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August 24th 79 A.D. Vesuvius’ eruption was covering the city of Pompeii and buries the last inhabitants under meters of pumice, lapilli and volcanic ash. More than a millennium and half later, in 1748, abbacy Martorelli uncovered the first human remains. The excavations are abandoned and restarted in 1772 when 18 skeletons are discovered in Villa di Diomede. After the first half of the 19th century, once the digging approach changed, in 1863, Giuseppe Fiorelli makes the first plaster cast using the impression of a victim’s body in the volcanic matter. By 2012, there were made more than 80 casts of the victims of Vesuvius’ eruption using the same technique and different materials. The microclimate conditions, the characteristics of the constituent materials, the numerous relocations and other factors led to the degradation of these important vestiges. An ample interdisciplinary project was initiated in 2014 to study and restore these witnesses of Pompeii from almost two millennia ago.
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From the 20th century onwards there has been the emergence of a wide variety of materials, which made numerous experiments possible. These types of synthetic polymer including acrylic, PVA, alkyd, nitro-cellulose, polyurethane, epoxy and silicone resins behave differently in response to environmental conditions and aging. Scarce information is available regarding these materials and the majority of artworks are unvarnished. The choice of binder has important ramifications for conservators and conservation treatments. More and more requests have been noticed lately for the restoration of Romanian contemporary art, therefore collaboration with specialists will be essential in order to determine and apply the optimal treatment.
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The urbanistic approach in our country according to the legislation in effect, states that the built heritage is protected by the historical monument status and its protection zone. The article is focused on presenting the notion of visibility as a tool to define, limit and bring under judicial regulation the protection zone and it is made of two parts. First part deals with the notions of visibility from an urbanistic perspective and the second part presents the case study of the Roman-Catholic Cathedral St. Joseph in Bucharest. The study illustrates the necessity to approach the visibility criterion in the foundation of the construction conditions regarding the emplacement of new buildings in relation with the built heritage. Conclusively, the visibility notion must be part of the specific regulations in effect, and the results of the visibility studies should be reflected in the restrictions and permissions of urbanism documentations regarding the historical monuments and the protected built areas.
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The paper begins by presenting the results of the preliminary research, information that serves to provide a solid foundation for the development of improved conservation and restoration strategies, optimal conservation environments, and for a better understanding of art objects and their history.The information provided by the various ways of analysis and observation, the results of the scientific investigations which determined the materials used and the tests carried out, were the basis of the elaboration of the appropriate restoration methodology. The article summarizes the application of the methodology by presenting each major operation which was the basis for the restoration of the aesthetic and material unity of the icon of the „Apostles Peter and Paul” from Dragomirna Monastery.
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Dragomirna Monastery was founded at the beginning of the 17th century by the metropolitan Anastasie Crimca and the boyars Luca and Simeon Stroici. Since the foundation of the monastery, under the guidance of Metropolitan Anastasie, Dragomirna housed a School of calligraphers and miniaturists. Alongside the few manuscripts illustrated with miniatures belonging to this scriptorium, which are exhibited in the museum, the monastery owns a collection of manuscripts in the old book storage (most of them originated from the churches and monasteries in Bucovina). The manuscripts collection from the 14th to 19th centuries is rich and valuable because of its contents and also its age. In order to preserve and perpetuate this documentary heritage for future generations, the hereby study considers the conservation state of the collection. The study presents some aspects regarding the making of the manuscripts corpus, the microclimate characteristics from inside the old book storage and some types of degradations encountered more frequently.
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The undergone path of St. Nicholas Church in Rădăuți from its construction in the first half of the 16th century to the present has been a winding one, and at its end were identified the actions and the thinking of the ruling Moldovan families regarding the burial place of the forerunners. The masonry church, built by Petru I Mușat, was maintained over time by the rulers Alexander I of Moldavia, Stephen the Great and Alexandru Lăpușneanu. The painter Epaminonda Bucevschi also had a great impact at the end of the 19th century when he was called to restore the deteriorated painting. With the inclusion of the monastery in an extensive restoration project in 2018-2020, all these historical stages of painting executed in different techniques have been preserved and highlighted. After the completion of the current restoration, we can say that the painting of St. Nicholas Church in Rădăuți is of an indisputable value, placing it among the best works of Moldova. This place of worship has earned its place through the fact that in this space one finds the mentality of a society at different periods in time.
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historical monument, restoration, repainted icons, Brancoveanu art sculpture, gilding, atypical interventions, microclimate
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The epistolary heritage of the Ukrainian historian and archaeologist Nikolai Emelyanovich Makarenko (1877—1938) is rich. His letters can be found across numerous archival collections. Relatively recently, Makarenko’s letters to the largest European archaeologists of the 20 th century Arne Mikael Tallgren (1885—1945) and Ellis Howell Minns (1873—1953) were published (Kuzminykh, Usachuk 2016; 2017). This article publishes his letters to one of the founders of the Russian archeology Vasily Alekseevich Gorodtsov (1860—1945).
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Scientific Life: Masa rotundă: „Investigating Military, War and Peace. New Perspectives in Military History”, 10-11 martie 2020, Cercul Militar Național // Round Table: “Investigating Military, War and Peace. New Perspectives in Military History”, March 10-11, 2020, National Military Club (Sorin-Vasile Negoiță)
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Scientific Life: Prezentarea Conferinţei Internaţionale - „100 de ani de la deschiderea Frontului Românesc în Primul Război Mondial (1916-2016)”, Iași, 22-23 martie 2016 // Conference: „100 Years Since the Opening of the Romanian Front in the First World War (1916-2016)”, Iași, March 22-23, 2016 (Daniela Șișcanu)
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This article is devoted to the personal and professional relationship of Dobroslav Orel and Guido Adler. Both scholars had in common an interest in historical musical monuments. Under Guido Adler’s direction Orel gained a doctorate at the University of Vienna in 1914, became a member of the working team for the edition Denkmäler der Tonkunst in Österreich, and in subsequent years gave his teacher ongoing information about his research. Despite the fact that he did not complete his prepared edition Kodex Speciálník, Dobroslav Orel laid the foundations of Czechoslovak medieval studies with his further research, publications, and above all his teaching activity. Part of the correspondence of the two scholars is today deposited in the USA, in Guido Adler’s effects at the University of Georgia, while some written materials may be found in the effects of Dobroslav Orel at the National Museum – Czech Museum of Music. The correspondence with commentary, testifying to the mutual respect of the two scholars, which endured throughout a long period, is published in full for the first time.
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