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Since the Hellenistic period, preparatory drawings known as sinopiae were employed as guidelines for mosaicists in creating mosaics. The sinopiae served as the basis for style and content, facilitating the placement of colored tesserae in the supporting mortar. The technology of the mosaic and pigments used reflect the capacity of the mosaic workshop and its master. This work explores a polychrome sinopia that was found under a Byzantine mosaic of an Armenian Chapel in Jerusalem, by a multi-analytical characterization of mineralogical and chemical properties. The composition of the pigments in the black and red areas of the sinopia include carbon black and red ochre, respectively, utilized in the fresco technique. Since colored tesserae are placed in wet mortar, it can be deduced that mosaicists worked together with painters during the executionary steps. This has corresponding implications for historical and artistic specializations at mosaic workshops, with deeper understanding of mosaic production processes. This research also highlights the importance of studying sinopiae under floor mosaics, which is a source of information on the pigments, paintings techniques, and the people who executed the work, all embedded in mortar which is well protected below the stone tesserae. [ABSTRACT FROM AUTHOR]

Abstract Painted walls were analyzed at Ostia Antica, the ancient port of Rome, with the aim to trace the evolution of the buildings in the city. Nuclear magnetic resonance (NMR) depth profiles were acquired from walls and mortar fragments to image the stratigraphy of the mortar-layer preparations for the painted surfaces produced over more than five centuries from the second century BC to the third century AD. The profiles are compared in search of similarity to obtain clues suggesting alike workmanship and contemporaneous origin, and to retrace the transformations of execution technique in time.

Since the Hellenistic period, preparatory drawings known as sinopiae were employed as guidelines for mosaicists in creating mosaics. The sinopiae served as the basis for style and content, facilitating the placement of colored tesserae in the supporting mortar. The technology of the mosaic and pigments used reflect the capacity of the mosaic workshop and its master. This work explores a polychrome sinopia that was found under a Byzantine mosaic of an Armenian Chapel in Jerusalem, by a multi-analytical characterization of mineralogical and chemical properties. The composition of the pigments in the black and red areas of the sinopia include carbon black and red ochre, respectively, utilized in the fresco technique. Since colored tesserae are placed in wet mortar, it can be deduced that mosaicists worked together with painters during the executionary steps. This has corresponding implications for historical and artistic specializations at mosaic workshops, with deeper understanding of mosaic production processes. This research also highlights the importance of studying sinopiae under floor mosaics, which is a source of information on the pigments, paintings techniques, and the people who executed the work, all embedded in mortar which is well protected below the stone tesserae.

В статье изучается деятельность костромских иконописцев во второй трети XVII века, что является логическим продолжением ранее опубликованных исследований автора. Выявлен ряд мастеров данного периода, составлена хроника их творческой деятельности. Определены устойчивые черты костромской школы иконописи на иконах второй трети XVII века. Для решения поставленных задач применен ряд методов: сравнительно-исторический — для сопоставления источников о работе костромичей в храмах и монастырях; историко-генетический — для изучения изменения состава артелей; системный — в исследовании структуры артели; историко-статистический — при установлении численности храмов и монастырей, количества купленных икон. В результате исследования установлено, что во второй трети XVII века костромские иконописцы принимали участие в росписи семи храмов, из них в шести сохранились фрески. Стены Успенского собора Кирилло-Белозерского монастыря расписаны в 1641 году артелью под руководством Любима Агеева. Поскольку Иоаким Агеев является родоначальником «костромской стенописной школы», то роспись Успенского собора Кирилло-Белозерского монастыря представляется отправной точкой исследования развития стенописи и произведений мастеров, принадлежавших костромской школе иконописи. Для фресок Успенского собора характерны следующие черты: использование различных оттенков красного и голубого цвета; сочетание красного, коричневого, зеленого цветов; античные лики и особенности изображения волос, белые вохрения, пробела. Этим фрескам также свойственны орнамент на полях одежды в виде цветов (звездочек), кружков, треугольников, а на самой одежде — в виде стеблей цветов с листьями и бутонами. При этом орнамент не заполняет всё пространство одеяния. Эти черты костромской школы иконописи прослеживаются далее в следующих памятниках: в иконе «Рождество Богородицы, со сценами жития» Ферапонтова монастыря, написанной в 1642 году; в пятичастном деисусе, датированном серединой XVII века: «Спас Вседержитель», «Богоматерь», «Иоанн Предтеча», «Архангел Михаил», «Архангел Гавриил» (Свято-Троицкий Ипатьевский мужской монастырь), части икон праотеческого, пророческого и деисусного ряда иконостаса Троицкого собора Свято-Троицкого Ипатьевского мужского монастыря.

Статья посвящена исследованию мозаик базилики Рождества Христова в Вифлееме. Построенный в IV веке в эпоху императора Константина Великого храм остается одним из важнейших святилищ христианского мира. На его стенах и в крипте сохранился уникальный ансамбль мозаик, созданных в XII веке в период владычества Латинского королевства в Иерусалиме. В 2015–2019 годах итальянскими специалистами была предпринята масштабная реставрация декорации базилики. Впервые почти за тысячу лет мозаики на стенах храма и росписи на колоннах были расчищены. Это открывает новые возможности для анализа столь выдающегося памятника. В статье использованы различные методы: стилистический, иконографический и историко-культурный. Г. Кюнель убедительно показал, что мозаики были выполнены единовременно, вероятно, с середины 1150-х годов до 1169 года. На основании сохранившихся надписей можно заключить, что в мозаичной декорации базилики участвовали два мастера: монах Ефрем, предположительно, грек и дьякон Василий, сириец. В третьей надписи, ныне утраченной, упоминалось имя Зан, оно могло принадлежать венецианскому художнику. Стиль мозаик в целом ориентирован на византийское искусство третьей четверти XII века. В ансамбле очевидны различия в фигуративной и в аниконической иконографии, а также в стиле разных зон декорации. В нем проявились элементы сиро-палестинского и западноевропейского искусства. Самый факт упоминания имен художников в надписях не типичен для Византии. Детальный стилистический анализ памятника еще предстоит. Пока очевидно, что в декорации принимала участие составная артель из нескольких художников разного происхождения и разной выучки. При этом все мастера преимущественно пользовались византийскими образцами. Вифлеемские мозаики плодотворно рассмотреть и в контексте монументальной живописи Святой Земли и Сицилии XII века.

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The purpose of the study is to explore the social and psycho-emotional influence of traditional Chinese national symbols on the contemporary wall-paintings in Chinese public art as the synthesis of aesthetics and politics expressed in fine art. The scientific and practical significance of the study lies in the description of the influence of traditional wall-painting and Western art styles on modern Chinese public art. The group of respondents consisted of 96 students and teachers from Chinese art universities. The researchers used the method of expert assessments (semi-structured interview with the use of a special questionnaire), the 'Health, Activity, Mood' method and the D. V. Liusin method for determining the level of emotional intelligence. Having analysed the study results, the researchers proved the hypothesis that the use of traditional national symbols in contemporary Chinese public art is a factor that determines the artistic, psycho-emotional and ideological impact of this art form. [ABSTRACT FROM AUTHOR]

Copyright of Palíndromo is the property of Universidade do Estado de Santa Catarina 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.)

В сохраняющих традиционный уклад общинах, как правило сельских, распространено народное художественное творчество, связанное с верованиями и обычаями. Среди различных форм народного, или, как его еще называют, наивного искусства встречается и монументальная живопись, росписи жилища. Развитие этого вида искусства в некоторых местах достигло высокого уровня, и даже сложились характерные стилистические направления. В статье впервые в русскоязычной искусствоведческой литературе представляется сформировавшийся в Индии стиль бангдвари. Бангдвари, традиционная живопись, распространенная среди сельских общин округа Кангра, штат Химачал-Прадеш, является частью повседневных и праздничных ритуалов и продолжает местные художественные традиции. В статье подробно раскрывается технологический процесс создания фресок и демонстрируется высокий художественный вкус народных мастеров. Анализ росписей в виде цветочных орнаментов и композиций выявляет их связь с древнейшими растительными орнаментальными мотивами, которые во многих культурах символизировали образ мирового древа. Анималистический живописный жанр в бангдвари достаточно развит и демонстрирует детализацию и высокую художественную выразительность изображений. Наибольшую ценность представляют выполненные с большим мастерством сюжетные композиции. В них представляются различные события из повседневной жизни, а также из фольклорного и эпического наследия. Обосновывается связь этих композиций со всемирно известной школой индийской миниатюры, получившей название по месту происхождения — школа Кангры. Статья фиксирует технологические, художественные и мировозренческие особенности, характеризующие живую традицию стилистического направления в народном искусстве бангдвари.

The article begins with the history of St. Andrew Stratelates Church in Veliky Novgorod. It is shown that today’s church dedicated to St. Andrew was originally built as a chapel of the Boris and Gleb Cathedral in Novgorod Detinets. The St. Andrew Stratelates Church now stands alone in the south-eastern part of Novgorod Detinets, but until 1682 it was the southern chapel of the Boris and Gleb Cathedral. Its earliest part was erected at the former location of cathedral’s staircase tower. The initial church, as the paper suggests, was constructed to commemorate the capture of Swedish Landskrona fortress in 1301 by the army of Prince Andrey III Alexandrovich. It was later rebuilt by Euthymius II, the Archbishop of Novgorod, likely in 1441, simultaneously with rebuilding the Boris and Gleb Cathedral “on its old foundation”. Then the paper turns to the description and analysis of what remains today of the initial iconographic program of the original St. Andrew Stratelates Church, namely a composition with nine images of saints in the lower part of the northern wall, which belongs to the earliest period of painting. On the right we see the Apostle Peter, an Archangel (Michael?) and the Apostle Paul being blessed by Christ. In the background stand a few praying figures: St. Andrew Stratelates, the patron saint of the church, as well as the Holy Equal-to-the-Apostles St. Prince Vladimir Svyatoslavich, passion bearers princes Boris and Gleb, and two unidentified holy women. The composition was likely to be created after 1494, when the Boris and Gleb Cathedral in Novgorod burned again. Although the origins of the mural remain unknown, a connection with the capture of the Landskrona fortress is a likely possibility. Indeed, St. Andrew Stratelates Church was first constructed in 1302, i. e., a year following the capture of Landskrona, and it was initially integrated into the Boris and Gleb Cathedral which speaks for itself in view of military overtones of the cult of Boris and Gleb. В статье рассматривается история церкви Андрея Стратилата в Великом Новгороде и содержание её интерьерной декорации. Автор показывает, что современный храм, посвящённый святому Андрею, первоначально был построен как южный придел Борисоглебского собора в новгородском Детинце. В статье аргументировано предположение о том, что церковь Андрея Стратилата была построена в воспоминание о взятии в 1301 г. шведской крепости Ландскрона и первоначально могла быть деревянной (обыденной). Далее автором производится идентификация персонажей первоначальной росписи храма. Эти росписи составляют часть композиции, находящейся на северной стене. Справа представлены: апостол Пётр, архангел (Михаил?) и апостол Павел, благословляемые Христом. За ними изображены в молении: патрон храма-Андрей Стратилат, равноапостольный великий князь Владимир Святославич, князья-страстотерпцы Борис и Глеб и две святые женщины, которых не удалось идентифицировать. Композиция создана, скорее всего, после 1494 года, когда новгородский Борисоглебский собор горел в очередной раз. Уточнить, по какому поводу создана эта фреска, на данный момент вряд ли возможно. Однако можно с большой долей уверенности указать на связь между взятием новгородским князем Андреем Александровичем крепости Ландскрона, военным характером культа святых Бориса и Глеба, ремонтом в 1302 г. Борисоглебского собора и возникновением церкви Андрея Стратилата.

Una manifestación artística de la decoración andalusí de la que se conservan escasos testimonios son los zócalos pintados en el ámbito doméstico. Los intentos por contextualizar estilística, geográfica y cronológicamente estos zócalos han planteado algunas cuestiones de índole tecnológica a la hora de apuntar posibles conexiones. El estudio de las técnicas de ejecución y materiales empleados en zócalos de Baŷŷāna (Almería), mediante análisis estratigráfico, DRX y FTIR, ha permitido establecer paralelismos con zócalos decorados procedentes del barrio de casas de la Alcazaba de Málaga a partir de una investigación anterior. Los resultados permiten extraer interesantes conclusiones sobre las técnicas de elaboración, que son congruentes con la pervivencia de algunos procedimientos de ejecución de los enlucidos de raigambre romana. Además, se plantea aquí la existencia de un núcleo de producción que agruparía los ejemplos provenientes de Almería y Málaga, cuyo contexto técnico los diferenciaría.

At the site of Naldöken Kayasi, 10 km. west of Bayır village in the Seydikemer District of the Mugla Province, there is a rock mass lying in a row, forming a front towards the plain to the north. At the lowest part of the rock mass, there is a natural hollow, popularly known as "Bahattin Haystack" with a circular arrangement and a wide opening. The interior of this natural hollow, which was used without any additions, is decorated with a non-figurative painting programme in fresco technique, starting from the upper cover up to a height of 1 m above the floor. The upper cover, which is completely covered with a layer of soot, was surrounded by a circular form with double bands. The lower part of the circular form is surrounded by a border in which geometric arrangements are decorated with floral motifs. In the lower part of the border, there are 6 panels in different forms with crosses, floral and geometrical arrangements, separated from each other by bands. Three of the panels are complete and the other three are partially extant. The cross, floral motifs and inscription in the northwest of the lower row of this section and the partially preserved geometrical ornaments in the southeast constitute the two separate panels of the last decoration belt of the space. In the preserved sections of the wall paintings covering the interior of the Bahattin Samanlığı Cave, a decoration programme showing the characteristics of the aniconic was applied, including crosses, floral and geometric motifs as well as inscriptions. As in other Iconoclastic examples, the dominant element in the decoration is the cross. The cross has been widely used as a symbol of fertility, immortality, life, spirit, etc. since the earliest times, with varying meanings according to the cultures in which it was found. In the wall paintings of the Bahattin Samanlığı rock carving, the most common ornamentation after the cross motif consists of geometric forms around the cross motifs in some panels, sometimes alone in others, and sometimes accompanied by stylised floral motifs. Like the cult of the cross, the repertoire of geometric and floral ornamentation is not unique to the age of iconoclasm. Although they show similarities in terms of motif and stylistic characteristics with the iconoclast paintings we have analysed, the letter characters in the inscriptions, the remains of crosses and motifs, which show that the paintings belonging to the first phase also consisted of aniconic motifs, indicate that the wall paintings in Bahattin Samanlığ may have been painted in a period before iconoclasm or in the early 7th century to the early 8th century, which constitutes the first phase of the iconoclastic movement. [ABSTRACT FROM AUTHOR]

The purpose of the article is the systemisation and analysis of the available biographical information about Antonio Solario, also known as Lo Zingaro or "The Gypsy" - a representative of Italian fine art; comprehending the problems of interpreting the artist's creative works and defining his place in the artistic environment of the Italian Renaissance. For this purpose, historical-cultural and chronological research methods were used, as well as systematisation, art history analysis and figurative-stylistic analysis. The scientific novelty lies in the fact that for the first time, data from scientists of different centuries about the life and work of the Italian artist Antonio Solario has been introduced into the Ukrainian scientific realm, and for the first time an attempt has been made at a comprehensive attribution of four works by the artist. The conclusions made were that the article systemises, specifies and analyses the data on the main stages of the artist's biography, taking into account that there still exist discrepancies in the information about his origin and places he stayed. Within the framework, the fact of the existence of a large number of contradictory data about him as an outstanding representative of the Italian Renaissance has been established and these contradictions have been characterised according to the chronological principle. It is noted that the artist has Venetian origins and at different periods of his life worked in Naples, the Italian region of Marche and on the territory of present-day Great Britain. Several hypotheses about the origin of the nickname "Lo Zingaro" are considered separately. The main stages in the evolution of the artist's creative manner are described - from early Venetian influences to the formation of a mature Neapolitan style that organically combined the achievements of Renaissance masters. It was found that his development was influenced by the creative style of such Italian Renaissance artists as Perugino, Pinturicchio and others. It is summarised that the figure of Antonio Solario personifies the multidimensional processes in the art of the Italian Renaissance and provides a number of areas for further research. [ABSTRACT FROM AUTHOR]

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Digital recording technologies such as lidar and photogrammetry bring higher efficiency to archaeological recording, as well as the allure of automation. How do the promises of the digital age impact the role and methods of field architects, members of an archaeological team responsible for illustrating architectural finds? Between 2011 and 2022, University of Maryland field architects grappled with this question while recording the frescoed rooms of the Villa Arianna in Roman Stabiae. Like other Roman houses preserved by the eruption of Vesuvius in a.d. 79, the villa contains many building phases, destruction deposits, and large spaces adorned with detailed frescoes. To accurately capture this diversity, the field team integrated several digital-assisted recording techniques with traditional manual approaches. While electronic technologies aided the architects in measuring the villa at multiple scales, we found that they could not replace the field architect's capacity for granular first-hand observation, historical learning, and interpretation of archaeological signatures. [ABSTRACT FROM AUTHOR]

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The earliest Bronze Age Mediterranean primate representations on frescoes are found at the Aegean sites of Knossos (Crete) and Akrotiri (Thera). By contrast, monkeys have so far been missing from Mycenaean frescoes in mainland Greece. A fresco fragment of a cultic scene from Tiryns changes this; it depicts a bipedal partial lower body, with a hanging tail. This image, previously interpreted as a human wearing an animal hide, had already been suggested to represent a monkey. A re-examination of this miniature fresco identified various features that seem to confirm the representation of a monkey, most probably of a baboon-like primate. Assuming that the fresco from Tiryns is part of a cult scene, similar to those from Akrotiri, this adds a further image to a small corpus of Aegean depictions connecting monkeys with important female figures or deities. Furthermore, the Tiryns fresco fragment indicates that primates were not entirely absent from local Mycenaean iconography. [ABSTRACT FROM AUTHOR]

The unique characteristics of frescoes on overseas Chinese buildings can attest to the integration and historical background of Chinese and Western cultures. Reasonable analysis and preservation of overseas Chinese frescoes can provide sustainable development for culture and history. This research adopts image analysis technology based on artificial intelligence and proposes a ResNet-34 model and method integrating transfer learning. This deep learning model can identify and classify the source of the frescoes of the emigrants, and effectively deal with problems such as the small number of fresco images on the emigrants' buildings, poor quality, difficulty in feature extraction, and similar pattern text and style. The experimental results show that the training process of the model proposed in this article is stable. On the constructed Jiangmen and Haikou fresco JHD datasets, the final accuracy is 98.41%, and the recall rate is 98.53%. The above evaluation indicators are superior to classic models such as AlexNet, GoogLeNet, and VGGNet. It can be seen that the model in this article has strong generalization ability and is not prone to overfitting. It can effectively identify and classify the cultural connotations and regions of frescoes. [ABSTRACT FROM AUTHOR]

In the retrospective panorama of comparative studies experience, attention to ekphrasis seems to be more and more intense. The multifaceted phenomenon of ekphrasis does not lose its relevance over time. Vivid ekphrastic features are observed, in particular, in the epic novel “Wonder” written by Pavlo Zahrebelnyi, a prominent figure of Ukrainian literature. The purpose of the investigation is to select the fine arts ekphrasis features in the novel by Pavlo Zahrebelnyi, as well as to highlight the formal and semantic dimensions and the overall semantic configuration of the expressed poetics. The study is based on the methods of cultural-semiotic and structural-semantic analysis in combination with descriptive and comparative-typological approaches. In the visual material of Zahrebelnyi`s novel “Wonder”, the poetics of multidirectional multidimensional ekphrasis is observed, in which, according to the criterion of the image carrier, the actualization of several types of visual art is distinguished, in particular decorative and (related to it) monumental one, and their types: artistic carving, fresco painting and mosaic. In the descriptions there is a gradual development with a noticeable transgression of the content of the represented works and, therefore, the content of the ekphrasis itself. In the structure of the work their selected defining features are obviously related to one of the key organizational phenomena, one of the central symbols inherent in the “Wonder”: ekphrases in its general architecture are connected by integral elements belonging to the sphere of the internal form. Such connecting elements are cross-cutting for ekphrasis, key for the novel, tangential images-symbols of the creator, his skill and art in general, which causes the integration of expressed ekphrases into a single composite complex. In it the meaningfulness of the ekphrasis in the poetic field of the master turns out to be equal to his artistic destiny, through the fresco-like combination of the described achievements features emerge the lines of inspired children`s creative maturation, youthful strengthening and ultimately artistic work are drawn, in which the apogee of the artist’s talent, in all its polychromy, is finally reached: in essence, in purpose and meaning. In its turn, in the discreteness of the descriptions indirectly reveals the dynamics of its evolution, the amplitude of which from the seed of inspired abilities reaches the exuberance of an all-powerful philanthropic mastery, sensual and sensitive, insightful, frank, caring, which overcomes existential reflections in its longing for the good, bringing creativity closer to life-affirming thought. And all these phases have one common quality: humanity is imprinted in each of them. With the isolated potential of ekphrasis, the poetics of the novel rises to the horizons of the creativity existence idea and achievements of an artistic genius for “creating a temple”, in particular in the human soul, and from this semantic palette emerges a kind of “glorification of artistic skill” not only by the perfection of its magnificent creations, but also primarily by imprinted in them love for life and the world, singing of beauty, equivalent to the unity of goodness and humanity. In this way, the highlighted experience of ekphrasis obviously strengthens the expression of humanity in the axiological dimensions of civilizational assets in Pavlo Zahrebelnyi`s novel “Wonder”.

This painting, reproduced from a Mycenaean fresco from Tiryns (c. 1300 B.C.E) in watercolor, depicts a woman in a style quite characteristic of Bronze Age Greece, holding a pyxis, or an ivory box.

This paper presents research on the degradation processes of the fresco painting in the cave church of Corbii de Piatră Hermitage under the influence of meteoric infiltration water and environmental factors. The medieval fresco dates from the end of the 13th century and the beginning of the 14th century, being painted on a sandstone wall. The infiltration of meteoric water through this wall, the temperature variations, the environment and the repeated wetting/drying processes determined the degradation of the fresco, resulting in its detachment from large surfaces. This research established correlations between the processes that take place, the structural transformations, the changes in composition and the adhesion of the fresco to the sandstone wall. The results have been made available to conservation and restoration specialists, in order to choose appropriate materials and technologies. This paper presents findings regarding the pictorial material and introduces new analysis techniques in research on the degradation processes of the fresco painting in the cave church of Corbii de Piatră Hermitage under the influence of meteoric infiltration water and environmental factors. [ABSTRACT FROM AUTHOR]

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This paper presents the results of observations and analysis carried out in the modern mural painting of 54m2, known as Planisphere (or Mapa-mundi), made by Almada Negreiros in 1939 in the city of Lisbon. The painting is Almada's first monumental painted work at fresco, and it is a striking, colourful composition inspired by early world maps of navigators. The aim is to ascertain how he built up this masterpiece and what artistic sources could have inspired him. The analytical setup comprised in-situ technical photography in the visible (Vis and Vis-Rak) and near infrared radiation (NIR), Vis-handled-Optical microscopy, complemented by laboratorial analysis of microsamples collected from paint layers with OM-Vis-UV and SEM-EDS. The data obtained was compared with the painting compendiums of Paul Bedouin's La fresque. Sa Technique-ses applications (1914) and of Costin Petresco's L'art de la fresque (1931), retrieved from the artist studio in 2019. The study reveals the first technical and material features found, such as the painting execution by large giornate, the use of different types of techniques to transfer the drawings to the wall, and the presence of paint layers made with buon and lime fresco. The results also reveal the likely strategies used by Almada to overcome the challenges imposed by a fresco execution, inspired by both eastern and western mural painting traditions. [ABSTRACT FROM AUTHOR]

Laser ablation is known to be a helpful tool in the restoration of objects of cultural heritage, for example, for surface cleaning and spectroscopic study including microsampling. An advantage of the technique as a sampling method is related to the resulting size of microsamples without visible traces on the surface of the original object, which makes it possible to keep the sample visually unchanged. This work extends the scope of laser ablation as a sampling method that we proposed earlier for paint layers. The technique is employed on real fragments of fresco paintings of different colors, which were discovered as a result of underwater archaeological research and provided by Novgorod State United Museum. The results of sampling by nanosecond laser ablation at wavelengths of 1064 and 532 nm are compared. Based on the comparison, a conclusion regarding parameters of radiation for ablation is drawn. The microsamples are studied using Raman microspectroscopy. [ABSTRACT FROM AUTHOR]

The paper presents the complexity of assessing the state of degradation of the mural painting inside the church of the Assumption in Căușeni and the need for a multidisciplinary approach to research, in order to obtain a clear picture of the state of conservation. The identified microorganisms, which have developed on the surface or in the depth of the pictorial layer, are bacteria and fungi. The predominant type of microorganism depends on the chemical composition of the substrate, temperature and humidity, factors that enhance their development. Microorganisms produce chemical changes over time so that the affected surface loses its integrity through cohesive changes and chromatic changes (aesthetic changes) take place. Thus the fungal hyphae/actinomycetes penetrate through cracks causing them to widen. Both the numerical distribution and the taxonomic afiliation of biodeteriogens on the frescoes inside the church in Căușeni are different depending on the available nutrients (Aspergillus niger, Fusarium sp, Penicillium and Actinomyces sp. bacteria).

Decorative wall paintings created in the Ottoman era are called kalem işi, and they are generally created using various pigments and binding media on dry rendering, or via lime-paint technique. However, detection of some decorative wall paintings that were applied on wet plaster in Süleyman Pasha Mosque located in Edirne, Turkey, has led to a more detailed analytical examination. Our study aims to research the techniques used on some painting fragments which were found while removing cement renderings during the restoration of the Mosque. The fragments were revealed in 2019 and were taken under protection as these were stylistically different from the existing paintings of the Mosque. The original location of the fragments on the wall could not be located and in situ conservation is not possible, but research continues. Initially, traces of preparatory drawing, which is thought to be the incising technique, were found on the paintings drawn on the rendering fragments. Then, SEM-EDX, FTIR spectroscopy, confocal Raman spectroscopy, and PED-XRF analyses were carried out along with examinations by optical microscopy. Following these results, experimental reconstructions of the paintings were made on test materials and a story about the painting techniques was revealed, indicating that these paintings were drawn on wet rendering (fresco). Therefore, it is considered that there may be different wall painting techniques in Ottoman architecture and that research in this direction should be increased. [ABSTRACT FROM AUTHOR]

The fresco of the Corbii de Piatră Cave Church, dating from the end of the 13th century and the beginning of the 14th century, is applied to the sandstone wall. The degradation of the fresco on large surfaces, with many areas of detachment, has been determined by the infiltration of meteoric water through the sandstone wall on which it is applied, as well as temperature variations, and repeated wetting/drying processes. However, there are small portions of fresco that show good adhesion to the wall. The present research, aimed at providing scientific data to restorers and historians, involves the advanced characterization of a fragment of fresco with good adhesion to the wall and is being carried out by an interdisciplinary team. The stratigraphy, microstructure, compaction defects, chemical composition, and variation of chemical composition in the fresco from the pictorial surface to the mortar-sandstone interface were determined. Correlations were established between degradation processes and wall adhesion. [ABSTRACT FROM AUTHOR]

The present article aims to bring attention to a new topic of Romanian medieval art centered on the figure of the holy hierarch represented in the frescoes of Orthodox churches in Moldova in the 15th century. During this study, the types of holy hierarchs are identified according to the clothes in which they are clothed, the connection between the liturgical context in which they are painted and the pieces of clothing they wear. The entire study is built on an analytical and comparative working method that brought frescoes of the Romanian space face to face with those of the neighboring territories. [ABSTRACT FROM AUTHOR]

Copyright of Loggia, Arquitectura & Restauración is the property of Universidad Politecnica de Valencia 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 Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center 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.)

On the south wall of the church of Saint Paul in Brindisi (Apulia), founded in 1284 by Franciscan friars, is frescoed a little known hagiographical cycle that has hitherto been associated with saint Mary Magdalene. Nevertheless, a careful iconographic analysis of the scenes has demonstrated that this attribution is incorrect and that the fresco depicts the life and the martyrdom of saint Ursula from Cologne, whose devotion was not very widespread in medieval Apulia. The spread of the cult of Saint Ursula and the presence of two cycles dedicated to her in the region of Venice suggest one of the possible ways that allowed the cult of saint Ursula to spread in Brindisi, historically connected to Venetian cities for trades. Considering that the cult of the saint is attested also in medieval Florence, it is not to be underestimated either the possible role of Florentine families living in Brindisi in spreading the cult of the Breton martyr in the city. The purposes of this paper are therefore to offer an extensive analysis of the panel and to try to understand the role of foreign citizens in the spread of this not so common cult in Brindisi.

Abstract:Michelangelo Merisi, or Caravaggio (1571-1610), was a unique case in the Italian Painting during the 17th century, when Italy was the origin of culture, religious and scientific awareness in Europe. The influence of Caravaggio style spread across generations of painters who interpreted his character and style as a norm that expressed the Italian identity or even the European identity during the modern times. His works even became an inspiration for contemporary murals in streets and squares. This study focuses on discussing this contemporary perception of the heritage of the 17th century through the national identity restoration program of the Dutch city of “Utrecht”, represented in a number of murals that reproduce the works of “Caravaggio”, and his students. Accordingly, we could reconfigure the artistic vision in the Egyptian art heritage, in a similar way, and present it to the society in a way that preserves its identity and increases its awareness of its heritage and culture.

When painted at the extreme edges of the decor, the liminal protagonist that exceeds the margins tends to merge with the frame. He therefore shares its functions, particularly the deictic one. As an anthropomorphic embodiment of the frame, this powerful admonitor constitutes the perfect intermediary between the pictorial space and the viewer’s world. This article looks into the meaning of these "framing figures" in Italian Renaissance frescoes, and the various ways and degrees in which they are integrated into the narrative.

Objective: The objective of this study was to assess the comparative efficacy in third-line setting for metastatic CRC (mCRC) patients using matched population of FRESCO trial with fruquintinib and real-world data with other TKIs. Materials and methods: The arm of fruquintinib from the FRESCO phase III trial (NCT02314819) included the data of patients with metastatic CRC that progressed after at least two lines of chemotherapy and received fruquintinib treatment. An external control arm was constructed using real-world data (RWD) of patients who received other TKIs based on key eligibility criteria of FRESCO. The baseline characteristics of two arms was balanced by propensity score matching (PSM). The Kaplan–Meier method and Cox proportional hazard model was used to evaluate progression free survival (PFS) and to estimate hazard ratios (HRs) and 95% confidence intervals (CIs), respectively. Results: Overall, 128 patients were successfully matched by PSM in each, fruquintinib and other TKIs group. The patients in fruquintinib group showed significant increase in median PFS than other TKIs (3.71 vs. 2.49 months, HR = 0.67, 95%CI, 0.48-0.94, p = 0.019). In the subgroup analysis, fruquintinib showed a significant benefit in PFS compared with other TKIs among patients undergoing two or three previous chemotherapy regimens (HR 0.58, 95%CI 0.40-0.84; p=0.004), with rectum as primary disease site (HR 0.52, 95% CI 0.31-0.87; p=0.013), with left sided primary tumor location (HR 0.62, 95%CI 0.42-0.90; p=0.011), with multiple metastasis sites (HR 0.68, 95%CI 0.48-0.97; p=0.034) and with lung metastasis (HR 0.65, 95%CI 0.43-0.98; p=0.042). Conclusion: With the approach of establishing the external control arm from RWD, this study has demonstrated that treatment with fruquintinib significantly prolonged PFS as compared to other TKIs in patients as thirdline mCRC treatment. [ABSTRACT FROM AUTHOR]

The study below is a brief presentation of some pictorial, compositional and iconographical aspects for the representation of some main moments in the monastic life of pious Irinarh Roset, the founder of the monastic settlement in Horaiţa. After a presentation of Irinarh Roset's life, we set out to analyse Horaiţa Monastery as a representation of the monarch's life. [ABSTRACT FROM AUTHOR]

ObjectiveThe objective of this study was to assess the comparative efficacy in third-line setting for metastatic CRC (mCRC) patients using matched population of FRESCO trial with fruquintinib and real-world data with other TKIs.Materials and methodsThe arm of fruquintinib from the FRESCO phase III trial (NCT02314819) included the data of patients with metastatic CRC that progressed after at least two lines of chemotherapy and received fruquintinib treatment. An external control arm was constructed using real-world data (RWD) of patients who received other TKIs based on key eligibility criteria of FRESCO. The baseline characteristics of two arms was balanced by propensity score matching (PSM). The Kaplan–Meier method and Cox proportional hazard model was used to evaluate progression free survival (PFS) and to estimate hazard ratios (HRs) and 95% confidence intervals (CIs), respectively.ResultsOverall, 128 patients were successfully matched by PSM in each, fruquintinib and other TKIs group. The patients in fruquintinib group showed significant increase in median PFS than other TKIs (3.71 vs. 2.49 months, HR = 0.67, 95%CI, 0.48-0.94, p = 0.019). In the subgroup analysis, fruquintinib showed a significant benefit in PFS compared with other TKIs among patients undergoing two or three previous chemotherapy regimens (HR 0.58, 95%CI 0.40-0.84; p=0.004), with rectum as primary disease site (HR 0.52, 95%CI 0.31-0.87; p=0.013), with left sided primary tumor location (HR 0.62, 95%CI 0.42-0.90; p=0.011), with multiple metastasis sites (HR 0.68, 95%CI 0.48-0.97; p=0.034) and with lung metastasis (HR 0.65, 95%CI 0.43-0.98; p=0.042).ConclusionWith the approach of establishing the external control arm from RWD, this study has demonstrated that treatment with fruquintinib significantly prolonged PFS as compared to other TKIs in patients as third-line mCRC treatment.

This paper presents research on the degradation processes of the fresco painting in the cave church of Corbii de Piatră Hermitage under the influence of meteoric infiltration water and environmental factors. The medieval fresco dates from the end of the 13th century and the beginning of the 14th century, being painted on a sandstone wall. The infiltration of meteoric water through this wall, the temperature variations, the environment and the repeated wetting/drying processes determined the degradation of the fresco, resulting in its detachment from large surfaces. This research established correlations between the processes that take place, the structural transformations, the changes in composition and the adhesion of the fresco to the sandstone wall. The results have been made available to conservation and restoration specialists, in order to choose appropriate materials and technologies. This paper presents findings regarding the pictorial material and introduces new analysis techniques in research on the degradation processes of the fresco painting in the cave church of Corbii de Piatră Hermitage under the influence of meteoric infiltration water and environmental factors.

The fresco of the Corbii de Piatră Cave Church, dating from the end of the 13th century and the beginning of the 14th century, is applied to the sandstone wall. The degradation of the fresco on large surfaces, with many areas of detachment, has been determined by the infiltration of meteoric water through the sandstone wall on which it is applied, as well as temperature variations, and repeated wetting/drying processes. However, there are small portions of fresco that show good adhesion to the wall. The present research, aimed at providing scientific data to restorers and historians, involves the advanced characterization of a fragment of fresco with good adhesion to the wall and is being carried out by an interdisciplinary team. The stratigraphy, microstructure, compaction defects, chemical composition, and variation of chemical composition in the fresco from the pictorial surface to the mortar-sandstone interface were determined. Correlations were established between degradation processes and wall adhesion.

In this paper, we analysed the efflorescences present in the frescos of a monumental complex named S. Pietro a Corte situated in the historic centre of Salerno (Campania, Italy). The groundwater of the historic centre is fed by two important streams (the Rafastia and the Fusandola) that can be the sources of water penetration. The aims of this work are to (i) identify the stream that reaches the ancient frigidarium of S. Pietro a Corte and (ii) characterize the efflorescences on damaged frescos in terms of chemical nature and sources. In order to accomplish the first aim, the water of the Rafastia river (7 samples) and the water of the Fusandola river (7 samples) were analysed and compared with the water of a well of the Church (7 samples). The ionic chromatography measurements on the water samples allowed us to identify the Rafastia as the river that feeds the ancient frigidarium of S. Pietro a Corte. To investigate the nature and the origin of the efflorescences (our second aim), anionic chromatography analyses, X-ray diffraction measurements, and the isotopic determination of nitrogen were performed on the efflorescences (9 samples) and the salts recovered from the well (6 samples). Results of these analyses show that efflorescences are mainly made of potassium nitrate with a δ15N value of + 9.3 ± 0.2‰. Consequently, a plausible explanation for their formation could be the permeation of sewage water on the walls of the monumental complex. [ABSTRACT FROM AUTHOR]

The Tang Dynasty costumes are highly representative in the process of China's clothing development. The structure of female clothing in the early Tang Dynasty was influenced by the fashion of the previous dynasty and integrated with Tang Dynasty characteristics. Despite abundant researches on the Tang Dynasty costumes, fabric relics are scarcely excavated and research evidence on the costume size is insufficient, making it difficult to study the structure and restoration of Tang Dynasty costumes. However, a large number of frescoes have been unearthed from Zhaoling, the imperial mausoleum of the early Tang Dynasty. The figures and costumes on the portrayals reveal realistic female clothing styles in the early Tang Dynasty, which has an important reference value for the study of female clothing in the Tang Dynasty. Taking the female costumes on Zhaoling frescoes as the research object, this paper deeply analyzes the characteristics of female costumes in the early Tang Dynasty through the costumes and shapes on the frescoes, speculates the mainstream costume structures in the early Tang Dynasty and tries to display the original appearance of costumes by means of virtual restoration, and to further investigate the attire patterns of the Tang costumes. Due to the absence of accurate data caused by the lack of real costumes, this study implemented an experimental virtual restoration of female costumes of the Tang Dynasty frescoes by analyzing a large number of frescoes in Zhaoling. First, through classified statistic of the styles and detailed shapes of female costumes in the frescoes, this study analyzed and concluded that the dominant styles are banbi (a half-sleeved waistcoat), ruqun (a short jacket worn under a long skirt), W, collar, parallel collar, and variegated skirt. Second, using the human body height as the unit and the human body hepta-sector as the criterion, this study measured and calculated the ratio of human height to longitudinal length of banbi and shangru (jacket), and their sleeves, as well as to longitudinal length of xiaqun (skirt) and its waist. The ratios of the dominant styles are used as the setting for the virtual fitting experiment. Third, this study focused on the two mainstream styles, measured the female costume size through scale conversion and virtual fitting experiments, obtained structural data, and restored and displayed and displays the attire effect after modification by fitting experiments. Finally, through the evaluation and analysis of the costume wearability tests, the deformation rate after dressing and the pressure on each part of the body, this study further verified the feasibility of virtual restoration. By applying virtual fitting technology based on statistics, measurement, proportional analysis, and scale conversion, this study carried out a simulation restoration through the CLO3D fitting system and conducted an experimental study on the restoration degree of costume proportions and the rationality of structure in virtual dressing through precise data analysis. This study concluded that the main costume styles in the frescoes are the banbi with parallel collar, the short ru with narrow sleeves, and high-waisted skirt with multi-piece patchwork. There are two combinations, including the banbi suit and the ruqun suit. The overall wearability of the 3D simulated costume restored according to the scale of the frequently-seen costume styles in the frescoes was within the normal range. However, the deformation rates of the collar, sleeve, and front crotch were relatively high and the position of skirt was easily shifted, mainly because the wearing state was greatly affected by the fabric, movement, and wearing ways. Through the virtual structure restoration of the female costumes in the early Tang Dynasty, this study displayed the three, dimensional effect of the female costumes on the frescoes. And based on the data analysis of the virtual fitting system, this study obtained the important evaluation indexes of costume wearing. From the viewpoint of attire, the rationality and problems of the detailed structure of female costumes in the early Tang Dynasty need further studies and explorations. The analysis results of this study can provide reference for the research on the Tang Dynasty costume structure, and also provide ideas for the design and development of present-day Tang style costumes. [ABSTRACT FROM AUTHOR]

Copyright of Adalya is the property of Koc University 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 author analyzes (in the perspective of ritual liminality) the iconography of the fragmentary frescoes found at the archeological site of the church in Derven (Kruja, uncovered in 2007 and lost in 2008). Once the scarcity of the apse's theme is verified (Deesis: Mary Kyriotissa and Child in her arms between Saints Peter and Paul), the author evaluates mid-fourteenth century stylistic comparisons in the Balkan area, as well as details of west-Adriatic influence. The proposed interpretation is linked to a progressive orientation of Albanian feudal lords towards Roman obedience, in light of the documents and the renewed worship of apostolic princes Peter and Paul's relics (holy heads) translated in 1369 in the papal cathedral of St. John Lateran in Rome. Pope Urban V promoted such worship - coinciding with the progressive return of the papal Holy See from Avignon to Rome - in an effort to strengthen the prestige of Petrine primacy. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Akdeniz Sanat is the property of Akdeniz University, Faculty of Fine Arts 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.)