Towards a Sustainable Preservation of Medieval Colors through the Identification of the Binding Media, the Medieval Tempera

co-financed by the ERDF under the PT2020 Partnership Agreement (POCI-01-0145-FEDER-007265). Publisher Copyright: © 2024 by the authors. Licensee MDPI, Basel, Switzerland.Medieval colors used in illuminated manuscripts from the 12th to 15th centuries can be at risk. Knowing the binding media used, the medieval tempera, is fundamental to developing new and greener methodologies to increase sustainability in Cultural Heritage. A closer look at the tempera used in medieval illuminated manuscripts kept in Portuguese collections, namely, the Ajuda Songbook (13th c.), the winter breviary (14th to 15th c.), the books of hours (15th c.), and a Renaissance Charter (1512), shows that most of the paints analyzed used a tempera similar to gum mesquite. Infrared spectra were the basis for the differentiation between the gums used in medieval times originating from Prosopis spp. and Senegalia spp., gum mesquite and gum arabic, respectively. The ethnobotanical uses of gum mesquite further engage the reader. This micro review represents a significant step forward in Heritage Conservation, offering new perspectives for innovative and greener treatments. Our research, focusing on the differentiation of gums used in medieval times and the identification of the binding media, has the potential to revolutionize our understanding and the preservation of illuminated manuscripts in Cultural Heritage.publishersversionpublishe

Whitby Jet Jewels in the Victorian Age

Abstract. During the middle nineteenth century, jet obtained from Whitby (England) was sought after due to its dark black color and hardness. This fossilized plant material was used in mourning jewelry, and Whitby hard jet was regarded among the best for carving and bead making. Jet fashion was connected with Queen Victoria, whose long mourning period lasted for almost forty years

History and Cultivation of Parma Violets (Viola, Violaceae) in the United Kingdom and France in the Nineteenth Century

Abstract. Scented cultivars of Parma violets were among the most important urban plants during the nineteenth century, with many references in literature, fashion, art and flower trade. Our research analyzed data related to Parma violets in France and in the United Kingdom and presents the cultivars introduced during the nineteenth century

Straw embroideries in Azores (Portugal)

UIDB/04209/2020 UIDP/04209/2020Wheat or rye straw embroideries, typical of the island of Faial (Azores), are the ultimate representatives of a European craft very popular in the XIX century. Our investigation into the cultural use of plants in the Azores presents some examples of straw embroideries and information on the raw materials of plant origin used by the last embroideresses who keep this tradition alive. Azores and the straw embroidery The Azores Archipelago, located on the Mid-Atlantic Ridge, between Europe and North America, was uninhabited when the first Portuguese navigators arrived in 1427 and the arrival of Europeans had severe consequences for the natural ecosystems, that were replaced by agricultural lands, pastures, and, later, by woodlands of exotic trees. The Azores have a very rich flora, with 84 species and infra-species endemic taxa (acores.flora-on.pt), but few of the native and endemic plants are now used as raw materials because the material needs of the population rely almost entirely in introduced species. The traditional arts and crafts are also diverse, and it is in Azores that we find a unique European tradition – the straw embroidery. The European history of straw use for weaving is Millenia old, and we can find exquisite examples in many countries, such as in Belarus, which recently (2022) added this tradition to UNESCO List of Intangible Cultural Heritage (ich.unesco.org) but the pattern of straw work that we find in Azores is closer to the traditions recorded in France (Figure 1), Belgium, Italy, or Switzerland from the XVII century on, when straw was used to embroider in cotton, linen, or silk. An extraordinary sample of this ancient art is the Good Shepherd altar (Figure 2) made by French nuns from the Couvent des Annonciades [Convent of Annonciades], in Nozeroy, and now preserved at the local Collégiale Saint-Antoine [Collegiate Church of Saint-Antoine] (Fitch 1998). In the Azores, the straw embroideries are made in the island of Faial; one of the nine islands of the archipelago. The origin of this art in Azores is uncertain although tradition says it started in the middle of the XIX century, with a French embroidered hat sent from Boston to Faial, to inquire about the possibility of producing similar works in Azores. Local embroideresses studied the technique, perfected it and a new craft began (Andrade 2008). The fashion of using straw-embroidered fabrics was very much in vogue in the mid-nineteenth century, especially to adorn ball gowns (Figure 3) and accessories for festive use. The embroidery begins with the selection of the design, which depends on the piece of clothing the embroideress will create. The design is transferred to a thick paper which will be attached under the cotton or nylon tulle, the fabric to which the straw will be embroidered. The tulle is usually black but white tulle can also be used. The dried straw is obtained from locally grown wheat (Triticum aestivum L.) or rye (Secale cereale L.). To increase the golden shine of the straw, this may be dyed with safflower (Carthamus tinctorius L.) – a species grown in Azores for its flowers’ edible dye. The straw is always prepared by the embroideress, who cuts it from top to bottom with a splitter, dividing each straw in five or six long segments. After this operation, the inner straw layers are removed with a knife or an awl-like object to obtain the strips that will be embroidered directly in the tulle netting, without needles but with the aid of a thimble. Most of the embroidery is made with isolated stitches that do not touch each other (Figure 4). Fibers obtained from leaves of the American aloe (Agave americana L.) are used to create the lines that unite sections of the embroidery and to add details in the design, which usually has the shape of cereal ears, grapes, flowers, and other plant motifs (Silva 2006, Andrade 2008, Teixeira 2016). In the past, this embroidery was common in shawls (Figure 5), scarves, hats, table mats (Figure 6), and ball dresses used locally or exported to continental Europe and USA. The former American First Lady, Jacqueline Kennedy (1929-1994), used Azorean straw embroideries to reinforce the historical links this country has with Azores, where the oldest (1790) continuously operating USA consulate in the world is located (pt.usembassy.gov). Currently it is mainly a product for tourists, rarely used by the Azoreans, although it has a high cultural value to the Faial community. This craft has always been a feminine cottage industry and it is now protected and certified by law [Regional Government Ordinance 89/1998, Dezember 3rd], intended to add value and prestige to the last embroideresses who still maintain this plant-based tradition alive.publishersversionpublishe

the Beja Botanical Museum photo collection

UIDB/04209/2020 UIDP/04209/2020Vegetable ivory is a raw material used to make small objects, such as buttons, adorns for personal use or home decorations. It comes mainly from the seed endosperm of species belonging to the genus Phytelephas Ruiz & Pav.. The collection of Beja Botanical Museum includes a set of historical photos that show all the stages of vegetable ivory processing from seed to buttons, allowing us to have a more complete understanding of the raw materials and technologies used by this industry in the early 1930’s.publishersversionpublishe

Lepidoptera fluminensis – “obra tão rara e estimável”

More than three hundred butterflies from Rio de Janeiro appear natural diepressed (nature printing) and drawn in watercolour in a small album sui generis in the Portuguese museological context – Lepidoptera fluminensis. No title, author or date is displayed, however the entomology work recognizes Queen Maria I of Portugal as recipient. Three references attribute the authorship of the manuscript to the naturalist Friar José Mariano da Conceição Veloso, while another identifies him as patron and dates it from 1789. The hypotheses put forward, the uniqueness of the book and the scarce knowledge about it invite us to study it. With this article, we will investigate the authorship, production, entomological representation, reception and history of this volume; allowing us to conclude that this Natural History treasure is an icon of the Brazilian colonial scientific art of the late eighteenth century

Medición de los activos culturales : aplicación del método del costo del viaje y método de valoración contingente en el Memorial Darcy Ribeiro

Esta pesquisa tem por objetivo aplicar o Método de Valoração Contingente (MVC) e o Método do Custo de Viagem (MCV) no Memorial Darcy Ribeiro, conhecido como Beijódromo, localizado em Brasília, para auferir o seu valor econômico. O estudo da mensuração de heritage assets se justifica em função da necessidade de conhecer o valor econômico do patrimônio cultural brasileiro para fins gerenciais, além disso, porque permite que os mecanismos de valoração sejam aperfeiçoados auxiliando os gestores na formulação de políticas públicas. Foram aplicados 72 questionários, em maio de 2014, aos visitantes e turistas do Beijódromo para obter o valor do Memorial. Conclui-se que embora as metodologias indiretas de valoração econômica se mostram como sendo uma alternativa para mensuração de ativos culturais, o valor encontrado no MCV não difere daquele do MVC, sendo a estimativa econômica bastante inferior daquela investida na construção do Memorial. A falta de informação adequada sobre a origem e o número de visitantes e de turistas influenciou no resultado. Demonstra-se que o registro e monitoramento dos turistas é uma peça importante para que o valor econômico do Memorial seja representado adequadamente, assim como de programas de atração de visitantes e turistas.This research aims to apply the Contingent Valuation Method (CVM) and the Travel Cost Method (TCM) at Memorial Darcy Ribeiro, known Beijódromo, located in Brasilia, to assess its economic value. The study of heritage assets measurement is justified because of the need to know the economic value of the Brazilian cultural heritage for management purposes. In addition, it allows evaluation mechanisms are improved assisting managers in the formulation of public policies. In May 2014, 72 questionnaires were applied to visitors and tourists Beijódromo to get the value of the Memorial. In conclusion, although the indirect economic valuation methodologies are shown as an alternative to measurement of heritage assets, the value found in TCM does not differ from that of the CVM. The economic estimate was much lower than that invested in the construction of the Memorial. The lack of adequate information on the origin and the number of visitors and tourists influenced the outcome. It shows that the record and monitored of tourists is an important piece for the economic value of Memorial to be properly represented, as well as attraction of programs of visitors and tourists.Esta investigación tiene como objetivo aplicar el Método de Valoración Contingente (MVC) y el Método de Costo de Viaje (MCV) en el Memorial Darcy Ribeiro, conocido como Besódromo, ubicado en Brasilia, para ganar su valor económico. El estudio de medición de los bienes patrimoniales se justifica por la necesidad de conocer el valor económico de la herencia cultural de Brasil para fines de gestión. Además, permite que los mecanismos de evaluación se mejoren ayudando a los administradores en la formulación de políticas públicas. Se aplicaron 72 cuestionarios, en mayo 2014, a los visitantes y turistas, para obtener el valor del Memorial. En conclusión, a pesar de que las metodologías de valoración económica indirectos se muestran como una alternativa a la medición de los activos culturales, el valor encontrado en MCV no difiere de la de los MVC. La estimación económica es mucho más baja que el invertido en la construcción del monumento. La falta de información adecuada sobre el origen y el número de visitantes y turistas influyóen el resultado. Se muestra que el registro y seguimiento de los turistas es una pieza importante para encontrar el valor económico del Memorial Darcy Ribeiro, así como la necesidad de programas de atracción de visitantes y turistas

O crescimento das plantas e dos resultados escolares

UID/HIS/04209/2019Alunos do 7.º ano obtiveram resultados escolares excecionalmente elevados após a realização do projeto - “O Cantinho da ESAR -7.º E”. A aprendizagem das Ciências Naturais ocorreu, maioritariamente, no jardim da escola, onde desenvolveram atividades agrícolas, incluindo a germinação de sementes, o transplante e a manutenção de diversas plantas hortícolas e ornamentais, a poda de árvores de fruto, a aplicação de técnicas de agricultura biológica e de proteção integrada.publishersversionpublishe

Plantas e Pessoas na Biblioteca

UIDB/04209/2020 UIDP/04209/2020O conhecimento das interações culturais entre pessoas e plantas é fundamental para fomentar a utilização sustentável dos recursos vegetais. Com o projeto Plantas e Pessoas na Biblioteca Seomara (Escola Secundária Seomara da Costa Primo) quisemos sensibilizar a comunidade escolar para as vantagens do agir informado, o que fizemos mediante a realização de três exposições: Presépios Botânicos, Árvore da Laca e Arte Nipónica, Coco-do-Mar - A Maior Semente do Reino Vegetal. O projeto foi distinguido, na 2.ª Edição do Concurso da Escola Amiga da Criança (2019), com o Selo de Escola Amiga da Criança, na categoria de Atividades Extracurriculares e/ou Interdisciplinares.publishersversionpublishe

Vegetable ivory – the Beja Botanical Museum photo collection

Vegetable ivory is a raw material used to make small objects, such as buttons, adorns for personal use or home decorations. It comes mainly from the seed endosperm of species belonging to the genus Phytelephas Ruiz & Pav.. The collection of Beja Botanical Museum includes a set of historical photos that show all the stages of vegetable ivory processing from seed to buttons, allowing us to have a more complete understanding of the raw materials and technologies used by this industry in the early 1930’s