Assessing the Condition of Complex Poly-Material Artworks by Py-GC-MS: The Study of Cellulose Acetate-Based Animation Cels

The material composition of a group of Rodovetri, hand-painted animation cels, made in the 1950s and 1960s for Italian television, has been determined by Flash Py-GC-MS, Thermally assisted Hydrolysis and Methylation-(Py-)GC-MS and GC-MS investigations, where, for the pyrolysis applications, the pyrolyzer is connected septum-less to the GC inlet. The condition of the selected animation cels was generally poor (yellowing, exudation, warping, cracking). The cels are made of plasticized cellulose acetate (CA) and decorated with alkyd paint. Exudating plasticizers from the CA support migrated into the paint; this has softened the paint layers and made the cels stick together. CA is known to be very unstable and easily subjected to degradation, which cannot be reversed, only slowed down by preventive conservation. Most of the cels are plasticized with bis(2-methoxyethyl) phthalate (DMEP) and triphenyl phosphate (TPP). The research shows a relationship between the degradation of CA and the presence of TPP and DMEP

Multi-analytical investigation on felt-tip pen inks: Formulation and preliminary photo-degradation study

We present a multi-analytical study on the formulation of commercial felt-tip pens, introduced in the second half of the 20th century and commonly used by modern and contemporary artists. These media of both drawing and writing have not yet been fully investigated, but the degradation processes they might undergo, such as fading, are well-known and rather apparent.Twelve water-based felt-tip pens were investigated by the joint use of complementary analytical techniques, such as Thin Layer Chromatography, Nuclear Magnetic Resonance, Fourier transformed infrared spectroscopy, X-ray fluorescence spectrometry and Pyrolysis-Gas Chromatography/Mass Spectrometry.The obtained results provided crucial, preliminary data for the identification of dyes, solvents and additives present in the inks' formulations. Numerous synthetic food coloring agents and pigments were identified, such as Acid Yellow 23, Acid Red 18, Acid Blue 9, and Pigment Blue 15. In addition, glycols, fatty acids, 2-phenoxyethanol, colophony, benzotriazole derivatives and other solvents and additives were detected in the manufactured inks.Furthermore, the effects of photo-degradation on one emblematic ink sample were studied, highlighting in particular visual and aesthetical changes due to discoloration.This study demonstrates a methodology based upon the use of an integrated analytical approach for the characterization of commercial ink-based artistic media and their viable degradation patterns, which aims to develop suitable conservation treatments to assess modern and contemporary drawings and writings. (C) 2015 Elsevier B.V. All rights reserved

Moa: extensibility and efficiency in querying nested data

Advanced non-traditional application domains such as geographic information systems and digital library systems demand advanced data management support. In an effort to cope with this demand, we present a novel multi-model DBMS architecture which provides efficient evaluation of queries on complexly structured data. A vital role in this architecture is played by the Moa language featuring a nested relational data model based on XNF2, in which we placed renewed interest. Furthermore, the architecture allows extensibility on all of its levels providing the means to better integrate domain-specific algorithms into the system. In addition to this, the extensibility of the Moa language is designed in a way that optimization obstacles due to blackbox treatment of ADTs is avoided. This combination of well-integrated domainspecific algorithms, extensibility open to optimization, and a mapping of queries on complexly structured data to an efficient physical algebra expression via a nested relational algebra, makes that the Moa system can efficiently handle complex queries from non-traditional application domains

CIRQUID: complex information retrieval queries in a database

The CIRQUID project plans to design and build a DBMS that seemlessly integrates relevance-oriented querying of semi-structured data (XML) with traditional querying of this data. The project is funded by the Netherlands Organisation of Scientific Research

Life after death : a physicochemical study of materials used by the ancient Maya in human bone ointments

Ancient Maya believed in life after death. They used to prepare dead bodies during burial ceremonies whose purpose was to celebrate the dead and to help them passing through the way from earthly life to the beyond one. Bodies preparation included coloured scented body ointment application, with a deep symbolic connotation and probably also a conservative purpose. The aim of this research was to characterize pigments and binders used by ancient Maya in the preparation of body oint ments used to paint human bones. Emblematic painted bone samples from Xcambó (Maya archaeological site located in the municipality of Dzemul, in the Mexican state of Yucatán) were investigated through a non-destructive and micro-destructive analytical techniques. Results pointed out the presence of two mainly red pigments, i.e. red ochre and cinnabar, as already observed in other Maya painted bones. The new insight of the research is the identifcation of the organic compounds used as binding media in the ointments: a mixture of vegetable drying oil (probably Chia seed oil) mixed with an aromatic compound (bitumen). This knowledge, together with that obtained in the last decades, is important to reconstruct the cultural habitat and social customs of this pre-Hispanic civilization and transfer them to today's contex

FROM PIGMENTS TO PAINTS: STUDYING ORIGINAL MATERIALS FROM THE ATELIER OF THE ARTIST MARIANO FORTUNY Y MADRAZO

We present the first study related to the painting materials used by Mariano Fortuny y Madrazo (Granada 1871 - Venice 1949). This eclectic artist, whose activities ranged from photography to painting, produced his own tempera colours Tempere Fortuny. His atelier in Palazzo Pesaro degli Orfei in Venice still conserves several kinds of painting materials employed in different stages of paint manufacture: from raw colourant materials (e.g. pigments and dyes) to a ready-to-use paint tube containing a complex mixture of pigment, binder ad additives. Micro samples collected from 29 “raw” materials and 2 handcrafted coloured paint mixtures were characterised by XRF, FT-IR and PyGCMS analysis. Through this multi-analytical approach, both inorganic and organic fractions were detected. According to the obtained results, Mariano Fortuny used both traditional and innovative materials- commercial products which were available at his time and sold for artistic practice and paint manufacture. This study allowed to understand the procedures followed by Fortuny in the production of his own colours, in particular highlighting the technical expedients the artist used in binding medium processing. These pieces of information prove Fortuny’s deep proficiency in paint manufacture and explain why his own Tempere were appreciated by his contemporaries.We present the first study related to the painting materials used by Mariano Fortuny y Madrazo (Granada 1871 - Venice 1949). This eclectic artist, whose activities ranged from photography to painting, produced his own tempera colours Tempere Fortuny. His atelier in Palazzo Pesaro degli Orfei in Venice still conserves several kinds of painting materials employed in different stages of paint manufacture: from raw colourant materials (e.g. pigments and dyes) to a ready-to-use paint tube containing a complex mixture of pigment, binder ad additives. Micro samples collected from 29 “raw” materials and 2 handcrafted coloured paint mixtures were characterised by XRF, FT-IR and PyGCMS analysis. Through this multi-analytical approach, both inorganic and organic fractions were detected. According to the obtained results, Mariano Fortuny used both traditional and innovative materials- commercial products which were available at his time and sold for artistic practice and paint manufacture. This study allowed to understand the procedures followed by Fortuny in the production of his own colours, in particular highlighting the technical expedients the artist used in binding medium processing. These pieces of information prove Fortuny’s deep proficiency in paint manufacture and explain why his own Tempere were appreciated by his contemporaries

I materiali e la tecnica pittorica di Giulio Aristide sartorio nel ciclo “Il poema della vita umana” (1906-07): conoscenza e prevenzione per un progetto di musealizzazione

Summary In 1906 Giulio Aristide Sartorio created the pictorial cycle “The Poem of Human Life" for the Central Hall of the Venice Biennale. To complete the cycle (over 240 m2) in just nine months, he used a special painting technique: “a mixture of wax, mineral turpentine and oils”.This cycle has had a complicated history of conservation. A project involving conservation and maintenance is needed to access Sartorio’s paintings. The first step in the conservation project involves the study of the entire cycle to identify the materials and the painting techniques adopted by the artist and to understand the degradation processes present on the paintings. This knowledge makes it possible to suggest some general guidelines for the correct presentation of the cycle for public viewing in a museum. A priority is the prevention of future degradation processes, usually due to exhibition conditions themselves, including excessive exhibition stress. This research shows that any museum display project must consider the specific technical and material characteristics of the artworks prior to their exhibition. RiassuntoNel 1906 Aristide Sartorio dipinse il ciclo "Il poema della Vita Umana" per il Salone Centrale della Biennale di Venezia. Per completare il ciclo (di oltre 240 m2) in solamente nove mesi, egli ricorse ad una particolare tecnica pittorica: “ una mistura di cera, essenza di trementina e oli”. Questa opera attraversò complicate vicende conservative ed era necessario un progetto di  conservazione e manutenzione per renderla visibile. Il primo passo per la stesura del progetto conservativo ha riguardato lo studio dell’intero ciclo per identificare i materiali e la tecnica pittorica adottata dall’artista e comprendere i processi di degrado in atto. Queste conoscenze danno la possibilità di suggerire delle linee guida generali per la corretta musealizzazione del ciclo, considerando prioritaria la prevenzione di futuri processi di degrado, generalmente legati alle condizioni di esposizione e stress correlati ad esse. Questa ricerca mostra che ogniprogetto di musealizzazione deve considerare le specifiche caratteristiche tecniche dell’opera prima di prevederne l’esposizione. RésuméEn 1906, Aristide Sartorio réalisa le cycle de peintures « Il poema della Vita Umana » (Le poème de la vie humaine) pour le Salon central de la Biennale de Venise. Pour compléter ce cycle de plus de 240 m2 en neuf mois seulement, il utilisa une technique picturale particulière, « un mélange de cire, essence de térébenthine et huiles ». Au niveau de la conservation, cette œuvre connut de nombreuses difficultés. Un projet de conservation et d’entretien était nécessaire pour la rendre visible. La première étape de la rédaction du projet de conservation fut l’étude de l’ensemble du cycle, pour identifier les matériaux et la technique picturale utilisée par l’artiste, et pour comprendre les processus de détérioration en cours. Les connaissances ainsi obtenues permettent de préconiser des lignes directrices générales pour la bonne muséalisation du cycle, la priorité étant la prévention des détériorations à venir, le plus souvent associées aux conditions d’exposition et aux sollicitations correspondantes. Cette recherche montre que tout projet de muséalisation doit considérer les caractéristiques techniques spécifiques de l’œuvre avant d’envisager son exposition. ZusammenfassungIm Jahr 1906 malte Aristide Sartorio den Zyklus "Il poema della Vita Umana" (etwa “Das Gedicht des menschlichen Lebens”) für den Zentralen Salon der Biennale von Venedig.  Um diesen Zyklus (über 240 m² groß) in nur neun Monaten fertigstellen zu kennen, griff er auf eine besondere Maltechnik zurück: “ein Gemisch von Wachs, Terpentin und Ölen”.  Dieses Werk unterlag komplizierten Konservierungsarbeiten und es war ein Projekt für die Konservierung und Instandhaltung notwendig, um es sichtbar zu machen. Der erste Schritt zur Erstellung dieses Konservierungsprojekts bestand im Studium des gesamten Zyklus, um die Materialien und die vom Künstler angewandte Maltechnik zu bestimmen und den eingetretenen Verrottungsprozess zu begreifen.  Die Kenntnis dieser Faktoren bieten die Möglichkeit, allgemeine Leitlinien für die korrekte Musealisierung des Zyklus zu liefern, wobei als prioritär die Verhinderung zukünftiger Verrottungsprozesse betrachtet wurde, die generell mit den Ausstellungsbedingungen und der damit einhergehenden Belastung verbunden sind. Diese Forschungsarbeit bezeugt, dass jedes Musealisierungsprojekt die spezifischen technischen Merkmale des Werks berücksichtigen muss, bevor es ausgestellt werden kann. ResumenEn 1906 Aristide Sartorio pintó el ciclo "Il poema della Vita Umana" (El poema de la Vida Humana) para el Salón Central de la Bienal de Venecia. Para completar el ciclo (de más de 240 m2) en tan solo nueve meses, el artista recurrió a una técnica pictórica particular: "una mezcla de cera, esencia de trementina y aceites". Esta obra atravesó complicadas vicisitudes por lo que se refiere a su conservación y un proyecto de conservación y mantenimiento era necesario para hacerla visible. El primer paso de la redacción del proyecto de conservación se ha centrado en el estudio del ciclo en su totalidad para identificar los materiales y la técnica pictórica adoptada por el artista y comprender los procesos de deterioro en marcha. Estos conocimientos brindan la posibilidad de sugerir algunos principios generales para musealizar el ciclo correctamente y se considera prioritaria la prevención de procesos de deterioro en el futuro, los cuales están generalmente relacionados con las condiciones de exposición y el estrés provocado por las mismas. Esta investigación muestra que todo proyecto de musealización debe tener en cuenta las características técnicas específicas de la obra antes de disponer su exposición. РезюмеВ 1906 году Аристид Сарторио создал цикл «Поэма человеческой жизни» для Центрального зала Венецианской Биеннале. Для завершения цикла (более 240 кв. м) всего лишь за девять месяцев он прибег к особой технике живописи: «смеси воска, скипидара и масла». Это произведение имело сложную историю с точки зрения его сохранения и нуждалось в проекте по сбережению и поддержанию, чтобы оставаться видимым. Первым шагом в создании проекта по сохранению явилось изучение всего цикла для определения материалов и техники живописи, принятых мастером, и выявить причины действующих процессов деградации. Эти знания позволяют дать общие указания для правильной музейной экспозиции цикла, отдавая приоритет предотвращению будущих процессов деградации, обычно связанных с условиями экспозиции и стресса, связанного с ними. Это исследование показывает, что любой проект музейной экспозиции при его подготовке должен учитывать специфические технические характеристики произведения. 摘要于1906年Aristide Sartorio  (阿里斯蒂德·萨尔托里奥)为威尼斯双年展的中心展厅画了"Il poema della Vita Umana(人生的诗歌)"一系列画。为了在9个月内完成此系列(240 多平方米大)，他使用了一种特别的画画技巧: “ 蜡、松节油精华和油类的混合物”。这幅作品经历了许多复杂的保留程序，当时为了展览它需要一种合适的保养与保存项目。保存项目的第一步是通过整个系列的研究来识别画家采用的材料和作画技巧以及了解已开始的退化过程。这些研究的结果对于此系列画正确地展示在博物馆里提供了指导方针以及在预防退化过程的基础上，分析了与它有关的展示的条件。这个研究证明了每个博物馆展示项目在展示作品之前都应当考虑到有关作品的技术特点。Summary In 1906 Giulio Aristide Sartorio created the pictorial cycle “The Poem of Human Life" for the Central Hall of the Venice Biennale. To complete the cycle (over 240 m2) in just nine months, he used a special painting technique: “a mixture of wax, mineral turpentine and oils”.This cycle has had a complicated history of conservation. A project involving conservation and maintenance is needed to access Sartorio’s paintings. The first step in the conservation project involves the study of the entire cycle to identify the materials and the painting techniques adopted by the artist and to understand the degradation processes present on the paintings. This knowledge makes it possible to suggest some general guidelines for the correct presentation of the cycle for public viewing in a museum. A priority is the prevention of future degradation processes, usually due to exhibition conditions themselves, including excessive exhibition stress. This research shows that any museum display project must consider the specific technical and material characteristics of the artworks prior to their exhibition. RiassuntoNel 1906 Aristide Sartorio dipinse il ciclo "Il poema della Vita Umana" per il Salone Centrale della Biennale di Venezia. Per completare il ciclo (di oltre 240 m2) in solamente nove mesi, egli ricorse ad una particolare tecnica pittorica: “ una mistura di cera, essenza di trementina e oli”. Questa opera attraversò complicate vicende conservative ed era necessario un progetto di  conservazione e manutenzione per renderla visibile. Il primo passo per la stesura del progetto conservativo ha riguardato lo studio dell’intero ciclo per identificare i materiali e la tecnica pittorica adottata dall’artista e comprendere i processi di degrado in atto. Queste conoscenze danno la possibilità di suggerire delle linee guida generali per la corretta musealizzazione del ciclo, considerando prioritaria la prevenzione di futuri processi di degrado, generalmente legati alle condizioni di esposizione e stress correlati ad esse. Questa ricerca mostra che ogniprogetto di musealizzazione deve considerare le specifiche caratteristiche tecniche dell’opera prima di prevederne l’esposizione. RésuméEn 1906, Aristide Sartorio réalisa le cycle de peintures « Il poema della Vita Umana » (Le poème de la vie humaine) pour le Salon central de la Biennale de Venise. Pour compléter ce cycle de plus de 240 m2 en neuf mois seulement, il utilisa une technique picturale particulière, « un mélange de cire, essence de térébenthine et huiles ». Au niveau de la conservation, cette œuvre connut de nombreuses difficultés. Un projet de conservation et d’entretien était nécessaire pour la rendre visible. La première étape de la rédaction du projet de conservation fut l’étude de l’ensemble du cycle, pour identifier les matériaux et la technique picturale utilisée par l’artiste, et pour comprendre les processus de détérioration en cours. Les connaissances ainsi obtenues permettent de préconiser des lignes directrices générales pour la bonne muséalisation du cycle, la priorité étant la prévention des détériorations à venir, le plus souvent associées aux conditions d’exposition et aux sollicitations correspondantes. Cette recherche montre que tout projet de muséalisation doit considérer les caractéristiques techniques spécifiques de l’œuvre avant d’envisager son exposition. ZusammenfassungIm Jahr 1906 malte Aristide Sartorio den Zyklus "Il poema della Vita Umana" (etwa “Das Gedicht des menschlichen Lebens”) für den Zentralen Salon der Biennale von Venedig.  Um diesen Zyklus (über 240 m² groß) in nur neun Monaten fertigstellen zu kennen, griff er auf eine besondere Maltechnik zurück: “ein Gemisch von Wachs, Terpentin und Ölen”.  Dieses Werk unterlag komplizierten Konservierungsarbeiten und es war ein Projekt für die Konservierung und Instandhaltung notwendig, um es sichtbar zu machen. Der erste Schritt zur Erstellung dieses Konservierungsprojekts bestand im Studium des gesamten Zyklus, um die Materialien und die vom Künstler angewandte Maltechnik zu bestimmen und den eingetretenen Verrottungsprozess zu begreifen.  Die Kenntnis dieser Faktoren bieten die Möglichkeit, allgemeine Leitlinien für die korrekte Musealisierung des Zyklus zu liefern, wobei als prioritär die Verhinderung zukünftiger Verrottungsprozesse betrachtet wurde, die generell mit den Ausstellungsbedingungen und der damit einhergehenden Belastung verbunden sind. Diese Forschungsarbeit bezeugt, dass jedes Musealisierungsprojekt die spezifischen technischen Merkmale des Werks berücksichtigen muss, bevor es ausgestellt werden kann. ResumenEn 1906 Aristide Sartorio pintó el ciclo "Il poema della Vita Umana" (El poema de la Vida Humana) para el Salón Central de la Bienal de Venecia. Para completar el ciclo (de más de 240 m2) en tan solo nueve meses, el artista recurrió a una técnica pictórica particular: "una mezcla de cera, esencia de trementina y aceites". Esta obra atravesó complicadas vicisitudes por lo que se refiere a su conservación y un proyecto de conservación y mantenimiento era necesario para hacerla visible. El primer paso de la redacción del proyecto de conservación se ha centrado en el estudio del ciclo en su totalidad para identificar los materiales y la técnica pictórica adoptada por el artista y comprender los procesos de deterioro en marcha. Estos conocimientos brindan la posibilidad de sugerir algunos principios generales para musealizar el ciclo correctamente y se considera prioritaria la prevención de procesos de deterioro en el futuro, los cuales están generalmente relacionados con las condiciones de exposición y el estrés provocado por las mismas. Esta investigación muestra que todo proyecto de musealización debe tener en cuenta las características técnicas específicas de la obra antes de disponer su exposición. РезюмеВ 1906 году Аристид Сарторио создал цикл «Поэма человеческой жизни» для Центрального зала Венецианской Биеннале. Для завершения цикла (более 240 кв. м) всего лишь за девять месяцев он прибег к особой технике живописи: «смеси воска, скипидара и масла». Это произведение имело сложную историю с точки зрения его сохранения и нуждалось в проекте по сбережению и поддержанию, чтобы оставаться видимым. Первым шагом в создании проекта по сохранению явилось изучение всего цикла для определения материалов и техники живописи, принятых мастером, и выявить причины действующих процессов деградации. Эти знания позволяют дать общие указания для правильной музейной экспозиции цикла, отдавая приоритет предотвращению будущих процессов деградации, обычно связанных с условиями экспозиции и стресса, связанного с ними. Это исследование показывает, что любой проект музейной экспозиции при его подготовке должен учитывать специфические технические характеристики произведения. 摘要于1906年Aristide Sartorio  (阿里斯蒂德·萨尔托里奥)为威尼斯双年展的中心展厅画了"Il poema della Vita Umana(人生的诗歌)"一系列画。为了在9个月内完成此系列(240 多平方米大)，他使用了一种特别的画画技巧: “ 蜡、松节油精华和油类的混合物”。这幅作品经历了许多复杂的保留程序，当时为了展览它需要一种合适的保养与保存项目。保存项目的第一步是通过整个系列的研究来识别画家采用的材料和作画技巧以及了解已开始的退化过程。这些研究的结果对于此系列画正确地展示在博物馆里提供了指导方针以及在预防退化过程的基础上，分析了与它有关的展示的条件。这个研究证明了每个博物馆展示项目在展示作品之前都应当考虑到有关作品的技术特点

Spermatogonial Stem Cell Niche and Spermatogonial Stem Cell Transplantation in Zebrafish

Background Spermatogonial stem cells (SSCs) are the foundation of spermatogenesis, and reside within a specific microenvironment in the testes called “niche” which regulates stem cell properties, such as, self-renewal, pluripotency, quiescence and their ability to differentiate. Methodology/Principal Findings Here, we introduce zebrafish as a new model for the study of SSCs in vertebrates. Using 5′-bromo-2′-deoxyuridine (BrdU), we identified long term BrdU-retaining germ cells, type A undifferentiated spermatogonia as putative stem cells in zebrafish testes. Similar to rodents, these cells were preferentially located near the interstitium, suggesting that the SSC niche is related to interstitial elements and might be conserved across vertebrates. This localization was also confirmed by analyzing the topographical distribution of type A undifferentiated spermatogonia in normal, vasa::egfp and fli::egfp zebrafish testes. In the latter one, the topographical arrangement suggested that the vasculature is important for the SSC niche, perhaps as a supplier of nutrients, oxygen and/or signaling molecules. We also developed an SSC transplantation technique for both male and female recipients as an assay to evaluate the presence, biological activity, and plasticity of the SSC candidates in zebrafish. Conclusions/Significance We demonstrated donor-derived spermato- and oogenesis in male and female recipients, respectively, indicating the stemness of type A undifferentiated spermatogonia and their plasticity when placed into an environment different from their original niche. Similar to other vertebrates, the transplantation efficiency was low. This might be attributed to the testicular microenvironment created after busulfan depletion in the recipients, which may have caused an imbalance between factors regulating self-renewal or differentiation of the transplanted SSCs

Distributed XML database systems

Invention of XML as a universal standard for data representation triggered enormously wide efforts for its adaptation into almost every IT activity. Databases took one of the focusing places of the XML research.\ud This paper investigates the development path of XML from its origins to its current place in distributed database systems. Through enumeration of features and analysis of the problems related to XML and distributed database systems it forms a platform for understanding the consequences of adopting XML to this area of IT