The visible polychromy of a wooden sculpture representing St. John the Evangelist, fromMuseu Nacional de Arte Antiga, Lisbon (Portugal) presents several techniques that complement each other on the creation of a sumptuous estofado. This case-study allowed the survey on gilding, silvering and polychromy practices, and observations on their execution are briefly reported and documented with results from a multi-analytical approach. Examination included digital photomicrography and the observation of micro-samples cross-sections, while material identification resorted to several analytical methods that included scanning electron microscopy coupled with energy dispersive X-ray spectroscopy (SEM-EDS) and X-ray diffraction (XRD).
he casket of Queen Maria Pia of Savoy, belonging to the collection of the Palácio Nacional da Ajuda, contains a set of thirty-three pieces of gold jewellery in the archaeological style created by the Castellani workshop in Rome. his family of jewellers, fascinated by the ancient techniques of gold working, restored but also reproduced several antique pieces, giving rise to the emergence of the so-called 'archaeological jewellery', very popular in the 19 th century, using characteristic techniques of antique jewellery such as granulation, iligree, micro-mosaic and engraving of stones in intaglio. he main purpose of this paper is to present the results of the analyses of the base metals used in the manufacture of the jewellery and also to identify the production techniques, such as mounting, joining and decoration, used by the Castellani workshop in making the jewellery for the casket of Queen Maria Pia of Savoy. For this purpose, portable equipment of examination and analysis was brought to the museum. he results obtained in situ show the use of standard wires and granules, as well as of three diferent base alloys. One element of a hairpin pair which appears to have originated from a diferent production is discussed. Résumé : Le cofret ofert à la Reine Maria Pia de Savoie, appartenant aux collections du Palácio Nacional da Ajuda, contient trente trois pièces d'orfèvrerie en or fabriquées par les ateliers Castellani. L'attrait de cette famille d'orfèvres pour les techniques de l'orfèvrerie antique les a amenés à restaurer mais aussi à reproduire plusieurs pièces anciennes faisant émerger au XIX e siècle le style archéologique. Pour fabriquer leurs bijoux, les Castellani ont utilisé diférentes techniques caractéristiques de la décoration des pièces d'orfèvrerie ancienne, dont la granulation, le iligrane, la gravure de gemmes en entaille et la mosaïque sont des exemples. Dans cette étude nous présentons les résultats analytiques obtenus pour la composition des alliages utilisés dans la fabrication des pièces du cofret de la Reine Maria Pia ainsi que la description des techniques de production des objets-montage, assemblage, décoration-utilisées par les Castellani. À cette in, des équipements portables d'examen et analyse ont été transportés au musée pour efectuer une étude in situ. Les résultats obtenus montrent l'utilisation de ils et granules de forme homogène et de trois alliages d'or. Un élément d'une paire d'épingles à cheveux, dont la production semble être diférente, est discuté.
This paper discusses the process variation/change under a sociofuncionalist look. It appears as a literature view that revisits concept sand theoretical and methodological assumptions of sociolinguistics and functionalist theory, in order to raise convergences related to the treatment of variation in two parts, sailing up the third approach called sociofuncionalist. It is based on the authors sociolinguistic:
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