Die gotischen Wandmalereien im Ostflügel der Forchheimer Burg - Bestand und Restaurierungsgeschichte

Die vorliegende Monografie erfasst erstmalig den vollständigen Bestand der spätgotischen Wandmalereien in der Kemenate der Forchheimer Burg aus kunstwissenschaftlicher und restaurierungswissenschaftlicher Sicht. In der interdisziplinären Zusammenarbeit mit der Bauforschung unter der Leitung von Tillman Kohnert konnte die Entstehungsgeschichte der Malereien in Bezug zur Baugeschichte gestellt werden. Die gotischen Malereien aus dem späten 14. Jahrhundert stammen aus der Um- bzw. Neubauphase unter dem Bamberger Fürstbischof Lamprecht von Brunn (1374-99). Nur der „Kaisersaal“ im Erdgeschoss verfügt über zwei Ausstattungsphasen, die während der Restaurierung 1909 auf eine Sichtebene freigelegt wurden. Vor dem Einbau des Gewölbes war der flachdeckte Raum 1391 (d) mit einer einfachen Wappenmalerei und roten Einfassungen um die Öffnungen geschmückt. Diese erste Dekoration wurde um 1398 mit dem Einzug des Kreuzrippengewölbes durch ein repräsentatives, figürliches Ausstattungsprogram erweitert. Wohl zeitgleich wurden die privaten Räume des Fürstbischofs im 1. und 2. Obergeschoss aufwendig ausgemalt. Die Funktion der Räume spiegelt sich in den sowohl religiösen Themen des Neuen und Alten Testaments wie auch in der Umsetzung profaner literarischer Vorlagen wider. Die zeitgleiche Verwendung sowohl der expressiven linearen Malerei, die über Avignon nach Prag gelangte, mit der nach der Abbildung der Natur strebenden Malerei, mit starken Bezügen zur oberitalienischen und böhmischen Kunst bis zur Grisaille zeigen das umfassende Wissen um das künstlerische Wirken der Zeit und dessen gezielte Auswahl. Regionale Einflüsse lassen sich durch Parallelen zur Malerei in Nürnberg finden, welche die Elemente der oberitalienischen wie auch der böhmischen Kunst aufnimmt und zu einem regionalen Stil vereint. Ebenso modern wie die Auswahl und Darstellung der Themen, die unterschiedliche Malweise, ist auch die hierbei verwendete Maltechnik. Die Analyse derselben und Vergleiche zu mittelalterlichen Quellentexten ergänzen neue Ergebnisse zu aktuellen Forschungen hinsichtlich der Herstellung spätgotischer Wandmalereien. Diese bestätigen, dass es sich weit häufiger als bis jetzt vermutet, um mehrschichtige Seccomalereien mit proteinhaltigem Bindemittel und Temperamischungen als um Kalkmalereien handelt. Die Verwendung der gleichen Maltechnik, jedoch in unterschiedlicher Malweise und kleine Unterschiede in der Ausführung, lassen auf ein Malerteam schließen, das die Ausgestaltung nach einem detailliert ausgearbeiteten Programm in kurzer Zeit ausführte. An den Forchheimer Malereien kann darüber hinaus beispielhaft die Restaurierungsgeschichte, ein wichtiges Forschungsdesiderat, dargestellt werden. Die einzigartige Aktenlage umfasst weitgehend den kompletten Schriftverkehr der zwei großen Restaurierungsphasen, 1830-32 und zu Beginn des 20. Jahrhunderts, mit dem Einbau des Pfalzmuseums 1906-10. Damit lässt sich explizit der Wandel von einer künstlerischen historisierenden Restaurierung zu einer wissenschaftlich motivierten und nach Grundsätzen ausgerichteten Konservierung aufzeigen, der sich in Bayern, Deutschland und Europa im Verlauf den 19. Jahrhunderts vollzogen hat. Neben den restaurierungsethischen Grundlagen umfasst dies auch die verwendeten Materialien und Techniken der historischen Maßnahmen. Die Forchheimer Malereien repräsentieren hierbei jeweils die fortschrittlichen Gedanken ihrer Zeit. Wie nah Zeitgeschichte mit der Restaurierungsgeschichte verknüpft ist, zeigt der besondere Aspekt der enkaustischen Behandlung der Malereien der Kapelle während der Restaurierung im frühen 19. Jahrhundert. Dies steht in engem Zusammenhang mit der Wiedererfindung der Enkaustik auf der Suche nach einer haltbaren Maltechnik für die zahlreichen repräsentativen Monumentalbauten des Klassizismus. In Forchheim wurde dies stark durch König Ludwig I. begünstigt, der diese Bewegung in München förderte. In diesem geistigen Umfeld beauftragte der Central Galerie Direktor Georg von Dillis den Maltechniker Franz Fernbach, der durch seine maltechnischen Versuche zur Enkaustik hervorgetreten war, zur Restaurierung der Wandmalereien. Dies ermöglichte Fernbach seine neu entwickelte enkaustische Technik, die er 1845 publizierte, erstmals großflächig anzuwenden. Im Rahmen der vorliegenden Untersuchung konnte anhand von Analysen und Quellenforschung auch die bei der jüngsten Restaurierung aufgefundene und in Teilabschnitten freigelegte Bemalung der Südwand der Kapelle als eine Neubemalung von Franz Fernbach zugeordnet werden. Die zweite Restaurierung hingegen setzt früh und konsequent die um 1900 mit den Streitschriften zur Denkmalpflege von Alois Riegl und Georg Dehio formulierten Grundsätze hin zu einer Konservierung in die Praxis um. Unter Georg Hager als Direktor des Generalkonservatoriums in München wurde diese Wendung zu einer modernen Denkmalpflege in Forchheim vollzogen und die Wandmalereien als authentisches Fragment konserviert und museal mit nur geringen Retuschen präsentiert. Die Restaurierungszutaten von 1830-32 unter Franz Fernbach in der Kapelle wurden bei der Restaurierung 1906-10 weitreichend abgenommen. Dieses Zeitdokument der beginnenden künstlerischen Denkmalpflege konnte bislang noch nicht als solches gewürdigt werden, da die zeitliche Distanz fehlte und die zahlreichen Zerstörungen durch die frühen künstlerischen Restaurierungen zu offensichtlich waren. Mit Hilfe der Quellenforschung, der optischen Untersuchungsmethoden und der ausgewählten Materialanalysen konnte der Erstbestand von den späteren Eingriffen durch die Restaurierungen unterschieden werden: Bei der Restaurierung um 1906-10 wurde, wie in den Quellen betont, weitreichend auf eine Retusche verzichtet. Nur partiell wurden vor allem architektonische Linien lasierend ergänzt, wie in der Sockelbemalung im „Kaisersaal“. Bei den Malereien, die von Franz Fernbach ursprünglich restauriert worden waren, wurde nach der Abnahme seiner Zutaten mit der Retusche etwas weiter gegangen, vermutlich da die Darstellungen in ihrem ergänzten Zustand sowohl als Abbildungen wie auch bei Personen noch in Erinnerung waren. Mit dem Erkenntniszugewinn hinsichtlich einer beispielhaften Restaurierungsgeschichte wurde eine bedeutende Wissensgrundlage geschaffen, auch als Ausgangspunkt für weitere vergleichende Forschungen und Diskussionen. In der vorliegenden Arbeit konnte aufgezeigt werden, wie vielschichtig Wandmalereien in ihrer Aussage als Dokument sein können. Gerade in Forchheim sind sie eine reiche Quelle für die Geschichte des Baus und der mittelalterlichen Kunstauffassung und darüber hinaus eine wertvolles Dokument der sich wandelnden Restaurierungsgeschichte. Die Forchheimer Malereien fordern diesen umfassenden Forschungsansatz und machen sich somit zu einem äußerst kostbaren Kunst- und Kulturgut.This monograph completely records, for the first time, the late Gothic wallpaintings in the East wing of the castle in Forchheim, Southern Germany. The survey combines the art historical- and conservation- science perspective. In collaboration with the survey of the building by Tillman Kohnert, it was possible to incorporate the history of the paintings within the architecture. The Gothic paintings from the late 14th Century were created while the castle was in construction under the Prince Bishop Lamprecht von Brunn (1374 - 1399) from Bamberg. The "Emperor's Hall" on the ground floor is the only room that shows two decoration phases. During the restoration work in 1909 both phases were uncovered and presented on one plane of view. Before the construction of what is now the existing vault, the room was covered with a flat beam ceiling, dating from 1391 (Dendrochronology). The first decoration, with a painted coat of arms and simple red lines around the window openings imitate gothic architecture, was extended around 1398 with the construction of the ribbed vault, with an even more representative painted figurative program. It can be assumed that at the same time, the private rooms of the Bishop on the first and second floor were elaborately painted. The functions of the rooms are reflected in the religious themes of the New and Old Testament as well as in the implementation of secular literary topics. The simultaneous use of the expressive linear painting, which arrived over Avignon to Prague, and the figurative style striving to copy nature, with strong links to Northern Italy and Bohemian Art, and the application of grisaille painting show the extensive knowledge of the artistic works of the time and was the careful selection of the client. Regional influences can be found by parallels with paintings in Nuremberg, which use elements of the Northern Italian as well as the Bohemian art; linking them into a regional style. The technique used was as modern as the selection and execution of the painted subjects and the different styles of the single paintings. The results of the scientific analysis and in comparison with the medieval sources add further to the current research on the production technique of late Gothic wallpaintings. This confirms that it was a far more common practice to apply multilayered secco paintings with protein and tempera mixtures as binding media, than the use of lime painting. Using the same painting technique but in a different style, along with minor differences within the paintings, suggests that a team of painters carried out the decoration, following a more detailed program of work. Using the example of the wallpaintings in the Forchheim Castle and their restoration history, an important research desideratum can be exemplified. There are a vast amount of historic documents, comprising the complete correspondence of the two major restoration phases, in the early 19th century (1830-32) and the early 20th Century (1906-10). The second conservation project took place within the establishment of the “Palace Museum” in the castle. Using the example of these murals, it is possible to explicitly demonstrate the transition from artistic, historicizing restoration towards scientific conservation, in Bavaria, Germany and Europe during the 19th Century. This includes additional to ethical principles, the materials and techniques used in the previous conservation treatments. In each case the paintings of Forchheim Castle represent the progressive ideas of the time. How close contemporary history is linked to the restoration history, shows the particular aspect of encaustic treatment of the paintings in the chapel during the restoration in the early 19th Century. This is closely connected with the reinvention of the encaustic painting technique, in the search for a more durable technique, for the numerous representative monumental buildings in the classicism period. The early conservation in Forchheim was strongly favored by King Ludwig I, who supported this movement in Munich. In this intellectual environment, the Central Gallery director Georg von Dillis commissioned the painter Franz Fernbach, who emerged with his attempts to recreate the encaustic painting technique for the restoration of the wall paintings. This allowed Fernbach to apply his newly developed encaustic technique, which he published in 1845, for the first time on a large scale. Within this research, based on historic sources and scientific analyses, the recently discovered and partly uncovered decoration on the south wall of the chapel could be assigned as a new painting by Franz Fernbach. The second restoration, however, set early the principles for “conservation instead of restoration” into practice. These had been formulated around 1900 in the pamphlets of Alois Riegl and Georg Dehio. Under the Director of the Board of Monuments, George Hager, this change towards a modern scientific conservation was carried out and therefore, in Forchheim, the newly uncovered wallpaintings were preserved as an authentic fragment with only slight retouching undertaken. During the restoration of 1906-10, the additions of the restoration from 1830-32 under Franz Fernbach in the chapel, and on the “Triton” and “Craneman” in the adjoining room, were removed. This early document of the beginning of the cultural heritage could not yet be appreciated because it was before its time and so the numerous destructions by the early artistic restorations were still obvious. By researching historical sources, optical analysis methods and scientific analysis of material samples, it was possible to distinguish the first decoration from the interventions of the later restorations. It was also possible to confirm that during the restoration, of around 1906-10, and as stated in historical sources, hardly any retouching was carried out. Architectural lines were only partially added such as in the painted base zone of the “Imperial Hall”. In the paintings, which had been previously restored by Franz Fernbach, after the over painting was removed, more retouching was carried out than in the newly uncovered murals; probably because the paintings in there completed state were still known from published images or in the memory of the people. With the research of this exemplary history of restoration of the wallpaintings in Forchheim Castle, an important knowledge base has been created which has, in turn, formed a basis for further research and discussion. In the present study, it was possible to demonstrate how complex the historical documents of murals could be. They are a rich source for the history of the architecture, art history, contemporary history and restoration history, thus making them an extremely valuable art- and cultural asset

Using small-angle X-ray scattering to investigate the compaction behaviour of a granulated clay

The compaction behaviour of a commercial granulated clay (magnesium aluminium smectite, gMgSm) was investigated using macroscopic pressure-density measurements, X-ray diffraction (XRD), scanning electron microscopy (SEM), X-ray microtomography (XμT) and small-angle X-ray scattering (SAXS). This material was studied as a potential compaction excipient for pharmaceutical tabletting, but also as a model system demonstrating the capabilities of SAXS for investigating compaction in other situations. Bulk compaction measurements showed that the gMgSm was more difficult to compact than polymeric pharmaceutical excipients such as spheronised microcrystalline cellulose (sMCC), corresponding to harder granules. Moreover, in spite of using lubrication (magnesium stearate) on the tooling surfaces, rather high ejection forces were observed, which may cause problems during commercial tabletting, requiring further amelioration. Although the compacted gMgSm specimens were more porous, however, they still exhibited acceptable cohesive strengths, comparable to sMCC. Hence, there may be scope for using granular clay as one component of a tabletting formulation. Following principles established in previous work, SAXS revealed information concerning the intragranular structure of the gMgSm and its response to compaction. The results showed that little compression of the intragranular morphology occurred below a relative density of 0 · 6, suggesting that granule rearrangements or fragmentation were the dominant mechanisms during this stage. By contrast, granule deformation became considerably more important at higher relative density, which also coincided with a significant increase in the cohesive strength of compacted specimens. Spatially-resolved SAXS data was also used to investigate local variations in compaction behaviour within specimens of different shape. The results revealed the expected patterns of density variations within flat-faced cylindrical specimens. Significant variations in density, the magnitude of compressive strain and principal strain direction were also revealed in the vicinity of a debossed feature (a diametral notch) and within bi-convex specimens. The variations in compaction around the debossed notch, with a small region of high density below and low density along the flanks, appeared to be responsible for extensive cracking, which could also cause problems in commercial tabletting

Citizen Journalism at the Margins

Amidst burgeoning literature on citizen journalism, we still know relatively little about how and why genuinely marginalised groups seek to use this form of reporting to challenge their exclusion. In this article, we aim to address this gap by analysing two UK citizen journalism initiatives emanating from The Big Issue Foundation, a national homeless organisation, and Access Dorset, a regional charity for disabled and elderly people. These case studies are united by the authors’ involvement in both instances, primarily through designing and delivering bespoke citizen journalism education and mentoring. Based on over 40 hours of interviews with participants of the workshops and 36 hours of participant observation, we analyse the challenges participants faced in their journey to become citizen journalists. This included: low self-esteem, physical health and mental wellbeing, the need for accessible and adaptable technology, and overcoming fear associated with assuming a public voice. We also analyse marginalised groups’ attitudes to professional journalism and education, and its role in shaping journalistic identity and self-empowerment. Whilst demonstrably empowering and esteem building,our participants were acutely aware of societal power relations that were seemingly still beyond their ability to influence. Those who are marginalised are, nevertheless, in the best position to use citizen journalism as a conduit for social change, we argue - though challenges remain even at the grassroots level to foster and sustain participatory practices

The facilitating factors and barriers encountered in the adoption of a humanized birth care approach in a highly specialized university affiliated hospital

<p>Abstract</p> <p>Background</p> <p>Considering the fact that a significant proportion of high-risk pregnancies are currently referred to tertiary level hospitals; and that a large proportion of low obstetric risk women still seek care in these hospitals, it is important to explore the factors that influence the childbirth experience in these hospitals, particularly, the concept of humanized birth care.</p> <p>The aim of this study was to explore the organizational and cultural factors, which act as barriers or facilitators in the provision of humanized obstetrical care in a highly specialized, university-affiliated hospital in Quebec province, in Canada.</p> <p>Methods</p> <p>A single case study design was chosen. The study sample included 17 professionals and administrators from different disciplines, and 157 women who gave birth in the hospital during the study. The data was collected through semi-structured interviews, field notes, participant observations, a self-administered questionnaire, documents, and archives. Both descriptive and qualitative deductive content analyses were performed and ethical considerations were respected.</p> <p>Results</p> <p>Both external and internal dimensions of a highly specialized hospital can facilitate or be a barrier to the humanization of birth care practices in such institutions, whether independently, or altogether. The greatest facilitating factors found were: caring and family- centered model of care, professionals' and administrators' ambient for the provision of humanized birth care besides the medical interventional care which is tailored to improve safety, assurance, and comfort for women and their children, facilities to provide a pain-free birth, companionship and visiting rules, dealing with the patients' spiritual and religious beliefs. The most cited barriers were: the shortage of health care professionals, the lack of sufficient communication among the professionals, the stakeholders' desire for specialization rather than humanization, over estimation of medical performance, finally the training environment of the hospital leading to the presence of too many health care professionals, and consequently, a lack of privacy and continuity of care.</p> <p>Conclusion</p> <p>The argument of medical intervention and technology at birth being an opposing factor to the humanization of birth was not seen to be an issue in the studied highly specialized university affiliated hospital.</p

Conceptual Art

Providing a re-examination of what Osborne identifies as a major turning point in contemporary art, this monograph takes a chronological and stylistic look at conceptual art from its “pre-history” (1950-1960) to contemporary practices that use conceptual strategies. Osborne surveys the development of the movement in relation to the social, cultural and political contexts within which it evolved. With extended captions, key works are compiled according to ten themes that also serve to present a collection of critical texts, artists’ statements, interviews and commentaries. Includes biographical notes on artists (6 p.) and authors (2 p.), a bibliography (2 p.) and an onomastic index (4 p.) Circa 150 bibl. ref

Polymorphisms near TBX5 and GDF7 are associated with increased risk for Barrett's esophagus.

BACKGROUND & AIMS: Barrett's esophagus (BE) increases the risk of esophageal adenocarcinoma (EAC). We found the risk to be BE has been associated with single nucleotide polymorphisms (SNPs) on chromosome 6p21 (within the HLA region) and on 16q23, where the closest protein-coding gene is FOXF1. Subsequently, the Barrett's and Esophageal Adenocarcinoma Consortium (BEACON) identified risk loci for BE and esophageal adenocarcinoma near CRTC1 and BARX1, and within 100 kb of FOXP1. We aimed to identify further SNPs that increased BE risk and to validate previously reported associations. METHODS: We performed a genome-wide association study (GWAS) to identify variants associated with BE and further analyzed promising variants identified by BEACON by genotyping 10,158 patients with BE and 21,062 controls. RESULTS: We identified 2 SNPs not previously associated with BE: rs3072 (2p24.1; odds ratio [OR] = 1.14; 95% CI: 1.09-1.18; P = 1.8 × 10(-11)) and rs2701108 (12q24.21; OR = 0.90; 95% CI: 0.86-0.93; P = 7.5 × 10(-9)). The closest protein-coding genes were respectively GDF7 (rs3072), which encodes a ligand in the bone morphogenetic protein pathway, and TBX5 (rs2701108), which encodes a transcription factor that regulates esophageal and cardiac development. Our data also supported in BE cases 3 risk SNPs identified by BEACON (rs2687201, rs11789015, and rs10423674). Meta-analysis of all data identified another SNP associated with BE and esophageal adenocarcinoma: rs3784262, within ALDH1A2 (OR = 0.90; 95% CI: 0.87-0.93; P = 3.72 × 10(-9)). CONCLUSIONS: We identified 2 loci associated with risk of BE and provided data to support a further locus. The genes we found to be associated with risk for BE encode transcription factors involved in thoracic, diaphragmatic, and esophageal development or proteins involved in the inflammatory response

The genetic architecture of the human cerebral cortex

The cerebral cortex underlies our complex cognitive capabilities, yet little is known about the specific genetic loci that influence human cortical structure. To identify genetic variants that affect cortical structure, we conducted a genome-wide association meta-analysis of brain magnetic resonance imaging data from 51,665 individuals. We analyzed the surface area and average thickness of the whole cortex and 34 regions with known functional specializations. We identified 199 significant loci and found significant enrichment for loci influencing total surface area within regulatory elements that are active during prenatal cortical development, supporting the radial unit hypothesis. Loci that affect regional surface area cluster near genes in Wnt signaling pathways, which influence progenitor expansion and areal identity. Variation in cortical structure is genetically correlated with cognitive function, Parkinson's disease, insomnia, depression, neuroticism, and attention deficit hyperactivity disorder

Highlights of the 2009 scientific sessions of the European Society of Cardiology

The annual congress of the European Society of Cardiology (ESC) was held in Barcelona, Spain, August 29 to September 2, 2009. The total attendance was 31,323 participants from 136 different countries. Excellent congress facilities hosted 237 pre-arranged sessions in 30 meeting rooms running in parallel, including several joint sessions in collaboration with other societies (e.g., the American College of Cardiology, the American Heart Association, and the World Heart Federation). A total of 9,848 abstracts from 96 different countries was submitted, and 4,085 (42%) abstracts were selected for presentation