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  • Digital Humanities and Cultural Heritage
  • 2017-2021
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  • Journal of Archaeological Science R...

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Groenen, Marc; Groenen, Marie-Christine;

    The iconographic, formal and technical analysis of the decoration elements of El Castillo and La Pasiega (Cantabria) highlights a heterogeneous distribution of the main themes, with distribution logics that are very different in each of the caves. In El Castillo, the main themes appear in distinct sectors, each one containing a central area with a high density of motifs and an end that sets its limit. Consequently, the decoration appears as a mosaic formed of small sets of motifs. In contrast, using the same analysis criteria for the cave of La Pasiega shows that, besides motifs of the same type spread in the network space, there are more structured decorated sets. The set of Gallery A shows an increasing number of motifs from the beginning to the end of the sector, with a maximum density at the level of the back areas. In turn, the set of Gallery B comprises animal figures that stood out all the more to the viewers that they were illuminated by natural light. Whereas the decoration of Gallery A is organised in the manner of deep sanctuaries, the ornamentation of the Salle du Mégacéros of Gallery B falls rather in the logic of open-air sanctuaries. info:eu-repo/semantics/published SCOPUS: ar.j

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DI-fusionarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DI-fusion
    Article . 2019 . Peer-reviewed
    Data sources: DI-fusion
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Journal of Archaeological Science Reports
    Article . 2019 . Peer-reviewed
    License: Elsevier TDM
    Data sources: Crossref
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DI-fusionarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      DI-fusion
      Article . 2019 . Peer-reviewed
      Data sources: DI-fusion
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Journal of Archaeological Science Reports
      Article . 2019 . Peer-reviewed
      License: Elsevier TDM
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Judit Molera; José Cristóbal Carvajal López; G. Molina; Trinitat Pradell;

    This paper presents an analysis of glazes of vessels unearthed in archaeological excavation in the Vega of Granada (south-east Spain) and that can be dated between the 9th and the 12th centuries AD. The material analysed includes the first glazed ceramics produced in Al-Andalus after the Islamic occupation of the Peninsula. From a very early period (mid to late-9th century) there is a coexistence of lead-alkaline monochrome (green and honey) glazed vessels, and of polychrome decorated (green, white and brown) tin-glazed, wares early examples of the so called green and manganese wares. From the 10th century onwards honey lead-alkaline glazed vessels often with manganese-painted decorations are found. The chemical composition of the ceramic pastes, glazes and decorations as well as of the microcrystallites present in the glazes is obtained from polished cross sections of the glazes by SEM-EDS, OM and EPM. Information about the materials and methods of production is discussed and compared to contemporary productions from other areas in Al Andalus and also to later productions.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ UCL Discoveryarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    UCL Discovery
    Article . 2017
    Data sources: UCL Discovery
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Journal of Archaeological Science Reports
    Article . 2018 . Peer-reviewed
    License: Elsevier TDM
    Data sources: Crossref
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ UCL Discoveryarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      UCL Discovery
      Article . 2017
      Data sources: UCL Discovery
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Journal of Archaeological Science Reports
      Article . 2018 . Peer-reviewed
      License: Elsevier TDM
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Vincenza Crupi; Barbara Fazio; Giacomo Fiocco; G. Galli; +7 Authors

    Abstract The present work reports a multi-analytical study, based on Polarized Optical Microscopy (POM), Scanning Electron Microscopy equipped with an Energy Dispersive X-ray detector (SEM-EDX), micro-Raman and Fourier Transform Infrared Spectroscopy (FT-IR) techniques, aimed at establishing the painting techniques and palettes used to decorate a variety of fragments of frescoes coming from Villa dei Quintili in Rome (Italy) and dated back 2nd century CE. This combined methodological approach, covering different spatial scales extending from the macroscopic to the elemental domain, revealed successful for the unambiguous identification and characterization, in non-invasive or at least micro-destructive way, of pigments, binders and stone materials. The used chromatic palette was identified as yellow ochre (goethite), carbon black (vegetal origin), probably green earth and Cu-green pigment, red ochre (haematite), lime white and Egyptian blue (cuprorivaite). Organic and inorganic binders were respectively identified as linseed oil and lime, this latter carbonated to calcium carbonate. Textural features of plasters were also evaluated in order to investigate raw materials used for their production. The obtained data revealed crucial for improving knowledge of materials and preparation methods of pigmenting agents of these fragments, taken from the warehouse of the Villa and hence of unknown provenance area, in view of their right positioning in a specific area of the archaeological complex. In fact, the characterization of the different pigments could support conservators to better identify the distribution of the frescoes among the different rooms, and to reconstruct the original aesthetics of the Villa during the Quintili age.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio Istituziona...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    CNR ExploRA; Journal of Archaeological Science Reports
    Article . 2018 . Peer-reviewed
    License: Elsevier TDM
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  • Authors: Jandot, Céline;

    Les regards portés sur l’évolution de maisons, des périodes médiévales et modernes, par les sondages des murs en élévation, ont permis de restituer des états structurels anciens, des murs aux planchers, avec leurs ouvertures jusqu’aux toitures. La transformation chronologique des espaces pendant les mutations des XIXe et XXe siècle a pu être dévoilée par la prise en compte des aménagements de second œuvre (cloisons, placards) et des stratigraphies… de papiers peints. The views on the evolution of houses, from the medieval and modern periods, through surveys of the walls in elevation, have made it possible to restore ancient structural states, from the walls to the floors, with their openings to the roofs. The chronological transformation of the spaces during the changes of the 19th and 20th centuries could be revealed by taking into account the fittings of second work (partitions, cupboards) and stratigraphies… of wallpapers.

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  • Authors: Armbruster, Barbara;

    International audience

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  • Authors: Debiais, Vincent;

    Session 203: Relics at the Interface between Textuality and Materiality, c. 400-c. 1200, II: Inscribing the Relics; International audience; Concentrating on inscriptions on late antique reliquaries from the eastern Mediterranean and on early medieval reliquaries from Western Europe, this panel explores how epigraphic texts participated in the presentation of the relics in their cult sites and how they contributed to explaining the relics’ or the reliquaries’ significance to the intended audience. The proposed papers approach the relations between textual contents, material characteristics of writing, supports and contexts via questions of visibility, legibility, and function of inscriptions.

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  • Authors: Ingrand-Varenne, Estelle;

    Session 203: Relics at the Interface between Textuality and Materiality, c. 400-c. 1200, II: Inscribing the Relics; International audience; Concentrating on inscriptions on late antique reliquaries from the eastern Mediterranean and on early medieval reliquaries from Western Europe, this panel explores how epigraphic texts participated in the presentation of the relics in their cult sites and how they contributed to explaining the relics’ or the reliquaries’ significance to the intended audience. The proposed papers approach the relations between textual contents, material characteristics of writing, supports and contexts via questions of visibility, legibility, and function of inscriptions.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Christian, Degrigny; Piqué, Francesca;

    International audience; The aim of this study was to examine and document the wall paintings in theChâteau de Germolles. Situated in Burgundy, France, Germolles is the best preservedresidence of the Dukes of Burgundy and was listed as a monument ofnational importance in 1989.The medieval wall decoration of the Château de Germolles was rediscoveredunder the nineteenth-century plasters during World War II. Medieval accounts ofthe château provide a detailed list of the materials acquired to make the muraldecoration, but this list is incongruous when compared with the current appearanceof the paintings. The discrepancy between the archival and material evidence,and also the need to understand the complexity of the painting technique usedwere the main motivations for undertaking the case study described in this chapter.Imaging alongside more traditional examination techniques were utilized torecord and document the mural decoration. The objectives of the case study wereto distinguish the original materials from those applied during restoration, identifythose materials, and correlate them with the archives. We also tried to understandthe medieval painting techniques used and assess the condition of the paintingsand stabilization requirements. Finally we aimed to find a sustainable solution forthe management of the various types of data collected. Various techniques andinvestigations offered valuable insights into the materials and the painting techniqueused. To improve visitor experience, based on the information gained in thecourse of this study, a 3D virtual representation of the original decoration is currentlyproposed for display to the public visiting the Château de Germolles.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://hal.archives...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://hal.archives-ouvertes....
    Other literature type
    License: CC BY NC ND
    Data sources: UnpayWall
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.1017/978194...
    Other literature type . 2018
    License: Cambridge Core User Agreement
    Data sources: Crossref
    https://doi.org/10.2307/j.ctt1...
    Part of book or chapter of book . 2018 . Peer-reviewed
    Data sources: Crossref
    Hal-Diderot
    Other literature type . 2017
    Data sources: Hal-Diderot
    https://doi.org/10.5040/978164...
    Other literature type . 2017
    Data sources: Crossref
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Castelluccio, Stéphane;

    La richesse des gisements archéologiques du site du château de Marly est tout aussi intéressante que frustrante. Les nombreux fragments exhumés confirment les textes d’archives et les descriptions quant aux techniques employées pour la construction des pavillons et pour leur décor intérieur. En revanche, à quelques rares exceptions, l’identification des éléments d'architecture et leur localisation dans les intérieurs demeurent souvent difficiles en raison de leur petitesse et de leur manque de caractéristique. La destruction systématique des bâtiments pendant le Premier Empire explique sans doute ces menus morceaux. The wealth of the archaeological deposits of the Château de Marly site is as interesting as it is frustrating. The many exhumed fragments confirm the archival texts and the descriptions of the techniques used for the construction of the pavilions and for their interior decoration. On the other hand, and with few exceptions, the identification of architectural elements and their location inside often remain difficult because of their small size and their lack of defining characteristics. The systematic destruction of the buildings during the First Empire undoubtedly explains these small pieces.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Bulletin du Centre d...arrow_drop_down
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    DOAJ
    Article . 2006
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Bulletin du Centre d...arrow_drop_down
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      Article . 2006
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  • Authors: Rose, Vanessa;

    International audience; French architect & archaeologist Henry Viollet (1880-1955) was the first to undertake excavations in Samarra, Iraq, delivering a complete on-site survey. The ephemeral capital of the Abbasid Caliphate, settled on the banks of the Tigris from 836 to 892, has attracted a lot of interest among many Western travellers and archaeologists since the nineteenth century. Viollet visited Samarra twice between 1907 and 1910 and published the resulting work as soon as 1909. This field research was partly documented by the architect-archaeologist, but this documentation and his work in Samarra are poorly known. His findings have been overshadowed by the major discoveries made by the German team led by Ernst Herzfeld and Friedrich Sarre between 1911 and 1913. The study of the Viollet fund kept in the BULAC in Paris makes it possible for the first time to assess the archaeologist’s work, the existing material and its contribution to our knowledge of the Abbasid capital.; Henry Viollet (1880-1955), architecte et archéologue français, fut le premier à entreprendre les fouilles du site de Samarra en Iraq et à en faire des relevés précis. La capitale éphémère du calife abbasside de 836 à 892, installée sur les bords du Tigre, fut l’objet de l’intérêt de nombreux voyageurs et archéologues occidentaux à partir du xixe siècle. Henry Viollet se rendit à deux reprises à Samarra entre 1907 et 1910 et publia ses travaux dès 1909. Il documenta en partie ses recherches de terrain, mais cette documentation est méconnue, de même que son travail à Samarra. Ses résultats ont en effet été éclipsés par les découvertes majeures de l’équipe allemande d’Ernst Herzfeld et Friedrich Sarre entre 1911 et 1913. L’étude du fonds Viollet conservé à la Bulac à Paris permet pour la première fois d’évaluer le travail de l’archéologue à Samarra, le matériel existant, et son apport pour la connaissance de la capitale abbasside.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Groenen, Marc; Groenen, Marie-Christine;

    The iconographic, formal and technical analysis of the decoration elements of El Castillo and La Pasiega (Cantabria) highlights a heterogeneous distribution of the main themes, with distribution logics that are very different in each of the caves. In El Castillo, the main themes appear in distinct sectors, each one containing a central area with a high density of motifs and an end that sets its limit. Consequently, the decoration appears as a mosaic formed of small sets of motifs. In contrast, using the same analysis criteria for the cave of La Pasiega shows that, besides motifs of the same type spread in the network space, there are more structured decorated sets. The set of Gallery A shows an increasing number of motifs from the beginning to the end of the sector, with a maximum density at the level of the back areas. In turn, the set of Gallery B comprises animal figures that stood out all the more to the viewers that they were illuminated by natural light. Whereas the decoration of Gallery A is organised in the manner of deep sanctuaries, the ornamentation of the Salle du Mégacéros of Gallery B falls rather in the logic of open-air sanctuaries. info:eu-repo/semantics/published SCOPUS: ar.j

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    DI-fusion
    Article . 2019 . Peer-reviewed
    Data sources: DI-fusion
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Journal of Archaeological Science Reports
    Article . 2019 . Peer-reviewed
    License: Elsevier TDM
    Data sources: Crossref
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DI-fusionarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      DI-fusion
      Article . 2019 . Peer-reviewed
      Data sources: DI-fusion
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Journal of Archaeological Science Reports
      Article . 2019 . Peer-reviewed
      License: Elsevier TDM
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Judit Molera; José Cristóbal Carvajal López; G. Molina; Trinitat Pradell;

    This paper presents an analysis of glazes of vessels unearthed in archaeological excavation in the Vega of Granada (south-east Spain) and that can be dated between the 9th and the 12th centuries AD. The material analysed includes the first glazed ceramics produced in Al-Andalus after the Islamic occupation of the Peninsula. From a very early period (mid to late-9th century) there is a coexistence of lead-alkaline monochrome (green and honey) glazed vessels, and of polychrome decorated (green, white and brown) tin-glazed, wares early examples of the so called green and manganese wares. From the 10th century onwards honey lead-alkaline glazed vessels often with manganese-painted decorations are found. The chemical composition of the ceramic pastes, glazes and decorations as well as of the microcrystallites present in the glazes is obtained from polished cross sections of the glazes by SEM-EDS, OM and EPM. Information about the materials and methods of production is discussed and compared to contemporary productions from other areas in Al Andalus and also to later productions.

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    UCL Discovery
    Article . 2017
    Data sources: UCL Discovery
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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Journal of Archaeological Science Reports
    Article . 2018 . Peer-reviewed
    License: Elsevier TDM
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ UCL Discoveryarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      UCL Discovery
      Article . 2017
      Data sources: UCL Discovery
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Journal of Archaeological Science Reports
      Article . 2018 . Peer-reviewed
      License: Elsevier TDM
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Vincenza Crupi; Barbara Fazio; Giacomo Fiocco; G. Galli; +7 Authors

    Abstract The present work reports a multi-analytical study, based on Polarized Optical Microscopy (POM), Scanning Electron Microscopy equipped with an Energy Dispersive X-ray detector (SEM-EDX), micro-Raman and Fourier Transform Infrared Spectroscopy (FT-IR) techniques, aimed at establishing the painting techniques and palettes used to decorate a variety of fragments of frescoes coming from Villa dei Quintili in Rome (Italy) and dated back 2nd century CE. This combined methodological approach, covering different spatial scales extending from the macroscopic to the elemental domain, revealed successful for the unambiguous identification and characterization, in non-invasive or at least micro-destructive way, of pigments, binders and stone materials. The used chromatic palette was identified as yellow ochre (goethite), carbon black (vegetal origin), probably green earth and Cu-green pigment, red ochre (haematite), lime white and Egyptian blue (cuprorivaite). Organic and inorganic binders were respectively identified as linseed oil and lime, this latter carbonated to calcium carbonate. Textural features of plasters were also evaluated in order to investigate raw materials used for their production. The obtained data revealed crucial for improving knowledge of materials and preparation methods of pigmenting agents of these fragments, taken from the warehouse of the Villa and hence of unknown provenance area, in view of their right positioning in a specific area of the archaeological complex. In fact, the characterization of the different pigments could support conservators to better identify the distribution of the frescoes among the different rooms, and to reconstruct the original aesthetics of the Villa during the Quintili age.

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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    CNR ExploRA; Journal of Archaeological Science Reports
    Article . 2018 . Peer-reviewed
    License: Elsevier TDM
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  • Authors: Jandot, Céline;

    Les regards portés sur l’évolution de maisons, des périodes médiévales et modernes, par les sondages des murs en élévation, ont permis de restituer des états structurels anciens, des murs aux planchers, avec leurs ouvertures jusqu’aux toitures. La transformation chronologique des espaces pendant les mutations des XIXe et XXe siècle a pu être dévoilée par la prise en compte des aménagements de second œuvre (cloisons, placards) et des stratigraphies… de papiers peints. The views on the evolution of houses, from the medieval and modern periods, through surveys of the walls in elevation, have made it possible to restore ancient structural states, from the walls to the floors, with their openings to the roofs. The chronological transformation of the spaces during the changes of the 19th and 20th centuries could be revealed by taking into account the fittings of second work (partitions, cupboards) and stratigraphies… of wallpapers.

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  • Authors: Armbruster, Barbara;

    International audience

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  • Authors: Debiais, Vincent;

    Session 203: Relics at the Interface between Textuality and Materiality, c. 400-c. 1200, II: Inscribing the Relics; International audience; Concentrating on inscriptions on late antique reliquaries from the eastern Mediterranean and on early medieval reliquaries from Western Europe, this panel explores how epigraphic texts participated in the presentation of the relics in their cult sites and how they contributed to explaining the relics’ or the reliquaries’ significance to the intended audience. The proposed papers approach the relations between textual contents, material characteristics of writing, supports and contexts via questions of visibility, legibility, and function of inscriptions.

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  • Authors: Ingrand-Varenne, Estelle;

    Session 203: Relics at the Interface between Textuality and Materiality, c. 400-c. 1200, II: Inscribing the Relics; International audience; Concentrating on inscriptions on late antique reliquaries from the eastern Mediterranean and on early medieval reliquaries from Western Europe, this panel explores how epigraphic texts participated in the presentation of the relics in their cult sites and how they contributed to explaining the relics’ or the reliquaries’ significance to the intended audience. The proposed papers approach the relations between textual contents, material characteristics of writing, supports and contexts via questions of visibility, legibility, and function of inscriptions.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Christian, Degrigny; Piqué, Francesca;

    International audience; The aim of this study was to examine and document the wall paintings in theChâteau de Germolles. Situated in Burgundy, France, Germolles is the best preservedresidence of the Dukes of Burgundy and was listed as a monument ofnational importance in 1989.The medieval wall decoration of the Château de Germolles was rediscoveredunder the nineteenth-century plasters during World War II. Medieval accounts ofthe château provide a detailed list of the materials acquired to make the muraldecoration, but this list is incongruous when compared with the current appearanceof the paintings. The discrepancy between the archival and material evidence,and also the need to understand the complexity of the painting technique usedwere the main motivations for undertaking the case study described in this chapter.Imaging alongside more traditional examination techniques were utilized torecord and document the mural decoration. The objectives of the case study wereto distinguish the original materials from those applied during restoration, identifythose materials, and correlate them with the archives. We also tried to understandthe medieval painting techniques used and assess the condition of the paintingsand stabilization requirements. Finally we aimed to find a sustainable solution forthe management of the various types of data collected. Various techniques andinvestigations offered valuable insights into the materials and the painting techniqueused. To improve visitor experience, based on the information gained in thecourse of this study, a 3D virtual representation of the original decoration is currentlyproposed for display to the public visiting the Château de Germolles.

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    https://hal.archives-ouvertes....
    Other literature type
    License: CC BY NC ND
    Data sources: UnpayWall
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.1017/978194...
    Other literature type . 2018
    License: Cambridge Core User Agreement
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    https://doi.org/10.2307/j.ctt1...
    Part of book or chapter of book . 2018 . Peer-reviewed
    Data sources: Crossref
    Hal-Diderot
    Other literature type . 2017
    Data sources: Hal-Diderot
    https://doi.org/10.5040/978164...
    Other literature type . 2017
    Data sources: Crossref
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Castelluccio, Stéphane;

    La richesse des gisements archéologiques du site du château de Marly est tout aussi intéressante que frustrante. Les nombreux fragments exhumés confirment les textes d’archives et les descriptions quant aux techniques employées pour la construction des pavillons et pour leur décor intérieur. En revanche, à quelques rares exceptions, l’identification des éléments d'architecture et leur localisation dans les intérieurs demeurent souvent difficiles en raison de leur petitesse et de leur manque de caractéristique. La destruction systématique des bâtiments pendant le Premier Empire explique sans doute ces menus morceaux. The wealth of the archaeological deposits of the Château de Marly site is as interesting as it is frustrating. The many exhumed fragments confirm the archival texts and the descriptions of the techniques used for the construction of the pavilions and for their interior decoration. On the other hand, and with few exceptions, the identification of architectural elements and their location inside often remain difficult because of their small size and their lack of defining characteristics. The systematic destruction of the buildings during the First Empire undoubtedly explains these small pieces.

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    DOAJ
    Article . 2006
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      Article . 2006
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  • Authors: Rose, Vanessa;

    International audience; French architect & archaeologist Henry Viollet (1880-1955) was the first to undertake excavations in Samarra, Iraq, delivering a complete on-site survey. The ephemeral capital of the Abbasid Caliphate, settled on the banks of the Tigris from 836 to 892, has attracted a lot of interest among many Western travellers and archaeologists since the nineteenth century. Viollet visited Samarra twice between 1907 and 1910 and published the resulting work as soon as 1909. This field research was partly documented by the architect-archaeologist, but this documentation and his work in Samarra are poorly known. His findings have been overshadowed by the major discoveries made by the German team led by Ernst Herzfeld and Friedrich Sarre between 1911 and 1913. The study of the Viollet fund kept in the BULAC in Paris makes it possible for the first time to assess the archaeologist’s work, the existing material and its contribution to our knowledge of the Abbasid capital.; Henry Viollet (1880-1955), architecte et archéologue français, fut le premier à entreprendre les fouilles du site de Samarra en Iraq et à en faire des relevés précis. La capitale éphémère du calife abbasside de 836 à 892, installée sur les bords du Tigre, fut l’objet de l’intérêt de nombreux voyageurs et archéologues occidentaux à partir du xixe siècle. Henry Viollet se rendit à deux reprises à Samarra entre 1907 et 1910 et publia ses travaux dès 1909. Il documenta en partie ses recherches de terrain, mais cette documentation est méconnue, de même que son travail à Samarra. Ses résultats ont en effet été éclipsés par les découvertes majeures de l’équipe allemande d’Ernst Herzfeld et Friedrich Sarre entre 1911 et 1913. L’étude du fonds Viollet conservé à la Bulac à Paris permet pour la première fois d’évaluer le travail de l’archéologue à Samarra, le matériel existant, et son apport pour la connaissance de la capitale abbasside.

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