Rubidium hydroxide polyethylene glycol crown ether in the conservation of old master paintings*

The development of new, gentler methods for the conservation of Old Master paintings, with an emphasis on the removal or thinning of deteriorated varnish, is of high priority. In the course of the deterioration process, oxidative attacks lead to progressive formation of carboxylic acid groups, while many ester bondings are expected to be weakened. A stable RbOH polyethylene glycol complex was a promising tool to react with these moieties and to successfully break down the polymeric varnish layer. The remnants were easily wiped off mechanically. Control studies employing ⁸⁶RbOH and ¹⁴C polyacrylate showed the complete absence of residual cleansing components on the paint surface.     

David's 'Hatred' for the Lame and the Blind (2 Sam. 5.8A)

Abstract

Scholars have often dismissed the rendering of veyigga' batsinnor (2 Sam. 5.8) as 'get up the water shaft' or 'get up the water canal' on the grounds that it has no natural connection with David's expressed 'hatred' for 'the lame and the blind'. This article argues that such a dismissal is perhaps hasty, and that David's reference to the physically afflicted alludes to the custom of their gathering at pools and springs (which were widely held to possess healing powers).     

ANALYSIS OF THE FATTY DEBRIS FROM THE WRECK OF A BASQUE WHALING SHIP AT RED BAY,LABRADOR

Analysis of fatty material from barrels in a submerged wreck of a whaler in Labrador water showed it to contain free fatty acids, including some higher fatty acid, consistent with whale oil and certainly of marine origin. Conversion to adipocere was extensive but not complete.     

A WATER ABSORPTION ANALYSIS OF NABATEAN,NORTH AFRICAN AND OTHER CLAY LAMP FABRICS UNEARTHED AT THE RED SEA PORT OF ROMAN AILA (AQABA,JORDAN)*

A water absorption analysis was conducted on 103 clay lamp samples to determine whether the fabrics of this pottery type are porous. If so, this would lend further support to the long‐standing assumption that lamp makers coated their lighting vessels with slip—not just for decorative purposes, but as a means of preventing oil seepage of the fuel chamber. The samples were excavated at the Red Sea port of Roman Aila (modern Aqaba, Jordan) and belong to 10 different types originating from Arabia, Palestine, Egypt, Tunisia and Gaul. The results of the experiment reveal that clay lamp fabrics are porous, and comparatively more so than a reference group of non‐lamp pottery from Pella (Jordan). Petrographic thin‐section analysis of select fabrics confirms the presence of pores, cracks and propagating veins indicative of thermal stress resulting from repeated lamp use. Meandering veins identified in a nozzle fragment were created by the diffusion of vapours, probably originating from the burning lamp oil itself. Ancient lamp makers understood that, given its direct exposure to the extreme temperature of the flame, the nozzle was particularly vulnerable to breakage as a result of thermal shock. A porous lamp fabric, however, helped limit crack propagation, allowing the nozzle and the lamp body to expand and contract to avoid breakage.