Artwork

Covers all land eastwards to the Urals, southwards to North Africa and up to Syria, Iraq and Iran. Scale - 1 5,500,000, 4-colour artwork. Features main roads, railways, oil and gas pipelines, plus extra information including national flags, currencies and populations. 

These cave drawings, found in Chauvet Cave in France, have been authenticated by C-14 dating to 30,000-28,000 B.c. It is the oldest known artwork in the world. 

Signature Labs (www.signaturdabs.com) combines the resources of Brooks/Cole, CER, and OuterNet Publishing to provide you unparalleled service in creating your ideal customized lab program. Select the experiments and artwork you need from our collection of content and imagery to find the perfect labs to match your course. Visit www.signaturdabs.com or contact your Brooks/Cole representative for more information. 

The author is indebted to Hoechst AG, Frankfurt a. M. and Hiils AG, Marl, Germany, for sponsoring much of the original artwork. 

A catalog of products including Artwork, Books scrolls, Esoteric equipment, Lab supplies, Tapes, CDs videos Spritiual jewellery, Consultations, Meditation supplies, Elixris tinctures,... 

Introductory page, with links to (main headings only) Alchemical music from Atalanta fugiens Searchable database of alchemical emblems [500 + images] Paintings and other artwork Images from manuscripts and books Images of alchemical apparatus Alchemical symbols for substances, processes and equipment Other material... 

Pollution is the release of something undesirable to the environment. By undesirable is meant something that is either harmful or unpleasant to some person, place, or thing. The industrial fumes that are destroying the stone artwork on the castles and cathedrals in Europe and the smog in the Los Angeles area are examples. 

Burgio, L., R. J. H. Clark, T. Stratoudaki, M. Doulgeridis, and D. Anglos (2000), Pigment identification in painted artworks A dual analytical approach employing LIBS (laser-induced breakdown spectroscopy) and Raman microscopy, Appl. Spectrosc. 54(4), 463-469. 

Vonda is making a mosaic. Each tiny piece of glass in the artwork is if inch by 1- inch. What is the area of each piece ... 

In recent years, several groups have proposed the use of Laser Induced Breakdown Spectroscopy as a technique capable of giving information on the pigment compositions with minimal damage of the artwork. However, until the development of quantitative methods for accurate elemental analysis, the LIBS technique was hardly competitive with other methods for quantitative analysis of the samples. 

As an example of the application of joint micro-LIBS and micro-Raman analysis on actual samples, results are reported on the study of a small fragment (less than 1 mm2) of the S.Antonio Abate , a wooden painted artwork decorating the Arciconfratemita della Misericordia in Siena, attributed to the Renaissance Italian artist Domenico di Pace, also known as II Beccafumi (Montaperti 1486 - Siena 1551). The sample, whose dimensions were relatively small (less than 1 mm2), was given by Opificio delle Pietre Dure di Firenze (OPD) to the Department of Chemistry of Pisa University, where it was going to be analysed for the presence of lakes in the... 

The sample analysed was taken from a painted fragment from the S.Antonio Abate painting of Domenico Di Pace, called II Beccafumi (Montaperti 1486 - Siena 1551) (see Figure 4). The artwork is a wooden... 

Anglos D., Couris S., Fotakis C., Laser Diagnostics of Painted Artworks Laser-Induced Breakdown Spectroscopy in Pigment Identification, Appl. Spectrosc. 1997 51(7) 1025. 

Application to Organic Materials of Artworks 5.3.1 Methodological Aspects... 

Besides the well-established chromatographic/mass spectrometric or spectroscopic methods there is always a need for complementary methods for the study of organic materials from art objects. The application of laser desorption/ionisation mass spectrometry (LDI-MS) methods to such materials has been reported only sporadically [12, 45 48] however, it is apparently increasing in importance. After GALDI-MS had been applied to triterpenoid resins, as described in Section 5.2, this relatively simple method was evaluated for a wider range of binders and other organic substances used for the production or conservation of artwork. Reference substances as well as original samples from works of art were analysed. 

Owing to the fact that organic substances have to be separated from a complex sample, transferred to the mass spectrometer target and desorbed, it seems impossible so far to analyse cross-linked binding media from artwork (e.g. dried oil, aged proteins, cross-linked synthetic polymers). Application of classical methods of sample treatment for... 

For a proper understanding of the protein binder s function in artworks and historical building materials, it is essential to identify the individual proteinaceous additives and to distinguish them even in materials where they are present in very small amounts, in insoluble forms and often in matrices unsuitable from an analytical point of view. For many materials the appropriate analytical methodology has not been found up to now and, in general, this type of analyses has not become a routine technique. Thanks to the recent development of proteomics (Section 6.2) most of the afore-mentioned problems have been resolved mass spectrometry forms a fundamental platform for this new methodology. 

Egg yolk and white were used in paintings either separated or, more often, together. Egg or egg yolk temperas served as the most common protein binders in colour layers of artworks. Egg white alone was used in book illustrations, but it was usually not involved in other artworks because colour layers containing it were too fragile. Egg yolk in temperas has always been popular because of the higher content of lipids, which make the layers elastic and increases their adhesion to the surface. 

Colour layers of artworks are a combination of powder dyes or pigments with binders. Although the binders form the minority of the colour layer, the name of the painting techniques are derived from them at present the most common techniques are oil and tempera. 

According to the predominant component, the binders are usually divided into protein, oil, polysaccharide, and resin binders. In this section we shall focus on protein binders but it is worth mentioning that in the majority of natural non-protein binders a minority protein component is usually present as well. Thus many of the analytical techniques described here can be (with certain limitations) applied to them as well. Although in colour layers of artworks and particularly in paintings protein binders are relatively abundant (up to 10%), their identification is often limited by a small amount of sample that is usually available for analysis (tens or hundreds of micrograms at most [6]). 

When a colour layer of an artwork is analysed, a drop (5 10 pi) of this solution is localised on the sample surface. This method of enzymatic digestion can be, in principle, applied to all types of samples that occur in restoration practice fragments, cross-sections, microtome slices, etc. The samples are digested in closed microtubes to prevent evaporation of the solution. In the case of the cross-sections and microtome slices, it is essential to ensure the wetness of sample surface for the whole time of digestion. 

In this section the experiments for the identification of proteinaceous binders contained in the model and artwork samples are summarised. 

Organic Mass Spectrometry in Art and Archaeology 6.4.3 Artwork Case Studies... 

Applications of PMM for the analyses of proteinaceous binders in artworks are summarised in Table 6.7 [21,39 43], The analyses of the most interesting paintings by E. Munch, are described in detail here. 

Artwork description Historical allocation Proteinaceous binder References... 

Entrapment in certain archaeological environments can enhance lipid preservation. For example, decomposition is slowed down by dry conditions such as arid or cold climates. In charred residues, the activity of micro-organisms present in organic tissues stops and the outer surfaces are fused, providing a barrier against microbial attack. This means that lipids are often encountered in many different environments associated with artworks and archaeological objects. They appear as constituents, decoration materials or residues of the materials originally contained in a vessel. 

The differentiation of lipid media in samples from artworks on the basis of their sterol content has been attempted, but the tendency of sterols to oxidize means that they can rarely be detected in thin paint layers [56]. 

In centuries prior to the industrial revolution, before the development of manufactured paints, a painter was not only an artist, but also a formulator of paints , thus experimenting with a multitude of materials as paint. Organic paint binders typically were adhesive to the ground layer and also provided a matrix capable of suspending the coloured pigments. Specific binders were needed to form stable films with aesthetic visual properties. In European artwork,... 

Table 9.4 Recent applications of GC/MS procedures to determine proteins in artworks...

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