Search Results (14)

Cold-mercury gilding uses mercury as an adhesive to bond gold foil onto the surface of copper and silver artifacts. This technique and mercury gilding (fire gilding) both belong to the Au-Hg system and are closely related in technology. Clarifying the technical differences between them is of great significance for revealing the developmental sequence of ancient gilding technologies. On the basis of reconstructing traditional fire gilding, simulated cold-mercury-gilded samples were successfully prepared using experimental archeological methods, and multi-scale characterization was performed using SEM-EDS, XRD, and XPS. The results show that the surface of cold-mercury-gilded samples displays a micromorphology of folded and overlapped gold foil accompanied by locally dense particle aggregation. The cross-section of the gold layer exhibits a multilayer stacked structure, in which mercury is enriched at the gold layer/substrate interface and forms an AuHgCu/Ag diffusion layer. Room-temperature-stable Au-Hg and Ag-Hg phases such as Au₂Hg and AgHg are present in the gold layer, reflecting complex phase transformation behavior of the Au-Hg/Ag-Hg system at room temperature. During cold-mercury gilding, liquid mercury first adheres to the gold foil, and then interdiffusion and phase reactions occur between mercury, gold, and copper/silver atoms at room temperature. Intermetallic compounds and diffusion layers formed at the interface achieve firm bonding between the gold layer and the substrate. Both cold-mercury gilding and mercury gilding achieve metallurgical bonding through atomic interdiffusion. However, affected by differences in the initial state of mercury and operating temperature, the phase transformation and atomic diffusion behaviors of the system differ significantly, which are ultimately reflected in the cross-sectional structure of the gold layer, the composition of the interfacial diffusion layer, and the types of phases. Therefore, mercury-gilded artifacts show superior gold layer durability and bonding strength with the substrate compared with cold-mercury-gilded artifacts. Both techniques pioneered the application of mercury in metallic gilding and represent important innovations in ancient surface decoration technology. Full article

In this work, molecular and elemental spectroscopic analyses were carried out on the preparation base, the paintings, the repaintings, and the gilding of an 18th century sacred sculpture of Our Lady found on Anhatomirim Island, where the Santa Cruz fortress was built in 1739 in the state of Santa Catarina, southern Brazil. The preparation base of the sculpture was characterized as gypsum (calcium sulfate dihydrate, (CaSO₄.2H₂O) [µ-Raman, SEM-EDS], applied directly to the wooden support. The blue paint comprised a mixture of Prussian blue (Fe₄[Fe(CN)₆]₃) and ultramarine (Na_xAl₆Si₆O₂₄S_x) [µ-Raman, FTIR, SEM-EDS]; hematite (Fe₂O₃) was identified in the brown paint [µ-Raman, SEM-EDS]; and the white paint consisted of lead white (2 PbCO₃·Pb(OH)₂) [µ-Raman, FTIR, SEM-EDS]. Repainted areas were identified by the presence of lithopone (ZnS + BaSO₄) [µ-Raman, SEM-EDS, FTIR], likely resulting from later interventions. In the gilded areas, gold was identified along with traces of iron [SEM-EDS], indicating a lower-quality gilding compared to, for example, silver alloys. Lead white was also identified in the polychrome areas, where it served to produce different tones in the painting. FTIR analyses revealed traces of aged oil used as a binder in the older layers. Mineral oil was detected in some samples, which may indicate that wax was used as a protective layer on the sculpture. The results will assist professionals in the iconographic characterization of the sacred image of Our Lady and in the conservation and restoration processes based on the identified constituent materials. Full article

The conservation and restoration of water-gilded wooden cultural heritage, such as polychrome sculptures, frames, panels, altarpieces, etc., requires the use of fillers that guarantee structural stability, physicochemical and mechanical compatibility with the original support, and the ability to adapt to dimensional movements induced by thermo-hygrometric variations. This study, conducted as part of the DorART Project, analyzed the behavior of nine formulations, both commercial and non-commercial, selected through a review of the state-of-the-art specialized literature, along with the use of participatory science, which focused on the practices and materials most commonly used by professionals in the field. The experimental design was based on three types of specimens: two with wooden supports, selected for evaluating their interaction with the original material and with the traditional water gilding technique, and a third type for analyzing the individual behavior of the tested materials. Analyses of adhesion, tensile strength, Shore C hardness, gloss, abrasion test results, wettability, pH changes, and chemical composition were performed using ATR-FTIR spectroscopy. The results showed significant differences depending on the type of curing used and the composition and aging behavior of the specimen. Some of the fillers demonstrated improved compatibility with water-based gilding, facilitating workability and providing structural strength. M3 and M9 demonstrated an optimal balance of workability and aging stability. The results of this study can help restorers select materials based on their specific needs, considering the requirements of mechanical adaptation to the substrate, compatibility, and durability. Full article

Juan Martínez Montañés was one of the most important sculptors and altarpiece architects of the Spanish Golden Age. The restoration of the Santa Clara church in Seville has presented a unique opportunity to study the main altarpiece, crafted by Montañés between 1621 and 1623. He was also in charge of the polychromy and gilding, believing that delegating these procedures to others would diminish the quality of his work. This conviction led to a well-known lawsuit with the renowned contemporary Spanish painter Francisco Pacheco. Ultimately, the painter and sculptor Baltasar Quintero performed the polychromy of this altarpiece, but under the strict conditions of Montañés. Various non-invasive analytical techniques, such as CT, UVF, XRF, and digital microscopy, were employed to study wood treatment and polychromy. Additionally, three samples were prepared as cross-sections and analysed by SEM-EDX. The results revealed Montañés’ meticulous woodwork, anticipating its long-term preservation. Consistent with Montañés’ commitment to maintaining the superior quality of his work, the analysis showed an absence of a ground layer in the flesh areas, while the gilding was executed with high-quality gold. The pigment palette corresponds to the treaties and documents of his time, and the extensive areas of later retouches were accurately located. These new data provide a deeper understanding of both the technique and the high standards of one of the most important and globally recognised sculptors. Full article

This article presents the results of a topographical and analytical study using hh-XRF of 22 gold and gilded objects from the Archaeological and Historical Museum of A Coruña (Galicia, Spain). They are highly representative of the northwestern Iberian goldwork from the Chalcolithic (third millennium BC) to the early Roman period (first century AD). This study contributes to our knowledge of the production techniques used in those periods, as well as their evolution over time. The collection includes some of the most representative types in this area, such as Early Bronze Age “sheet collars” and torcs from the Second Iron Age. In the case of torcs, new data are provided on one of the formally best-documented types (the Artabrian type) and on those known as “Baroque torcs” that are characteristic of the final moments of this goldsmith tradition. While pieces from the Chalcolithic and Early Bronze Age were made with alluvial gold, the torcs from the Late Iron Age contain variable amounts of silver and copper. Also detected is the frequent use of cores made of less precious metals, which were subsequently given a golden appearance using gilding techniques. The new data are discussed in light of our current knowledge of NW Iberian goldwork, one of the most representative of this craft tradition in Western Europe for those periods. Full article

The authors studied forty-three beautiful nose ornaments from the Moche tomb of the Lady of Cao, located in the north of Peru, which has been dated to be around 300–400 d.C. Of these items, thirty-nine are composed of a sheet of gold alloy joined together in various manners to a silver alloy sheet, which provides a strong contrast at their interface. Two nose ornaments are on gold alloy and two on silver alloy. These nose ornaments were studied using the following methods: (i) Energy-dispersive X-ray fluorescence (EDXRF); (ii) Transmission of monoenergetic X-rays (XRT) and (iii) X-ray Radiography (RAD). The conclusion, deduced from all applied methods, was that two sheets of gold and silver alloys were joined together with various methods, including gluing, mechanically joining, soldering, smelting with the aid of heating or using mercury to create an amalgam. It cannot be excluded that a few areas, visibly appearing as silver, were obtained by depletion silvering from the base Au-Cu-Ag alloy. By analyzing a fragment from the silver area of a nose ornament and by studying a few other nose ornaments from the tomb of the Lady of Cao in situ, G. Ingo and co-workers concluded that a unique sheet of three-component alloy (Ag-Cu-Au), whichemployed and transformed the surface of the objects to appear to be gold and silver by depletion gilding and silvering. Full article

The use of gold for artefact productions underwent substantial developments during Iron Age in western Europe, with the diversification of alloy compositions and the introduction of new technologies and aesthetics. This work presents a detailed study of a Late Iron Age earring from the western Iberian Peninsula and a discussion taking into consideration the alloys and technologies used at the time. The earring has a complex structure, composed of block- and strip-twisted wires and granulation. Characterization by multifocus optical microscopy, portable X-ray fluorescence spectrometry (pXRF), micro-XRF and scanning electron microscopy with energy dispersive spectroscopy (SEM-EDS) were performed to obtain information on the chemical composition and manufacturing techniques. Results show that the earring was manufactured with wires and granules made of a silver-rich alloy, covered with a gold-rich layer 45 $\mathsf{\mu }$m thick on average, which acted as an external coating making the entire earring resemble gold. This is a rare example of an Iron Age gilded earring, and its detailed study provides further information on the manufacturing solutions adopted by the Iron Age goldsmiths. Full article

This article examines how notions of “material” and “materiality” were infused, both technically and discursively, into American landscape painting in the late nineteenth century. Focusing particularly on the praxis of open-air painting as consolidating a new mode in landscape painting as well as a new artistic identity, this article argues that painting outdoors was perceived by artists in terms of agency, uniting painter, painting, and landscape; but unlike earlier romantic or Transcendentalist approaches, this idea was not conceived of as a solely spiritual union but, rather, as a mode that is embedded in the mundane, in the existence of objects, of embodied engagement and material means. The overt affinity between the basic idea of the praxis—painting outdoors in ‘real’ nature—and material aspects of art-making, is discussed as the underpinning of a new emerging episteme of American landscape painting, while considering the environment wherein this phenomenon was cultivated within a specific moment in American culture. Paintings and texts, generated by American painters and critics between the late 1870s and the 1890s, are read in this article through the lens of recent theoretical phenomenological approaches to landscape, illuminating the unique role that materiality played in these representations. Moreover, tying the findings to the changing conceptions of both landscape and art in the Gilded Age, the article concludes that landscape painters of the ‘new generation’ sought to evade commodifying tendencies of image-making by deliberately engaging with materiality, devising a mode of landscape representation that would not succumb to the flattening steamroller of capitalist consumer culture. Full article

The literary topic of Siamese twins is not unfamiliar. American literary history tells us of the genealogy from Mark Twain’s pseudo-antebellum story The Tragedy of Pudd’nhead Wilson and the Comedy Those Extraordinary Twins (1894), Karen Tei Yamashita’s postmodern metafiction “Siamese Twins and Mongoloids: Cultural Appropriation and the Deconstruction of Stereotype via the Absurdity of Metaphor” (1999), down to Shelley Jackson’s James Tiptree, Jr. award winner Half-Life (2006). Rereading these works, we are easily invited to notice the political unconscious hidden deep within each plot: Twain’s selection of the Italian Siamese twins based upon Chang and Eng Bunker, antebellum stars of the Barnum Museum, cannot help but recall the ideal of the post-Civil War world uniting the North and the South; Yamashita’s figure of the conjoined twins Heco and Okada derives from Hikozo Hamada, an antebellum Japanese who made every effort to empower the bond between Japan and the United States, and John Okada, the Japanese American writer well known for his masterpiece No No Boy (1957); and Jackson’s characterization of the female conjoined twins Nora and Blanche Olney represents a new civil rights movement in the post-Cold War age in the near future, establishing a close friendship between the humans and the post-humans. This literary and cultural context should convince us that Yamashita’s short story “Siamese Twins and Mongoloids” serves as a kind of singularity point between realist twins and magic realist twins. Influenced by Twain’s twins, Yamashita paves the way for the re-figuration of the conjoined twins not only as tragi-comical freaks in the Gilded Age but also as representative men of magic realist America in our Multiculturalist Age. A Close reading of this metafiction composed in a way reminiscent of Jorge Luis Borges, Stanislaw Lem and Bruce Sterling will enable us to rediscover not only the role conjoined twins played in cultural history, but also the reason why Yamashita had to feature them once again in her novel I Hotel (2010) whose plot centers around the Asian American civil rights movement between the 1960s and the 1970s. Accordingly, an Asian American magic realist perspective will clarify the way Yamashita positioned the figure of Siamese Twins as representing legal and political double standards, and the way the catachresis of Siamese Twins came to be naturalized, questioned and dismissed in American literary history from the 19th century through the 21st century. Full article

The object of this paper is the diagnostic campaign performed on the polychrome wooden statue, revered as St. John, stored in the church dedicated to the “Beata Vergine d’Itria” (Blessed Virgin of Itria), (Noragugume town, Sardinia, Italy). The restoration of the statue gave the occasion to investigate micro-samples from the wooden support and from the polychromy in order to gather information that could be useful for the intervention. In fact, there was limited information on this fine carved statue and its iconographic pattern appeared to be not strictly canonical. Moreover, these kinds of artworks, having religious significant for the faithful, have been generally modified over time to satisfy possible changes in artistic or religious needs or ecclesiastical reforms. The aims of this study are: (i) support the restorers in defining the conservation status of the statue, and (ii) perform a series of analyses to identify the wood and the materials of the painting layers. Specifically, wood micro-sample was examined under the microscope in order to investigate the anatomical characteristics useful to identify the species; pigments were studied through X-ray fluorescence spectroscopy (XRF) and scanning electron microscopy coupled with energy dispersive spectroscopy (SEM-EDS); organic materials were analysed by Fourier transform infrared spectroscopy (FTIR); and, lastly, the panting technique was investigated through micro-stratigraphy (MS). The analysis performed on the micro-sample taken from the support allowed for identifying the wood as poplar. XRF detected chemical elements that could be associated to pigments such as azurite, blue smalt, red lead, white lead and ochres, and Au for the gilding. SEM-EDS confirmed these pigments and allowed to find also other elements useful to suggest the presence of further materials such as Ag in the metal foil. FTIR detected proteinaceous binder and siccative oils that were mapped in the micro-stratigraphy by using histochemical tests. All this information was used by the restorers to address the intervention from the cleaning to the final retouching. Full article

“Evangelicalism Before the Fall” reveals the surprising and largely forgotten world of the premillennialist wing of late Victorian Evangelicalism through a close reading of its leading paper, The Christian Herald and Signs of Our Times. Organized around five thematic soundings (“worldly affairs”; “great questions”; “self and other”; “meeting modernity”; and “Evangelical culture”), the paper shows that premillennialism comported easily with socially elite status, liberal instincts, and irenic habits of mind not commonly associated with those holding similar beliefs in the decades after. Although the primary goal of the article is to recover an overlooked moment in Evangelical history, it secondarily contributes to a historiographical debate in the field of Fundamentalism studies, where revisionists have challenged the “fall” narrative of an earlier cohort of scholars, such as George Marsden and Joel Carpenter, who documented a decline in social standing and influence for the movement relative to the late nineteenth century. The article lends support to the fall narrative, properly understood as a change in social and cultural status. Full article

The application of varnishes on the surface of metal objects has been a very common practice since antiquity, both for protective and aesthetic purposes. One specific case concerns the use of tinted varnishes on copper alloys in order to mimic gilding. This practice, especially flourishing in the 19th century for scientific instruments, decorative objects, and liturgical items, results in large museum collections of varnished copper alloys that need to be preserved. One of the main challenges for conservators and restorers deals with the identification of the varnishes through non-invasive and affordable analytical techniques. We hereby present the experimental methodology developed in the framework of the LacCA and VERILOR projects at the Haute École ARC of Neuchâtel for the identification of gold varnishes on brass. After extensive documentary research and analytical campaigns on varnished museum objects, various historic shellac-based varnishes were created and applied by different methods on a range of brass substrates with different finishes. The samples were then characterized by UV imaging and infrared spectroscopy before and after artificial ageing. The comparative study of these two techniques was performed for different thicknesses of the same varnish and for different shellac grades in order to implement an identification methodology based on simple non-invasive examination and analytical tools, which are accessible to conservators. Full article

In the Mexican state of Yucatán, the Industrial Revolution is intimately linked to the cultivation and commercialization of henequen (Agave fourcroydes). The second half of the nineteenth and the first decade of the twentieth century are most often referred to as the region’s Gilded Age. Some local families accrued immense wealth, while many peasants were essentially enslaved. The city of Mérida saw the construction of magnificent mansions, and the new port of Progreso was connected through thousands of kilometers of railroads. At the same time, the rural landscape experienced the foundation of countless new and the expansion of existing haciendas. In this article, we provide a comparison of the relational memory of local communities regarding three of these historical settlements: San Pedro Cholul, San Antonio Nohuayún, and San Antonio Sihó. We present the circumstances leading to the historical archaeology project at San Pedro and recount our efforts at involving its descendant community. In the face of the recent destruction of San Pedro’s core buildings, we end with a discussion about the potential fates of Yucatan’s henequen haciendas and a series of suggestions on how to safeguard related material remains, while allowing stakeholders to benefit from historic preservation. Full article

This essay analyzes economic inequality in the Gilded Age, roughly from 1865 to 1900. It focuses specifically on a group of economists who identified working-class consumption as an economic stimulus, and accordingly advocated an increase in wages to bring this about. It is structured in three sections: first, it demonstrates how industrialization in the late-nineteenth century sparked social tensions, convincing observers that there was a crisis of inequality; second, it explains how these tensions produced a “New School” of economics who sought to alleviate these issues by changing economic doctrine; it concludes by noting how this New School exerted an influence on public policy in the Progressive Era. In their conception, economics should be redesigned to promote a more equal distribution of wealth. Therefore, higher wages would stimulate working-class consumption, which would stabilize the economy and overall alleviate class conflict. This story offers a unique way to view the development of consumerism and social reform in American history. Full article