The Baptistry of Saint John in Florence: The Scientific Dating of the Timber Structure of the Dome

The construction of the Baptistry of Saint John has a debated and uncertain history; the hypothesis on its main construction phases may span from the Roman period to the 13th century, according to different authors. This uncertainty is mainly due to the lack of primary sources and certain dating issues. By combining dendrochronological analysis and radiocarbon dating, some light was shed on the building’s history. Open at least from 897, in 1059 Pope Nicholas II re-consecrated the baptistry after several renovations. Around that period, the octagonal dome was probably built by using chestnut beams to tie the structure together. The dendrochronological analysis dated the silver fir element to 1268. This element possibly represents a replacement coincident with the period, between 1270 and 1300, when a substantial part of the mosaics of the dome was positioned.     

A dendrochronological investigation of stringed instruments from the collection of the Cherubini Conservatory in Florence,Italy

A total of forty-nine stringed instruments of the Conservatory Cherubini collection, at the Musical Instruments Department of the Accademia Gallery in Florence, were submitted to a dendrochronological investigation in order to date them, check the validity of their attribution and to find out more about their construction characteristics. Thirty-seven instruments were successfully dated, thereby determining the terminus post quem date of manufacture. The correlation values of the statistical cross-dating tests were generally very high. The dendrochronological analyses determined which instruments had been made from wood of the same provenance and, in some cases, from the same tree trunk. The mean chronology built from the musical instrument series, named “Accademia Master Chronology”, is 558 years long and dates from 1396 to 1953AD. The interval between the youngest ring dated dendrochronologically and the given date of manufacture increased constantly in the course of the centuries, from a mean value of just over eleven years for instruments built in the eighteenth century, to nearly 74 years in the twentieth century, when the use of old wood from other artefacts became more frequent. Furthermore, in the Cherubini Collection, the average tree rings on violins are smaller than those of other stringed instruments; in fact, they increase in proportion to instrument size and are widest in cello and double bass.     

Contesting the Nature Relations of Sámi Culture

Sámi culture is said to be characterized by a very close relationship to nature, regardless of time and place. However, the human–nature relation is a complex, multidimensional issue. Before we can make any substantive claims about the Sámi relationship to nature, we need first of all to define the “nature” to which the Sámi relate themselves. We study presentations of the Sámi nature relation and compare them to empirical research. We argue that there are in fact two different nature relations, which we describe as practical and discursive. It seems that on the one hand, the “special” nature relation of the Sámi refers to local habits and areas and therefore is not generalizable. On the other hand, there are political and performative constructions of indigenous Sámi identity that are tied to notions of nature relations.     

Dendrochronological analysis of bowed and plucked instruments from the San Pietro a Majella Conservatory,Naples

The Museo Storico Musicale of the San Pietro a Majella Conservatory of Music in Naples owns a collection of over 200 musical instruments of considerable historical importance. Within the collection, 30 bowed and plucked instruments representative of the Neapolitan violin-making tradition were analysed dendrochronologically to date them, estimate the provenance of the wood and investigate the instruments’ construction characteristics. The values of the statistical cross-dating tests were generally high and allowed 26 instruments to be dated. In all but one case, the dates were consistent with those of the catalogue. From the perspective of wood selection, we noted an unusual use of very old spruce wood, well beyond simple seasoning. The construction technique of the soundboard and other characteristics show good similarities with instruments analysed in other Italian collections. Thus, even in Neapolitan instruments, the growth rings are smaller in small instruments and larger in cellos or double basses. In conclusion, the Neapolitan violin-making school has shown great care in the choice of wood, most coming from regions as far away as Germany or Switzerland, thus confirming the existence of an active large-scale trade in wood for the production of musical instruments.