Where is All the Amalgam Silvering?

1996 ◽  
Vol 462 ◽  
Author(s):  
Kilian Anheuser
Keyword(s):  
Copper Alloy ◽  
18Th Century ◽  
Silver Chloride ◽  
Know How ◽  
Diffusion Bond ◽  
Decorative Art ◽  
Silver Amalgam ◽  
Subsequent Heating ◽  
Xrf Analyses

ABSTRACTAmalgam gilding was one of the most common techniques for the gilding of metalwork before the invention of electroplating. Its silver equivalent, amalgam silvering, was executed in the same manner, by applying a paste of silver amalgam and mercury to a copper alloy object and subsequent heating to form a diffusion bond between substrate and plating and to evaporate the excess mercury, followed by burnishing of the surface. The technical know-how was readily available. However, even though many medieval and post-medieval European metal objects were silver plated, only a few coins and small objects like medieval decorative mounts and horse trappings, and post-medieval astronomic instruments have been reported as examples of amalgam silvering. The technique was also used in China in the 3rd-1st century BC. Should we assume that there are many more amalgam silvered objects waiting to be discovered, as has been suggested? This paper investigates silver plated objects from 3rd century BC Chinese belt hooks to 18th century French decorative art and compares the analytical evidence with original silvering recipes and replication experiments, which showed that with amalgam silvering satisfactory results were far more difficult to achieve than with fire-gilding. It was found that the presence of mercury in XRF analyses of silver plated surfaces did not necessarily identify amalgam silvering, and that some allegedly amalgam silvered objects may in fact have been plated with silver chloride based electrochemical replacement silvering pastes.

scholarly journals Status teoretyczny emblematu w polskiej dekoracji

Terminus ◽  
2021 ◽  
Vol 23 (3) ◽  
pp. 227-258
Author(s):  
Magdalena Kinga Górska
Keyword(s):  
18Th Century ◽  
Artistic Practice ◽  
Aesthetic Value ◽  
Departure Point ◽  
Decorative Art ◽  
Historical Materials ◽  
Genre Classification ◽  
Theoretical Status ◽  
Definition Of

The Theoretical Status of the Emblem in Polish Decorative Art This paper argues that the theoretical status of the emblem in decorative art has methodological significance in emblem studies and art history, comparable to its status in the so-called book’s editorial frame. This claim is justified in the historical and theoretical tradition of defining emblems in the sources. The departure point for the author’s considerations comes from the findings of applied emblematics, and its foundation is provided by the theoretical sources describing symbolic genres (scil. emblema, symbolum, hierogliphicum) published in Poland from the 16th to the 18th century, including books of poetics, rhetoric, dictionaries and compendia. The first part of the article presents an overview of research on decorative emblems in Poland, together with factors responsible for the scarcity of such studies, including the lack of symbolic typology of the decorations, and the division into literary and non-literary studies, motivated by the philological roots of emblem studies. It is noted that the emblemata in the so-called book’s editorial frame and those in decorations should be studied separately, as the latter are of ornamental nature, and require a distinct order of perception, explication, and the recipient’s role. Besides, it is pointed out that the anachronism of the 16th-century formulae of emblema raises problems for the genological classification of Polish decorations, and so does the inter-genre, compendiumtype pattern of symbolism dominant in the 18th century. The second part of the article discusses the definition of the emblema, focusing on its details relevant for the artistic practice and present-day genre classification, such as technique, composition, the content of the image, which is confronted with Polish historical materials. The analysis carried out in the paper supports the claim that providing a genelogical definition of a work of art sheds light on its artistic rendition and aesthetic value. It also enhances the perspective on emblem studies, the workshop of an emblem artist and the reception of the emblem. Additionally, it enables the verification of synthetic accounts and research practice, offering a profound reflection on the chronology and previous conceptions of the emblem. Finally, it helps to formulate postulates, which can be useful for the met

scholarly journals Jean-Honoré Fragonard’s Work and the Theatre Culture of the 18th Century

2019 ◽  
Vol 16 (4) ◽  
pp. 406-417
Author(s):  
Elena E. Agratina
Keyword(s):  
18Th Century ◽  
Fine Arts ◽  
Constant Attention ◽  
Decorative Art ◽  
Street Theater ◽  
Long Time ◽  
Relationship Of ◽  
First Time ◽  
The Relationship ◽  
Opera Productions

The article, for the first time, exami­nes the work of the master of the 18th century Jean-Honoré Fragonard (1732—1806) within the context of the theatre culture of that time. Being a student of François Boucher (1703—1770), who was working as a theater decorator for a long time, Fra­gonard from his youth had the opportunity to join the world of theater. The painter’s passion for the stage greatly influenced the thema­tic and figu­rative composition of his works. Early histo­rical pain­tings of Fragonard, such as “Jeroboam Sacrifi­cing to Idols” (1752, School of Fine Arts, Paris), were crea­ted under the influence of Baroque thea­ter and decorative art and opera productions. Undoubtedly, Fragonard’s familiarity with theatre was promoted by his long stay in Italy, where the famous families of theater decorators Bibiena and Galliari was wor­king at that time. The article pays special attention to the process of planning and execution of the painting “The High Priest Coresus Sacrificing Himself to Save Callirhoe” (1765, Louvre), made not without regard to the opera “Callirhoe”, popular in Paris in the 18th century. It was theater that inspired the master to create his famous costume series of “Fantasy Portraits”, one of which depicted Marie-Madeleine Guimard (1743—1816), who not only had posed for the artist, but also ordered him to design her own mansion conceived as a temple of Terpsichore, the Muse of dance. In addition, Fragonard was the author of several panoramic genre paintings conveying the atmosphere of the then popular street theater. Works of this brilliant master exem­plify the relationship of arts that determined the nature of the cultural environment of that era and requires constant attention from modern researchers.

scholarly journals Часовая коллекция Цяньлуна (1736–1795): первое собрание европейского искусства в Китае

2020 ◽  
pp. 168-175
Author(s):  
M.A. Neglinskaya
Keyword(s):  
Research Methodology ◽  
Art History ◽  
18Th Century ◽  
Cultural Analysis ◽  
Decorative Arts ◽  
European Market ◽  
Decorative Art ◽  
Made In

Many of European clocks in the Beijing’s Palace Museum (Gugong) were made in second half of the 18th century, by the Qing Emperor Qianlong’s governing (1736–1795), when an exotic “Chinese style” (chinoiserie) in the decorative arts was at its height. The research methodology proposed below, which combines art history and cultural analysis, allows us to see, that the Palace Collection’s mix determined evolution of the clock’s industry in China and some European lands, who took part in the international clock and watch market. In forms and decor of Chinese clocks the 18th century were reflected the change of European market. Together with western mechanical clock, being at the same time scientific device and work of decorative art, the European styles system was by ritual participation admitted in China. В статье показано, что западная часовая коллекция Цяньлуна (1736–1795), явившаяся первым в империи Цин (1644–1911) собранием произведений европейского искусства, связана с художественным рынком и феноменом шинуазри. Предложенная ниже методология, сочетающая искусствоведческий и культурологический подходы, позволяет увидеть, что состав этой коллекции повлиял на развитие производства механических часов в самом Китае и западных странах — участницах международного рынка искусств XVIII века. Собирательство механических хронометров в государстве Цин было обусловлено ритуализацией часов, устранившей проблему дуализма китайского и западного начал в цинской культуре и искусстве.

scholarly journals Holiday parades in Ottoman miniature of the XVI–XVIII centuries

2018 ◽  
Author(s):  
Татьяна Хамзяновна Стародуб
Keyword(s):  
Ottoman Empire ◽  
18Th Century ◽  
World History ◽  
Avant Garde ◽  
Decorative Art ◽  
Action And Perception ◽  
The World ◽  
History Of ◽  
And Performance ◽  
Early 18Th Century

В мировой истории искусства встречаются события, которые можно интерпретировать как подателей идеи создания художественной композиции, рассчитанной на действие и восприятие не в замкнутых интерьерах дворца или храма, а в обширных общественных пространственных зонах. Нечто подобное произошло в официальной культуре Османской империи периода XVI – 1-й трети XVIII века. Одним из проявлений творческого подъема страны в это время было развитие монументального оформительского искусства театрально-декорационного характера. Источником наших знаний об этом виде творчества служат тексты и иллюстрации рукописей особого жанра – Сюрнаме, или «Книги празднеств». Две рукописи этого жанра – 1580-х годов и 1730-х годов, обильно и красочно иллюстрированные исторически достоверными изображениями праздничных парадов, позволяют предположить зарождение таких явлений авангардного искусства XX века, как инсталляция и перформанс в далёком прошлом. In the world history of art one occurs with events that can be interpreted as generators of the idea of creating an artistic composition designed for action and perception not in the closed interiors of a palace or a temple, but in vast social spatial zones. Something similar happened in the official culture of the Ottoman Empire in the 16th – first half of the 18th century. One of the manifestations of the country's creative rise at that time was the development of monumental decorative art of a theatrical-scenery character. A source of our knowledge about this kind of creativity is the texts and illustrations of manuscripts of a special genre – Surname, or "The Book of Festivals." Two manuscripts of this genre, dating from the 1580s and 1730s, and abundantly and colorfully illustrated with historically authentic images of festive parades, suggest the emergence of such phenomena of avant-garde art of the twentieth century as Installation art and Performance art in such a distant past as the Ottoman Turkey from the 16th to early 18th century.

scholarly journals “Chinese Style” in architecture and planning of London (1811–1820)

2020 ◽  
Author(s):  
Марина Александровна Неглинская
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Qing Empire ◽  
Decorative Art ◽  
The North ◽  
Historical Center ◽  
South Axis ◽  
The 19Th Century ◽  
Structural Significance

Статья посвящена обоснованию структурного значения китайского стиля (шинуазри) для архитектуры Англии периода Регентства. Английская китайщина активно развивалась в садах и декоративно-прикладном искусстве, согласуясь с классическими стилями XVIII века и эклектикой XIX столетия. Происходившие синхронно перемены в архитектуре и планировке британской столицы, отвечая логике собственного развития Лондона, стали отчасти результатом контактов с Поднебесной империей и вдохновлялись примером цинского Пекина. В статье показано, что улица Риджент-стрит, связавшая исторический центр Лондона с Риджентс-парком, явилась первой расположенной по оси север-юг столичной магистралью, которая определила начало возвращения города к принципам регулярной планировки. The article shows the structural significance of the Chinese style (chinoiserie) for the architecture of England during the Regency period. The Chinese style actively developed in English gardens and decorative art, consistent with the classical styles of the 18th century and the eclecticism of the 19th century. Some changes in the architecture and planning of the British capital, which were in line with the logic of Londons own development, were also the result of contacts with the Qing Empire (16441911) and were inspired by the example of Beijing. The article shows that Regent Street, which connected the historical center of London with Regents Park, was the first Londons highway located along the north-south axis and determined the beginning of the citys return to the principles of regular planning.

scholarly journals Sacked and Cursed? New data on the transition from the city-state to the Hittite capital Hattuša

2019 ◽  
Vol 3 ◽  
Author(s):  
Néhémie Strupler
Keyword(s):  
19Th Century ◽  
Large Scale ◽  
18Th Century ◽  
Central Anatolia ◽  
Know How ◽  
Modern Turkey ◽  
City State ◽  
The 19Th Century ◽  
The City

When: Karum Period: First centuries of the 2nd millennium B.C. when Assyrian and Anatolian merchants took part in large-scale commercial exchanges between Aššur and central Anatolia. Most of the epigraphic finds come  from the 19th century BC, and the 18th century is less known. We don’t know how the commercial exchanges came to an end. Until the establishment of the administration at the Hittite capital Hattuša/Boğazköy (1650), there is a hiatus in the epigraphical records for more than a century. Who: Anitta, son of Pithana, an ambitious ruler who created one of the first Kingdom in Central Anatolian (modern Turkey) in the mid 18th century.Where: Boğazköy (modern name, in Central Anatolia) was a city called Ḫattuš and was an exchange place in the Anatolian Network of the Karum period. The site was selected as the capital of the Hittites around 1650 by Ḫattušili I, the first well attested Hittite King.

scholarly journals Scientific Analysis and Conservation Treatment on the Buddhist Scriptures of Paper Relics Excavated from Sum Tolgoi, Mongolia

2021 ◽  
Vol 37 (6) ◽  
pp. 723-737
Author(s):  
Su Bin Bae ◽  
Min Jeong Yang ◽  
Yun Mi Kwon ◽  
Ji Hyun Yoo ◽  
Hee Won Jeong
Keyword(s):  
Radiocarbon Dating ◽  
Silver Chloride ◽  
Plant Fiber ◽  
Bast Fiber ◽  
Conservation Treatment ◽  
Composition And Structure ◽  
Scientific Analysis ◽  
Silver Paint ◽  
Herbal Plant ◽  
Xrf Analyses

This study analyzed the composition and structure of materials with Buddhist paper scriptures excavated from architectural sites in ‘Sum Tolgoi’ of the 17th century and carried out conservation treatment base on the result of the analysis. The scriptures were covered in dust and foreign sub stances, and were so crumpled that it was impossib le to identify the form. The damage, loss, and discoloration have been identified. Buddhist scriptures written in Tibetan used indigo and ink sticks on paper as a result of UV-Vis analysis, and ink sticks as black character materials from scriptures written ancient Mongolian. SEM-EDS and Micro-XRF analyses revealed that the outlines were drawn with red lines using a mix of Minium (Pb3O4) and Cinnabar (HgS), or Cinnabar (HgS) alone, and the contents of the scriptures were written with silver paint. Silver chloride (AgCl) and Calcium (Ca) were identified in the silver paint component of the characters, while Calcium and Orpiment (As2S3) were identified in the yellow lines. Concerning the paper ground, Buddhist scriptures written in ancient Mongolian were characterized by herbal plant fiber and bast fiber, and those written in Tibetan, by bast fiber. Radiocarbon dating indicates that the paper for the scriptures was produced b etween the 15th and 17th centuries. Conservation treatment of the scriptures was carried out based on the experiment on the production of pre-coated paper and how to coat that to prevent the second damage due to the deformation and fragility of the excavated paper. The scriptures were preserved and mounted, and a neutral box was made to identify the contents of the scriptures recorded on both sides after the treatment. This conservation treatment is the result of a study that applied new conservation treatment materials and methods according to the principle of conservation treatment reversibility.

scholarly journals Medical Secret as a Basis of Medical Confidence in Relation Doctor-Patient – a View from Healthcare System of the Republic of Serbia

JAHR ◽  
2018 ◽  
Vol 9 (2) ◽  
pp. 205-222
Author(s):  
Dragana Denić
Keyword(s):  
Medical Ethics ◽  
Healthcare System ◽  
18Th Century ◽  
Constitutional Rights ◽  
Moral Obligations ◽  
Know How ◽  
Continued Education ◽  
Legal Duty ◽  
The Republic

The medical secret is one of the foundations of medical ethics and medical employees’ moral obligations, and it refers to the principle of not disclosing confidential information about the patient. Hippocrates considered the obligation to keep a medical secret to be the “sacred duty” of a physician. The medical secret was initially cultivated as ‘the know-how to remain silent’ (ars muta), while in the 18th century it becomes a legal duty that would be sanctioned according to the criminal law. Divulging a medical secret could thus lead to a criminal conviction, the obligation of compensation, and the responsibility in front of the court for medical employees. The main purpose of the keeping a medical secret is to protect patients’ interests, which follow from his constitutional rights to human dignity and privacy. The specific importance of a medical secret is attributed to it being a foundation of patients’ trust to medical employees, and this has an influence on the quality of administering medical care and on a better functioning of the medical system as a whole. The question is now how to secure the due respect and keeping of a medical secret in such a system, that is to say, how to revise this old-fashioned concept and adjust it to the reality? It is necessary to take a number of legal, organizational and technical steps by means of which a reasonable protection of privacy would be achieved. With respect to that, it is necessary to have a continued education in the domain of medical ethics of not only all of the medical employees, but also of data scientists and lawyers, because it is only the synergetic effort that will give the desired results. The investigated matter is primarily elaborated from the viewpoint of the Republic of Serbia healthcare system.

Slip-band damage and extrusion

1957 ◽  
Vol 242 (1229) ◽  
pp. 198-202 ◽  
Keyword(s):  
Slip Band ◽  
Aluminium Alloys ◽  
Copper Alloy ◽  
Silver Chloride ◽  
Pure Aluminium ◽  
Crystal Material ◽  
Slip Bands ◽  
Local Softening ◽  
Softening Process

Slip-band extrusion was first observed in a fatigued aluminium +4% copper alloy, but has now been found to occur in many other materials. It takes the form of a thin ribbon or scroll of the crystal material projecting as much as 20 μ from the slip band. The thickness of the ribbon varies with different materials and fatigue conditions, that observed on the above alloy being less than 0⋅1 μ . The process of reverse slip which causes slip-band ridges and grooves on the surface of fatigued materials is thought to be the mechanism by which the extrusion occurs. However, the confinement of the slip to a few active planes as occurs in most aluminium alloys is due to some localized softening process. The local softening processes can be identified in some materials as recrystallization, ageing and a combination of both effects. In pure aluminium and some aluminium alloys holes may also be observed along the slip bands. By using silver chloride it has been revealed that both extrusion and crevices may form by what seems to be the same process of reverse slip. In this material, cracks may propagate by the formation of voids ahead of the root of the slip crevice.

Beam-radiation effects on wool in the ESEM

1986 ◽  
Vol 44 ◽  
pp. 674-675
Author(s):  
G.D. Danilatos
Keyword(s):  
Electron Beam ◽  
Radiation Effects ◽  
Research Work ◽  
Beam Radiation ◽  
Liquid Environment ◽  
Know How ◽  
Environmental Sem

The advent of the environmental SEM (ESEM) has made possible the examination of uncoated and untreated specimen surfaces in the presence of a gaseous or liquid environment. However, the question arises as to what degree the examined surface remains unaffected by the action of the electron beam. It is reasonable to assume that the beam invariably affects all specimens but the type and degree of effect may be totally unimportant for one class of applications and totally unacceptable for another; yet, for a third class, it is imperative to know how our observations are modified by the presence of the beam. The aim of this report is to create an awareness of the need to initiate research work in various fields in order to determine the guiding rules of the limitations (or even advantages) due to irradiation.

Sign in / Sign up

Export Citation Format

Share Document