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This article presents the results of the examination and restoration treatment of the stucco decoration of a lunette with the sculpture of Mars located in the Bučovice Château in southern Moravia. The sculptural decoration of the Château represents one of the pinnacles of Renaissance stucco art north of the Alps in the second half of the sixteenth century. A unique combination of materials and techniques was used in its creation. The figure of Mars is based on a re-purposed terracotta statue, finished with stucco, polychrome painting, gilding, and coloured glass inlays. The aim of the current restoration was to reduce an inconsiderate intervention from the 1950s and restore the original to an earlier historical form that corresponds to the artistic conception of the neighbouring statues and the rest of the decoration of the chamber. The restoration was based on an interdisciplinary analysis of the statue's original technique, material composition, and surface finishes, including gilding and glass inlays. A complex examination was undertaken as part of the larger project ‘Renaissance and Mannerist Stucco Art in Bohemia and Moravia.’ The intervention involved testing conservation methods, such as consolidating the ground layer, cleaning, removing overpaint and secondary gilding, and reintegrating missing terracotta parts and surface finishes. The choice of the method for retouching the gilded areas was of particular importance because it allowed the possibility to preserve the existing fragments of gilding and, at the same time, visually connect them as a whole. [ABSTRACT FROM AUTHOR]

To convey the content of Lime stuccowork carvings, artists have used encryption and symbolism and designed the carvings in a symbolic and stylized way, transmitting their message to the audience with the simplest design. The research method is Descriptive - analytical historical-comparative with a historical and comparative approach, which has been done through field investigation and library studies. Research questions are as following: 1. What motifs do the Lime stuccowork decorative elements include and what is the relationship between the motifs and the founders of the bathhouses? 2. From which sources the decorative arrays of the bathhouses are adapted? The results of the research show the employed decorative patterns consist of geometric, arabesque, vegetal, flower and vase, and animal and bird motifs. These decorative elements drew inspirations from nature, ancient beliefs, and archaism. Lime stuccowork has an important place among the decorative arrays of bathhouses. Due to the easy hammering of lime and its use as a resistant building material, it has been used in hot and humid areas of the bathhouse. The peak of this decorative art is related to the Qajar period. The use of plant, geometric and animal motifs, especially the image of birds such as peacocks and birds of paradise, has been used to decorate the main space of the Qajar bathhouses. What can be seen in the decorations of the Qajar era bathhouses is the evolved stage of the Lime stuccowork motifs and decorations of the Safavid and Zandiya periods. Some of the later motifs, such as arabesque and toranj, have evolved, but many others, such as Cedar motifs, lotus flowers, khatai, six feathers, and geometric motifs have their original shape. In addition to the decorative aspect, plant motifs in Qajar period arts are a symbol of omen, blessing, benevolence, fertility, immortality, and permanence of the kingdom. In the Qajar period, we see the growth and spread of images with literary and mythological themes that started from the Zandiyeh period. The presence of elaborate decorations in different spaces of the bathhouse shows the importance and status of the mansion owners. Mythological and symbolic animal motifs have been noticed in the decoration of the bathhouse walls. The use of a peacock in the Moshir Diwan and Sheikh al-Islam baths shows fertility and beauty, and the character of a goat shows being a leader. According to the social status of local judges, the lion is a symbol of power, and the sword in the hands of the lion and the talons of the eagle represent the administration of justice. The role of the lion, sun and sword in the decoration of these baths, as well as the use of balance and symmetry in most of its motifs, is probably related to the position of the builders of the buildings. [ABSTRACT FROM AUTHOR]

The calcareous materials used in constructing the Phaya Thon Zu temple at the Bagan historical sites in Myanmar are mortars, plasters, and stuccos. Among them, the mortars and plasters are a mixture of original and new materials used for recent conservation treatments. In this study, the making techniques were examined through analysis of calcareous materials by production period. All calcareous materials have a mineral composition similar to soil, except calcite. Stuccos have the most refined aggregates, homogeneous particle size, and the highest lime and organic contents. They were designed to improve ease of carving and weathering resistance, considering the unique characteristics of the stuccos. Because all calcareous materials were mixed with soil, the origin of the clay materials was analyzed. It was concluded that the mortars were produced by mixing clay and sandy soil, and the original mortars showed characteristics similar to soil. It is highly possible that sandy soil from around the Htillominlo temple was used to produce new plasters, and it is estimated that a mixture of clay soil was used for the original plasters and stuccos. A clear provenance interpretation of the original and raw materials used for each construction and the mixing ratio of clay materials need to be discussed through experiments, along with the estimated provenance area of the raw calcareous materials. [ABSTRACT FROM AUTHOR]

The article examines the use of relief sculpture on a building's exterior, terracotta, stucco and Coade stone in the Homeric friezes of Ickworth House in Suffolk, England. Topic discussed include influence of neoclassical style on British relief sculpture, materiality of the Ickworth reliefs and its role in the shift in British taste from Roman to Hellenic models, engagement of the reliefs with antique culture, and the Odyssean, Iliadic and athletic scenes depicted by the reliefs.

The project for the conservation of wall paintings, stuccoes and marbles decorating the entrance hall of Villa Ludovisi, now U.S. Embassy Rome, offered the possibility to scientifically confirm how significant features from the past were preserved and re-adapted to serve new purposes and fulfill modern needs, marking a decisive step forward in the path towards the enhancement and stewardship of this patrimony "in use." Moving from a reflection on the impact of the Venice Charter on today's restoration practices, the conservation project performed in 2021 by the Cultural Heritage Office addressed the necessities expressed by different stakeholders and solved challenges presented by the need to abide by modern building standards, while preserving the historic fabric and context. Compliance with local and international cultural heritage laws, through the continuing dialogue and collaboration between the U.S. Embassy and the SSABAP Rome, guided the process throughout. [ABSTRACT FROM AUTHOR]

• Building materials and construction technology in the Gian Lorenzo Bernini's extraordinary masterpiece in the Cornaro Chapel. • Holistic approach, between science and technology, through the use of multi-analytical and complementary investigations. • Reconstruction of the artist's executive technique, of the raw materials used and their state of preservation for future maintenance interventions on the building, with particular focus on the vault of the chapel. • Data evaluation to establish conservative intervention and monitoring. The scientific and multidisciplinary approach to the restoration of Bernini's Cornaro Chapel, at Santa Maria della Vittoria church in Rome, is reported as a fruitful example of the synergic cooperation between scientists and restorers for the planning and implementation of suitable conservative interventions. This study reports the cycle of scientific and diagnostic investigations carried out on the great Baroque masterpiece before the restoration started in 2020. Before the restoration, the technique of execution, the raw materials, and the state of preservation of Bernini's extraordinary sculptural cycle were scrupulously investigated with different and complementary analytical techniques on suitably selected micro-samples. Specifically, the original constituent materials were characterized, sometimes together with those resulting from decay processes or previous restoration interventions, through different techniques such as polarizing optical (OM) and fluorescence microscopy (FM), Electron Probe Microanalyses (EPMA) coupled with Energy Dispersive Spectrometry (EDX) and Fourier Transform Infrared Spectroscopy (FT-IR). Particular attention was paid to the frescoed vaulted ceiling of the chapel, enriched by scenes modeled in white stucco and gilding, to better understand the manufacturing as well as the accuracy adopted by Bernini in layering, investigating from the most superficial to the innermost layers. Scientific and diagnostic analyses were successfully performed to design the most convenient restoration intervention, to verify its correctness and ensure the use of non-invasive cleaning and conservative procedures. The results obtained from nine micro-samples, mainly composed of stucco and fragments of frescoes, contributed to dispelling the doubts raised by restorers, especially regarding the use of specific raw materials (notably the gilding, type of binder and aggregates, superficial patinas, etc.) and the presence of retouches in certain areas of the masterpiece, deriving from previous conservation interventions. The identification of these raw materials and the layering of the samples supported cleaning and restoration interventions through the use of suitable materials compatible with the originals. [Display omitted] [ABSTRACT FROM AUTHOR]

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• Early Medieval wall paintings from the Raetia Curiensis Region. • Application of non-invasive scientific methodologies for the documentation and analysis of wall paintings. • Detection of pigments in the crypt of the church of St Stephan in Chur in the transition period between Roman and Medieval time. • The painted stucco fragments from the church of St Martin in Disentis surprisingly indicated the absence of green and blue pigments. The Early Medieval wall paintings preserved in historical sites of the ancient Raetia Curiensis region (today's Swiss Canton of Grisons and parts of Northern Italy and Austria) provide a rare testimony of the art of this period. This contribution presents the results of the non-invasive scientific campaigns carried out in the churches of St. Stephan in Chur and St. Martin in Disentis/Mustér (Canton of Grisons, Switzerland). In the church of St. Stephan, the investigations were performed in-situ on the surviving wall paintings of the crypt and on several painted plaster fragments (crypt and upper church), while in Disentis a selection of painted stucco fragments was studied. All the painted surfaces were firstly examined with technical photography in visible, infrared, and ultraviolet ranges, followed by portable spectroscopic point analyses (i.e. HH-XRF, FORS, and FTIR). The findings revealed the composition of most pigments such as iron-based pigments (yellow and red ochres, green earth) and lead-based pigments (i.e., lead white and red lead). In addition, for the St. Stephan's site, the Visible Induced IR Luminescence (VIL) images combined with point analyses, allowed for the identification of Egyptian blue (EB). Furthermore, the presence of zinc in the wall paintings of the crypt of St. Stephan and the absence of this element in those referable to the upper church, suggested differences in the procurement of copper for the manufacture of EB. The presence of arsenic and lead in iron-bearing pigments detected in the wall paintings of the crypt and their negligible amount in those of the upper church, suggested that these pigments come from a different sourcing area. In the church of St. Martin, the use of different pigments for the execution of the incarnate of the figures, the extraordinary state of conservation of minium, and the absence of green and blue pigments are remarkable features of the stucco decoration paintings. [ABSTRACT FROM AUTHOR]

Copyright of Stratum Plus Journal is the property of P.P. Stratum plus and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper refers to the decorative art made in stucco sculptures in the Umayyad palace at Khirbat al-Mafjar, a significant example of early Islamic cultural heritage in Palestine and worldwide. Khirbat al-Mafjar represents the Early Islamic architecture and decorative art as distinctive identity of Umayyad arts and architecture and as cultural interaction. For this reason, it is recommended to highlight the uniqueness of the representation of humans and animals in Umayyad decorative art as well as the identity of this art resulting from the synthesis of native Islamic elements and imported ones: Coptic, Roman and Sassanid. [ABSTRACT FROM AUTHOR]

In this work, three formulations based on hydrated lime and eco-friendly additives of powdered brick, fly ash and silica fume were designed to improve repair mortars for historic lime-based stucco and building materials. The microscopic features, physicalmechanical behavior and the microstructure of the prepared mortars were evaluated before and after artificial ageing (by humidity/drying cycles and salt weathering). However, a significant mechanical enhancement was reported for the studied mixes, but the silica fume mix showed a notable failure after salt ageing. The fly ash mix revealed the highest bulk density ratio (1.172 g/cm3) compared to the lime and silica fume mixes. The silica fume mix recorded the lowest percentage of water absorption (35.56%) and apparent porosity (28.11%). Further, the silica fume mix yielded the highest dry compressive strength value (22.19 kg/cm2), with an increase reached 31% when compared to the standard lime mix. The results demonstrated that the fly ash mortar is more compatible for sustainable restoration procedures of historic lime-based structures in respect of the physical-mechanical properties. [ABSTRACT FROM AUTHOR]

Adding a reinforced stucco layer to the masonry infill walls is a preferred method for strengthening RC frame system structures with an easy-to-apply method that does not require a long time, is economical, and does not require detailed and extensive workmanship. However, no research has been discovered as a result of the extensive literature review that investigates the effects of masonry-infilled RC frames strengthened with a reinforced stucco layer on the seismic performance of openings that must be due to architectural requirements such as doors, windows, installations, and similar ventilation systems. As a result, an experimental study was planned to investigate the effects of the dimensions and location of the opening in the masonry infill walls on the performance of the strengthening method with the reinforced stucco layer. The applied strengthening method increased the ultimate load capacity, initial stiffness, and energy dissipation capacity values of reinforced concrete frames with masonry infill walls by 83%, 226%, and 62%, respectively, but resulted in a 38% decrease in displacement-ductility ratios. The study found that the openings in the masonry infill walls harm the performance of the strengthening technique by adding a rebar-reinforced stucco layer and decreasing the success level. When the opening size increased, and the opening was located at the corner of the masonry wall, the performance of the applied strengthening technique was negatively affected and decreased. Furthermore, nonlinear numerical analyses of the experiments conducted as part of the study were performed using ABAQUS finite element software. The numerical analysis results were compared to the experimental results. It has been determined whether numerical analysis models are compatible with experimental results. [ABSTRACT FROM AUTHOR]

This paper presents the results of the mineralogical, petrographic and chemical study of different archaeological samples related to terracruda sculptures and other elements that were part of the architectural decoration of the Buddhist sites of Tepe Narenj and Qol‐e‐tut (Kabul, Afghanistan; fifth to 11th centuries CE). The main objective of the study was to characterize the samples using an archaeometric approach. The study helped to better understand the materials involved in the modeling of Afghan sculptures and their processing, such as the different nature of the clay layers and the finishing 'stucco' coating. The results further indicate that similarities exist among the manufacturing process of the studied samples and that used today by an ancient caste of clay artists in West Bengal (India), suggesting the existence of a continuous technological tradition that deserves to be further explored in the future. [ABSTRACT FROM AUTHOR]

Architectural and museum stucco belonging to several civilizations are suffering from microbiological deterioration aspects. Several types of laser, gamma rays and natural plants extract were performed to assess their suitability and sustainability for inhibition of fungal deterioration in stucco models. The Fourth Harmonic of Nd: Yag266 (power density= 71 mW/cm²) is the most potent type in inhibition of fungi in a least time for exposure (20: 30 minutes). Irradiated A. parasiticus stucco mockup confirmed that results. The use of ND-YAG Laser 266 nm (Power density= 7.03× 108W/cm²) was effective in eliminating fungi from stucco models without damaging its surface and preserving the patina layer. The time required to clean 1 cm² of flat parts of the stucco mockup is 8: 10 min and for 1 cm2 of sunken parts whose depth is 3 mm is 15: 20 min. Gamma ray was successful in elimination of the total tested fungi at the rays level of 750 Kr, without any effects on stucco models. The inhibitory mixture of seed extract of neem and thyme (1:1) was effective in inhibition of fungal infection. The result of the monthly follow-up for a period of six months indicated that the fungal growth appears at the end of the fifth month with a heavy growth within the sunken places and represented by A. niger, A. flauvs and A. flavipes, in a ratio of 34:19:1. [ABSTRACT FROM AUTHOR]

Copyright of Mainfränkisches Jahrbuch für Geschichte und Kunst is the property of Freunde Mainfraenkischer Kunst und Geschichte e.V. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Conservar Património is the property of Associacao Profissional de Conservadores-Restauradores de Portugal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Jumeirah (Dubai) is one of the most important sites for the understanding of the Abbasid period in eastern Arabia. At the same time, it is severely understudied and the small number of publications available on the subject situates Jumeirah on the margins of academic debate about the region in the Islamic period. This paper aims to prompt discussion on Jumeirah by presenting an overview of the site, a summary of archaeological research and a preliminary study of the typology of stucco decorations. Some issues regarding problems with the reconstructions and renovations of the buildings are also raised. The study of stuccoes contributes to a better understanding of the site’s chronology, indicating its main phase of occupation to the Abbasid period and the possible existence of an earlier, pre-ninth or early ninth century phase.

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Builder (1896-0642) is the property of PWB MEDIA Zdzieblowski sp.j. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Portuguese artistic production of stucco is part of a long tradition of decorative techniques that form part of a shared visual and cultural legacy in southern Europe. However, little is understood of local idiosyncrasies within this legacy. By focusing on stucco artworks in the peripheral area of Alentejo, away from the cultural capitals of Europe, this article explores the emergence of an original and distinct formal and functional interplay over the course of several centuries. This article re-evaluates the morphologies of Alentejo's stucco sculptures and assesses the degree to which such morphologies express common artistic practices and constitute a distinct art form. Finally, the article identifies the deleterious ramifications that have arisen from such considerations not being taken account of during the conservation of these works. [ABSTRACT FROM AUTHOR]

This study focuses on the magnificent decoration of a painted and gilded wooden panel with signs of fungal biodeterioration caused by Aspergillus species in the Mausoleum of Sultan al-Ashraf Qaytbay, Cairo, Egypt. Numerous spectroscopic analyses and investigation techniques, including Scanning Electron Microscope Equipped with Energy Dispersive X-ray analysis (SEM–EDX), Fourier Transform Infrared analysis (FTIR), and X-Ray Diffraction (XRD) have been used to study the materials that comprise this painted and gilded wooden panel composition. Aspergillus niger, A. flavus, and A. terreus were recognized as isolated fungi, and their accession numbers are OQ820164, OQ820163, and OQ820160, respectively. The findings showed that the wooden support is of pinewood (Pinus halepensis), the white priming layer on top of the wooden support was identified as gypsum, the blue paint layer has been proposed to be Azurite, Au (gold) was the primary composition of the gilding layer, while Pb (lead) was detected in some spots, suggesting the use an alloy of gold with lead, and finally, animal glue was the bonding medium. Based on these findings, mimic samples with identical substrates and structural components have been designed, and the biodeterioration signs by the growing of the three Aspergillus species—A. niger, A. flavus and A. terreus were evaluated via SEM and color change. However, A. niger was discovered with density growth on surfaces of pinewood, gypsum, and Azurite and with less growth on the gilding layer after 6-month incubation. This contrasts with A. terreus and A. flavus, which had greater density growth on Azurite and stucco than on pinewood and less growth on the gilding layer. The used analytical methods with detailed analyses revealed the novelty and significant future aspects of the conservation of the painted and gilded wooden panel. Particularly given that this location is used for prayer and is crowded with people five times a day, which increases the accumulation of fungi and negatively affects both the historic Mosque and the worshippers' health. [ABSTRACT FROM AUTHOR]

Anahita, a prominent Zoroastrian goddess, has always had importance status and widely revered during the Sassanian period. In the present research, relying on the studies of Sassanian bas-reliefs and stuccos, an attempt has been made to study the role of this goddess in Sassanian art. The results of this research clearly indicate that Anahita, among the other Zoroastrian deities, has always had a valuable place in those eras because she was thought to offer wisdom to those who revered her. Personification and depiction of the goddess Anahita in human icons in Sassanian bas-reliefs and stuccos were an attempt by the Sassanian emperors to legitimize their rule. [ABSTRACT FROM AUTHOR]

The paper presents the influence of impurities and alloying elements on the properties and characteristics of aluminum sheets. The researches were carried out on the Stucco aluminum sheet with dimensions of 120 × 50 × 85 mm, used to make billboards, roofs, containers, films, kitchenware, chemical equipment, vaporizers for refrigerators, etc. The sheet is made of non-alloyed aluminum, according to the EN-AW 1050 standard and belongs to the 1xxx class. The sheets have a high percentage of aluminum in their chemical composition, approximately 99.5%. The aim of the work was to subject the samples from this type of material to mechanical tensile stress and to measure their modulus of elasticity. [ABSTRACT FROM AUTHOR]

Architectural stucco carvings suffer from many aspects of deterioration due to environmental corrosion factors, especially moisture. Moisture is the key factor for the establishment and spread of fungi within the stucco granules, and it leads to the surface decomposition and fall of the stucco surface parts near the end of the incubation period. Analyses and investigations have been conducted on the stucco material, including XRD and ESEM-EDX analyses. As the main stucco component, Gypsum is occasionally replaced with a Hemi-hydrated phase, such as bassanite in one sample, in addition to traces of halite, calcite and silicates. Relative humidity, temperature and fungal infection were monitored to assess their interrelationship and impact on stucco deterioration. Isolated fungi were identified and tested for their ability to grow on mockups with the same components of examined archaeological stucco. Eventually, moisture and salinity are expected to activate specific physical and chemical reactions and fungal growth, which facilitate dullness, brownness, blackness and the biodeterioration of stucco surfaces.

The Greco-Roman stucco masks are of great historical, artistic and religious importance. According to the restoration-conservation strategies, the detailed mineral characterization of artifacts is an important step that facilitates the selection of appropriate restoration procedures. Different characterization techniques such as USB digital microscope, scanning electron microscopy-energy dispersive X-ray analysis, X-ray diffraction analysis (XRD), thermal analysis (DTA/DTG), Fourier transform infrared and micro-Raman spectroscopies were used. The results indicated that gypsum is the main component of the stucco mask. As well, calcite was found as an impurity or an addition together with halite and anhydrite as deterioration products. The iron nail corrosion was the reason for a notable discoloration to the stucco mask. FTIR analysis confirms that animal glue is the adhesive material used for the reassembly of the mask. The used pigments for painting the mask are hematite for red-orange color, mixture of hematite and magnetite for brown color and mixture of gypsum and hematite for the white brown color. [ABSTRACT FROM AUTHOR]

The mausoleum of Pir-i Bakran (1298–1313) is an exceptional Ilkhanid monument, which exemplifies different types of architectural decoration. These rich and exuberant revetments have been subject to extensive research: scholarly concern with the mausoleum focused on the distinctions between the monument's numerous constructive and decorative phases and its stuccos, wall paintings, and applied stuccos. However, the mausoleum was originally also decorated with tiles in lustre, moulded and glazed, Lajvardina and glazed media, which were removed from the mausoleum at an early stage. This paper dedicates its attention to this less well-studied aspect of the monument: art history research and work in museum collections support the suggestion that tiles (in lustre, moulded and glazed, Lajvardina and glazed media) in museum collections, may originate from the Pir-i Bakran mausoleum. Some of these tiles comprise animate elements (birds, such as cranes and phoenixes), which require an explanation of their meaning within the religious and funerary structure contexts. The Pir-i Bakran mausoleum appears to be one of the most southerly, though not the most remote, monuments with revetments containing animate imagery and lustre tile decoration. The research provides a new insight into the circulation of ideas and artistic exchange within the Iranian plateau. [ABSTRACT FROM AUTHOR]

This article is a case study of museum premises at the Museum of King John III's Palace at Wilanow (Warsaw, Poland), wetted as a result of a failure of the water supply system to the air conditioning unit located in the attic of the building. As a result of flooding, discoloration and cracks appeared on the plaster and stucco decoration of the ceiling, located mainly in the central part of the ceiling of the King's Library. The paintings (plafonds) mounted on the ceiling of this room also became damp. The article analyzes the microbiological contamination of air and damp paintings in the context of promptly proceeding with the drying of damp building partitions. The obtained results of microbiological air pollution in the flooded rooms were significantly lower than the permissible values recommended by Interdepartmental Commission for Maximum Admissible Concentrations and Intensities for Agents Harmful to Health in the Working Environment. In the King's Library, i.e., the room with the dampest plaster and stucco as a result of the accident, the concentration of mold spores in the air was only 15 cfu/m3. This means that the immediate commencement of intensive drying of the building partitions (walls, ceilings with wooden floors) brought very good results. The rapid reduction in the moisture of the building partitions contributed to the worsening conditions for the development of microorganisms, which can have an adverse effect on wooden building partitions, plaster, stucco, etc. [ABSTRACT FROM AUTHOR]

Copyright of Athar alrafedain is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

At the midstream of drywall production, gypsum raw material is calcinated to make stucco, which contains not only calcium sulfate hemihydrate (the desired constituent), but also gypsum (under-calcinated), soluble calcium sulfate (over-calcinated), and insoluble phases. Here, we propose a quantitative phase analysis that measures the amount of all calcium sulfate phases in the stucco mix. The phase content was calculated using calcination mass loss and hydration mass gain of original, semi-hydrated, and fully hydrated samples. The proposed uncomplicated sample preparation and conventional measurement routines make it an excellent on-site quality control measure in an industrial setting. [ABSTRACT FROM AUTHOR]

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The fresco technique performed with slaked lime putty as binding material has been well known since Antiquity. However, the geochemical processes that occur on the surface have been generally described as part of the carbonation process of the intonaco itself. When approaching this technique from experimental archaeology, it has been observed for the first time that during the execution period (from 0 to 20 h, approximately) the processes occurring on the surface of the stucco are different from those occurring inside. Furthermore, these processes lead to the formation of an epigenetic film of specific texture, stiffness and compactness. This study investigates the formation and evolution of this surface film using a series of slaked lime putty stucco test tubes. Samples were extracted at different intervals and subsequently analyzed by polarized optical microscopy, scanning electron microscopy, and Fourier transform infrared spectroscopy. Results indicate that the development of the film, composed of an amorphous gel-like stratum and a micro-crystalline stratum, occurs in parallel to the carbonation occurring inside the stucco. Moreover, this process does not respond to the classical geological processes of calcium carbonate formation. It was also observed that its presence slows down the carbonation in the underlying strata (intonaco, intonachino, arriccio, etc.) and that the surface becomes more crystalline over time. The identification of this film has implications for the field of the conservation–restoration of fresco paintings and lime-based wall paintings. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ge-Conservación is the property of Instituto del Patrimonio Cultural and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Current scholarship on the role of Islamic art in the formation of Norman Sicilian material cultures argues for the importing of artistic traditions from Fatimid Egypt. This Palermo—Cairo axis overshadows the cultural ties that linked Sicily with nearby Ifriqiya (modern-day Tunisia and Algeria), narrowly separated by the Strait of Sicily. This article explores the epigraphic and visual ties between Sicily and Ifriqiya through extant Kufic epigraphs. It presents for the first time the inscriptions of the Santa Maria di Terreti Church near Reggio Calabria, Italy, and the San Giovanni degli Eremiti and Santa Maria dell'Ammiraglio churches in Palermo, Sicily. Previously dismissed as pseudo-Kufic, these fragments preserve true texts whose ornament and epigraphy correspond to the visual traditions of Zirid Ifriqiya. They offer an alternative perspective to the notion of cultural discontinuity that has guided recent research on the arts of Norman Sicily, instead pointing to medium-specific continuity bridging pre-Norman and Norman rule. [ABSTRACT FROM AUTHOR]

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Copyright of Opus (2532-7747) is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Opus (2532-7747) is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gandharan art developed in the Himalayan area in the early centuries CE. It has been investigated mostly from an iconographic point of view, missing, until very recently, a systematic technical investigation of materials and techniques. Recently our team began performing chemical analyses of the traces of the polychromy originally covering statues, reliefs and architectural decorations, to discover the ancient painting techniques and artistic technologies. This paper presents the results of the analytical investigation (optical microscopy, Raman spectroscopy and gas chromatography coupled with mass spectrometry) of pigments, ground layers and binders of a new group of samples taken from stucco architectural decorations (2nd–3rd/4th centuries CE). The samples were collected directly at an archaeological site in the Swat Valley, ensuring the exact knowledge of their stratigraphic provenance, as well as the absence of any restoration treatment applied prior sampling. The results are discussed in the wider context of Gandharan polychromy investigated so far by our team, as found in sculptures and architectural decorations preserved in museums (in Italy and France) and in archaeological excavations in Pakistan. The aim of this research is to shed light on the materials and techniques of this Buddhist ancient art from this region and on the influences exerted on it from Eastern and Western artistic traditions.

Semiconductor fabrication involves hundreds of process steps through various manufacturing tools. These processing steps are composed of many manufacturing and inspection steps. Inspection is an important step in the fabrication process to determine whether a process is in or out of control. Abrupt manufacturing or inspection tool excursion can lead to a serious low yield problem. Although commonality analysis is a proven tool for detecting abrupt tool excursion, it has gained only limited success in detecting manufacturing tool excursion outside of inspection tools. Compared with manufacturing tools, only a small number of lots or wafers pass through inspection tools. Therefore, it is difficult to construct a sufficient lot history log for inspection commonality analysis in contrast to that of manufacturing tools. Furthermore, inspection may stress a wafer during its own processing, therefore, the target wafer is changed sequentially or randomly. Accordingly, a lot history is apt to include missing traces, which hinders finding inspection tool excursion effectively. In this paper, we propose a comparative analysis framework for commonality analysis algorithms. Performance measures are suggested. To compare the performance of the algorithms effectively, we use a synthetically generated dataset in a simulation experiment. In addition, we apply the algorithms to a real problem that occurred in the fabrication process. Our proposed algorithm demonstrates superiority over the other commonality analysis algorithms in the experiments. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)