A Visitação de Thomas Luis no contexto europeu: critérios de conservação e restauro baseados nos estudos iconográfico e da técnica

We aim to demonstrate how iconographic and technological studies can be essential to decide which conservation and restoration criteria to adopt on a fragmented master piece. The case of the Visitation’s altar piece by Thomas Luis (c.1565-c.1612), from Montijo’s ”Santa Casa da Misericórdia“ (Holy House of Mercy) church is considered herein. Regarding the iconographic study, we used nine literary sources available in Europe in the sixteen century confronting them with the mentioned painting. For scientific conservation and restoration purpose, the artist’s technique was studied by means of various methods: normal light and ultra violet (UV) radiation photography; infra red reflectography (IRR); optical microscopy (OM); micro chemical analyses (MA) and Fourier transformed infrared micro-spectroscopy (μ-FTIR).Consideramos aquí la pintura retabular Visitación de Thomas Luis (c.1565 - c.1612), perteneciente à la iglesia de Santa Casa da Misericórdia (SCM) do Montijo. Este artículo tiene el objetivo de demonstrar cómo los estudios iconográficos y tecnológicos pueden ser importantes a la hora de elegir criterios de conservación y restauración en obras de composición fragmentada. Para el estudio iconográfico hemos confrontado la pintura con nueve fuentes literarias de libre circulación en Europa durante el siglo XVI. Con el objetivo de realizar una conservación y restauro científica, la técnica del artista fu estudiada con diversos métodos: fotografías con luz normal y radiación ultra violeta (UV); reflectografía infrarroja (IRR); microscopia óptica (OM); análisis micro químico (MA) y micro-espectroscopia infrarroja por transformada de Fourier (μ-FTIR).Consideramos aqui a pintura retabular Visitação do pintor Thomas Luis (c.1565-c.1612), pertencente à igreja da Santa Casa da Misericórdia (SCM) do Montijo. Este artigo tem por objectivo demonstrar como os estudos iconográficos e laboratoriais podem ser determinantes para delinear critérios científicos de conservação e restauro numa obra que requer a reintegração cromática de lacunas extensas. No estudo iconográfico, confrontámos esta pintura com nove fontes literárias que circulavam na Europa no séculoXVI. Com o objectivo de assegurar uma conservação e restauro científica, estudámos atécnica do pintor com o recurso a vários métodos: fotografias sob luz normal e radiação ultra violeta (UV); reflectografia de infra vermelho (IRR); microscopia óptica (OM); análise micro química (MA) e micro-espectroscopia de infravermelho com transformada de Fourier (μ-FTIR)

Thomas Luis, pintor maneirista do sacro e do profano: arte, conservação e restauro:casos de Évora, Aldeia Galega, Elvas, Idanha-a-Nova e Vila Viçosa - Séculos XVI a XVII

Tese de doutoramento, História (Arte Património e Restauro), Universidade de Lisboa, Faculdade de Letras, 2014A presente dissertação tem como objectivo apresentar um estudo interdisciplinar inovador sobre as pinturas retabulares e murais do artista inglês Thomas Luis (Thomas Lewis). Estas obras, realizadas entre c. 1582 e c. 1603, estão localizadas em cinco zonas de Portugal: Évora, antiga Aldeia Galega (actual Montijo), Elvas, Idanha-a-Nova e Vila Viçosa. Trata-se de um pintor pouco estudado, de certa forma desvalorizado quando comparado com outros mais prolíficos (caso dos pintores Diogo Teixeira, Simão Rodrigues e Francisco João), mas que apresenta pinturas monumentais que importa conhecer, singulares do ponto de vista artístico. A pintura subsistente em edifícios religiosos e civis dá conta de uma clientela de saber erudito e actualizado em relação ao que de melhor se produzia quer a nível nacional, quer no estrangeiro (na vizinha Espanha, na Alemanha, na Flandres e em Itália). Dez conjuntos pictóricos, compostos por cento e setenta e oito temas (sem esquecer as que desapareceram e pertencem, por isso, à cripto-história), são aqui devidamente fundamentados em termos autorais, como sendo de Thomas Luis. O método de investigação escolhido foi imposto pelo objecto, isto é, pelas próprias pinturas, a partir das quais se realizou a biografia de Thomas Luis. As suas obras-primas foram analisadas de forma pluridisciplinar, segundo seis perspectivas: histórica (contexto espácio-temporal, encomendantes e mecenas); iconográfica e iconológica (perscrutando o significado dos programas sacros e profanos em fontes documentais e literárias); estilística e artística (apresentando as influências plausíveis dos vários ramos da arte – gravura, iluminura, pinturas de cavalete e murais, azulejaria, talha e pedra –, nas obras de Thomas Luis); dos materiais e das técnicas, com base nos resultados adquiridos com métodos de exame e análise (MEA), de área e de ponto; da história “transmemorial” (cronologia das alterações e das intervenções de Conservação e Restauro, com o apoio dos MEA); da Museologia, propondo formas de divulgação do conhecimento adquirido sobre o Património estudado, e da Curadoria, recomendando quer critérios de “autenticidade” para a exposição de bens culturais sacros em pólos culturais (igreja e museu), quer directrizes de conservação preventiva para o prolongamento da sua vida, explicando qual é o papel desempenhado pelo conservador-restaurador nesses âmbitos. Em grandes linhas, este trabalho visa a preservação e projecção da obra de Thomas Luis, dá-la a conhecer ao grande público e fomentar o turismo cultural.The goal of this thesis is to present an interdisciplinary and innovative study about the altarpieces and wall paintings by the English painter Thomas Luis (Thomas Lewis). These paintings, created between c. 1582 and c. 1603, are located in five areas in Portugal: Évora, the old Aldeia Galega (actual Montijo), Elvas, Idanha-a-Nova and Vila Viçosa. There are few studies about Thomas Luis, who has not been given sufficient recognition when compared with more productive painters (like Diogo Teixeira, Simão Rodrigues and Francisco João), in spite of his monumental paintings, which should be acknowledged, as they are unique. His paintings can be found in religious and private buildings. They show evidence that Thomas Luis’s patrons had an erudite taste and culture, concurrent with the best that was produced not only in Portugal, but also abroad (in neighboring Spain, in Germany, in Flanders and Italy). Ten pictorial groups, composed of one hundred and seventy eight themes (including the ones that disappeared), are herein justified in terms of authorship, as being by Thomas Luis. The research method chosen was imposed by the object, that is, by the paintings themselves, which, in fact, “write” Thomas Luis biography. His masterpieces were studied in a pluridisciplinary way, through six perspectives: historic (space and time contexts, patrons and Maecenas); iconographical and iconological (exploring the meaning of sacred and profane themes in documents and literary sources); stylistic and artistic (showing possible influences, from various art fields – engraving, illumination, easel and wall paintings, tiles, wood and stone works –, in Thomas Luis work); material and technological, using surface and local methods of exam and analysis (MEA); “transmemorial” history (chronology of the alterations and Conservation and Restoration interventions, using MEA), Museology, proposing ways for a wider acquaintance of Thomas Luis work, exhibited in cultural places (church and museum), and Curadory, recommending not only “authenticity” criteria for the exhibition of sacred heritage, but also preventive conservation guide lines to ensure its lasting preservation, explaining the role played by the conservatorrestorer in those areas. This work aims to acknowledge, preserve and project Thomas Luis work to a wider audience and promote the Cultural Heritage Tourism.Fundação para a Ciência e a Tecnologia (FCT, SFRH/BD/46645/2008

Problemas em intervenções de conservação e restauro. Como evitá-los?

Since its genesis Cultural Heritage suffers more or less evident alterations depending on degradation factors. The 16th century panel �Visitation� by Thomás Luis was no exception. It tolerated modifications in its physical, chemical, historical and aesthetic integrity over four centuries, under the environmental, biological and human factors, but mainly the latter. This article is divided in three parts. In the first part, we highlight the pathology leaching present in the mentioned case study. In the second, based on scientific analysis we intend to identify, the historic context in which such damage occurred. In the last part, with the goal of avoiding conservation and restoration problems, we propose awareness directives for artwork owners, students of conservation-restoration, curators, art historians, architects and the general public to avoid conservation problems, including several actions: updating education contents regarding Conservation and Restoration and the value of an interdisciplinary approach; inspection and assistance.Uma vez criado, o Património Cultural sofre alterações mais ou menos acentuadas consoante os factores de degradação a que é sujeito. A pintura quinhentista �Visitação�, do pintor Thomás Luis, não foi excepção. Comportou ao longo de quatro séculos transformações a nível físico, químico, histórico e estético, devido a factores extrínsecos: ambiental, biológico e humano, tendo este último maior reflexo na alteração da integridade da obra. Este artigo está dividido em três partes. Na primeira, destacamos a patologia lixiviação observada no case study referido. Na segunda, com o apoio de análises, procuramos identificar o contexto histórico da ocorrência. Na última parte, com o objectivo de evitar problemas de conservação e restauro, propomos directrizes de consciencialização de proprietários de bens culturais, futuros conservadores-restauradores, curadores1, historiadores de arte, arquitectos e público em geral, que envolvem acções de: formação actualizada sobre os conteúdos da Conservação e Restauro e o valor da interdisciplinaridade; inspecção e assistência.Desde su génesis el Patrimonio Cultural sufre alteraciones más o menos acentuadas en función de los factores de degradación a que está sometido. La pintura quinientista �Visitación� del pintor Thomás Luis no fue excepción. A lo largo de cuatro siglos sumó modificaciones de orden físico, químico, histórico y estético, debido a factores extrínsecos: ambiental, biológico y humano, donde este último tuvo el mayor peso. Este artículo se divide en tres partes. En la primera, destacamos la patología lixiviación de la que ha padecido la obra. En la segunda, con el apoyo de análisis, procuramos identificar el contexto histórico de tal ocurrencia. En la última parte, con el objetivo de evitar problemas de conservación y restauración, proponemos directrices de concienciación de propietarios de bienes culturales, futuros conservadores-restauradores, curadores, historiadores del arte, arquitectos y público en general, que están implicados en acciones de: formación actualizada sobre los contenidos de Conservación y Restauro y el valor de la interdisciplinariedad; inspección y asistencia

Spondylocostal dysostosis: follow-up of two cases

AIMS: To report two cases of spondylocostal dysostosis, describing their clinical presentation and evolution. CASES DESCRIPTION: Two non-related cases of spondylocostal dysostosis are reported. The first case consists of an 11 years old boy, and the second case is a girl with four years of age. In both cases, short neck and trunk, scoliosis, rib and sacrococcygeal anomalies were evident at birth. The clinical diagnosis of spondylocostal dysostosis was confirmed by the finding of a mutation in both alleles of the DLL3 gene. Their clinical evolution was satisfactory, with no respiratory complications until this report. CONCLUSIONS: The spondylocostal dysostosis are a group of disorders characterized by severe skeletal malformations, with rib anomalies such as broadening, bifurcation and no symmetric fusion. Although it is known to be a rare situation, its exact incidence or prevalence is not well established. An early diagnosis and appropriate management are extremely important for adequate family counseling and follow-up

Which are the main divergences between the perception of people with T2DM and health professionals?

publishersversionpublishe

uma abordagem quantitativa

publishersversionpublishe

Characterisation of microbial attack on archaeological bone

As part of an EU funded project to investigate the factors influencing bone preservation in the archaeological record, more than 250 bones from 41 archaeological sites in five countries spanning four climatic regions were studied for diagenetic alteration. Sites were selected to cover a range of environmental conditions and archaeological contexts. Microscopic and physical (mercury intrusion porosimetry) analyses of these bones revealed that the majority (68%) had suffered microbial attack. Furthermore, significant differences were found between animal and human bone in both the state of preservation and the type of microbial attack present. These differences in preservation might result from differences in early taphonomy of the bones. © 2003 Elsevier Science Ltd. All rights reserved

Evaluation of a quality improvement intervention to reduce anastomotic leak following right colectomy (EAGLE): pragmatic, batched stepped-wedge, cluster-randomized trial in 64 countries

Background Anastomotic leak affects 8 per cent of patients after right colectomy with a 10-fold increased risk of postoperative death. The EAGLE study aimed to develop and test whether an international, standardized quality improvement intervention could reduce anastomotic leaks. Methods The internationally intended protocol, iteratively co-developed by a multistage Delphi process, comprised an online educational module introducing risk stratification, an intraoperative checklist, and harmonized surgical techniques. Clusters (hospital teams) were randomized to one of three arms with varied sequences of intervention/data collection by a derived stepped-wedge batch design (at least 18 hospital teams per batch). Patients were blinded to the study allocation. Low- and middle-income country enrolment was encouraged. The primary outcome (assessed by intention to treat) was anastomotic leak rate, and subgroup analyses by module completion (at least 80 per cent of surgeons, high engagement; less than 50 per cent, low engagement) were preplanned. Results A total 355 hospital teams registered, with 332 from 64 countries (39.2 per cent low and middle income) included in the final analysis. The online modules were completed by half of the surgeons (2143 of 4411). The primary analysis included 3039 of the 3268 patients recruited (206 patients had no anastomosis and 23 were lost to follow-up), with anastomotic leaks arising before and after the intervention in 10.1 and 9.6 per cent respectively (adjusted OR 0.87, 95 per cent c.i. 0.59 to 1.30; P = 0.498). The proportion of surgeons completing the educational modules was an influence: the leak rate decreased from 12.2 per cent (61 of 500) before intervention to 5.1 per cent (24 of 473) after intervention in high-engagement centres (adjusted OR 0.36, 0.20 to 0.64; P < 0.001), but this was not observed in low-engagement hospitals (8.3 per cent (59 of 714) and 13.8 per cent (61 of 443) respectively; adjusted OR 2.09, 1.31 to 3.31). Conclusion Completion of globally available digital training by engaged teams can alter anastomotic leak rates. Registration number: NCT04270721 (http://www.clinicaltrials.gov)