A post-Byzantine icon of St Nicholas painted on a leather support. Microanalysis and characterisation of technique

The pigments, organic materials and techniques used on a post-Byzantine icon of St Nicholas were determined by means of several micro-analytical techniques. The icon painter covered the leather support with silver leaf about 3 μm thick to create a smooth working surface. Animal glue was used to secure the leaf to the leather, and FTIR spectroscopy has identified another layer, 30–60 μm thick, of the same material applied as a primer above the silver. Above that, a layer of lead white covering the entire surface creates a white substratum serving the same purpose as the gesso on a wood panel. The colour palette, determined by means of scanning electron microscopy and FTIR spectroscopy, is very simple. Only seven colours were identified: lead white, caput mortuum, red and yellow ochre, cinnabar, carbon black and smalt. As far as we know, this is the first time that smalt has been found on a Byzantine icon. Since smalt was chemically synthesised only after 1500 AD, it may be concluded that this icon was painted after the end of the 15th century. Beeswax was used as a protective varnish.     

The Other Side of the Subsidized Muse: Indirect Aid Revisited

Indirect aid to the arts is an area of state support in which there has been considerable recent innovation and experimentation. This paper focuses on examples of tax-based indirect aid schemes drawn from a wide variety of national contexts and tax regimes. These examples are considered in the light of six propositions about the applicability and desirability of tax-based indirect aid mechanisms. Finally, these observations are set in the context of the broader discussion concerning the primary and ancillary functions of tax law. The paper concludes with a plea for a more coordinated approach to the study of tax-based incentives to facilitate further comparative research and suggests which research questions might be of most interest.     

Use of Spanish broom (Spartium junceum L.) canvas as a painting support: Evaluation of the effects of environmental conditions

One of the problems in the field of cultural heritage is the degradation of artworks and especially paintings. They appear very sensitive to environmental conditions. In this work, Spanish broom canvas is proposed as a novel painting support. In order to assess the deterioration properties of this new type of canvas, three degradation processes (exposure to wet atmosphere, to acidic attack and to UV light) were simulated and investigated. The deterioration state of the samples was monitored with Infrared Spectroscopy (FT-IR) and Thermogravimetric Analysis (TGA). The structure of the canvas was also analyzed by Scanning Electron Microscopy (SEM). These techniques were successfully applied to study the occurrence significant changes of samples. The exposure to acidic and UV attack produced deep changes on the samples (only on the canvas surface in the case of UV light), while no significant effect was identified on the sample after the exposure to wet atmosphere. The results obtained from Spanish broom canvas are reported in comparison to flax canvas.     

Environmentally-induced stone decay: the cumulative effects of crystallization–hydration cycles on a Lincolnshire oopelsparite limestone

An investigation has been undertaken at St Andrew’s church, Walpole St Andrew, Norfolk, to establish the underlying causes of the observed stone decay to the upper parts of the six stone piers. The stone decay was first recorded in the early 1930s. The salt-contaminated masonry within the church has been shown to undergo severe salt decay during the summer, with little damage occurring over the winter months. The south aisle piers have been shown to decay 2.5 times faster than the north aisle piers. Although crystallization–hydration cycles have been identified, the rate of decay is at its greatest when the cycling is relatively infrequent. This was not the expected trend. Furthermore, it has been shown that during extended periods where the ambient relative humidity is less than 75%, the rate of decay reaches a maximum. It is the length of this ‘drying’ period that apparently has the greatest influence on the rate of decay and could explain the significant difference in the rate of decay between the south and north aisle piers. The results have serious implications for passive conservation, where it is often recommended to lower the ambient relative humidity to well below the equilibrium relative humidity of the salt contaminant, to avoid crystallization–hydration cycles. Since, at the time of building, the church was situated on the coast, it is possible that the sodium chloride contamination occurred during the building process (1440–1520), particularly since the area was prone to sea-flooding at this time. Alternatively, the salt could have been applied as a treatment during the general restoration of 1897. Whatever the source of the salt, it seems likely that the ambient environment was changed by the insertion of a sealed floor in 1897, which could account for the onset of the salt decay.