International audience; As with geography, ceramic decorations are essentially spatial organisations of features. Therefore, they should be analysed with spatial indexes. But spatial analyses, at the shard or the complete ceramic scale, are often difficult to set up, mostly because of the contiguity of graphical features.This paper presents a new method to record and analyse ceramic decoration. We use graph theory, with a GIS interface and Python programming, to analyse ceramic decoration in a bottom-up process. A priori definitions are minimal and only concern elementary units (morphological, graphical and plastic) which compose the ceramic.The studied corpus is composed of ceramic decorations belonging to the Mailhac I facies (Late Bronze Age), characterised by complex figurative compositions. Each decoration — complete or fragmented — is considered as a spatialized network (i.e. geometric graph). Graph theory provides tools to record and measure proximities between units and normalised indexes to compare different decorations, whatever their completeness. The GIS offers a graphic interface and ensures the correctness of spatial relationships between these units. The typology of these units is realised in a hierarchical oriented graph. This structure allows processes of generalisation (going up the tree) and specification (going down the tree), permitting comparison between units with different kinds of resolution and/or complexity. The method presented here can be used for other types of mediums(statuary, rock art, etc.).
Publication . Other literature type . Part of book or chapter of book . 2018
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.