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Linet Sanchez creates miniature buildings and rooms she then documents through photography. These fictitious spaces are photographed to appear realistic and monumental in scale. Before knowing this, though, viewers can project their memories and lived experiences onto these constructed environments, influenced by Sanchez's use of materials, lighting, and perspective. However, the illusion is not perfect, and the longer one engages with the art, hints emerge about its artifice. The way viewers interact with these photos emulates how information and memories can be misconstrued and re-presented as real. [ABSTRACT FROM AUTHOR]

This article publishes for the first time a Sahidic parchment leaf containing portions of Gal 1.4–9. Its main interest lies in the omission of the possessive in Gal 1.4d, which reads 'God the Father' as opposed to the mainstream 'God our Father'. Two possible explanations are proposed: scribal error or translational assimilation, involving the more complex question of the relationship between the Coptic and Greek versions. Beyond the biblical textual criticism, this article also adds to the study of miniature codices. [ABSTRACT FROM AUTHOR]

Part-set cuing facilitation and impairment effects are rarely found in spatial memory, which is a challenge to the theories of part-set cuing effects based on lexical stimulus. This study aims to investigate whether there part-set cuing facilitation and impairment effects are present in spatial memory by constructing two types of memory scenes with high and low degrees of interitem associations, achieved by manipulating the presentation of miniatures. This study examined the effects of different part-set cues on free recall, recognition, and reconstruction tasks. The results of two experiments revealed that matrix cues impaired the performance of three recall tasks in memory scenes with a high degree of interitem associations, and scene cues facilitated the reconstruction performance (Experiment 1). Conversely, in memory scenes with a low degree of interitem associations, the impairment effect of matrix cues was not observed in the three recall tasks, but scene cues still facilitated the reconstruction performance (Experiment 2). These findings supported the retrieval strategy disruption hypothesis, the two-mechanism and the multi-mechanism accounts, demonstrating the significance of interitem associations in spatial memory. Furthermore, the results provided direct evidence for the importance of the encoding-retrieval strategy matching principle in spatial memory tasks., Competing Interests: The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest., (Copyright © 2024 Zhao, Hou, Sun, Gao and Han.)

For 500 years, the work of the Horenbout family of Flemish artists at the Tudor court (fl. 1522–1548) has played a supporting role in art histories. Foundational in the creation of the English miniature tradition and initiators of repetitive portraiture employed as a political tool, they have taken a back seat in the literature both to contemporaries like Hans Holbein and to those who came after. Yet the Horenbouts—paterfamilias Gheraert, daughter Susanna, son Lucas, daughter-in-law Margaret—were principal players in the visual campaigns of propaganda and self-promotion undertaken by Henry VIII, his successive queens, Cardinal Wolsey and the 5th Earl of Northumberland. Creators of many of the images and symbols that became the common currency of Tudor identity, the Horenbouts were the starting point for the emerging mask of royalty, the way in which the Tudor monarchy presented itself visually to the world. By analyzing and contextualizing a set of diverse works, some attributed to the hand of “Horenbout”, others that should be added to the catalogue, this paper examines how the family workshop created representational change, moving Tudor art from the medieval to the modern, and in the process identifying a broader pool of patrons than has yet been recognized.

Este trabajo tiene como principal objetivo demostrar que existe una conexión entre el auge del coleccionismo a finales del siglo XIX y principios del XX y el desarrollo de la historia del arte como disciplina académica. Nos hemos centrado en la miniatura-retrato, dado que se trata de una materia poco estudiada en España, pero que, en cambio, ha tenido gran presencia en las colecciones privadas. Las miniaturas y los pequeños retratos revelan usos de la imagen altamente significativos para la historia cultural de las épocas moderna y contemporánea, por lo que también hemos querido definir este ámbito de investigación. Para ello hemos realizado un análisis pormenorizado de la bibliografía existente, remontándonos a las obras publicadas en el siglo XIX hasta los trabajos más recientes, tanto españoles como extranjeros, subrayando el valor de los planteamientos interdisciplinares de la investigación actual. Miniatures and small portraits are highly significant to the cultural history of Modern and Contemporary periods. We have focused on portrait miniature, due to the lack of research on this area in Spain, even though miniatures had been deeply appreciated among private collectors. With the aim of attempting the state of the art, we have carefully analysed a variety of bibliographical references, starting with the first studies dated from the 19th century, finishing with the more recent ones, by Spanish and foreign authors. It is worth mentioning that, today, researchers are following an interdisciplinary methodology that we consider highly enriching.

This article contains the analysis of Bunin`s short prosaic works like “The Rose of Jericho”, “The Saints' Day”, “Penguins” written in his immigration during the 1920s. They are all grouped under the topic of the lost Motherland and memories of it that are revealed originally in each story with the help of the complicated combinations of genre and narrative strategies. “The Rose of Jericho” contains the fable component, which merges with the lyrical plot defining the outstanding specificity and the wide variety of symbols in this short story. The outstanding tension of the plot is created by merging the exact meanings with symbols, unveiling in the complex associative relevance of the key image with different realities contained in the character`s mind. Semantic concentration is reached by associative, allegoric and symbolic reference to historical and biblical events as well as intertextual dialogue permeating all the Bunin`s works. “The Saints' Day” relies on the scenic concept of composition, based on a non-chronological storytelling. The richness of the textures, abundance of bright details and the use of present tense verbs create the effect of the “absence of time”, a feeling of a family holiday that is now and here. In “Penguins”, a dream-related style is perfectly combined with the travelogue genre and cinematic plot development. The rules of the genre are followed and the narrator balances between expressing feelings and describing the things seen during the journey — creating a very specific traveler`s view. This miniature is the quintessence of Bunin`s tragic experience. One of the key topics in this story is Pushkin who is «gone» — the dead Pushkin. It is directly related to the end of the story turning the national catastrophe into an international and even global one.

Viking Age Scandinavians manufactured an impressive array of miniature objects that could be worn on the body as pendants, clothing appliques or pins. Many of these items resembled full-sized weapons commonly used by warriors in Northern Europe and beyond. This article sets out to investigate the complete corpus of so-called miniature swords from the ninth and tenth centuries typically made of copper alloy and silver. The majority of miniature swords have been discovered in the course of amateur metal detecting, but some examples come from more 'secure' contexts, such as graves and settlement sites, which allow linking them with particular people, places and social practices. The article discusses the history of research on miniature swords, situates them in the context of other small-sized militaria (axes, spearheads and shields) and examines their different forms, function and symbolic content. [ABSTRACT FROM AUTHOR]

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) 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.)

A tanulmány az Athós-hegyi Iviron 463-as jelzetű kétnyelvű (ógörög-ófrancia) bizánci kézirat különféle rétegeinek (ógörög főszöveg, miniatúrák, lapszélen szereplő ófrancia fordítás, ófrancia címsorok) összefüggéseit vizsgálja újabb megközelítésből, korábban nem vizsgált szempontok bevonásával: a miniatúrák és az ófrancia szövegben szereplő piros tintával kiemelt címsorok közötti kapcsolat feltárásával. A tanulmány a Barlám-regény görög változatait megőrző kódexek – ivironi kézirat szempontjából fontos – magyarázó címeit is áttekinti, a kéziratok közötti közös elemeket vizsgálja. Az elemzés az ivironi kódex készítésének körülményeivel kapcsolatban újabb fontos összefüggésekre világít rá. The study examines the relations between different aspects (Ancient Greek main text, miniatures, Old French translation on the margins, Old French headlines) of the manuscript Iviron № 463, which is a bilingual (Ancient Greek-Old French) Byzantine manuscript kept on Mount Athos, from a new perspective by including formerly not investigated viewpoints: by exploring the relationship between the miniatures and the headlines that are highlighted by red ink in the Old French text. The study also mentions the explanatory inscriptions in codices that preserved the Greek versions of the Barlaam-romance and are relevant in connection with the Iviron manuscript, furthermore, it investigates the common features of the manuscripts. The analysis reveals new important relations regarding the circumstances of the creation of codex Iviron. [ABSTRACT FROM AUTHOR]

During the sixteenth century, along with the rise of the Mughal Empire, the social landscape of India changed drastically with the advent of the European colonial powers. In 1580 CE, following the First Jesuit Mission to the Court of Emperor Akbar, a new cross-cultural dialogue was initiated that not only impacted the socio-economic and political fabric but also the artistic productions of the time. The growing presence of the European traders, ambassadors, soldiers, and missionaries in the Mughal world also lead to several curious narratives that were widely circulated. These tales also gave birth to cultural misconceptions as the Europeans on several occasions were seen as social evils. They were often collectively addressed as Firang/Farang or 'Franks' and were perceived as 'strange and wonderful people' or 'ajaib-o-ghara'ib'. It was during the Mughal reign when for the first time in Indian visual culture, a conscious attempt was made to document the life and customs of the European people. This paper attempts to understand how the processes of cultural alienation and Occidentalism had influenced the representation of Europeans in Mughal miniatures. It also argues how Mughal artists innovate new iconographic schemes to represent and perpetuate a sense of the 'other'. How artists used these identity markers to establish notions of morality as well as of Islamic cultural superiority. The select illustrations also attempt to elucidate how these representations of Europeans were culturally appropriated and contributed to the Mughal 'fantasy excursions'. [ABSTRACT FROM AUTHOR]

Copyright of Al-Academy 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.)

Copyright of Annals of Cultural Studies / Roczniki Kulturoznawcze is the property of John Paul II Catholic University of Lublin, Institute of Cultural Studies 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 Floreffe Bible is a two-volume bible now housed in the British Library (Add MSS 17737 and 17738). It is a wonderful example of the complex relationship between text and image and between the sophisticated interplay of exegesis and imagination. This study explores the interspatial, intertextual and interactive aspects of a hole in the parchment on folio 180r/v. The hole both illustrates the text which surrounds it and to provides a portal or aperture into the text below possibly providing the viewer/reader with an opportunity to recreate a miracle of Christ by quite literally touching his garment. Likewise, once the folio is turned another intertextual and interspatial opportunity is provided by the aperture. This unusual situation demands considerable understanding of both the process of making the book and the possibilities of interacting and reading the text and contributes to our understanding of the truly sophisticated handling of text and image in the makers of the Floreffe Bible. This manuscript is infused with typological and exegetical richness, inviting the reader the explore the opening in the text, not only through sight but touch. [ABSTRACT FROM AUTHOR]

The Inca metalwork collection held at the Musée du quai Branly - Jacques Chirac (Paris) developed in the 19th century through the activities of varied travelers and collectors. The formal, stylistic and material variety of the miniature figurines in gold, silver and copper raises questions about their cultural attribution and in some cases their authenticity. Their contextual study, as well as the analysis of their typological, technological variety and material composition, provide us with information on the production of these figurines during the Inca period, and during the periods following the Spanish conquest, from the 16th to the 19th century.

Sumptuary gold and silver funerary objects from the Moche (100-800 A.D.), Sicán or Lambayeque (750-1375 A.D.), and Chimú (1200-1450 A.D.) cultures that developed on the northern coast of Peru, have been studied at different moments and from different perspectives: archaeological, technological, ethnological and iconographic. The excavations of Moche and Sicán archaeological elite tombs over the last decades along with interdisciplinary studies on Andean metallurgy have helped to understand the iconography and its context. The huge number of studies on these two cultures contrasts with the lack of documents on elite sumptuary objects from Chimu’s tombs. This article shows through the analysis of the iconographic scenes and icons represented on Chimu´s silver beakers (keros) and discs the iconographic continuities and discontinuities among the three northern metallurgical traditions. This study also allows a better understanding of the relationship of miniatures to full-size objects.

Even though presiding over a large transatlantic empire from the 15th to the 19th centuries, Portugal remains relatively unknown, particularly in regards to miniature painting. Nevertheless a few testimonies prove this art form was practiced from the Renaissance onwards. After a period under Spanish rule, during which « small portraits » on copper influenced by Spain and Flanders prevailed, miniature painting on ivory became fashionable in Portugal during the last third of the 18th century, under French and Italian influence. Then, thanks to the Portuguese, it arrived in South America. Its development continued in Brazil from 1808 to 1821, when the royal court of Lisbon, fleeing the armies of Napoleon, settled in Rio de Janeiro.

Европейская графика, как и все изобразительное искусство, всегда стремилась к станковости, к максимальному освобождению от пут прикладничества (Вильям Моррис с его идеями внедрения искусства в промышленность – редкое исключение). Станковая графика в Европе так и называется «Freigraphik», то есть свободная, вольная графика. Русское искусство, напротив, долго оставалось в рамках восточных традиций декоративной двухмерности. Только после реформ патриарха Никона русское изобразительное искусство бросилось догонять «западный прогресс», давно устремившийся к веризму и фотографии. Именно плоскостной подоплекой русской графики и объясняется популярность в России гравюры на дереве. Ксилография, даже репродукционная, имитировавшая в XIX веке фотографическую трехмерность, упрямо вцепившись в плоскость листа, не давала разыграться духу станковости. Начало XX века вернуло ксилографию на плоскость листа, а эстетику репродукционной гравюры сочло безнадежным анахронизмом. Художник – гравер или резчик, столкнувшийся с технологическими особенностями гравирования на дереве, поневоле умнеет как художник, выбирая оптимальный путь достижения цветовой и линейной выразительности. Европейское книгопечатание целиком обязано гравюре на дереве. Подвижные литеры суть маленькие гравюры на дереве, ныне отливаемые в металле, но бывшие когда-то вырезаемы на единой доске. Еще один пример упрямого устремления ксилографии к утилитарности – это попытка уже в XVI веке употреблять ее как репродукцию живописи. В статье упоминается об изобретении кьяроскуро Уго да Карпи. Следует обратить внимание на то, что именно прикладники – ювелиры, витражисты и архитекторы XVI века широко использовали ксилографию как средство репродуцирования и широкой популяризации своих идей и изобретений. Удивительно, что эти гравюры-чертежи в наше время воспринимаются как чисто станковые произведения. Многие из авторов этих гравюр упомянуты в публикации. Художники нашего времени заметили, что гравированная или нарезанная доска гораздо красивее оттиска с нее. Это явление натолкнуло на мысль украшать громадными ксилографиями интерьеры. Так ксилография вторглась в архитектуру. В этом и состоит парадокс: ксилография большого формата, казалась бы, должна быть идеально станковой, но нет, она сохраняет за собой функции прикладничества.

Illuminated manuscripts are, in general, the final products of a wise and complex interaction of different competencies. In particular, each manuscript reflects uses and techniques rooted in the historical and geographical traditions of the area of realization. Defining the characteristics and the materials in these valuable artefacts is an essential element to reconstruct their history and allow a more precise collocation and a possible comparison with other works in similar periods and areas. Non-invasive methods, mainly using portable instruments, offer undoubtedly good support in these studies. Recent analyses of an ancient Persian illuminated manuscript, combining multispectral imaging and spectroscopic measurements made with portable instruments (XRF, FORS, micro-Raman, IR-ATR) on selected points, provided new data for an improved understanding of this rare book. This study details the possibilities offered by combining these non-invasive methods for an in-depth understanding of the techniques and practices behind the realization of Middle Eastern illuminated manuscripts and provided new perspectives for multidisciplinary approaches to research in this field.

In this study we analyse five medieval Armenian miniatures with representations of "The Taking of Christ" from Gospels dated to the 10th-11th centuries. These miniatures depict numerous different types of weapons (swords, axes, maces, clubs, spears, hummers/war-hammers', hooks, shields and some types of polearms, which are difficult to recognise unmistakably). Three of these Gospels are stored in Matenadaran (Ms. 974, fol. 2; Ms. 3784, fol. 9; Ms. 10780, fol. 71), one in the library of the Armenian Patriarchate in Jerusalem (Ms. 3624, fol. 9) and the last one in the village of Areg (Armenia). The Bagratid Kingdom of Armenia (884/886- 1045/1064) was the first independent Armenian state in the Middle Ages. After being controlled by the Persians and Umayyad Arabs for centuries, the Royal House of Bagratid was finally able to secure their independence at the end of the 9th century. Located at the frontier (between the Byzantine Empire, the Muslim world and the North Caucasus Nomads), Armenia became an object of encroachment for these powers, but on the other hand, it adopted the best examples of the military sphere from these sides, thus creating its own culture. Unfortunately, for a long time the military history of the Bagratid era was not the subject of historical research, which leaves many unresolved questions about types, forms and functions of weapons and armours of that time. However, Byzantium's or Caliphate's arms and armour have been researched by many scholars. For this reason, the military history of these two empires has enjoyed a dominant position in medieval historiography, with a consequence that very often the military history of small nations (under Roman or Muslim influences) was written from the Byzantine or Caliphate perspective. Consequently, our mission is to change this view and bring medieval Armenian arms and armour studies to light. [ABSTRACT FROM AUTHOR]

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Review

The article deals with the issues of genesis, content, and peculiarities of existence in the Russian manuscript tradition of the passionary compiled work "The Passion of Jesus Christ" devoted to the description of the last days of the Saviour's life on Earth. The author characterizes some structural peculiarities of the work. The first feature is the presence of thirty two chapters in the full version; at this, more than half of them originate from apocryphal legends, in particular from the so called "Gospel of Nikodim" dating back to the 2nd century AD. The second feature consists in a wide variation of repertory of the initial and finishing chapters within the work's numerous lists while the pivot (the events described in chapters 26-27 of the "Gospel of Mathew") remains stable. The authors also introduce and describe a new manuscript of the 17th century preserved in Mordovia museum of local history. The main part of this manuscript is represented by the Apocrypha "The Passion of Jesus Christ". The authors of the present article highlight the highest artistic value and historical importance of the manuscript containing ninety magnificent illustrations and including thirty one miniatures accompanying the whole passionary cycle. The analyses of graphic and orthographical features of the manuscript showed a tendency to breaking the norms while choosing one of the members of the doublet pair. The lexical system of Apocrypha consists of five main theme groups, including the lexemes connected with the concepts "man", "religion", "material culture", "time", "natural world" as well as with the inner world of a man, his appearance, and social status. The language of the work consists mainly of the low norms of the 17th-century Old Church Slavonic language with some dialectic features (okanye – using "o", chokanye – using "ch").

Title in English: Saint John, the Golden-mouthed – a Late Mediaeval Iconographical Confusion. – The pictorial program in Thott 113, an illuminated French book of hours from c. 1400 in the Royal Library, Copenhagen, is fairly conventional. But instead of the usual evangelist portrait at the beginning of the gospel, St. John is placed on the island of Patmos, where his writing is interrupted by a devil who steals his ink. This motif became popular around the middle of the 15th century in northern France and Flanders, a fact previously noticed by scholars. In this article, however, the motif is connected to Parisian book illumination from a slightly earlier period, i.e. the late 14th or early 15th century, and to some of the illuminators working for Duke Jean de Berry (d. 1416). The motif originated through a confusion of John the evangelist with John Chrysostom. It can be connected to a Miracle play, performed annually by the goldsmiths’ guild in Paris during the 14th century. The book illuminators who used the scene included, for example, the Vergil Master, although the painter of the Thott hours in Copenhagen, the Ravenelle Master, seems to have used it even more frequently.

This article provides a brief study of Wavrin's and Liédet's illustrations of Philippe Camus's L'Histoire d'Olivier de Castille et Artus d'Algarbe (c. 1450), the woodcuts used in the second printed edition (Geneva, Louis Cruse, before 1492), and a fuller examination of the changes made in the Spanish version published at Burgos ([Fadrique de Basilea], 1499). The relation between text and image provides an important key to interpretating this work and to how it was read. A comparison of the illustrations in these three books highlights differences, changes, and the subjects chosen by the illustrators that in turn reflect the different expectations and reception of the manuscript and printed editions. [ABSTRACT FROM AUTHOR]

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Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED 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.)

This paper furthers my argument that the scribe was also the artist of the underdrawings of the miniatures in the Pearl-Gawain manuscript and includes a re-assessment of the role of the colorist/s. Previously the 12 miniatures framing Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight in London, MS Cotton Nero A.x (art. 3), the only version of these poems extant, were largely dismissed. The miniatures do not convert the texts pictorially; rather, they place the poems within a larger icongraphic framework individually and as a whole. It is true that the painted layers, often unevenly applied, obscure many important details that are thematically significant, as shown in scientifically enhanced images that help to recover some of the outlines of the underdrawings. Taking into account the analysis of the pigments used, a closer look at the role of the colorists (likely more than one, judging from the overlays and differing levels of skills) it appears that the painted layers sometimes support the interpretations of the scribe-artist: at other times they appear to offer competing readings. The result is that the miniatures provide multilayered visual readings that interconnect and link motifs by repetition and contrast to unify the poems at various levels for engaged audiences. This is exemplified by a close look at the seascapes, landscapes, and courtly settings, as well as at preaching scenes and related sacramental issues, along with the presentation and role of women, all reconceptualized in line and color. [ABSTRACT FROM AUTHOR]

This paper investigates the design patterns derived from the Chinese tradition of wood-based crafts which were applied on furniture as found in the illustrated books of "The Shahnama of Shah Tahmasb" and "The Shahnama of Firdausi" during the Safavid period. The intimate connections between the Middle East and Asia over the past centuries (1501 to 1722) raised interest in both the handcrafts and decorative design motifs of the two regions. This resulted in the appearance of Chinese decorative motifs in Safavid miniatures which commenced in early Islam when Shah Ismail became a Chinese art appreciator. The Shah's patronage is explicit through the painters and designers working in the court workshops where the practice of Chinese structural composition and designed patterns are evident with continued production during the following Safavid kings. [ABSTRACT FROM AUTHOR]

Copyright of IUG Journal of Humanitarian Research is the property of Islamic University of Gaza 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 nineteenth-century ‘panstereorama’ was an urban relief model placed on display as a public spectacle. In this article, I consider first two affiliated forms that help to explain the genre, namely panorama paintings andplans-reliefs. I then go on to consider urban regional practices of city modelling in London and Paris before examining in detail panstereoramas representing Paris and New York. It is argued that this form of model urban cartography served as proxy for the view obtained from the increasingly popular balloon trip and that it accordingly provided virtual travel to, and a map of, the cities depicted. [ABSTRACT FROM PUBLISHER]

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Copyright of Menotyra is the property of Lithuanian Academy of Sciences Publishers 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 Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED 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 Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED 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 Marcadé Collection (Bordeaux Cathedral treasury) consists among other objects of 42 illuminations (14th to the 16th century) from five origins (France, Italy, Germany, the Netherlands, and Spain). For better knowledge of these miniatures, the pigments and dyes have been analyzed in ten illuminations chosen in order to represent the diversity of the collection. The aim of this study is to establish a panorama of the pigments and techniques used in medieval miniatures through the study of a set of manuscripts and to discuss the potentialities of the analytical techniques in order to reach this objective. Hyperspectral imaging is a rapid, mobile and noninvasive technique. It gives reflectance spectra for each pixel of the image. The datacube obtained was treated in order to visualize images and reflectance spectra. The software allows the mapping of the pigments by comparing spectra with those of our database. As some interpretation difficulties can appear for dyes or mixtures, to confirm the identification, point techniques such as Raman, X-ray spectroscopy, and Fiber Optic Reflectance Spectroscopy in the Near Infrared range were used. Analyses allowed access to the palette for each illumination and showed the colours diversity and pigments treatment. They increase knowledge about the materials used and the evolution of them during the time period: the use of dyes and shell gold became more important at the end of the period. The analytical choice respects the fragility and preciousness of these artworks and helps the fast data acquisition for the materials identification. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Islamic Manuscripts is the property of Brill Academic Publishers 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.)