English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

As Leona notes in a recent issue of PNAS (1), art and objects of cultural heritage hold information about the technology, trade, and aesthetics of a people. This knowledge can be accessed through chemical and material analysis combined with an understanding of the history of technology, science, and art. The information learned is of great value, especially for ancient objects that are so old we have no chance of finding written documentation such as bills of lading, inventories, or manuals and treatises that we may consult for descriptions of the materials used in their creation. The Adoration of the Shepherds, 1505/1510 by Giorgione (1477/1478–1510) from the Samuel H. Kress Collection 1939.1.289, National Gallery of Art. (Image courtesy of the Board of Trustees, National Gallery of Art, Washington, DC.) The retrieval of this information requires detailed and accurate analysis of the materials and methods involved in the making of art and artifacts. For more than a century, museum scientists studying artworks have been able to identify single particles of many minerals and other inorganic pigments by using optical and chemical microscopy; however, the characterization of organic pigments and dyes from such small samples has been quite difficult. The ancient artists used many earths and minerals and likely just as many organic extracts to expand the range of colors. Unfortunately, many of these organic colorants have disappeared over time. However, some, in particular the red pigments formed by making insoluble complexes by reaction with aluminum salts or adsorption onto chalk or alumina, remain in good condition, especially if they have been protected from light. A fine example is the deep, rich red in the Virgin's robe painted by Giorgione (Figs. 1 and 2). Detail from The Adoration of the Shepherds. A cross-section from a deep shadow on the Virgin's blue mantle …

An improved method for identifying red lakes on art and historical artifacts