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Copyright of Lampas is the property of Amsterdam University Press 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 medieval and early modern stone collection of the National Museum of the History of Transylvania originated as an integral part of the Coin and Antiquities Collection of the museum’s predecessor, the Transylvanian Museum Society. Over time, it has developed into one of the richest collections in the Carpathian Basin, now comprising approximately 600 carvings. The study is divided into two major chapters. The first chapter covers the history of the collection, while the second provides a detailed description of it. The first chapter traces the history of the stone collection from the founding of the Transylvanian Museum Society, the predecessor of the current museum, to the most recent reorganization of the stone collection. The second chapter of the study presents the medieval and early modern stone collection, showcasing the exhibited pieces through three main thematic groups: tombstones, architectural carvings, and plaster casts. [ABSTRACT FROM AUTHOR]

Mainstream discourses of migration and populist voices tend to be based on assumed distance between European subjects and migrant populations, disfiguring historical connections through time. This makes the excavation of Europe's racist and imperial history particularly important as an intervention. The essay focuses on a bust collection in El Museo Canario in Gran Canaria, bought from France in the late nineteenth century, positioning the busts as folded objects in Amade M'charek's sense. The unfolding exposes stories of an extensive global past where racism and imperialism are central components, in addition to not only hinting at the importance of race science in Europe, but also how areas on the margins of Europe could better insert themselves into larger narratives of modernization through their participation in scientific racism. [ABSTRACT FROM AUTHOR]

Harriet Hosmer's lost sculpture The Pompeian Sentinel (c. 1877) marks a dramatic shift at the end of her artistic career, from highly idealized and beautifully finished white marble figures to experimental media and a more expansive stylistic approach. Displayed in London in 1878, Hosmer's statue was a monument to a mythical sentinel, made famous through Edward Bulwer-Lytton's 1834 novel The Last Days of Pompeii. This article explores the implications of the work's material, and its relationship to Pompeii's most morbid artefacts, the plaster casts of the victims' bodies made most successfully and famously by Giuseppe Fiorelli after 1863. Hosmer's use of plaster and wax suggests a connection to the cast bodies through material and historical similarities, if not exact resemblance. Rather than arguing that Hosmer was attempting to replicate the casts exactly, this article explores the parallel myths and narratives, popular connections and material similarities between Bulwer-Lytton's novel, the plaster bodies and the sculpture, including the scientific and archaeological debunking of these myths. It problematizes the use of narrative and critique in analysing an untraced work through a single fragmentary image, and uses material and textual histories to explore the absent work. [ABSTRACT FROM AUTHOR]

Aim: This study aimed to collect evidence on the validity and reliability of measurements obtained from digital impression techniques. Materials and Methods: This comparative study was conducted on 31 patients. Intraoral scanner was applied to all patients. For each patient, an alginate impression of the upper maxilla was taken and later the 3D digital model was extracted by dental cone-beam computed tomography (CBCT). For preparation of plaster models, alginate impressions were taken and immediately poured with dental stone. In the next stage, a comparison was performed among the intraoral scanner, CBCT, and plaster models in terms of tooth size, dental width, and intra-arch dimensions. Results: Measuring tooth size and intra-arch dimensions in digital images obtained from intraoral scanner and CBCT were in most cases lower than the results obtained in the plaster models but the differences between digital techniques and plaster models are not clinically noticeable. Conclusions: Digital systems including intraoral scanner and CBCT are acceptable for clinical use in terms of accuracy.

Aims: In the Netherlands, general practitioners (GPs) can request radiographs. After a radiologically diagnosed fracture, patients are immediately referred to the emergency department (ED). Since 2020, the Máxima Medical Centre has implemented a new care pathway for minor trauma patients, referring them immediately to the traumatology outpatient clinic (OC) instead of the ED. We investigated whether this altered care pathway leads to a reduction in healthcare consumption and concomitant costs. Methods: In this retrospective cohort study, patients were included if a radiologist diagnosed a fracture on a radiograph requested by the GP from August to October 2019 (control group) or August to October 2020 (research group), on weekdays between 8.30 am and 4.00 pm. The study compared various outcomes between groups, including the length of the initial hospital visit, frequency of hospital visits and medical procedures, extent of imaging, and healthcare expenses. Results: A total of 634 patients were included. The results show a median reduction of 25 minutes in duration of initial hospital visits, one fewer hospital visit, overall fewer medical procedures, and a decrease in healthcare costs of €303.40 per patient in the research group compared to the control group. No difference was found in the amount of imaging. Conclusion: The implementation of the new care pathway has resulted in a substantial reduction in healthcare use and costs. Moreover, the pathway provides advantages for patients and helps prevent crowding at the ED. Hence, we recommend immediately referring all minor trauma patients to the traumatology OC instead of the ED. Cite this article: Bone Jt Open 2023;4(10):728–734.

Copyright of Gerion: Revista de Historia Antigua is the property of Universidad Complutense de Madrid 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 Osmangazi Journal of Medicine / Osmangazi Tip Dergisi is the property of Eskisehir Osmangazi 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.)

In 1871 the Scottish-born magistrate John Hosack (1809–87) was described as 'the chivalrous and most recent defender' of Mary, Queen of Scots. After writing a popular historical account of her life, he had presented a plaster cast bust of her Westminster effigy to London's National Portrait Gallery, which it then used to create an electrotype sculpture with the help of Elkington & Co. This article interrogates the 'value' of this sculpture as a cultural heritage object by retracing its history. It places Hosack's desire to replicate and commemorate Scottish heritage alongside his family ties to Jamaica, including the parallel life of his half-brother William and the wealth John derived from his father's sugar profits, which relied on African enslavement. It argues the importance of understanding how such legacies enabled individuals to participate in cultural philanthropy in the Victorian period, which simultaneously distanced them from their Atlantic pasts. It also considers how, in its transformation into an electrotype, Hosack's cast became part of a wider effort by museums and galleries to replicate national heritage using manufacturing methods indebted to the industrial economy intertwined with the British Empire. Sculpture offered a powerful medium through which to fortify national history, but its commemorative capacity can, and should, be unpicked to better understand British legacies of enslavement and colonialism. [ABSTRACT FROM AUTHOR]

During the long nineteenth century, the Royal Academy of Fine Arts of Antwerp – just like many other art schools in this period – assembled a collection of some 500 plaster casts after ancient and modern sculptures, which played an essential role in the education of young art students. The creation of such collections went in parallel with the blossoming of cast museums all over Europe, as well as the emergence of a large-scale exchange network set up to facilitate the international dissemination of plaster casts. However, in contrast to cast museums, which brought together masterpieces of classical Western sculpture in order to contribute to the aesthetic edification of the public, the cast collections of art academies had a more pragmatic and didactic function. This article focuses on cast collections at art academies, and how the formation and functioning of such collections related to broader educational concepts and practices at these schools. Taking the collection of plaster casts at the Royal Academy of Fine Arts of Antwerp as a case study, we will trace the various actors, methods and strategies employed to create the collection, uncover how the collection related to the artistic idea(l)s expressed in the educational programme of that institution, and discuss how and where it was located and displayed. Based on the rich archives of the academy, it examines a broad range of different sources, including purchase lists, inventories and correspondence concerning the formation of the collection, as well as floor plans, photographs and original drawings attesting to the location and use of the casts. It traces the provenance of the objects, analyzes the profiles of the individuals and institutions involved in creating the collection, and identifies to what extent and how creative repurposing played a role in the collection’s functioning. The article argues how cast collections formed by art academies – in addition to representing the art historical canon of a given place or period – are an important reflection of the didactic practices, aesthetic priorities and, above all, the creative encounters that distinguish these institutions from the purposes of the public (cast) museum.

In 1863 a French archaeological mission led by Consul Charles Champoiseau dug up part of the bust and body of a large female statue on the now Greek island of Samothrace. Currently, the Winged Victory of Samothrace is one of the most reproduced works of art in the world, but its discovery was surrounded by political intrigue. Further excavations were planned, but the Ottoman Empire's policies on accessing and extracting objects from archaeological sites became an obstacle. In order to continue his work, Champoiseau began a series of negotiations with Osman Hamdi Bey, a painter and the director of the Ottoman Imperial Museum, in which he used copies of the statue as bargaining chips. Two plaster casts of the sculpture were sent to Hamdi Bey as diplomatic gifts with the intention of defusing political tensions. The main aim of this article is to examine the political implications of the plaster casts of the Winged Victory that travelled between France and the Ottoman Empire. [ABSTRACT FROM AUTHOR]

The Alice Springs sculptor Patricia Elvins created a number of busts of Indigenous Australian men, women, and children, which were distributed as casts for the gift and souvenir market. Produced between the early-1960s and the early-1990s, these varnished casts exist with four different artists’ signatures, representing collaboration with different production potters who produced the casts. Macroscopic analysis shows significant differences in weight between casts of the same bust. CT scanning was carried out to understand the make-up of these casts and to illuminate differences in production techniques. The scanning revealed that all figurines were cast, but that casting techniques varied not only between production potters but also among figurines of the same potter. It revealed differences in the densities of the casting material, both between and within specimens, suggesting that production was not standardized but occurred in smaller batches, possibly on demand of low-volume sales stock. The study has shown the potential of non-destructive CT scanning to go beyond this and serve as a tool to examine the casting process itself as well as to contribute to an understanding of the nature of the plasters used.

Purpose: To investigate whether hemostatic agents have any detrimental effects on polyether impressions and plaster casts after a clinically viable cleaning protocol.Materials and Methods: A total of 60 human molar teeth were manually standardized, prepared, and subdivided into five groups (G): G0 (control/no contamination); G1 (ViscoStat Clear); G2 (ViscoStat); G3 (Astringedent); and G4 (Astringedent X). Each tooth was contaminated with a hemostatic agent for 3 minutes and cleaned with a 30-second air/water spray. Before and after contamination, an impression was taken and a plaster cast was poured. The impressions and plaster casts of all teeth were scanned using a light scanner. Data were matched using a three-dimensional analysis software that displayed color-coded maps. Means of the maximum positive/negative values and of the mean deviations in each group were calculated and compared. All color-coded maps were interpreted descriptively using the program's color scale, and all impressions and plaster casts were microscopically evaluated.Results: Values of mean deviations throughout all matched scans showed maximum values ranging from -30.1 to +17.5 μm. None of the groups showed significantly different deviation values or patterns when compared to each other. Impressions showed a thin, discontinuous coating for G2, G3, and G4; no changes were found for plaster casts.Conclusion: Presented deviations showed the same values and distribution patterns within all groups. A cleaning protocol of 30 seconds of air/water spray is sufficient to remove hemostatic agents, preventing effects to polyether impressions and plaster casts. However, ferric sulfate-containing hemostatic agents left discontinuous coatings on impression surfaces. [ABSTRACT FROM AUTHOR]

Abstract Objective Diagnostic casts are one of the standard components of orthodontic records. But they have several drawbacks such as the need for physical space for storage and the risk of breaking due to their brittle composition. Today, the digitalization of orthodontic models is a progress in orthodontics. The purpose of this study was to compare and evaluate common orthodontic linear measurements on plaster casts and digital 3D models using Maestro 3D ortho studio® scanner and software (AGE Solutions®, Pontedera, Italy). Materials and Methods Study casts of 30 orthodontic patients were selected. Tooth width, space analysis, Bolton analysis, overjet, overbite, and linear measurements of dental arch dimensions were performed by two examiners on plaster casts and digital models. Statistical Analysis Intra‐ and interexaminer agreements were evaluated in both manual and digital methods and paired t test was used for evaluating the agreement between the manual and digital measurement. The significance level was set at 0.05. Results The intraexaminer agreement was excellent (ICC > 0.75) for most variables in both manual and digital methods. The correlation between the two examiners was significant (p

The study aimed to evaluate any relationship between two different methods of digital three-dimensional scanning using measurements of specific parameters on plaster casts regards infants born along cleft lip and palate (CLP) up to 6 months of age. A set of 44 casts including every various kinds of CLP were used to investigate the relationship among two different methods used in this study, including tri-dimensional (3D) cone-beam calculated tomography and digital impression CEREC Omnicam intraoral camera (CAD). Paired independent samples t test has been utilized to compare two methods along with the same measurements. Statistical observations were developed utilizing SPSS software version 25. Descriptive analyses were presented utilizing means and standard deviations. Statistically significant variations (P < 5%) have been found regarding only one type of measurements analyzed. Measurements obtained were found to be close to each other. The ability to obtain 3D images was found easier and less complicated using the digital impression CEREC Omnicam intraoral camera and more precise in reflecting anatomical structures whereas the CBCT found faster in scanning. Reliability and accuracy were assessed through using intraclass correlation coefficient. All the measurements indicate statistically significant–excellent reliability (All ICC's are > 0.9). Nanotechnology offering a huge success in improving dental materials like composites, sealers, and other dental materials, all outcomes estimate to involve nanotechnology in various dentistry applications. The two methods for measurement purposes are always accepted on a wider scale and can be employed universally and equivalently. [ABSTRACT FROM AUTHOR]

An introduction to the journal is presented which discusses various reports within the issue on topics including the accomplishments of the late sculptor Phyllida Barlow, the use of plaster casts of a sculpture, and commercial sculptural reproductions.

The Alice Springs sculptor Patricia Elvins created a number of busts of Indigenous Australian men, women, and children, which were distributed as casts for the gift and souvenir market. Produced between the early-1960s and the early-1990s, these varnished casts exist with four different artists' signatures, representing collaboration with different production potters who produced the casts. Macroscopic analysis shows significant differences in weight between casts of the same bust. CT scanning was carried out to understand the make-up of these casts and to illuminate differences in production techniques. The scanning revealed that all figurines were cast, but that casting techniques varied not only between production potters but also among figurines of the same potter. It revealed differences in the densities of the casting material, both between and within specimens, suggesting that production was not standardized but occurred in smaller batches, possibly on demand of low-volume sales stock. The study has shown the potential of non-destructive CT scanning to go beyond this and serve as a tool to examine the casting process itself as well as to contribute to an understanding of the nature of the plasters used. [ABSTRACT FROM AUTHOR]

During the long nineteenth century, the Royal Academy of Fine Arts of Antwerp – just like many other art schools in this period – assembled a collection of some 500 plaster casts after ancient and modern sculptures, which played an essential role in the education of young art students. The creation of such collections went in parallel with the blossoming of cast museums all over Europe, as well as the emergence of a large-scale exchange network set up to facilitate the international dissemination of plaster casts. However, in contrast to cast museums, which brought together masterpieces of classical Western sculpture in order to contribute to the aesthetic edification of the public, the cast collections of art academies had a more pragmatic and didactic function. This article focuses on cast collections at art academies, and how the formation and functioning of such collections related to broader educational concepts and practices at these schools. Taking the collection of plaster casts at the Royal Academy of Fine Arts of Antwerp as a case study, we will trace the various actors, methods and strategies employed to create the collection, uncover how the collection related to the artistic idea(l)s expressed in the educational programme of that institution, and discuss how and where it was located and displayed. Based on the rich archives of the academy, it examines a broad range of different sources, including purchase lists, inventories and correspondence concerning the formation of the collection, as well as floor plans, photographs and original drawings attesting to the location and use of the casts. It traces the provenance of the objects, analyzes the profiles of the individuals and institutions involved in creating the collection, and identifies to what extent and how creative repurposing played a role in the collection’s functioning. The article argues how cast collections formed by art academies – in addition to representing the art historical canon of a given place or period – are an important reflection of the didactic practices, aesthetic priorities and, above all, the creative encounters that distinguish these institutions from the purposes of the public (cast) museum. [ABSTRACT FROM AUTHOR]

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.)

Founded in 1894, the Museum "G. Sergi" houses a variety of osteological materials and other collections, including several plaster facial casts from different human populations. This paper investigates this collection, which has been acquired (at least in part) in the framework of Italian colonialism, focusing on expeditions respectively led by Lidio Cipriani and Corrado Gini during the fascist regime. By examining these casts and the colonial missions associated with them, we compare the goals of Cipriani and Gini, uncovering the otherwise forgotten history of these collections, and provide new insights from the perspective of the colonized. While Gini's records include the names of local actors, Cipriani's documentation identifies individuals in only one notable case, that of the "Arabi dello Yemen", a group of Yemenis about to join the Italian askari forces. Globally, many museums are re-evaluating similar samples and it is in this framework that we present these case-studies. In addition, as a collaborative effort by researchers from different fields, this paper aims to contribute to the ongoing discussion about how human facial casts should be displayed in museums.

Among museum plaster casts, those of architecture have a peculiar status. They are not complete replicas of originals, as is the case for statuary, but copies of pieces, fragments or portions of buildings —one historical response to the problem of exhibiting architecture in a museum gallery. The complex relationship of plaster casts of architecture with their originals is at the origin of the Augmented Reality experience Plaster ReCast. Through the lens of this digital media project, the essay examines how digital reproduction techniques are changing our relationship with many tenets of modern culture: the concept of authenticity, the role of museums in our society and also the way we look at the objects contained in them.

Objective: Diagnostic casts are one of the standard components of orthodontic records. But they have several drawbacks such as the need for physical space for storage and the risk of breaking due to their brittle composition. Today, the digitalization of orthodontic models is a progress in orthodontics. The purpose of this study was to compare and evaluate common orthodontic linear measurements on plaster casts and digital 3D models using Maestro 3D ortho studio® scanner and software (AGE Solutions®, Pontedera, Italy). Materials and Methods: Study casts of 30 orthodontic patients were selected. Tooth width, space analysis, Bolton analysis, overjet, overbite, and linear measurements of dental arch dimensions were performed by two examiners on plaster casts and digital models. Statistical Analysis: Intra‐ and interexaminer agreements were evaluated in both manual and digital methods and paired t test was used for evaluating the agreement between the manual and digital measurement. The significance level was set at 0.05. Results: The intraexaminer agreement was excellent (ICC > 0.75) for most variables in both manual and digital methods. The correlation between the two examiners was significant (p <.05) for most manual and digital measurements. The differences between the manual and digital measurements, although maybe statistically significant, were not clinically significant for most variables. Conclusion: The use of "Maestro 3D" (AGE Solutions, Pontedera, Italy) scanner and software was acceptable for orthodontic diagnostic measurements instead of study casts. [ABSTRACT FROM AUTHOR]

Copyright of Kieferorthopädie: die Zeitschrift für die Praxis is the property of Quintessenz Verlags GmbH 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.)

Literature reports on Lucio Fontana's work have focused on the study of the pictorial surface of his paintings. Consequently, to the best of our knowledge, this paper presents the first scientific investigation of gypsum objects made by this artist. These are the gypsum plaster casts made for the construction of the fifth door of the Milan Cathedral, Italy, which were discovered after 60 years, and which showed a green patina and chromatic discolorations. With the aim of understanding the microbiological or chemical nature of the stains, the surfaces of the tiles were investigated by microbiological analysis and analytical techniques including observations by optical, fluorescence and electron microscopy and spectroscopy. The investigated samples showed that the amount of microbiological cells in the stained area was negligible. Chemical analyses allowed the identification of compounds responsible for the chromatic alterations. [ABSTRACT FROM AUTHOR]

Abstract Background We are performing a combined randomised and observational study comparing internal fixation to non-surgical management for common wrist fractures in older patients. This paper describes the statistical analysis plan. Methods/design A Combined Randomised and Observational Study of Surgery for Fractures In the distal Radius in the Elderly (CROSSFIRE) is a randomised controlled trial comparing two types of usual care for treating wrist fractures in older patients, surgical fixation using volar locking plates and non-surgical treatment using closed reduction and plaster immobilisation. The primary aim of this comparative-effectiveness study is to determine whether surgery is superior to non-surgical treatment with respect to patient-reported wrist function at 12 months post treatment. The secondary outcomes include radiographic outcomes, complication rates and patient-reported outcomes including quality of life, pain, treatment success and cosmesis. Primary analysis will use a two-sample t test and an intention-to-treat analysis using the randomised arm of the study. Statistical analyses will be two-tailed and significance will be determined by p

Objectives. Distal radius fractures represent one of the most frequent injuries in children. The treatment of choice is a closed reduction followed by immobilisation in plaster cast; the immediate recourse to osteosynthesis with Kirschner wires is only reserved for certain cases. The displacement rate reported in the literature is 21-39%. The aim of this study is to retrospectively evaluate the risk factors for a secondary displacement of metaphyseal radius fractures in a paediatric population treated in three different centres. Materials and methods. The initial treatment for all 360 patients examined was a closed reduction under general anaesthesia and immobilisation in an above elbow cast for 4 weeks. The pre-operative displacement, residual post-reduction displacement and possible displacement at 7 and 14 days of follow-up were all assessed clinically and radiographically. Results. A loss of reduction was reported in 102 cases; 51 underwent an additional reduction procedure - some followed by osteosynthesis - while in the remaining 51 cases, the loss of reduction was acceptable in relation to the expectation of remodelling. The most statistically significant variable for the occurrence of a secondary displacement is a severe primary displacement. The association with the ulna fracture is not significantly correlated. The quality of the plaster cast is important for maintaining the reduction. There are a few things to consider as indicators for a second procedure: age, time elapsed from moment of fracture, fracture site and the absence of an acceptable reduction. Conclusions. In our experience, a reduction followed by osteosynthesis with Kirschner wires should be considered the treatment of choice in fractures with a high risk of secondary displacement, namely those with severe initial displacement or unsatisfactory reduction. [ABSTRACT FROM AUTHOR]

The article explores the use and perception of plaster casts in connection with their role as propagators of good taste during the Enlightenment period. It describes the notion of good taste in the 1763 book "Treatise on the Capacity for Sensitivity to the Beautiful in Art and the Method of Teaching" by Johann Joachim Winckelmann. Also cited is the perspective of philosopher Denis Diderot on plaster casts as apostles of good taste. It attributes its appeal to its function and materiality.

In his ‘Treatise on the Capacity for Sensitivity to the Beautiful in Art …’ Winckelmann compares the feeling of the beautiful in art with liquid plaster poured over the head of the Apollo. While this reference to plaster as a material is unusual, his view of casts as propagators of good taste was widely shared. By looking at reactions to casts and cast collections by authors such as Goethe, Christian Gottlob Heyne, John Flaxman and others, this article analyses the complex relationship of notions of good taste on the one side and the perception of plaster casts on the other.

This paper deals with the phenomenon of mould-made religious sculptures, which were bourgeoning in Catholic milieus in the second half of the 19th and the early 20th centuries. The reported observations are based on research into artistic production in Catholic, or partly Catholic, German areas (such as Bavaria, Rhineland, Silesia) and the Habsburg Monarchy. The study makes use of publicity sources (advertisements, catalogues and price lists) and technological publications, as well as opinions of Catholic art critics and art theoreticians of the period. Extant mould-made Catholic sculptures represent an ambiguous heritage. They are generally assumed to be mass-produced, clichéd artifacts, and not usually considered to be works of art. Nonetheless, as relics of a bygone epoch that spanned over a century, they do deserve protection and preservation, or at least documentary work and research.

The aim of this study was to quantify and to compare the wear rates of premolar (PM) and molar (M) restorations of lithium disilicate ceramic (LS2) and an experimental CAD/CAM polymer (COMP) in cases of complex rehabilitations with changes in vertical dimension of occlusion (VDO). Twelve patients with severe tooth wear underwent prosthetic rehabilitation, restoring the VDO with antagonistic occlusal coverage restorations either out of LS2 (n = 6 patients, n = 16 posterior restorations/patient; N = 96 restorations/year) or COMP (n = 6 patients; n = 16 posterior restorations/patient; N = 96 restorations/year). Data was obtained by digitalization of plaster casts with a laboratory scanner at annual recalls (350 ± 86 days; 755 ± 92 days; 1102 ± 97 days). Each annual recall dataset of premolar and molar restorations (N = 192) was overlaid individually with the corresponding baseline dataset using an iterative best-fit method. Mean vertical loss of the occlusal contact areas (OCAs) was calculated for each restoration and recall time. For LS2 restorations, the mean wear rate per month over 1 year was 7.5 ± 3.4 μm (PM), 7.8 ± 2.0 μm (M), over 2 years 3.8 ± 1.6 µm (PM), 4.4 ± 1.5 µm (M), over 3 years 2.8 ± 1.3 µm (PM), 3.4 ± 1.7 µm (M). For COMP restorations, the mean wear rate per month over 1 year was 15.5 ± 8.9 μm (PM), 28.5 ± 20.2 μm (M), over 2 years 9.2 ± 5.9 µm (PM), 16.7 ± 14.9 µm (M), over 3 years 8.6 ± 5.3 µm (PM), 9.5 ± 8.0 µm (M). Three COMP restorations fractured after two years and therefore were not considered in the 3-year results. The wear rates in the LS2 group showed significant differences between premolars and molars restorations (p = 0.041; p = 0.023; p = 0.045). The wear rates in COMP group differed significantly between premolars and molars only in the first two years (p < 0.0001; p = 0.007). COMP restorations show much higher wear rates compared to LS2. The presented results suggest that with increasing time in situ, the monthly wear rates for both materials decreased over time. On the basis of this limited dataset, both LS2 and COMP restorations show reasonable clinical wear rates after 3 years follow-up. Wear of COMP restorations was higher, however prosthodontic treatment was less invasive. LS2 showed less wear, yet tooth preparation was necessary. Clinicians should balance well between necessary preparation invasiveness and long-term occlusal stability in patients with worn dentitions. [ABSTRACT FROM AUTHOR]

Italian "image peddlers" sold small plaster sculptural reproductions door to door in the United States during the nineteenth century. Representations of these street vendors illuminate the histories of the art reproductions market, emigration of the Italian Catholic artisans who produced and sold classical and Renaissance figurines, and the Protestant middle-class consumers who purchased them. Using print images from abecedaries (alphabet books) and children's geographies, this article reveals how an idealized view of the fine arts among the public overrode long-held antipathy toward Catholic imagery and the Italian peddlers themselves. Furthermore, it identifies the central figure of Francis W. Edmonds's 1844 painting the Image Pedlar as an Italian image peddler. His identity has been overlooked because of the secular inventory on his tray and lack of reference to ethnicity in the painting's title. These factors allowed viewers to appreciate Edmonds's subject of an American family enjoying a variety of arts without being discomforted by their own anti-Catholic and anti-Italian biases. [ABSTRACT FROM AUTHOR]

Our interest in the history and the pedagogical collection of the Universities of Besançon and Dijon has recently led us to undertake a research program on the educational heritage linked to the teaching of art history and archaeology our region Burgundy – Franche-Comté (see here: https://ista.univ-fcomte.fr/projet-scientifique/projet-moulages). With the study of argentic photographs distributed by Parisian houses (such as Giraudon), photographic plates, works of specialized literature acquired by our libraries and collections of plaster casts assembled at the end of the 19th century, we put in relation the collections of the art schools of Dijon and Besançon. The latter, founded in the 18th century, still possesses a large collection of plasters, mainly of Graeco-Roman sculpture, which we study in the context of this paper; the municipal archives of Besançon keep an important collection which will allow us to retrace their history and customs, from the dispatches of the Ministry of Public Instruction until the school was moved in 1972. In parallel, we study the Dijon Art School collection, which deposited a large part of its collection of plaster casts at the Musée de Montbard in the 1990s; a reasoned inventory, in progress, is a first step in this research. Our contribution to this issue will first tackle certain historical aspects of the presence of these plaster collections in Burgundy – Franche-Comté in order to consider the modalities of their preservation in 2020.

Created in 1820, the Nîmes drawing school was intended all along the 19th century for the teaching of drawing to the working classes as a priority. It met a need for instruction but also an economical need, as Nîmes was then counted among the most important manufacturing centers in France. The school found itself completed with a museum created by the municipal authorities, the prime vocation of the institution being to meet a pedagogic necessity. In addition, the drawing school acquired a collection of models that can be used directly in classes, that collection being only known today through its archives and the heritage of the Mérignargues family, which gave the school a teacher and a student. Particularly enriched in the 1880’s, these collections consist principally of molded plaster models, which represent statues, busts, ornaments, and architectural features… They become the mirror of a pedagogic system using imitation and comparison based on the antique ideal. Otherwise, the study of their constitution highlights their central role in the decorative arts development by the state in the late century, the collections thus becoming the instrument of a national policy.

Background: We are performing a combined randomised and observational study comparing internal fixation to non-surgical management for common wrist fractures in older patients. This paper describes the statistical analysis plan.Methods/design: A Combined Randomised and Observational Study of Surgery for Fractures In the distal Radius in the Elderly (CROSSFIRE) is a randomised controlled trial comparing two types of usual care for treating wrist fractures in older patients, surgical fixation using volar locking plates and non-surgical treatment using closed reduction and plaster immobilisation. The primary aim of this comparative-effectiveness study is to determine whether surgery is superior to non-surgical treatment with respect to patient-reported wrist function at 12 months post treatment. The secondary outcomes include radiographic outcomes, complication rates and patient-reported outcomes including quality of life, pain, treatment success and cosmesis. Primary analysis will use a two-sample t test and an intention-to-treat analysis using the randomised arm of the study. Statistical analyses will be two-tailed and significance will be determined by p < 0.05. Sensitivity analyses will be conducted to assess for differences in intention-to-treat, per-protocol and as-treated analyses. Sensitivity analyses will also be conducted to assess selection bias by evaluating differences in participants between the randomised and observational study arms, and for bias relating to any missing data. An economic analysis will be conducted separately if surgery is shown to provide superior outcomes to a level of clinical significance.Discussion: This statistical analysis plan describes the analysis of the CROSSFIRE study which aims to provide evidence to aid clinical decision-making in the treatment of distal radius fractures in older patients.Trial Registration: CROSSFIRE was approved by The Hunter New England Human Research Ethics Committee (HNEHREC Reference No: 16/02/17/3.04). Registered on 22 July 2016 with The Australian and New Zealand Clinical Trials Registry (ANZCTR Number; ACTRN12616000969460 ). This manuscript is based on v.11 of the statistical analysis plan. A copy of v.11, signed by the chief investigator and the senior statistician is kept at the administering institution. [ABSTRACT FROM AUTHOR]

Plaster casts of ancient sculpture were widely collected by universities and museums through the nineteenth century. One of the intended functions of these casts was to preserve accurate 3D records of the sculptures, many of which were in remote locations around the world, often vulnerable to damage from weathering and vandalism. Gypsum plaster makes excellent casts, capturing fine surface details; however, it is also soft, porous, and easily damaged. This paper draws upon historical archives and patents to reveal the considerable efforts made during this period to create new techniques, recipes, and equipment to try to protect the casts. Case studies are selected primarily from the collection of casts put together by Walter Copland Perry in the 1880s, originally for the South Kensington Museum but transferred in 1907 to the British Museum. Samples were taken from a number of these casts and examined using scanning electron microscopy with energy dispersive spectroscopy. These results, combined with archival evidence, demonstrate that protective coatings were carefully applied in thin coatings to many of the casts. Barium appears to have played an important part in these protective treatments and further testing is recommended to evaluate the precise nature of its role. These treatments successfully protected the delicate surfaces of the casts for many years. However, later neglect means that these casts now suffer from a range of other threats to their condition. [ABSTRACT FROM AUTHOR]

Despite its short history, the royal-university collection grew significantly: from 542 casts purchased by Stanislaus Augustus to over 750 sculptures finally gathered at the University. For years, agents purchasing artwork for Stanislaus Augustus, university professors and museum directors tried to cooperate with numerous casting workshops throughout Europe which produced copies of prominent ancient works of art. Plaster casts were especially important to the University of Warsaw. For a long time, they functioned as ars, a priceless collection presented to the wider public at the Column Hall, as well as educatio when they were utilized as a basic educational tool for students of painting, sculpture or architecture. This paper is devoted to the markings used by casting workshops that manufactured some of the surviving casts. Such designations allow not only to track contacts with European workshops but also to determine the origins of particular works and the exact time of their creation or the name of the caster. [ABSTRACT FROM AUTHOR]

The article studies the ideas and practices involved in implementing an art collection in university studies, focusing on a plaster cast collection. The history of museums began in Estonia with the reopening of the University of Tartu (1802) and, since then, collections have played an important role in teaching. This article concentrates on the features of the Enlightenment in Estonia in the context of university education. The University of Tartu was located on the periphery of Europe: on the one hand it was on the fringes of the Russian Empire and on the other hand in the sphere of German culture. Nevertheless, the university collections proved to be varied and were integrated into lectures and seminars, which was an innovative idea in Estonian education. [ABSTRACT FROM AUTHOR]

Objective: This study aimed to assess intra-examiner and inter-examiner reproducibility in irregularity index measurements. Methods: Twenty plaster casts of moderately crowded arches were randomly selected, and five contact point displacements (CPD) at lower anterior segment (through no. 33 to no. 43) were recorded using digital calipers on two different time points by three examiners to determine irregularity index (sum of five CPDs). To evaluate intra-examiner and inter-examiner differences, paired t-test and analysis of variance were used, respectively. Correlation analyses were performed between examiner pairs, and intra-class correlation coefficients (ICC) were determined. Statistical significance was set at p=0.05. Results: Only a few of the repeated measurements of examiners showed significant differences (p=0.05). All researchers were consistent in repeated measurements (p=0.000), and ICCs ranged between 0.916 and 0.986. For one CPD measurement, a statistically significant difference was detected among examiners (p=0.020). High correlation was found for inter-examiner repeatability (p<0.05), and ICCs ranged between 0.739 and 0.984. But when the difference of 1.5 mm among measurements was set as clinically relevant, the percentages of these values for repeated measures were 15%, 5%, and 45% for examiner 1, 2, and 3, respectively. These percentages were 25%, 80%, and 65% for examiner pairs. Conclusion: Irregularity index may be a misleading index to determine anterior alignment especially when measuring small CPD. [ABSTRACT FROM AUTHOR]

The cultural historian Aby Warburg used reproductive images, predominantly photography, but also plaster casts, in many of his projects, most famously in the Mnemosyne picture atlas. His most extensive discussion of plaster casts is published here for the first time in the form of a parliamentary transcript of his statement before a committee of his home town's legislative body, the Hamburger Bürgerschaft, in December 1909. Here Warburg speaks in favour of the appointment of a classical archaeologist, whose duties he presents as mainly to be concerned with the city's neglected collection of classical casts. Drawing on an array of sources from Warburg's correspondence and working papers, the article analyses Warburg's perception of classical cast collections and plaster casts in general. Subscribing in part to the ideals of German eighteenth-century thinkers such as Winckelmann and Lessing, Warburg identified these collections as major sources of the Enlightenment and attributed to them an important role in German classical school education, where these images would complement study of ancient texts. However, Warburg was by no means a great admirer of the impressive cast collections of his time: only a few years after completing his studies he ascribed his perceived inability to react spontaneously to ancient sculpture and monuments to the 'so-called classical plaster shop talk' of his school and student days. For Warburg, casts after ancient sculpture had to be complemented with other non-classical imagery and needed to have 'life breathed into them' in order to affect the beholder. [ABSTRACT FROM AUTHOR]

This essay delves into casts of the Aztec earth goddess, the Coatlicue, through the lens of a sculpture, No solid form can contain you (2010), by the contemporary Mexican artist Mariana Castillo Deball. In this sculpture, Castillo Deball created a fibreglass cast of the Coatlicue and placed it on the floor. These artistic decisions highlighted two important and yet understudied aspects of the Aztec monument – its frequent disinterment and reburial, and subsequent reproduction and circulation. This article traces these connected paths of the Coatlicue, from the cycles of unearthing to its circulation through publications and plaster cast copies. To theorize the importance of these copies, this article draws on a recent article by Bruno Latour and Adam Lowe. Major political shifts within the Mexican Republic had important consequences for the status of Aztec monuments such as the Coatlicue, as presidents Benito Juárez and Porfirio Díaz recuperated them as evidence of a powerful ancient civilization. Once feared as a 'monstrous' icon, the Coatlicue was transformed into a symbol of national identity and occupied a place of pride in the museum. In No solid form can contain you, Castillo Deball questions the political and museological apparatuses that have dictated the status of the Coatlicue. The essay argues that her work operates within a framework set out by Erica Segre whereby Mexican artists integrated images of the pre-Columbian past to 'interrogate identity'. To create the work, Castillo Deball used the same strategies of replication and circulation, though by presenting the work with seams left unfinished and lying on the floor, she gestured towards the constructed nature of replicas and their history of display. [ABSTRACT FROM AUTHOR]

In 1874 the South Kensington Museum opened two Architectural Courts that displayed plaster casts of important sculptures and monuments. While the European-origin casts of the Western Court are still on show, the mostly Indian plaster casts of the Eastern Court have vanished without a trace. This article follows the triumphal entry and unceremonious exit of this collection by focusing on the most celebrated of the 'Eastern' plaster casts, a 33-foot-tall reproduction of the sculpted gateway of the second-century Sanchi stupa. Following Henry Cole's 1867 'International Convention of promoting universally Reproductions of Works of Art', his son Henry Hardy Cole was commissioned to produce more than a hundred casts of Indian monuments. With copies of the Sanchi gateway distributed to Paris and Berlin as well, the casts brought attention to Indian art in Europe and quelled competition between European nations to acquire ancient artefacts for their museums. The dispersal of reproductions allowed Sanchi's original sculptures to remain on-site, allowing for their eventual in situ conservation. I contrast Henry Hardy Cole's views on collection and conservation at the time with those of the influential archaeologist Alexander Cunningham and the Begum of Bhopal, on whose territory Sanchi stood. Ironically, while the plaster cast ensured that Sanchi's original was conserved, the cast itself was not saved. A contraction of the Indian Section's gallery space in the 1950s coincided with changing attitudes towards reproductions that devalued plaster casts. W. G. Archer, new keeper of the Indian Section, was allowed to dispose of all of the Indian casts, even as the museum endlessly deferred decisions about its European casts, revealing different standards applied to reproductions of European and of Indian origin. [ABSTRACT FROM AUTHOR]