EVIDENCE FOR THE USE OF EGYPTIAN BLUE IN AN 11TH CENTURY MURAL ALTARPIECE BY SEM–EDS,FTIR AND SR XRD (CHURCH OF SANT PERE,TERRASSA, SPAIN)

The present study shows the analysis performed on pigment samples taken from Sant Pere (Terrassa, Catalonia, Spain), a remarkable church built in the Romanesque style. On the basis of the results obtained from the analysis, an interesting discussion arises after finding evidence of Egyptian blue in one of the samples, a discovery that was not expected due to the time period of the samples. The pigments were identified by the combined use of FTIR and SEM with an EDS facility. For the blue pigment, since the EDS and FTIR analyses suggested the possible presence of cuprorivaite, micro‐XRD experiments using synchrotron radiation were run.     

PARTICLE‐INDUCED X‐RAY EMISSION (PIXE) ANALYSIS OF OBSIDIAN FROM TEOTIHUACAN

A collection of 50 archaeological obsidian samples studied in the framework of the Preciudadela Project (Teotihuacan, Mexico) has been analysed using particle‐induced X‐ray emission (PIXE) with the external beam line of the Accélérateur Grand Louvre d'Analyse Elémentaire facility (C2RMF, Paris) and of the Instituto de Física (UNAM, Mexico). This work addresses the provenance of these obsidian samples, with the purpose of determining if they come from the obsidian sources exploited by Teotihuacans (mainly Otumba and Sierra de Pachuca), from other sources, or arrived via commercial exchanges with other regions. For that, the elemental compositions derived from the PIXE spectra have been compared with data published in the literature on the basis of instrumental neutron activation analysis. From the concentrations of selected key elements (Na, K, Mn, Fe, Zn, Rb, Sr, Zr), it was possible to unambiguously assign the provenance of most samples. Many originate from two major sources, namely Sierra de Pachuca (Hidalgo) and Otumba (Mexico), which were the main obsidian deposits used by the Teotihuacans. However, some samples exhibit a compositional fingerprint matching other provenances, i.e., Paredón (Puebla) and Zacualtipan (Hidalgo).     

Hallucinations and pathological visual perceptions in Maupassant's fantastical short stories--a neurological approach

Maupassant excelled as a realist writer of the nineteenth century, with fantastical short stories being an outstanding example of his literary genius. We have analysed four of his fantastical stories from a neurological point of view. In "Le Horla," his masterpiece, we have found nightmares, sleep paralysis, a hemianopic pattern of loss and recovery of vision, and palinopsia. In "Qui sait" and in "La main" there is also an illusory movement of the objects in the visual field, although in a dreamlike complex pattern. In "Lui," autoscopy and hypnagogic hallucinations emerge as fantastical key elements. The writer suffered from severe migraine and neurosyphilis involving the optic nerve, which led to his death by general paralysis of the insane (GPI). Visual loss and visual hallucinations affected the author in his last years, before a delirant state confined him to a nursing home. Our original hypothesis, which stated that he could have translated his sensorial experiences coming from this source to his works, had to be revised by analyzing some of his earliest works, notably "Le Docteur Héraclius Gloss" and "La main d'écorché" (1875). We found hallucinatory symptoms, adopting the form of autoscopy and other elaborated visual misperceptions, in stories written at age 25, when Maupassant was allegedly healthy. Therefore, we hypothesize that they may be related to his hypersensitive disposition, assuming that no pathology is necessary to experience such vivid experiences. In addition, Maupassant's abuse of drugs, as illustrated in "Rêves," could have provided an additional element to outline his painstaking visual depictions. All these factors, in addition to his up-to-date neurological knowledge and attendance at Charcot's lectures at "La Salpêtrière," armed the author for repetitive and enriched hallucinatory experiences, which were transferred relentlessly into his works from the beginning of his career.     

Computer vision methods and rock art: towards a digital detection of pigments

A non-invasive procedure for assessing and interpreting the pigments of rock art paintings through computer vision and photogrammetric techniques is presented. The method is designed to document and interpret poorly preserved pigments by making use of advanced techniques of photogrammetry and computational imaging. Two different software solutions that were developed by the authors have been used for this purpose. Finally, two case studies of rock art paintings from Spain have been analysed, which show the reliability of the method.     

CHARACTERIZATION AND PROVENANCE OF LIME PLASTERS FROM THE TEMPLO MAYOR OF TENOCHTITLAN (MEXICO CITY)

In this work, we present the results of the analyses of 20 lime plaster samples taken from the Templo Mayor (Great Temple), the main pyramid of Tenochtitlan (Mexico), the ancient capital of the Mexicas. The samples were analysed to recover information on the mixtures used in the fabrication of the plasters and for the provenance of the raw materials (in particular, limestone) used to make the plasters. The characterization of the samples was done by OM, SEM/EDS, XRF and LA–ICP–MS analyses, while the identification of the provenance of raw materials was done by studying the lumps present in the samples with LA–ICP–MS. The objective of the study was to establish if there was a relationship between changes in the construction techniques employed in the pyramid over time and if there were changes in the provenance of the raw materials. Six different construction phases of this pyramid are analysed, showing the similarities and differences among them, mainly based on differences in the sieving of the aggregates and in the raw materials employed. The provenance studies of the limestone used to make the plasters demonstrated that all the limestone comes from the Tula region.     

ORTHOIMAGE‐BASED DOCUMENTATION OF ARCHAEOLOGICAL STRUCTURES: THE CASE OF A MEDIAEVAL WALL IN PONTEVEDRA,SPAIN

During the completion of the expansion works at the Museum of Pontevedra (Spain), a stretch of about 60 m of the medieval walled enclosure surrounding the historic city centre was discovered. Due to its value as a heritage element, the discovery of this archaeological structure required the implementation of preservation activities and exhaustive documentation so that future generations will be able to know and enjoy this piece of history. This paper presents digital models that reproduce the original structure of the wall using close‐range digital photogrammetry, as well as orthophotos, which thoroughly document the dimensional and textural characteristics of the archaeological site. In addition to analysing the accuracy and validity of photogrammetry in the conservation of archaeological heritage, a methodology of data capture, processing and photogrammetry representation is evaluated.     

War veterans and the transnational origins of Italian Fascism (1917–1919)

This article explores the origins of the historical relationship between war veterans and Fascism. Transcending the predominant paradigm of the controversial ‘brutalization’ thesis (George L. Mosse), the article relies on a transnational perspective that focuses on the interconnections between historical events and on processes of political communication and symbolic appropriation. Examining historical processes taking place in different European countries, as well as their effects on Mussolini and the Italian interventionists, the article argues that a transnational process of symbolic appropriation of the notion of the ‘veteran’, taking place between 1917 and 1919, is crucial to understand how the Fascist ideology and movement were born.