Cycle Of Paintings Research Articles

Preliminary non-invasive study of Carolingian pigments in the churches of St. John at Müstair and St. Benedict at Malles

The monastery church of Mustair (Val Mustair, Switzerland) and the church of St. Benedict in Malles (Obervinschgau, Italy) contain painting cycles dating to the late eighth/early ninth century which are considered among the best preserved in Europe. Located inside a region of strategic importance at least since Roman times, during the medieval era both areas formed part of the diocese of Chur and were politically and culturally closely linked; the present border, in fact, developed in the course of the early modern period. The two painting cycles have been studied with a non-invasive approach using spectral multiband imaging, UV-visible diffuse reflectance spectrophotometry with fiber optics (FORS) and X-ray fluorescence spectrometry (XRF). The combined application of these techniques gave important insights into the painting techniques used in the two cycles. Clear similarities in the palette of pigments appeared; the colour palette included mainly materials typically used in medieval mural paintings, such as red and yellow ochres, carbon black, Bianco di San Giovanni and green earth, but lead pigments, such as red lead and massicot, which are less suited for use on plaster surfaces, were used as well. Of particular interest is the use of Egyptian blue and ultramarine blue that makes these paintings among the first in which the precious lapis lazuli pigment had been used in Europe. The occurrence of Egyptian blue and ultramarine blue puts the paintings closer to the ancient Roman than to the Romanesque tradition. A surprising result was the identification of As, which might indicate the use of orpiment for the creation of the wall paintings.

ART PROSPECTION OF YURI RUBASHOV

Rubashov — Honored Artist of Ukraine, Member of the National Union of Artists in Ukraine, Associ- ate Professor of the Department of Drawing the National Academy of Fine Arts and Architecture.Yurii Rubashov was born in Kyiv in 1947. After the end of the RCSU with the name of T. Shevchenko in 1965, he joined KSAI and till 1971 he studied in prominent Ukrainian graphists: V. Kasyana, I. Selivanov, V. Chebanyk.The artist turns to historical subjects and initiates graphic cycle, dedicated to the history of Kiev Rus and the activities of the kings who influenced the historical passing of events of that time.First of this thesis topic was a series of lithographs "Yaroslav the Wise" (1971), later — a series of graphic com- positions "Kiev Rus" (1979), a series of colored prints "Prince of Kiev", "Princess Olga, Svyatoslav, Vladimir, and Yaroslav the Wise (1992).The artist shows the greatest creative interest in landscape painting (cycles "On the Spain" (1982), "On the Sweden" (1985), "On the Jordan" (1983), "On the Armenia" (1983), "Roads of the Ukraine" (1996) and still life (Sweden Series, 2012–2013).It can be argued that Yu. Rubashov’s works absorbed the lyrics of landscapes with characteristic features of both southern and northern colors, and his still life is characterized by precise organization, a variety of styl- ized forms, which show confidence in the possession of the material and a balanced sense of compositional harmony. In the process of forming the author’s technique, he chooses the path of innovation and experiment, which in turn causes a peculiar interpretation of different technical means — a combination of materials and technologies of different nature. The artist exploits and applies multicolored pigments, oil pastels, watercolors and acrylic paints and the like, mixing everything with different solvents, which gives the opportunity to original express and crystallize a peculiar, author’s style.Drawing on the foundations of academic education, the artist experiments, seeks creative ideas and success- fully incorporates contemporary artistic problems into new imaginative solutions. This is a valuable example of growing skill and formation creative personality.In 2000 and 2015 he received first-degree diplomas All-Ukrainian Triennial of Graphic Arts, in 2012 — Di- ploma of the third stage of the exhibition-competition named G.Yakutovich.Yu. Rubashov fruitfully combines creative work with teaching. In the process of teaching his students, Yu. Rubashov not only lays the foundations of academic drawing, but also encourages to analyze creative material, to study and master the various drawing techniques and opportunities inherent in them.In the general process of contemporary search for an art, together with the academic pragmatism of the cur- riculum, the teacher, especially in the first courses of the Faculty of Fine Arts and Restoration, draws attention of the students in different artistic trends, teaches analytical and creative perception of natural objects and consciously approach the transformation of three-dimensional forms on a two-dimensional work plane of a paper sheet. These methodological principles meet the needs of modern times.The stylistic language of his works is recognizable and special. Not dwelling on what he has achieved, he im- parts his experience to the students, demonstrating the inexhaustible possibilities of drawing and the technical means of its implementation, including pastels. The high level of his works makes it possible to claim that Yu. Rubashov is a master of pastels and his contribution to the development of Ukrainian art is indisputable.

Influence of surface roughness on cyclists’ velocity choices

The purpose of this paper is to examine the influence of different roadway surfaces’ roughness on cyclists’ velocity choices. Could surface roughness be efficiently used for designing velocity choices according to needs in different locations? First, a survey to identify environmental conditions’ impact on cyclist velocity choices is employed. The main part analyses the speeds of 3750 cyclists, measured with a radar gun on seven different surfaces: smooth and rough asphalt, painted cycle lanes, concrete, large and small cobblestones and gravel. By utilising a smartphone's built-in accelerometer affixed to a bicycle, the three-dimensional acceleration-based roughness of the surfaces is measured over a fixed distance. The analysis of scatter plots reveals that the vertical acceleration component approximates the total acceleration best. Ultimately, a numerical integration approach is used to derive comparable vertical distance values per surface type and fork stiffness. The collected data show that the 50th and 85th percentiles of cyclist speeds are similar on all surface types: 19·4–20·7 and 23–25·5 km/h. Furthermore, the data show only a weak correlation between measured velocity and surface roughness, thus suggesting that other, unconsidered factors outweigh the influence of the road surface and point the way to future research needs.

Coloring in Short Prose by Yevhen Hutsalo

The paper considers the means of representing space in Yevhen Hutsalo’s prose which are suitable for comparison with the painting technique. Coloring is one of determining graphic resources of a picture. The artistic effect of the figures and spatial compositions fixed on canvas is to a great extent predefined by the color solution of the subjects and air environment depicted. In order to make the world of imagination more representational the literature used to involve visual imagery in a verbal design, in which color and light markers not only specify a representation of fictitious or real situation but also give some lyrical, epical or dramatic coloring to the narration, increasing the expressivity of a picture. In the descriptions of landscapes in the short stories by Yevhen Hutsalo one may find the verbal analogues of such painting tools as color dominant, color harmony, lighted up and shaded areas. The dynamics of color solution in a verbal picture, the introduction of new hues and their combinations, and the constructing of light environments help to strengthen the emotional effect of the narration and make some special mood accents. The change of chromatic range and interpretation of painting components of the verbal image liken the narration to the melodious and sound transitions in music and editing tools in filmmaking. The color effects contribute to plasticity of the represented objects or, on the contrary, make their representation less material, give some decorative or symbolic sense to the nature. The story “On the Shining Horizon” may be compared to the cycle of paintings by Oscar-Claude Monet “Rouen Cathedral”. The unsteady landscape of Y. Hutsalo is marked by interpretative activity of the narrator. The landscape descriptions with a less vivid and not too rich, i. e. comparatively weak in terms of stimulating emotions, color range are also endowed with a noticeable expressive potential. In accordance with the requirements of expression in painting the verbal chiaroscuro also may give dynamics to relatively static environment. The paper offers a comparative analysis of the verbal ‘pictures’ and their corresponding paintings-predecessors.

Вариативность интерпретаций иконографической программы монументальной живописной декорации крипты церкви Святого Николая в Таване

Вариативность интерпретаций иконографической программы монументальной живописной декорации крипты церкви Святого Николая в Таване

Tabulae pictae u palači Petris-Moise u Cresu

U radu su analizirani novi nalazi renesansnih drvenih stropova u palači Petris-Moise u Cresu ukrašeni oslikanim pločicama i zidni oslici. Elementi konstrukcija tehnički su sofisticirani, izrađeni sukladno renesansnim traktatima o arhitekturi, primjerice kompozitna masivna greda tzv. trave leonardesca. Oslikane stropne pločice po načinu ugradnje i oslikavanja za sada su jedinstven nalaz na području Hrvatske, ali su srodne brojnim ciklusima oslika na stropnim pločicama iz razdoblja od 14. pa do polovice 16. stoljeća u plemićkim rezidencijama južne Francuske, Španjolske, Švicarske i sjeverne Italije. Po dimenzijama, korištenim pigmentima, načinu ugradnje i slikanja te zastupljenim motivima najsličnije su primjerima iz Furlanije. Razlika je u tome što creski primjeri skoro u cijelosti pripadaju likovnom jeziku groteski jer nastaju nešto kasnije, u vrijeme pune afirmacije te vrste dekorativnog repertoara. Konstrukcije i dekorativni elementi pripadaju renesansnoj pregradnji iz druge polovice 16. stoljeća kada su oslikani i zidovi. Temeljem analize grbova i zastupljenih motiva te usporedbe s povijesnim podacima o članovima obitelji Petris identificiran je naručitelj, carski zlatni vitez Ivan Juraj Petris, bliski rođak Frane Petrisa, a iznesena je i pretpostavka kako je ciklus oslika nastao pod utjecajem tog znamenitog renesansnog filozofa.

Tra le Parrasie vocali selve, e le rupi Menalie

In 1820 in Perugia was inaugurated the sala arcadica della Colonia Augusta painted by Giovanni Monotti and Carlo Cencioni. The room, still preserved, was used as headquarters of Arcadians’ winter meetings and is a rare example of decoration directly inspired by the themes of the Arcadian Academy. A number of significant references to Arcadian traditions and rituals handed down by custom and by the writings of the Academy are discernible in the landscapes and in the ornamentations of the cycle of paintings. These paintings are also an important step in a long process that testifies an emerging taste for stanze a boschereccia and late Neoclassic landscape in Papal States as a way to affirm a shared cultural and artistic language.

Egyptian blue in the Castelseprio mural painting cycle. Imaging and evidence of a non-traditional manufacture

The mural paintings in Santa Maria foris portas church at Castelseprio (Lombardy) are a precious early medieval cycle datable between 9th or 10th century CE and are therefore among the oldest Carolingian in Italy. The painting cycle has been analysed in situ, to characterise the palette used in its decoration, with non-invasive molecular and elemental techniques. In addition, Visible Induced Luminescence (VIL) has been applied to assess the extended use of Egyptian blue within the painting cycle. The palette, beside the use of the expected pigments, is characterised by the diffuse presence of Egyptian blue, more than 500 years after the fall of the Western Roman Empire. A remarkable feature in the composition of Egyptian blue is the presence of non-negligible amounts of zinc, indicating a non-traditional production of it. In fact, the use of a copper/zinc alloy rather than the more common copper/tin or copper/arsenic proper of bronze residues as source of copper, has never been previously reported.

The Bone Black Pigment Identification by Noninvasive, In Situ Infrared Reflection Spectroscopy.

Two real case studies, an oil painting on woven paper and a cycle of mural paintings, have been presented to validate the use of infrared reflection spectroscopy as suitable technique for the identification of bone black pigment. By the use of the sharp weak band at 2013 cm−1, it has been possible to distinguish animal carbon-based blacks by a noninvasive method. Finally, an attempt for an eventual assignment for the widely used sharp band at 2013 cm−1 is discussed.

Re-enacting Tropes of Black Masculinity in Yinka Shonibare’s Diary of a Victorian Dandy

ABSTRACTIn his photographic series Diary of a Victorian Dandy (1998), the artist Yinka Shonibare, MBE, inserts his black body into the role of a fictional Victorian dandy. Throughout the five photographs detailing moments of his day as a Victorian dandy, an all-white entourage admires his centrally placed, heroic presence. Most readings of Shonibare’s series relate it to William Hogarth’s satirical painting cycle The Rake’s Progress (1733), on which it is based, and read it as a humorous inversion of the marginalised positions black figures previously assumed in the history of British painting. In relation to these art historical precedents, Shonibare’s performances have been understood as “subversive” acts. I read his performances not through a history of black marginalisation, but through a parallel history of black hypervisibility in modern and contemporary popular culture, which extends from Victorian blackface minstrelsy to commercial hip-hop culture. Rather than simply inverting black marginalisation, Shonibare’s performances walk a tightrope between black stereotypes and subversive humour that can also be read as complicit with the status quo.

The Frescoes in San Lorenzo al Lago in Fiastra and the Sermo Rusticus in the Painting of the Southern Marches

The Church of San Lorenzo al Lago, in the village of Fiastra near Camerino, is decorated with an interesting cycle of paintings representing scenes from the Passion of Christ, the Martyrdom of Saint Lawrence and a synthetic view of the Afterlife with the three Patriarchs with the souls in their bosoms; an inscriptionallows us to date the frescoes to the year 1275.The iconographic themes present remarkable peculiarities, linking scenes of the life of Christ with some scenes of the life of Saint Lawrence, the Saint who the church was entitled to, however more attractive is the formal manner showed by the mural. From a stylistic point of view it is possible to observe the extremely linear simplicity and a colour range limited to black, white, yellow and red. Until now these frescoes have been practically overlooked by art historical literature. This article presents these unknown paintings and shows how they constitute an important example of pictorial ‘sermo rusticus’ inthe Marches.The ‘sermo rusticus’, as Pietro Scarpellini called it, is a pictorial manner characterized by a high stylistic simplicity, and, up to now, it seemed that it was recognizable only in some frescoes in Perugia and its surroundings.The paintings of San Lorenzo al Lago, in fact, find the most evident stylistic affinities with the murals in the Perugia churches of San Bevignate, Santa Maria di Ancaelle and San Giovanni del Fosso, and, more important, they are the source of inspiration for the fragmentary wall paintings in the Ascoli Piceno churches of San Giacomo, representing Saints and a Nursing Madonna, and the Lamentation of Christ in San Vittore.Therefore, it is possible to affirm that the pictorial ‘sermo rusticus’ was not isolated in the Umbria region, but spread also in the Marches, reaching the Adriatic coast, and this allows us to have a wider comprehension of the variety of the pictorial manner present in a border region as the Marches were at the end of the 13th century.

Giorgio Vasari and Niccolò Machiavelli’s Medicean Appetite for Peace and Glory

<p>This study examines the literary and visual connections between war and peace as a cultural diplomacy made by both Niccolò Machiavelli (1469-1527) and Giorgio Vasari (1511-1574). The approach here is iconographical, focusing on three points. First, Machiavelli’s notions of condottiere, virtù, and war and peace in The Art of War (1521) are discussed in relation to Renaissance imagery, particularly in that produced as a result of Medicean patronage. Second, Vasari’s battle cycle in the Salone dei Cinquecento of the Palazzo Vecchio (1555-60) in Florence is examined within the context of peace as revealed in Renaissance art and emblems. Finally, Vasari’s assimilation of Machiavelli’s notions of the art of war are interpreted in relation to the painting cycle, which visually embodies the paradox of war and peace discussed in Machiavelli’s writing. </p>

“Everyone Breeds in His Own Image”: Staging theAethiopicaacross the Channel

“Everyone Breeds in His Own Image”: Staging the<i>Aethiopica</i>across the Channel

Examining the impact of cycle lanes on cyclist-motor vehicle collisions in the city of Toronto

Abstract Objectives To examine whether implementation of painted cycle lanes in Toronto, Canada is associated with a reduction in cycle-motor vehicle collisions (CMVCs). Methods A pre-post design was used to evaluate the frequency of CMVCs pre- and post-installation of 7 cycle lanes in Toronto, Canada. Study data was obtained from Toronto Police Service reports for collisions occurring between 1991 and 2010. A zero-inflated Poisson model was used to determine the effect of cycle lane installation on CMVC frequency. Results Over the study period (January 1, 1991–December 31, 2010), a total of 23,959 collisions between cyclists and motor vehicles were reported in Toronto. Of these collisions, 329 occurred on the 7 lane segments included in this analysis. There was no statistically significant change, pre to post implementation of painted cycle lanes; however, a 19% reduction in the frequency of collisions per segment-month (IRR=0.82, 95% CI: 0.65, 1.03) was observed. There were also no statistically significant differences in the frequency of collisions that resulted in minimal/minor injuries (IRR=0.84, 95% CI: 0.59, 1.20) or in major/fatal injuries (IRR=0.72, 95% CI: 0.51, 1.01). There was a statistically significant increase in collisions that resulted in no injuries (IRR=5.00, 95% CI: 1.44, 17.28). Conclusion The implementation of painted cycle lanes had a non-significant effect in reducing collisions between cyclists and motor vehicles. Cycle lanes could be considered as a means to facilitate active transportation while reducing risk for cyclists, given the conservative nature of our estimate. Further research is needed on intersection treatments, cycle tracks, and bike volumes.

Marcin Stańczyk’s Afterimages and Aftersounds – Reflections and Self-Reflections

Abstract One of the most frequently recurring topics in Marcin Stańczyk’s (b. 1977) self-commentaries is the idea of translating the phenomenon of afterimages into music, in the form of his original concept of aftersounds. Direct inspiration for this concept came from a cycle of solarist paintings by Władysław Strzemiński entitled Afterimages of the Sun. The concept of aftersounds can be considered on the level of music material (resonances and reflections of various kinds, contrasts on the sound level) as well as metaphorically (when the composition becomes an afterimage of an external phenomenon). Particularly important to Stańczyk’s work as a composer are explorations in the field of music perception and the theatricalisation of performance, which turns every gesture of the performers into a meaningful element of the composition, as well as an element of expression. This paper aims to present an outline of the ways in which Stańczyk implements the idea of aftersounds in music. The text is based on the composer’s own statements as well as on characteristic examples from his works.

Endocrinology and art. A goiter at the court of Theodolinda, queen of the Lombards: a fifteenth-century painting.

The Zavattari were a family of painters and stained-glass makers operating in Milan and western Lombardy during the fifteenth century. Franceschino Zavattari and his sons Gregorio and Giovanni were believed as the authors of a cycle of wall paintings—depicted between 1441 and 1446—in a chapel in the Monza Cathedral. The paintings, recently restored, tell the life of the founder of the cathedral, Theodolinda (ca. 570–628), queen of the Lombards. According to the legend, during a dream, a dove indicated the queen where she had to build a church dedicated to Saint John the Baptist, original nucleus of the cathedral [1]. A young bricklayer with a bi-nodular goiter is shown in the 34th scene of the cycle that portrays the groundbreaking ceremony of the church. It should be noted that during the fifteenth century, Italian stonecutters and bricklayers generally came from alpine and pre-alpine valleys set between Bergamo and Sondrio in the northern Lombardy [2]. In these areas, inhabitants often suffered from endemic goiter due to dietary iodine deficiency. Therefore, it comes as no surprise that an actual bricklayer with a thyroid disorder may have inspired the Zavattari in their work (see Fig. 1).

Radical Others in the New “Contact Zone”: Tensions, Breaks, Relations

Drawing from recent conceptualizations of translation as an open, fragmentary, and unpredictable process (Simon, 2006; Bassnett, 1998), in this article, I employ creolization as a theoretical paradigm of transnational significance to explore the ways in which Other cultures translate cultures, by paying particular attention to the breaks, tensions, and relations that these translations both reveal and produce. The essay examines and compares three creolized ‘texts’: the cycle of paintings “Changing Perceptions” (2005) by Arab-American visual artist Helen Zughaib; the collection breaking poems (2008) by Arab-American poet Suheir Hammad; and the libretto Imoinda or She Who Will Lose her Name (2008) by African-Caribbean-British writer Joan Anim-Addo. The main goal of the paper is to test the potential of creolization as a transnational poetics and practice and a theoretical tool to read and critically interrogate the creolized texts produced by today’s “signifying minorities” (Anim-Addo, 2009) within the British and US nations, and by extension within an increasingly interconnected, heterogeneous, and “uneven” (Radhakrishnan, 2003) world.

Narrative Structure of the Painted Cycle of a Hungarian Holy Ruler: The Legend of St. Ladislas

During the reign of Charles Robert, the first Angevin king of Hungary, the painted cycle of St. Ladislas (1077-1095) appeared in many parts of the Kingdom of Hungary. Recent research has brought to light a considerable number of previously unknown examples of wall paintings depicting the story of St. Ladislas, especially from the first half of the 14th century. As a result, some of our previous assumptions about the distribution of the cycle in Hungary as well as the date of key monuments have to be revised. The quick spread of the cycle throughout Hungary is likely due to the influence of the royal court, where the original painted story was most likely formed. The cycle is a continuous narrative, which is either reduced to the three central scenes of the story, or is presented in a fuller version of six or more scenes. Some other examples from the end of the 14th century present yet another type: a cycle more clearly divided into scenes with the introduction of frames. The paper analyzes the narrative structure of the painted cycles, focusing on the murals we can identify as the earliest surviving examples, from the first third of the 14th century. The western origins of the scenes and the entire narrative - especially mid-13th century models created in a Crusader spirit - are also demonstrated, and the role of the Neapolitan Angevin dynasty in the creation and spread of the cycle is proposed.

Johann Aken – zapomniany malarz obszaru bałtyckiego i jego dzieła

The paper deals with a 17th painter, active in the Baltic area, that was until now virtually unknown outside Estonia. In the Tallinn town hall there exists a locally renowned cycle of paintings made by Johann Aken with an assistant and signed by him in 1667. The biblical scenes, illustrating examples of burgher and Christian virtue and extolling good government, are remarkably largely based on prints after two great Netherlanders – Rembrandt and Rubens, apart from the popular graphic work of Matthaus Merian. This reaching out to Rembrandt’s oeuvre for artistic patterns in an outlying region was noticed as early as 1906 by Cornelis Hofstede de Groot, who spotted the same phenomenon with regard to a large Ecce Homo painting, dated 1647, in a village church in Hela (Hel), now in the National Museum in Gdańsk (Danzig): the picture is based on Rembrandt’s Christ before Pilate etching. Neither this scholar, however, nor his followers, linked the Tallinn and Gdańsk compositions to one another. Estonian researchers managed to unearth, in time, an extensive judicial document from 1663, concerning Aken’s imputed bigamy, which was eventually proven false. Sideline information from the source discloses the painter worked in Reval (Tallinn) since early 1662, but came from Danzig. This, in turn, led the author of the present paper to compare the Tallinn city hall works with the one in Gdańsk: it seems that apart from some minor differences, perhaps in part resulting from later overpainting, all these works were made by the same hand. Identical average quality painterly handling, representation of somewhat puppetlike human figures and an interest towards depicting architecture settings – both a bit erroneous as far as anatomy and perspective is concerned – are discernible in some other pictures preserved in Gdansk and its whereabouts. These include a Return of the Prodigal Son in St. Anne’s chapel (c. 1650), a ceiling consisting of nine paintings from a burgher’s house, now in Old Town City Hall (1642 ?), and a Visitation, altar retable in the cathedral church in Gdańsk-Oliwa (1645). Especially the latter two show in some details considerable proximity with the Tallinn cycle, and all of these works are again mostly based on Netherlandish prints, including some by Rembrandt and some after Rubens. No archival evidence on Aken seems to have survived in Gdańsk, this proving, however, that the artist was not a guild member there. Nonetheless, further discovered sources inform he appeared in Lubeck in 1656, baptizing there his son, and was buried in St. Peter’s church in Riga in 1689. The decision to move to the former town was probably made in order to escape a major Polish- Swedish war that began in 1655. In any case, neither in Lubeck, nor in today’s Latvia any traces of his further activity may be found. This first attempt to produce a more general biographical sketch of Johann Aken, who was most probably born c. 1610, still leaves open two important questions. First, whether he was a Netherlander by descent, as suggested in literature (at one point, his Gdańsk ‘Ecce Homo’ panel was attributed to a Dutchman, Helmich van Twenhuysen), and second – this issue tied to the former – why did he choose so many then recent and very novel graphic patterns by Rembrandt to produce his thematically typical and artistically average pictures current in the region of Europe where he practiced his proffesion.

A comparative study of wall painting materials and techniques used in fifteenth century Austria by Frederich of Villach and his followers

One of the most important artistic circles in the first half of the fifteenth-century in Austria was the so-called ‘Older Villach's workshop’, founded by Frederic of Villach, a painter who was considered a master of fresco technique. A technical study was made of a number of wall painting cycles by the workshop of Frederic of Villach, first, to gain a broader knowledge of the painting techniques employed, and second, to allow comparison with a further group of wall paintings in Slovenia, which are stylistically related to this workshop and have been studied previously. Of special interest were artworks attributed to Frederic's son Johannes of Ljubljana and a number of other anonymous painters that show important similarities to Frederic's works. Samples of plasters and pigments were analysed by optical microscopy, scanning electron microscopy with energy dispersive X-ray spectroscopy, Fourier transform infrared spectroscopy, and X-ray diffraction. An important difference in the composition of plasters was discovered between the selected artistic groups. The palette used comprised predominantly earth and other mineral pigments. The construction of the paintings from incisions and preparatory drawings to the final modelling is basically similar and shows workshop connections. The principal painting technique was a fresco. The results contribute to a wider knowledge concerning the materials and techniques employed in gothic wall paintings in the Alpine region and offer new information that can be used to inform the future conservation of these selected wall paintings.