Green Earth Research Articles

Green Earth: Carbon Emissions, ISO 14001, Governance Structures, Militarily Connected from the Manufacturing Industries in Indonesia

Research aims: This study aims to examine the effect of ISO 14001 empirically, Governance Structures and companies led by back with a military to carbon emissions disclosure in the manufacturing company that registered at the (IDX) Indonesian Stock Exchange of 2013 to 2017. Design/Methodology/Approach: The sample in this research was 53 companies chosen based on purposive sampling technique. The data used was 265 observation. The testing of hypotheses uses Ordinary Least Square (OLS) regression with STATA v14. Research findings: The research results show that there are three variables have proven to be not significant to carbon emissions, namely board independent, military connection, and return of equity. Research proves that board independent, military relationship, and return of equity did not affect commitment to express carbon emissions. On the other hand, this research demonstrates that there is four a variable that has significant impact on the carbon emission disclosure in manufacturing company that is, board size, ISO 14001, firms size and leverage. Theoretical contribution/ Originality: This research explain that the average Carbon Emission Disclosure (CED) performance of companies that have military-connected is higher than companies that not military-connected. Companies that have an ISO 14001 certificate with military connections have a higher average and are significantly higher than companies that are not connected with the military. Practitioner/Policy implication: The results of this study indicate the importance for companies to pay attention to the environment of production activities and the need for the government to set standards for disclosure of carbon emissions in order to achieve clean. Research limitation/Implication: The research carried out is still limited to companies that publish carbon emissions disclosures, inconsistent and still relatively low because disclosure of carbon emissions is still voluntary.

Uncovering nineteenth-century Rococo-style interior decorations at the National Military Museum of Cairo: the painting materials and restoration approach

ABSTRACTA rare example of nineteenth-century Rococo-style interior decorations was recently uncovered in the National Military Museum of Cairo, Egypt. Samples of the decorations were analysed using different analytical techniques. The sequence of the paint layers was examined with a digital USB optical microscope. Microstructural examination and microanalysis of the samples were conducted using an environmental scanning electron microscope with energy dispersive X-ray microanalysis spectroscopy (ESEM–EDX). The molecular structure of the samples was analysed by Fourier transform infrared spectroscopy (FTIR). X-ray powder diffraction (XRD) was applied to identify the mineralogical composition of plaster samples. The results allowed the characterisation of two underlying layers based mainly on two phases of calcium sulphate. Pigment materials of vermilion, red lead, red ochre, hydrocerussite, carbon black and green earth were identified. Several chromatic hues were produced by different proportions of mixed pigments. Additionally, chromatic alterations in the red layer were reported and discussed. Based on the results of the analyses, a multi-step restoration was carried out. The intervention procedures were cleaning, application of injection grouts, removal of old mortars, reconstruction of missing components of the composition and retouching. Finally, a superficial protection layer was applied to the decorations to prevent any future damage.

Investigation of painting technique of Coptic icon by integrated analytical methods: imaging, spectroscopic and chemometric methods

Essence of the cultural heritage is the preservation of the historic objects. The first action on the preventative issues is to know the technique used through implementation of different analytical methods. The studied object is a panel painting of a Coptic icon for Anstasy Al-Rumi the painter and it is documented with date back to the 16th century. Optical microscopy (OM), Raman microscopy (RM), scanning electron microscope-energy dispersive X-ray spectroscopy (SEM-EDX) and attenuated total reflection-Fourier transform infrared spectroscopy (ATR-FTIR) are good tools for forensic investigation of the multilayers of the painting; wood, canvas, paint colors (pigment, binder and varnish). Imaging methods have succeeded in identifying the wood and the canvas type, while spectroscopic methods manifested the elemental composition and characteristic bands of the paint colors, and principal component analysis reduced the variation in the colors retaining most of the information. The painting technique was tempera style involving Juniperus phoenicea wood, hemp canvas, animal glue, pine resin, lead white, gypsum, green earth, Prussian blue, yellow ochre, vermilion, carmine lake, carbon black and gold leaf in the icon painting. After investigation of the materials, the icon has not been referred to the 16th Century. Prussian blue was discovered at the start of the 18th century and Anstasy Al-Rumi the painter lived in the 19th century demonstrating that the icon may encounter previous intervention. There was a color loss as an indication of the aging process and chemical interactions with the environmental conditions.

A note on the use of crystal engineering to increase the opacity of terra verde inpainting pigment: Adulteration of green earths

Abstract Micallef et al. recently described in this Journal [38 (2019) 1–7] the use of crystal engineering methods to increase the opacity of terra verde (green earth) pigment for conservation inpainting purposes. In contrast to their chemical characterization of the pigment as comprising only natural inorganic minerals, this research shows that the commercial Verona green earth pigment used in their experiments contains a significant quantity of the synthetic organic pigment adulterant, copper phthalocyanine green (PG7 form). This bright green additive provides most of the color of their source pigment and is shown to be a common additive to so-called “green earth” colorants sold to artists and conservators. Their results must be reassessed in light of this oversight.

Reusable Rockets and Multi-Planetary Human Life

In this era of clean energy, recycling materials,and green earth.We need to find another place to live other than earth, finding other planets that can help human life to sustain, because of the climatic change and depletion of natural resources may be we go extinct like as dinosaurs. For human life to be multi-planetary transportation plays a major role. Because it is not easy to travel between planets. It takes much time, fuel, money, and resources to do space travel. To overcome this problem reusable rockets are the solution. Reusable rockets are the key that can open the number of possibilities to make human life multi-planetary. They have made a rocket which is reusable. TheirFalcon 9 is the first ever rocket which was reused, Falcon heavy which can lift a payload of 64 tons into lower earth orbit and Dragonspacecraft which is designed to deliver both cargo and people to orbiting destinations, Falcon 9 is used to lift this dragon spacecraft. SpaceX along with NASA is doing so many researches to create a sustainable environment on Mars and to make human life multi-planetary.

Revisiting the identification of commercial and historical green earth pigments

Green earth is a common green pigment based on celadonite and glauconite, used since Antiquity by artists. Two geological minerals, eight commercial green earth pigments and a sample taken from a historical location in Monte Baldo were characterized. A set of different techniques including X-Ray diffraction (XRD), scanning electron microscopy coupled to energy dispersive spectroscopy (SEM-EDS) and numerous spectroscopies: spectrophotocolorimetry, near and mid infrared, Raman, Mössbauer were used to identify the structure and composition of the different earths. The results highlight complex composition with the presence of various phases, which can be due to the pigment sampling at a different location in the same deposit. Mobile and non-invasive analyses were carried out in order to suggest a protocol for the identification of green earth in artworks, and more specifically to distinguish celadonite and glauconite. With the available mobile non-invasive techniques, and the above analyses on the raw pigments, the green area in Nicolas Poussin’s painting, Bacchanales d’enfants (Galleria Nazionale d’Arte Antica (GNAA), Rome) was examined as a case study.

Regional Variations of Traditional Folk Houses Plaster Pigments in South East and Central Moravia, Czech Republic

Colouring of folk houses, its variations in time and sorts of pigments used has been very little explored in the region of interest so far. The paper shows the results of the investigation of twenty four coloured plaster and render samples from six object from two ethnographic regions of Moravia, Czech Republic. Polarizing microscopy, powder X-ray diffraction and Raman spectroscopy were the principal analytical methods were. The results show that all the blue colours were due to ultramarine application, red one was caused by industrial by-product of iron processing and the yellow one by ochre. The deep green was due to organic synthetic pigment, whereas the lighter shades due to green earth, a natural glauconite clay in these cases. Based on the examined set of samples, no qualitative difference in the composition of pigments were found between South Eastand Central Moravia. In both the regions not only lime but also plaster or Paris or a mixture of both the material was used to produce plasters and renders in the past.

A Raman microspectroscopy-based comparison of pigments applied in two gothic wall paintings in Slovenia

The present study deals with the characterisation of pigments used in two overlaid gothic wall paintings from the former 13 th century Minorite church of St. Francis of Assisi (Koper, Slovenia), in order to define differences in the technologies used. Paint layer samples were analysed via Raman microspectroscopy, supported by SEM/EDS and FT-IR analysis, when necessary. The results revealed that the 14 th century mural was painted mainly a fresco with final elements a secco, a technique typical of Italian mediaeval wall painting. In contrast, the 15 th century painting was executed mostly a secco , a technique often applied in Northern Europe and the Alpine region. The differences between the two paintings are especially obvious in the pigments applied. While the earlier painting is characterised by azurite, carbon black, red and yellow ochres, lime white and green earth, the palette used for the younger painting is much broader. In addition to red and yellow ochres, carbon black and lime white, lead pigments such as lead white, red lead and lead-tin yellow type I were also determined, as well as a number of expensive pigments including cinnabar, azurite and malachite. Also found in the younger painting was the rare orange yellow pigment vanadinite. In both layers, azurite was applied a secco for the background area. Gilding was confirmed in both layers, carried out as application of gold leaves on red bole (in the earlier mural) and on mordant (on a younger, superimposed (overlaid painting), which is quite exclusive and rare for Slovene mediaeval painting. In the younger layer also a use of tin foil for secondary elements was discovered.

Crystallographic Studies in Cultural Heritage: Solid State Behaviour of Inorganic Pigments

Most inorganic pigments generally consist of the colouring agents such as hematite (red) or glauconite (green) together with white pigments, including alumosilicates and calcium compounds. This usually leads to a wide colour range dependent on the exact percentage of the colouring agent in the solid mixture. Some inorganic pigments have been in use for thousands of years due to their easy availability and desirable attributes: ochres have been in use since prehistoric times to produce cave and rock paintings, and are still used to this day; terra verde (green earth) first made its appearance in decorations and frescos in the first century B.C. Whether these pigments are used in frescos, cave ornaments or paintings, shortcomings in their particular hue, transparency or fading character very often inspire research towards a better understanding of these physical characteristics. We present a study in which crystal engineering was applied in an attempt to tackle such problems. The solubility of Venetian red ochre and its solid state behaviour at higher temperatures were investigated and compared with similar studies on terra verde. Hot stage microscopy showed that, although the pigment retained its red colour upon heating, some crystallites lost transparency, indicating a phase change. The actual colouring agents hematite and goethite in Venetian red ochre are insoluble in most solvents and solvent mixtures. However, the solvent was found to have a significant effect on the undissolved pigment and other components. The pigment examined in this study was a mixture of microcrystalline powders with smaller quantities of larger crystallites thought to be gypsum. Multi-elemental analysis by X-ray fluorescence spectroscopy showed the most abundant elements to be sulphur, calcium, iron, magnesium, silicon and aluminium. Fourier-Transform Infrared (FTIR) spectroscopy indicated the presence of metal oxides, metal carbonates and alumosilicates. Powder X-ray diffraction experiments helped to identify and quantify the proportions of hematite and goethite in four different pigments.

“To the green earth's end”: Milton and the Geographies of A Mask

ABSTRACT Milton's A Mask Presented at Ludlow Castle has long been understood to engage an ethical debate about the proper use of nature, and this article establishes a previously neglected biographical context for understanding the literary, ethical, and historical contexts for that debate. By exploring the multiple geographies of A Mask (local, literary, and global), the article understands Milton's engagement with the moral discussion of the commercial enterprises of early modern Britain and thinks about ideas of geography as a means of interpretation.

A pXRF In Situ Study of 16th–17th Century Fresco Paints from Sviyazhsk (Tatarstan Republic, Russian Federation)

Twenty frescoes from “The Assumption” Cathedral located in the island town of Sviyazhsk (Tatarstan Republic, Russian Federation)—dated back to the times of Tsar Ivan IV “the Terrible”—were chemically analyzed in situ with a portable X-ray fluorescence (pXRF) spectrometer. The investigation focused on identifying the pigments and their combinations in the paint recipes. One hundred ninety-three micropoints randomly chosen from the white, yellow, orange, pink, brown, red, grey, black, green, and blue areas were measured for major and minor elements. The compositional types separated within each color indicate different recipes. The statistical processing of the data unveiled the most important oxides (CaO, MgO, Fe2O3, PbO, SO3, Sb2O3, Al2O3, SiO2, and P2O5) and their relationships. The results allowed to infer the mineral composition of the paints, and, hence, the recipes used by the Russian artisans. Slaked lime and slaked dolomitic lime mixed with variable amounts of “antimony white” and “bone white” were used for white, pink, yellow, and orange paints and for preparing a basic batch for all other colors. Mostly yellow ochre, red ochre, and lead minerals, and occasionally blue ochre, green earth, realgar, orpiment, bone black, galena, stibnite, and magnetite were the pigments involved in various amounts in preparing the paints.

Terra verde: Overcoming the problem of transparency by crystal engineering

Abstract Terra verde, or Green Earth, a naturally-occurring mineral and green pigment consisting of celadonite or glauconite, is one of the most commonly-used pigments in works of art and their conservation. Its widespread use is owed primarily to its insensitivity to light, its neutral pH, and its high stability in air and moisture – attributes that collectively make it virtually unreactive with other components in an artefact. Notwithstanding this, the use of terra verde in the conservation of objects of cultural heritage is hindered due to its minimal tinting strength and hiding power, which makes the pigment effectively transparent when applied on the canvas with the most common binding media. This gives rise to problems in retouching during the restoration process. We report a robust and reliable method to overcome the problem of transparency through the application of crystal engineering techniques on the pigment Verona Green Earth, or Verona Terra Verde (VTV). The purchased pigment was co-crystallised with a selection of different co-formers and analysis was carried out on both starting compound and product via IR and XRF spectroscopy, hot-stage microscopy and powder X-ray diffraction. The results of the experiments conducted show an increase in the pigment's opacity without affecting its colour intensity.

A dynamic stakeholder model: An Other‐oriented ethical approach

AbstractIn this paper, we reflect on the role of the Other in ethical decision‐making in corporations. The Other, in the form of a corporation's stakeholders, has already been discussed in the scientific literature, but there are still some Others that remain unconsidered and that call on corporations to be responsible. Drawing on the philosophy of Levinas, we wish to highlight a green earth and future generations as two non‐immediate Others within a corporation's group of stakeholders whose voices are silenced. We argue that Levinasian ethics can be used as a framework to extend traditional stakeholder theory in a dynamic sphere. With this model, corporations can understand the vital role that both a green earth and future generations play in their existence and can respond to contingencies by considering delays. We enrich our paper with illustrative cases to present some serious environmental disasters that have occurred as a result of ignoring the Other. Finally, we show that understanding the Other as a part of a corporation's identity can create new avenues for “infinite responsibility” towards Others. We contribute to the relevant literature by highlighting that both a green earth and future generations are important but ignored stakeholder parties whose claims urgently need to be addressed.

Treatment of Surface Waters from Technogenic Radionuclides with Modified Granulated Green Earth

The method of obtaining new sorbents on a natural carrier is described. It is shown that surface modification of granulated green earth with iron-potassium ferrocyanide and iron hydroxide compounds allows synthesizing materials with higher specificity and sorption capacity with respect to cesium and strontium radionuclides, respectively. The resulting sorbents are suitable for water treatment in both static and dynamic modes. The maintaining of good hydrodynamic characteristics after conducting experiments under dynamic conditions confirms the possibility of using them as filter loading in water purification and water treatment. Radionuclide-saturated sorbents can be considered as reliable matrices for immobilizing radionuclides. The promising areas for the use of modified green earth are the treatment of radionuclide-contaminated drinking water and the rehabilitation of natural water bodies in radioactively contaminated areas.

Micro-XRF Investigation of Decoration Materials and Painting Techniques in Three 18th-19th Century Mosques in Berat, Albania

We will present here the data obtained from the examination with micro-XRF of a series of micro samples taken from the decorations of three mosques in Berat, Albania. These are parts of an Islamic religious complex situated at the central area of the old town and include the “Helvetia Tekke”, the King’s Mosque and the Bachelors’ Mosque, which were built or reconstructed during the second half of the 18th century and the beginning of the 19th century. Beside the architectural values of the buildings, the interiors of the monuments are decorated with paintings of the walls and the ceilings made of carved wood. The results of the measurements indicate that the preparation layer of the paintings on wooden ceilings was made of gypsum while that of the wall paintings was made of calcium carbonate. The palette includes the following inorganic pigments: lead white, gold, yellow and red ochre, vermilion, red lead, a copper based green, smalt and probably carbon black at Helvetia Tekke; green earth, yellow ochre, red ochre, red lead and cinnabar at Bachelors’ Mosque and red lead, orpiment and Indigo should have used for the original decorations of the ceilings in King Mosque, which are later overpainted with traditional pigments like yellow and red ochre, prussian blue and other modern pigments. Organic pigments, probably indigo and carbon black should have been used for the blue and black color. Similarities and differences observed between the monuments and indications about the painting technique as well as the degradation of some pigments will also be discussed.

"To the green earth's end": Milton and the Geographies of A Mask

Milton's A Mask Presented at Ludlow Castle has long been understood to engage an ethical debate about the proper use of nature, and this article establishes a previously neglected biographical context for understanding the literary, ethical, and historical contexts for that debate. By exploring the multiple geographies of A Mask (local, literary, and global), the article understands Milton's engagement with the moral discussion of the commercial enterprises of early modern Britain and thinks about ideas of geography as a means of interpretation.

Colour and Ink Characterization of Ottoman Diplomatic Documents Dating from the 13th to the 20th Century

Abstract This study investigates the colours and inks used in diplomatic documents of the Ottoman Empire dating from the 13th to the 20th century. Elemental and spectroscopic analyses were carried out on more than 150 documents using μ-XRF, Raman and FTIR spectroscopy; 10 documents were selected representatively for each century. In addition to the characterization of colour and ink, their use and distribution through the centuries is discussed. Analysis showed the presence of minium, vermilion, red ochre and cochineal (red pigments); lapis lazuli (ultramarine blue), azurite (blue verditer), Prussian blue and smalt (blue pigments); malachite and green earth (green pigments); massicot and yellow lead (yellow respectively orange pigments) and basic lead carbonate and zinc oxide (white pigments). All illuminations were ornamented with gold to demonstrate the power of the Empire and the Emperor. Texts were written in iron gall- and carbon-based black ink (carbon black/soot), cochineal (red) ink and gold.

Preliminary investigation of late Mughal period wall paintings from historic monuments of Begumpura, Lahore

Deterioration of wall paintings caused by environmental pollution is a worldwide problem especially with reference to the present industrial era. The alarming incremental trend of pollution in Pakistan has threatened the cultural assets. The deposition of pollutants on historic fabric is the main source of chemical and mineralogical alterations of wall paintings. The present diagnostic study investigated the main deterioration mechanisms affecting wall paintings of the late Mughal period, in the Begumpura Complex, in Lahore. Micro samples were characterized by XRD and SEM-EDS to identify deterioration products and understand deterioration mechanisms prevalent at the heritage site. The results revealed that red ocher, green earth and calcium carbonate were initially used for red, green and white pigments, respectively. Sodium chloride (halite, NaCl) and gypsum (CaSO4·2H2O) were identified as the main deterioration products.

The “Exultet 1” of Bari: multi-methodological approach for the study of a rare medieval parchment roll.

A rare medieval parchment roll, called Exultet 1 (first half of XI Century), preserved in the Diocesan Museum of Capitolo Metropolitano of Bari (Italy) has been studied. Certainly, it is one of the highest literary and artistic expressions ever produced in Bari, one of a kind. It is also the very first among medieval European liturgical rolls, in which miniatures are painted upside-down in respect to the text. To analyse inorganic pigments, a mobile laboratory has been set up at the museum. The techniques used, for a non-invasive and non-destructive in situ analysis, were: VIS-NIR spectrophotometry in reflectance mode with optic fibres (FORS), X-Ray fluorescence spectrometry (XRF) and finally µ-Raman spectroscopy. Such multi-methodological approach allowed to acquire many data without causing any stress to the artwork. The mineral pigments have been identified mainly by FORS and they are: red earth and minium, lapis lazuli and azurite, green earth and copper resinate, orpiment and yellow earth. In some areas, traces of a residual gold leaf have been identified by XRF. The presence of rare and precious pigments as lapis lazuli and gold leaf underlines the sacredness and the importance of the parchment. This is the first scientific investigation performed on the Exultet 1 of Bari.

Multi-analytical and non-invasive characterization of the polychromy of wall paintings at the Domus of Octavius Quartio in Pompeii

The materials and techniques of wall paintings decorating the Domus of Octavius Quartio, an outstanding patrician villa in ancient Pompeii, were investigated by means of a multi-analytical and non-invasive approach. Chemical and mineralogical characterization of pigments was obtained by the combined use of external reflection Fourier Transform infrared spectroscopy (ER-FTIR), sequentially shifted excitation Raman spectroscopy (SSR-RS) and portable X-ray fluorescence (XRF) spectroscopy. ER-FTIR and SSR-RS provided complementary molecular information for the characterization of both organic and inorganic pigments and helped to identify the pigments in the white, red, yellow, black, blue and pink paints. XRF spectroscopy provided elemental characterization of the inorganic pigments and assisted in the determination of pigment mixtures mainly constituting the green paints. Results pointed to the use of a characteristic Roman palette, consisting of calcite, cinnabar, red and yellow ochre, green earths, Egyptian blue and carbon black. A fresco application of the pigments was suggested for the execution of the wall paintings. The combined approach by spectroscopic techniques also recognized that wax had been applied as a consolidant or protective coating, and weathering products in the form of gypsum and calcium oxalate also occur.