Nadmi

• Kraj:Polska
• : Język.:deutsch
• : Utworzony.: 06-10-15
• : Ostatnie Logowanie.: 30-11-25

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Egyptian Blue — the world's first synthetic pigment.

: Opis.: Egyptian Blue — the world's first synthetic pigment. In Egyptian, the word < wAD > means "blue, blue-green, and green." For instance, in the Egyptian term for the Mediterranean — < wAD wr > "great green, blue-green, or blue." The Egyptians, like many other ancient peoples, greatly valued the color blue. It may not have been feasible to the Egyptians to import large quantities of Lapis Lazuli from as far away as modern Afghanistan to grind up to use as a pigment. The oldest artifact known to be colored with Egyptian Blue is dated to the late pre-Dynastic Naqada III period (~ 3250 BCE) on an alabaster bowl excavated at Nekhen (Hierakonpolis). It's rather likely that the manufacture of Egyptian Blue predates this. The alabaster bowl is now housed in the Boston Museum of Fine Arts. In the Middle Kingdom (2050–1652 BCE) it continued to be used as a pigment in the decoration of tombs, wall paintings, furnishings, and statues, and by the New Kingdom (1570–1070 BCE) began to be more widely used in the production of numerous objects. Its use continued throughout the Late period and Greco-Roman period with the last known possible manufacture and use (for some centuries) being two Roman churches. In the first, the Church of San Clemente, the pigment appears in a Byzantine fresco The Ascension of Christ, dating from ca 850 CE. The poor quality of the pigment would tend to exclude it from being sourced from a reclaimed batch of genuine old Roman stock, so it seems that the pigment was most likely produced concurrently with the fresco. A mixture of Egyptian Blue and Lapis Lazuli also appeared in some 8th century wall paintings in the San Saba Church. This could also be the first occurrence of lapis lazuli as a pigment in European painting. No written information exists in the Egyptian corpus about the manufacture of Egyptian blue, it was first mentioned only in Roman literature by Vitruvius during the 1st century BCE. He refers to it as "coeruleum." He described the manufacture of it in his work 'De Architectura' — grinding sand, copper, and natron, and heating the mixture, shaped into small balls, in a furnace. Lime is necessary for the production as well, but probably lime-rich sand was used. Theophrastus gives it the Greek term κύανος (kyanos, blue) which originally probably referred to lapis lazuli. Only in the beginning of the 19th century was interest renewed in learning more about its manufacture. The first recorded use of "Egyptian blue" as a color name in English was in 1809. Humphry Davy in 1815, W. T. Russell, and F. Fouqué all investigated its manufacture. The process of making Egyptian Blue was thought to be lost to history. But modern scientists analyzed its chemistry and figured out how to recreate it. Egyptian blue is scientifically known as calcium copper silicate (CaCuSi4O10) or (CaOCuO4) - calcium copper tetrasilicate or 'cuprorivaite.' The manufacture of it is now known to be multi-phasal: heating together quartz sand, a copper compound, calcium carbonate, and a small amount of an alkali (ash from salt-tolerant, halophyte plants or natron) at temperatures ranging between 800 and 1,000 °C (1,470 and 1,830 °F) (depending on the amount of alkali used) for several hours. It is not believed the Egyptians were aware of the need for lime in the manufacture of Egyptian Blue, but that it was a natural by-product of some other material used in the process. It is also not known the exact source of the copper before the New Kingdom era. During and after the New Kingdom era, different types of bronze filings were used. Egyptian Blue has been found in 3rd Milienium BCE West Asia as artifacts and inlays, but not as a pigment. It was found in the Mediterranean area at the end of the Middle Bronze Age, and traces of tin were found in its composition which suggests the use of bronze scrap instead of copper ore as the source of copper. Egyptian Blue was used extensively during the Roman period — a pot containing the unused pigment was unearthed in 1814 in Pompeii attests to this. It has also been found as unused pigment in the tombs of a number of ancient painters. Etruscans also used it in their wall paintings. Chinese blue is related and is suggested as having Egyptian roots. In 2009, researchers reported evidence for the use of Egyptian Blue in an 11th century mural altarpiece in the Church of Sant Pere at Terrassa in Spain. Egyptian Blue was used by Medieval painter Raphael in his painting, Triumph of Galatea. Other Medieval painters used the pigment as well. A few examples of Egyptian Blue are shown below. If you'd like to know more, please feel free to use your favorite search engine to learn much more.

: Data Publikacji.: 02-11-25

The amphithéâtre of EL-DJEM, built around 238 AD in Thysdrus: nowadays Mehdia Tunisia.

: Opis.: The amphithéâtre of EL-DJEM, built around 238 AD in Thysdrus: nowadays Mehdia Tunisia. It is the second largest amphitheater in the world after the Roman colliisum. The estimated capacity is 35,000, and the sizes of the big and the small axes are respectively 148 metres (486 ft) and 122 metres (400 ft). The amphitheatre is built of stone blocks, located on a flat ground, and is exceptionally well conserved.

: Data Publikacji.: 02-11-25

The Scola Tower.

: Opis.: The Scola Tower. Torre Scola in Italian, originally known as the tower of St. John the Baptist. A magnificent half-ruined fortress of the Gulf of Poets in the coastal region of Liguria in north-western Italy. It is a military defensive fortress built by the Republic of Genoa in 1606 to protect the coasts and villages. The fortress was designed to accommodate 8 soldiers (including a bomber and their captain). The Scola Tower is pentagonal and is about 42 feet tall. It was built with large blocks of square stone and has a thickness of the walls of approximately 4 feet.

: Data Publikacji.: 02-11-25

The Pietà.

: Opis.: The Pietà. Michelangelo carved a number of works in Florence during his time with the Medici, but in the 1490s he left Florence and briefly went to Venice, Bologna, and then to Rome, where he lived from 1496-1501. In 1497, a cardinal named Jean de Billheres commissioned Michelangelo to create a work of sculpture to go into a side chapel at Old St. Peter’s Basilica in Rome. The resulting work, the Pieta, would be so successful that it helped launch Michelangelo’s career unlike any previous work he had done. Michelangelo claimed that the block of Carrara marble he used to work on this was the most “perfect” block he ever used, and he would go on to polish and refine this work more than any other statue he created. The scene of the Pieta shows the Virgin Mary holding the dead body of Christ after his crucifixion, death, and removal from the cross, but before he was placed in the tomb. This is one of the key events from the life of the Virgin, known as the Seven Sorrows of Mary, which were the subject of Catholic devotional prayers. The subject matter was one which would have probably been known by many people, but in the late fifteenth century it was depicted in artworks more commonly in France and Germany than in Italy. An examination of each figure reveals that their proportions are not entirely natural in relation to the other. Although their heads are proportional, the Virgin’s body is larger than Christ's body. She appears so large that if she stood up, she would likely tower over her son. The reason Michelangelo did this was probably because it was necessary so that the Virgin could support her son on her lap; had her body been smaller, it might have been very difficult or awkward for her to have held an adult male as gracefully as she does. To assist in this matter, Michelangelo has amassed the garments on her lap into a sea of folded drapery to make her look larger. While this drapery serves this practical purpose, it also allowed Michelangelo to display his virtuosity and superb technique when using a drill to cut deeply into the marble. After his work on the marble was complete, the marble looked less like stone and more like actual cloth because of its multiplicity of natural-looking folds, curves, and deep recesses. In her utter sadness and devastation, she seems resigned to what has happened, and becomes enveloped in graceful acceptance. Michelangelo’s talent in carving drapery is matched by his handling of the human forms in the Christ and the Virgin, both of whom retain a sweet tenderness despite the very tragic nature of this scene. This is, of course, the moment when the Virgin is confronted with the reality of the death of her son. In her utter sadness and devastation, she seems resigned to what has happened, and becomes enveloped in graceful acceptance. Christ, too, is depicted almost as if he is in a peaceful slumber, and not one who has been bloodied and bruised after hours of torture and suffering. In supporting Christ, the Virgin’s right hand does not come into direct contact with his flesh, but instead it is covered with a cloth which then touches Christ’s side. This signifies the sacredness of Christ’s body. Overall, these two figures are beautiful and idealized, despite their suffering. This reflects the High Renaissance belief in Neo-Platonic ideals in that beauty on earth reflected God’s beauty, so these beautiful figures were echoing the beauty of the divine.

: Data Publikacji.: 02-11-25