to understand the original morphology that the work could have in the past.

Robert of Anjou King of Sicily (1309–1343). Robert of Anjou was the third king of the Angevin dynasty on the throne of Sicily. He ruled from 1309 to 1343, but, in these years, Sicily was under the domain of the Aragonese dynasty and, hence, his authority was limited to the continental land of the Kingdom and his court was mainly focused in the city of Naples. From an iconographic point of view, he is particularly interesting because, between his official representations (namely, commissioned directly by him or his entourage), he was the first king of Sicily who made use not only of stereotyped images of himself, but also of physiognomic portraits. In particular, this entry focuses on these latter items, comprising the following four artworks: Simone Martini’s altarpiece, the Master of Giovanni Barrile’s panel, the Master of the Franciscan tempera’s canvas, and the so-called Lello da Orvieto’s fresco.

AISI 8640 is one of the most used steel in the manufacturing industry due its wide range of applicability and properties. The quenching process is commonly applied in parts made of this steel in order to enhance some properties, such as strength and hardness. Petroleum derived oils are the most common quenchants, however this kind of quenchant is considered to be non-biodegradable, toxic to the health and environment, as well as, not renewable. In the present study, canola oil presented the same efficiency than a conventional petroleum derived oil in the quenching process of AISI 8640 steel billets with diameter of 25.4mm. O AISI 8640 é um dos aços mais utilizados na indústria de manufatura devido às suas grandes faixas de aplicabilidade e propriedades. O processo de têmpera é comumente aplicado em peças feitas desse aço com o objetivo de melhorar suas propriedades, como a resistência e a dureza. Óleos derivados de petróleo são os mais comumente utilizados como meio de têmpera, porém esse tipo de óleos é considerado como não biodegradável, tóxico para a saúde e o ambiente, bem como, não renováveis. No presente estudo, o óleo de canola apresentou a mesma eficiência que o óleo convencional derivado de petróleo em um processo de têmpera de tarugos de aço AISI 8640 com diâmetro de 25,4 mm.

Tempera painting on canvas has played multiple functions throughout the history of painting. They were used to cover altars in Lent, to make canopies and ceilings for beds, to act as organ doors, etc. In the 19th century and in the earlier 20th century, they were used as adornment on walls of palaces and theatres, as well as sceneries in the latter ones. Generally, this kind of tempera painting shows large proportions, which demanded a specific methodology of execution. Treatises of the epoch display how the painter, provided with paintbrushes of long handles, as brooms, walked on the canvases while the execution lasted. At that time, pigments derived from the activity of modern industry were already in use, in combination with other materials traditionally used in the previous centuries. This article presents the working methodology and materials used in tempera painting on canvas, mainly during the 19th century, providing a knowledge base for this subject. Received: 2018-12-30Revised: 2019-9-6Accepted: 2019-10-16Online: 2020-3-17Publication: 2020-11-27, La pintura al temple sobre lienzo ha desempeñado múltiples funciones a través de la historia de la pintura, pudiendo ser usados para cubrir los altares en época de Cuaresma, constituir doseles y cielos de camas, ejercer de puertas de órganos, etc. En el siglo XIX y comienzos del XX, son ampliamente usados como adorno de palacios y teatros y también como decorados de estos últimos. En muchos casos, son obras de elevadas proporciones que exigen una metodología específica para su ejecución. Tratados de la época explican cómo el pintor, provisto de pinceles de largos mangos, como escobas, caminaban sobre los lienzos mientras duraba su ejecución y como se utilizan pigmentos derivados de la actividad de la industria moderna, aunque aún se mantienen otros empleados en siglos anteriores. En este artículo se presenta la metodología de trabajo y materiales que se empleaban en la pintura al temple sobre lienzo en general y, más concretamente, en la pintura de escenografías durante el siglo XIX, proporcionando una base de conocimiento para esta temática., A pintura de têmpera sobre tela desempenhou múltiplas funções ao longo da história da pintura. Este tipo de pintura era usado para cobrir altares na época da Quaresma, dosséis de cama, portas de órgãos, etc. No século XIX e no início do século XX, estas pinturas foram usadas como adorno em paredes de palácios e teatros, bem como cenários de teatros. Geralmente, são obras de grandes proporções que requerem uma metodologia específica para a sua execução. Os tratados da época explicam como o pintor, equipado com pincéis de alças longas, como vassouras, caminhava sobre as telas durante a sua execução. Naquela época, eram usados pigmentos derivados da atividade da indústria, em combinação com outros materiais tradicionalmente utilizados nos séculos anteriores. Este artigo apresenta a metodologia de trabalho e os materiais utilizados na pintura da têmpera sobre tela, principalmente durante o século XIX, proporcionando uma base de conhecimento para este tema. Recebido: 2018-12-30Revisto: 2019-9-6Aceite: 2019-10-16Online: 2020-3-17Publicação: 2020-11-27

Interdisciplinary investigations of damaged cultural heritage objects have nowadays become standard practise. Numerous techniques in various fields may generate large amounts of data, difficult to interpret. Machine learning was applied to data collected from samples of a painting to build a predictive model of potential further biodeterioration and consequent damage to the paintings. We used this strategy for a deteriorated 17th century Celje Ceiling, tempera painting in a wooden frame, covering 143 m2 of the ceiling. An interdisciplinary approach, from monitoring microclimatic conditions and wood moisture content, to examinations using UV and VIS photography, analyses of paint layers and decay products by Raman and FTIR spectroscopy, SEM-EDS, and protein binders by ELISA, was used to assess current condition of the painting. Data from 535 painting's samples were subjected to analysis by machine learning methods. Moulding, the main cause of biodeterioration, was found to be strongly influenced by the position of the painting in the room and related microclimatic conditions. The presence of a coating layer, protein binders and pigments, such as goethite, ultramarine and kaolinite, had important role in mould development as well. The painting was mainly damaged by currently non-active, presumably xerophilic Aspergillus species, as determined by microscopy, cultivation and amplicon sequencing. Nasl. z nasl. zaslona. Opis vira z dne 1. 3. 2022. Objavljeno na spletni strani 28. 2. 2022. Št. prispevka: 105389. Bibliografija: str. 13-14. Abstract.

O principal objetivo deste estudo multidisciplinar é caracterizar a nível textural, químico e mineralógico amostras cerâmicas de quatro sítios Calcolíticos da região de Lisboa, a fim de determinar se as matérias-primas e as técnicas de produção permaneceram as mesmas ao longo do tempo e se são, ou não, produção local tentando, ao mesmo tempo, identificar as fontes da argila utilizada na fabricação dessa cerâmica. Para tal, um total de 149 fragmentos cerâmicos de Vila Nova de São Pedro, Penedo do Lexim, Espargueira e Baútas foram analisados, para além de 19 amostras de depósitos sedimentares (possíveis barreiros) recolhidos na área de influência de cada um destes sítios arqueológicos. A análise textural por microscopia ótica de secções transversais polidas permitiu a caracterização de pastas e inclusões. A caracterização química foi realizada através da micro-espectrometria de fluorescência de raios X dispersiva de energias, enquanto que a análise mineralógica se realizou através da difração de raios X, complementada por microscopia petrográfica em lâminas delgadas e microespetroscopia Raman, para a identificação de inclusões não-plásticas. Os resultados sugerem que as técnicas de produção permaneceram semelhantes ao longo de todo o Calcolítico, estando as diferenças texturais relacionadas sobretudo com as diferentes formas e funções das peças. As fases mineralógicas presentes sugerem uma temperatura de cozedura entre 700 e 800 oC, numa atmosfera muito heterogénea, mas principalmente redutora e, embora a maioria das peças não apresente inclusão propositada de têmpera, esta parece ter sido utilizada algumas vezes, sobretudo sob a forma de grãos de quartzo, calcite e chamote. A análise multivariada dos teores químicos e mineralógicos permitiu agrupar as cerâmicas em alguns conjuntos constituídos por exemplares de diversas tipologias decorativas, abarcando diversas fases cronológico-culturais. Os resultados sugerem ainda que as cerâmicas sejam de produção local e que tenham sido utilizadas múltiplas fontes de matéria-prima, designadamente argilas com origem em rochas vulcânicas da zona de influência de cada sítio arqueológico. No entanto, alguma cerâmica (de VNSP) poderá não ser local, mas sim ter sido adquirida a partir de uma rede de trocas regional ou mesmo inter-regional. The main objective of this multidisciplinary study is to characterize at textual, chemical and mineralogical levels ceramic samples from four Chalcolithic settlements in the Lisbon region, in order to determine if raw materials and production techniques have remained the same over time and if they are, or not, local productions trying, at the same time, to identify sources of the clay used in the pottery manufacture. To do so, a total of 149 ceramic shards from Vila Nova de São Pedro, Penedo do Lexim, Espargueira and Baútas were analysed, as well as 19 samples of sedimentary deposits (possible clay deposits) collected in areas of influence of each of the archaeological settlements. Textural analysis using optical microscopy of cross sections allowed the characterization of pastes and inclusions. Chemical characterization was undertaken using micro energy dispersive X ray fluorescence spectrometry, while mineralogical analysis was made using X- ray Powder diffraction complemented by petrographic microscopy in thin sections and Raman microspectroscopy for identification of non-plastic inclusions. Results suggest that production techniques may have remained similar throughout all the Chalcolithic period and the textural differences are mainly related to the different shapes and functions of the vessels. The mineralogical phases present suggest a firing temperature between 700 and 800 oC, in a very heterogeneous atmosphere, but mainly a reducing atmosphere and, although most of the pieces do not include temper, it seems to have been used a few times, mainly in the form of grains of quartz, calcite and chamotte. Multivariate analysis of the chemical and mineralogical data allowed to group the ceramics in some sets constituted by samples of different decorative typologies with different chronological- cultural phases. The results also suggests that the ceramics are locally produced and that multiple sources of clay, mainly clays with origin in volcanic rocks at the area of influence of each archaeological settlement, have been used. However, some ceramics (from VNSP) may not be local, but may have been acquired from a regional or even a interregional trade route.

A novel combined process of Cold Stamping (CS) and Hot Stamping (HS) with Quenching and Partitioning (Q&P) treatment applied to advanced TRIP-assisted steel has been conducted by thermomechanical simulation to evaluate the influence of CS or HS in the Q&P processing. With this purpose, Q&P, CSQ&P, and HSQ&P cycles were designed to obtain multiphase microstructures containing ferrite, martensite, bainitic-ferrite, and the maximum retained austenite (RA) fraction after the processes. The objective was to investigate the effects of the variables involving the heat treatments, such as the intercritical austenitization temperature, the isothermal and non-isothermal deformation, the amount of deformation, and the temperature and partitioning times, and to analyze their influence on the microstructural and mechanical responses. Time-resolved X-ray diffraction using synchrotron radiation was undertaken in a thermomechanical simulator coupled to the synchrotron light source to understand the influence of time, temperature, and strain on the level of carbon enrichment in austenite. In addition, the in situ austenite transformation kinetics and lattice parameter evolution were tracked, making it possible to optimize the RA fraction at room temperature after Q&P processing. The newly developed combined process is promising as the transformation-induced plasticity phenomenon during deformation can contribute to the formability and energy absorption. The results also indicate that the deformation of austenite promotes the ferrite transformation while suppressing the bainite transformation. It was possible to plot the results in an elongation-mechanical strength diagram, coupled to material property charts, also known as, ‘banana curve’, allowing us to identify and correlate the thermal or thermomechanical treatment conditions that led to an increase in ductility or strength according to the volume fractions of the resulting phases. Comparing the results for the HSQ&P treatments, it was observed that isothermal strains at higher temperatures (≥800 °C) are more advantageous to increase mechanical strength, while non-isothermal strains (starting at 750 °C) are suggested if the objective is the increase in ductility, with mechanical strength being slightly sacrificed.

We investigate the dynamics of a few bosons in an optical lattice induced by a quantum quench of a parameter of the many-body Hamiltonian. The evolution of the many-body wave function is obtained by solving the time-dependent many-body Schr&ouml, dinger equation numerically, using the multiconfigurational time-dependent Hartree method for bosons (MCTDHB). We report the time evolution of three key quantities, namely, the occupations of the natural orbitals, that is, the eigenvalues of the one-body reduced density matrix, the many-body Shannon information entropy, and the quantum fidelity for a wide range of interactions. Our key motivation is to characterize relaxation processes where various observables of an isolated and interacting quantum many-body system dynamically converge to equilibrium values via the quantum fidelity and via the production of many-body entropy. The interaction, as a parameter, can induce a phase transition in the ground state of the system from a superfluid ( S F ) state to a Mott-insulator (MI) state. We show that, for a quench to a weak interaction, the fidelity remains close to unity and the entropy exhibits oscillations. Whereas for a quench to strong interactions ( S F to M I transition), the relaxation process is characterized by the first collapse of the quantum fidelity and entropy saturation to an equilibrium value. The dip and the non-analytic nature of quantum fidelity is a hallmark of dynamical quantum phase transitions. We quantify the characteristic time at which the quantum fidelity collapses and the entropy saturates.

Las representaciones teatrales constituyeron uno de los ejes de la vida social de la España decimonónica, por lo que durante el siglo XIX se construyeron numerosos inmuebles que necesitaron, asimismo, de mobiliario, enseres y pinturas que configuraran un ambiente suntuoso. Muchas de estas pinturas fueron realizadas al temple de cola sobre lienzo. Un ejemplo de lo citado es la pintura del techo del teatro Vico de la ciudad de Jumilla en Murcia (España) (ca. 1883). Su estudio microanalítico ha revelado los materiales y la metodología de trabajo aplicados en su ejecución, característicos de la pintura decorativa del siglo XIX. Se ha constatado el uso de ciertos pigmentos producidos por la industria moderna europea, acompañados de otros más tradicionales, que entran dentro de la categoría de los pigmentos históricos. Asimismo, resulta destacable la identificación de carbonato cálcico, en forma de creta, en las preparaciones y en la capa pictórica.

The present study investigates and compares the vermilion red color changephenomenon in an oil painting executed on wood from the 18th century storedat the Archaeological Museum Store of Manial Palace Museum, Cairo and amural painting executed using Tempera from the Greco-Roman Period in adestroyed archeological house next to Medinet Madi Temple, (35kms far fromFayoum city). The vermillion red color may change to dark red, brown, orgrayish-white due to the exposure to the environmental conditions andpollutants, the common role of both light and chlorine as the main factors of reddiscoloration, some impurities in color components, as well as the dissolvedsalts and organic media used in painting. The blackness of the color wasdetected after doing an analytical study to identify the damaged products ofthe vermillion red using different methods of analysis (i.e. microscopy, X-raydiffraction, Energy Dispersive X- rays and Infrared). The change to gray colorin oil paintings due to the presence of the prokovite was associated withcinnabar. In the mural painting, it resulted from the conversion to blackhypercinnabar, not to the resin.

O aço inoxidável martensítico AISI 420 é muito usado na indústria de cutelaria em função da sua alta dureza, resistência ao desgaste e excelente resistência à corrosão, propriedades adquiridas quando este aço é submetido aos processos de tratamento térmico de têmpera e revenimento. Entretanto quando variáveis como temperatura de austenitização, tempo de encharque e velocidade de resfriamento são executadas de modo empírico ou de forma não controlada, resulta em problemas de desempenho do produto final. O objetivo global do presente trabalho foi estudar o efeito de diferentes temperaturas de austenitização e de revenimento, na microestrutura, propriedades mecânicas, resistência ao impacto e resistência à corrosão, sendo para isso, escolhidos dois aços inoxidáveis martensíticos AISI 420 produzidos pela empresa Aperam South America, cuja diferença entre os dois materiais está no teor de Carbono, onde o aço denominado internamente de P420D tem teor de carbono na ordem de 0,18% e o aço P420A tem teor de carbono em 0,32%. Os testes foram realizados através de tratamentos térmicos de têmpera e revenimento em escala laboratorial, em quatro temperaturas distintas. As amostras foram caracterizadas através de ensaios metalográficos, de dureza, ensaios mecânicos e de resistência ao Impacto. O aço P420A apresentou maiores valores de dureza que o aço P420D, onde o maior teor de Carbono do mesmo influenciou esta variável nas diferentes condições de tratamento. O aço P420A apresenta maiores valores de propriedades mecânicas que o aço P420D dado ao maior teor de carbono desta liga, contudo ambos os aços as propriedades de limite de resistência e escoamento aumentam à medida que se aumenta a temperatura de austenitização. Os aços apresentam melhoria dos valores de propriedades mecânicas quando são submetidos às diferentes temperaturas de revenimento. Os aços P420A e P420D apresentam baixos valores de energia de impacto quando somente temperados, entretanto o aço P420D tem uma melhora expressiva dessa propriedade quando submetido às temperaturas de revenimento. A resistência à corrosão melhora com acréscimo da temperatura de austenitização, porem o aço 420D apresenta melhores valores de resistência ao pite devido este ter menor teor de carbono que o aço P420A. AISI 420 martensitic stainless steel is widely used in the cutlery industry due to its high hardness, wear resistance and excellent corrosion resistance, properties acquired when this steel is subjected to heat treatment processes of quenching and tempering. However, when variables such as austenitizing temperature, soaking time and cooling speed are performed empirically or in an uncontrolled manner, this results in end product performance problems. The overall objective of this work was to study the effect of different austenitization and tempering temperatures on the microstructure, mechanical properties, impact and corrosion resistance. For this, two martensitic stainless steels AISI 420 produced by the company Aperam South America were chosen, whose difference between the two materials is in the carbon content, where the steel known internally as P420D has a carbon content in the order of 0.18% and the P420A steel has a carbon content of 0.32%. The tests were carried out through laboratory-scale quenching and tempering heat treatments at four different temperatures. The samples were characterized through metallographic, hardness, mechanical and impact strength tests. P420A steel had higher hardness values than P420D steel, where its higher carbon content influenced this variable in different treatment conditions. P420A steel has higher mechanical property values than P420D steel due to the higher carbon content of this alloy, however both steels' yield and strength limit properties increase as the austenitization temperature increases. The Steels show improved mechanical property values when subjected to different tempering temperatures. P420A and P420D steels have low impact energy values when as quenched, however P420D steel has a significant improvement in this property when subjected to tempering temperatures. Corrosion resistance improves with increasing austenitization temperature, but 420D steel has better pitting resistance values due to its lower carbon content than P420A steel.

The Al-Sadat House was established in 1070 – 1168 AH. / 1754 – 1659 AD. The architects used two degrees of blue pigments to decorate the house because blue was highly favoured by the Ottomans. Moreover, the Otto-mans used this to colour clothes, believing that it could prevent envy. Several methods of analysis were used, including the optical polarised light microscope (PLM), scanning elec-tron microscope coupled with EDX, X-ray Diffraction (XRD), and Infrared spectroscopy (FTIR) to recognize the blue color used in two layers. The results of the analysis indicated that there was a thick preparation layer of calcite, gypsum, and quartz. Moreover, the blue colors used are ultramarine in the first layer and cobalt in the upper layer and it was revealed a preparation layer of red lead minimum under the blue colours. Animal glue was used as a binding medium, which indicates using the mural painting in the tempera technique.

This article presents results from a binding media survey of 61 Romano-Egyptian paintings. Most of the paintings (51) are the better-known funerary mummy portraits created using either encaustic or tempera paint medium. Samples from all the paintings (on wooden panels or linen shrouds) were analyzed with gas chromatography/mass spectrometry (GC/MS) to identify waxes, fatty acids, resins, oils, and proteins in one sample. Analytical protocols that utilized three separate derivatization techniques were developed. The first analysis identified free fatty acids, waxes, and fatty acid soaps, the second characterized oils and plant resins, and the third identified proteins. The identification of plant gums required a separate sample. Results showed that fatty acids in beeswax were present as lead soaps and dicarboxylic fatty acids in some samples was consistent with an oxidized oil. The tempera portraits were found to contain predominantly animal glue, revising the belief that egg was the primary binder used for ancient paintings. Degraded egg coatings were found on several portraits, as well as consolidation treatments using paraffin wax and animal glue. The unknown restoration history of the portraits caused uncertainty during interpretation of the findings and made the identification of ancient paint binders problematic. Also, deterioration of the wooden support, residues from mummification, biodegradation, beeswax alteration, metal soap formation, and environmental conditions before and after burial further complicated the analysis. The inherent problems encountered while characterizing ancient organic media in funerary portraits were addressed. The fourteen museums that participated in this study are members of APPEAR (Ancient Panel Paintings: Examination, Analysis, and Research), an international collaborative initiative at the J. Paul Getty Museum whose aim is to expand our understanding of ancient panel paintings through the examination of the materials and techniques used for their manufacture.

The features of performing and the main directions of research on objects of forensic fine art examination, namely works of painting. It is noted that according to the performance technique, the painting is divided into oil, tempera, watercolor and encaustic painting (wax as a binder of paints). Proved the need to know the expert of the painting technology. It is important to distinguish the materials that served as the basis, since each of them has its own composition, structure and features, which tells on their properties, and this, in turn, affects the character and condition of all components of painting and, in particular, the colorful layer as the most defining feature. Different types of craquelure and its origin are considered. It is indicated that craquelure is formed under the action of various factors, and therefore it differs both in form, location-oriented disposition, and formation method.The criteria for determining the composition creation time and its authenticity are defined. It is noted that craquelure is one of painting authenticity features, therefore, on non-authentic composition, in order to pass them off as genuine, craquelure is formed by means of mechanical action that is fairly easy to recognize, or by means of painting technology violating. Considered the need for comprehensive research. It is proved that correspondence of an handwriting to the author handwriting in the signature is one of the most important features of composition authenticity which is determined according to the methods of forensic handwriting researches by the relevant specialists and it is performed as a comprehensive fine art and handwriting examination. Another of the most important authenticity features is the correspondence of the chemical composition of coloring pigments and their origin to the time of applicability and time of composition creation which is determined with the involvement of the appropriate specialists in while performing a comprehensive forensic fine art and chemical examination.

Unknown Journey, 1966, huile sur toile, 207 x 128 cm, Paris, Centre Pompidou - Musée national d’art moderne Image Centre Pompidou, MNAM-CCI La rétrospective Mark Tobey à la galerie Jeanne Bucher constitue un événement artistique en période de confinement. La clôture des lieux d’art a exempté les galeries, elle laisse surgir l’œuvre d’un des artistes majeurs de l’art américain du XXe siècle. Né en 1890 dans le Wisconsin et mort en Suisse, le peintre est un précurseur de l’abstraction expressi...

A small box, hitherto described as white lacquerware, currently displayed at the Chinese Pavilion, Drottningholm, Sweden, is an unusual example of artefacts imported from the Far East during the era of the East India Companies. By using microscopy for cross- and thin sections, X-ray fluorescence microscopy, attenuated total reflection Fourier transform infrared spectroscopy, and pyrolysis-gas chromatography-mass spectrometry, some of the specific characteristics of the box are described, and it was possible to differentiate original from more recent restoration material. Among other findings, the results suggest that white glue tempera is a better description, based on indications of calcium carbonate and protein, and support an earlier attribution of the box to an Edo period doll maker in Kyoto.

Diplomski rad bit će usmjeren na proučavanje slikarstva Vincenta van Gogha u svrhu istraživanja mogućnosti povezivanja njegova stvaralaštva s nastavnim sadržajima Likovne kulture u razrednoj nastavi. Rad će se sastojati od dva dijela. U teorijskom djelu ću se osvrnuti na slikarstvo na prijelazu iz 19. stoljeća u 20. stoljeće, više ću pozornosti dati van Goghu i njegovoj umjetnosti te analizirati neka njegova djela. S obzirom na razdoblja; razdoblje u Haagu, razdoblje u Parizu i razdoblje u Provansi. U teorijskom dijelu opisuje se i predmetni kurikulum iz Likovne kulture u svrhu traženja poveznica sa stvaralaštvom van Gogha, te se uspoređuje ulje kao slikarska tehnika kojom se služio van Gogh i tempera kao slikarska tehnika dostupna u školi. Drugi, praktični dio rada se odnosi na moje samostalno likovno istraživanje kojim ću osmisliti i izvesti više likovnih radova vezanih uz prethodno teorijsko istraživanje, te dati prijedloge za izvedbu likovnih zadataka za učenike na nastavi Likovne kulture u razrednoj nastavi. The thesis will be focused on the study of painting by Vincent van Gogh in order to explore the possibility of connecting his work with the teaching content of Art Culture in the classroom. The paper will consist of two parts. In my theoretical work, I will look back at painting at the transition from 19th to 20th century, pay more attention to van Gogh and his art, and analyze some of his works. Considering the periods; period in The Hague, period in Paris and period in Provance. The theoretical part also describes the subject curriculum in Art Culture in order to find connections with van Gogh`s work, and compers oil as a painting technique used by van Gogh and calcimine as a painting technique available in school. The second, practical part of the paper refers to my independent art research by wich I will design and perform several art works related to previous theoretical research, and give suggestions for performing art tasks for student sin the teaching of Art Culture in the classroom.

An investigation of the disintegrated mural paintings at the Hospice (Takiya) of Taqi Al-Din Al -Bistami dated back to (AH 847 / AD 1443) by various physicochemical techniques is presented. Deterioration phenomena such as cracks, loss in the preparation layers, colour changing, calcifications, salt efflorescence and soot were analytically studied. Analytical work was made to determine the origin of the archaeological used materials, such as, light optical microscope, SEM-EDX, X- Ray diffraction (XRD), Fourier transform infrared (FTIR). It is found two different preparation layers of a mixture of calcite, gypsum, and quartz. Red hematite and cinnabar, green malachite, yellow goethite and blue ultramarine were used as pigments. Identifying animal glue binder indicated that mural painting followed the tempera technique. The results of the research contribute to the conservation project of mural paintings.

The small panel of the ‘Crucifixion’ attributed to Giovanni (da Rimini) Baronzio is a perfect example of the artistic achievements of the so-called School of Rimini. Baronzio, active between 1320 and 1350, was one of the most important painters of a group of artists working in Rimini during the first half of the 14th-century whose work was heavily influenced by the work of Giotto di Bondone (1267–1337), characterized by Gothic and Byzantine influences. The panel, with an estimated date in the end of the 1320 s, represents a popular iconographic theme during this period and was painted in tempera and gold on wood. Non-invasive analytical approaches have revealed a rich history of interventions, re-touching and restorations, which allows for some interesting observations and considerations in regard to the work’s history. The applied analytical methods and the related art historical observations and interpretations are the focus of the present article. In order to avoid micro-sampling, a non-invasive methodological approach integrating spectroscopic (μ-X-ray fluorescence spectroscopy, Fourier transform infrared spectroscopy), imaging (UV, X-ray radiography, infrared reflectography) and digital microscopy techniques was applied. This study aimed at the identification of the work’s original materials and techniques, its state of preservation and the complex history of interventions. Results showed that while original materials of the painting conform with those used by artists in fourteenth century Renaissance Italy, there are multiple later interventions both as small-scale inpainting as well as extensive overpainting of various parts of the original Crucifixion composition. Careful consideration of these interventions can shed light to aspects of the panel’s history of preservation as well as on issues of stylistic or compositional ‘corrections’- always an interesting dimension of the changing perceptions of works of art through time.

International audience; Twelve rare watches with painted enamels, mostly produced in France, from the 17 th and 18 th centuries in the collections of Musée du Louvre in Paris were analyzed on-site in order to characterize the materials used in their enamels and the enamelling technique. All the watches were analysed by mobile Raman microspectroscopy and five of them were also analyzed by pXRF. Pigments (Naples Yellow pyrochlore, hematite, carbon, lapis lazuli, arsenic sulphide, manganese oxides), opacifiers (cassiterite, lead arsenates) and corresponding lead-rich glassy silicate matrices were identified by one or two methods. Similar to the oil painting or tempera techniques, different hues of the related enamels were obtained by mixing many colouring agents, rather than using 'pure' enamels as in the case of Limoges enamelled objects. Lead arsenate apatite detected in some of the 17 th century blue enamels is related to the use of European arsenic-rich cobalt ores, as also characterized in the blue (soft-paste) porcelain decors and high-quality Limoges enamels. The presence of colloidal gold (Au° nanoparticles) was indirectly detected by the Raman technique in the 18 th century watches and confirmed by pXRF. At least three types of Naples Yellow pigment were identified with Sb-rich, Sn-rich and mixed Sb-Sn-Fe-Zn compositions.

The purpose of the present study is to deepen our knowledge about the painting materials and technology characteristics of iconography during the Bulgarian National Revival. Our efforts have focused on studying the murals in the catholicon (main church) "The Nativity of the Virgin" of the Rila Monastery, which is one of Bulgarian leading historical monuments. A series of micro samples from the altar mural paintings were analyzed by a combination of attenuated total reflectance Fourier transform infrared (ATR-FTIR), micro-Raman spectroscopy, scanning electron microscopy energy dispersive X-ray spectroscopy (SEM-EDS), X-ray diffraction (XRD), thermogravimetric analysis (TGA) and Optical microscopy (OM). The data analysis showed that the painter's palette is made up of nine mineral pigments: smalt, chrome yellow, emerald green, vermilion, red lead, green earths, yellow ochre, sienna and calcite. The impression of rich colorful palette was achieved by using various pigment mixtures. The presence of egg binder in many paint samples suggested that the murals were executed by the traditional egg tempera technique, with the only exception of the smalt paint of the background where carbohydrate glue is present as binder.