How To Clean White Rubber Watch G-shock

THE FREE MOVEMENT OF IMAGES OF CULTURAL TOURISM INCREASE OF ST ANDREW

Photo by Mark Wonder - Arts, Culture & SURROUNDING

; http://www.facebook.com/profile.php?id=100001472949597

Symptoms Of Co2 Poising And After Taste In Mouth

SOLOFRA (AV) - RESTORATION AND MAINTENANCE OF PAINTING - 2000 Paintings

I n the occasion of the reopening of the worship of the Church of St. Andrew in the village of Sant'Andrea Solofra, Superintendency the BAAAS to Salerno and Avellino, commissioned the restoration and replacement of the paintings in the gallery, consists of 17 oil paintings on canvas including 13 by Francesco Guarino, of 3 A. Solimena, M. 1 Vigilante, 1 painting on panel , frames included.

The paintings, almost all undergoing restoration ten years ago, presented with gaps between the original canvas and the lining in some areas of considerable size. The reinstatement of color, still in good shape on the filling, it had altered to the neutral. Several fillings showed detachment or abrasions.

It found some recent losses of paint film with its preparation. The final painting was uneven and localized bleaching.

The wooden frame was stained by glue, adhesive paper, and dust. A painting of green efflorescence appeared attributable to a biological attack.

The painting of the Vigilante had never been restored.

Rest. Maria Paola Bellifiori

Cesinali, 2000

PHOTO ALBUM OF THE INTERVENTION OF RESTORATION AND MAINTENANCE

Can Herpes Damage Kidneys

Neapolitan seventeenth and eighteenth centuries from the Veneto

From : Secretary Previtali \u0026lt; segreteria.previtali @ gmail.com >
Date: January 20, 2011 13:46
Subject: Paintings Neapolitan seventeenth and eighteenth centuries from the Veneto

if you have not yet had occasion to visit the exhibition in Salem, at the Provincial Art Gallery, Paintings Neapolitan the seventeenth and eighteenth centuries from the Veneto , we note that at the end of the show "Applause," directed by Gigi Marzullo (Sunday night, Jan. 23, at 1:05 to 2:20), will offer an overview of the exhibition, with commentary the curator. Enjoy it.

Secretary Previtali

info and contacts:

segreteria.previtali @ tiscali.it

http://www.facebook.com/l.php?u=http% 3A% 2F 2Fwww.rai.tv 2Fdl%%%% 3Fday 2Freplaytv.html 2Freplaytv% 3D2011%, 01-24% 26ch% 3D1% 26v% 3D47128% 3D2011% 26vd-26vc 01-24%%% 3D1 & h = 261296416907890 41ee0

Mobile Alabama Gay Personal

Mercato San Severino (SA) - WORK HIGHLIGHTED AND CONSOLIDATION OF WALL PAINTINGS IN SAN GIACOMO DE HART

nean of the number 12 of Via San Giacomo in Mercato San Severino, part of the architectural complex of San Giacomo de Cerva, is one of a whole form rectangular with a barrel vault resting on the side walls with four sails and five plumes. The side walls are then divided into four in the upper arches each. On the right the entrance is a furnace that you can see the traces on the wall. On the left are two rectangular niches, the first placed approximately 40 cm from the second floor to floor height. The back wall with arch, has a rectangular window with the upper grille, below which, with the height of the floor there is a niche of the same size and shape of the side and to the left of this niche the track is visible on the plaster of another opening or recess currently closed. The wall of the counter is a post-war reconstruction, in it there is access to the room is closed by a wooden door.

on the sides and on the time it sees the presence of mural paintings with human figures, decorative candles and colored bands. Of these paintings is not currently possible to establish a dating since covered almost entirely by dirt and plaster, we assume that it may be of works dating from the XVI / XVII century.

HISTORY OF THE WHOLE OF SAN GIACOMO DE HART

At the beginning of the fourteenth century has documented the existence of a church dedicated to San Giacomo de Cerva located at a place called "the Resicco" next door "Rotes" that led to Salerno .

is listed in 1309 among those who pay tithes to the Apostolic Chamber.

Companile obvious similarities between the architecture of St. James with one of the church of San Giovanni in the Park (1466) suggest that the two religious buildings were built during the same period.

The church, under the patronage of the University of San Severino, appears in several documents of the sixteenth century, including a report signed by Jerome Ansalone with the seal of the University of San Severino, dated July 5 1593, in which states that "in the market resicco Antiqua is the church called St. Jacomo which, many years ago and was almost ruined after he made a beginning Hospital et nova factory and also the old church was covered ecclesia et accommodated at the expense of the University because they could celebrate ... "while in another document dated 6 July same year, Ferrante Fusco, said: "Having been awarded to S. Jacob's well regarded et resicco I measured the length of the church of palms 45 and width 35. To the east, for eleven palms departs, we see a new building for the Universita 'di San Severino, a beautiful and modern church, named similarly to S. Jacomo, widen spatiosa et, et et arch moldings inside and outside are carved stone in the guise of Piperno in Naples. Around noon there is a comfortable et aggarbato Hospital where he is exposed to welcome you govern affect et de et there are one et the other sex, ran under the Hospital there is a mountain of mercy to the poor that imprest nicely et pledge et such hospital and are in the likeness of those upstream of the Annunciation in Naples ... "

In 1595 a report of the visit of the Archbishop of Salerno Mario Bolognini, it appears that in the church of San Giacomo erected the Confraternity of Mary. Snow, where the brothers were buried.

In 1798 there are records of the presence within the church altar with a statue dedicated to the cult of San Severino.

When Archbishop Salvatore Spinelli, in May of 1798, visits to the church it has seven altars dedicated to St. Gaetano, Santa Maria di Loreto, St. Joseph, Holy Family, St. Agatha, St. Charles Borromeo, San Severino.

Other documents Sante visits throughout the sixteenth, seventeenth and eighteenth century. are descriptions of places, appointments, donations and revenues of the church and its outbuildings.

In the eighteenth century. in the church of San Giacomo was built a brotherhood of the clergy entitled to the Assunta.

complex Church housed, as shown by documents, the Hospital of the Poor, the pawnshop, the Wheel of complaints and an orphanage.

The wheel of complaints is being restored at the expense of the City in March 1833, and until the beginning of the twentieth century was still present.

In 1810 the church of San Giacomo was administered by mayors pro-tem and the College of settlers, who boasted a church on this "chimeric" right jus employers "because the place, was to publish Royal Property Charity. Sixty years earlier there was "for the convenience of the population" Monte a named Bank of St. James "from the despotism of the community leaders of that era dilapidated and abandoned" , a hospital "... in his mediocre building still exists room for the sick and the Chapel , Cunin the hospital and the oven ... ", the orphanage for abandoned children in the wheel of exposed " ... the streets is the Wheel flap with marble old job ... I was always fixing the wheel ricevitrice de 'projects some ... in the church, attacked this pious place an old, old Baptistery Sacred Lavender de '... the projects some of the projects some ricevitrice, four nurses and two projects some ... ".

all the claims stemmed from administrators in a dispute between them and the State Property regarding the award of the church, but were not found the necessary documents to shed light on the matter since "to prevent the discovery usurpation of ... these cards were burned, stolen the foundation and its true ... it is to register each one of his former mayors, from 1800 in ... then you have an appropriate background and this is how you had the foresight to release the records .... " The directors continued their grim business, and subtracting obscuring public documents, falsifying documents, dilapidanto property for public benefit, while within the walls of the church, hospitals, orphanages, pawnbroker of St. James, the young orphan girls of marriageable age , orphans, and the attendants led ricevitrice their squalid existence of usurped rights.

In 1812, the orphanage is no longer active.

The Vicar Forane of San Severino, December 28, 1858 describes the church as follows: "the church of St. James is very large and beautiful structure, but you need the walls to the ceiling and floor of an innovation."

L'arc. Laspro in 1902, visited St. James and on this occasion it was written: "the altar under the title of San Rocco is clean and decorated with conopeo, the Assumption is equipped with a sacred stone, that of M. SS. Loreto waxed canvas, so also the altar of St. James, of S. Anna S. Carlo Borromeo, St. Severino. "

All the works in the church, when it was closed for worship, they passed the church of San Giovanni in the Park, except the statue of San Rocco in head who was brought to the church of Santa Maria delle Grazie, and you do not know the fate of works of the altar of St. James and San Severino.

; ; ; Dr. Antonella Favato

harmless

1. OTTAVIO CAPUTO "Churches of the past - Santiago de Cerva" in "Old churches Sanseverino - Diocese of Salerno, P.. 127/131.

2. TERESA PALMA "Orphanage St. James, and usurpers of dilapidated projects some unhappy maidens and honor "in" History of Fragments "- Municipal Archives and educational research-BOOK No. 3, p.. 19/22

------------------------------------------- -------------------------------------------------- -------------------------------

;
; DESCRIPTION

The environment in question is located on the ground floor of a building subject to protection under the No D.Leg.vo 42/2004, as part of the Complex of Santiago de Cerva dating the fourteenth century, including the Church dedicated to St. James, the Hospital of the Poor, the Mount of the pawns and the orphanage.
The Mediterranean, closed and unused for over ten years, had been recently occupied by a workshop for the working of iron. Just this activity has caused the blackening of the walls general several times previously dull.
The thick composite covering the old plaster in many places it is assigned and has revealed the presence of ancient paintings which you can see parts of human figures, and architectural decorations phytomorphic.
At current is difficult to indicate what could be the subject of the scenes, as well as quantify the extent of painted surface, traces of which, however you can see clearly all over the walls, ; On sails and on time.

;

TECHNICAL REPORT ON THE PROGRESS OF WORK

I work to make light of the environment and consolidation of wall paintings in question, as required by the project authorized by the Superintendency of Salerno and Avellino BSAE letter dated July 20, 2010 prot. 0002287, and simultaneously initiated in the presence of Dr. A. Braca, as of today have given rise to what follows.

After the pre-consolidation and securing of unsafe fragments by infiltration of acrylic resin in aqueous suspension and installation of containment liners along the margins, tests were performed removing layers sovrammessi.

The highlight of the layering at the surface was performed with a scalpel, using distilled water and showed the presence of n. 6 layers.

The first is from a warehouse inconsistent soot in fatty character with considerable thickness, most likely originated from a long business carried on in the local metal working shop from. Immediately below the soot there is a crust about an inch high, black, compact but uneven, otherwise immobilized to the surface depending on the area, with the formation of large plates that alternate with detached portions merged tenaciously to the underlying layers.

Below is found a level of gray is also laminated, which, depending on your point of testing carried out, has been detected for at least two or three overlaps with variable thickness.

After covering gray carbonate salts are found heterogeneously holding a film very strong, more or less clear yellow amber, contaminated or overlapped soluble salts.

From what we've seen, the paintings below are made fresh and are well enough preserved to neglect given to the animals and the conditions of extreme environmental degradation.

The highlighted areas sin'ora discoveries was then carried out by removing the deposit prior inconsistent with a brush and vacuum on low power, after which a scalpel work facilitating the transaction through the use of deionized water to soften the layers of gray below the black crust encouraging the posting, until the commissioning light of the paintings that are covered by the layer semi-transparent amber described above.
The work already carried out involved the inner half of the environment. Following observation and the total area and the findings, it was possible to detect the presence of ten major figures Saints placed a bow on each side wall (wall A and C) and two on the back wall (wall B). The figures are framed in architectural frames and scores variously decorated. The sails above them bows have a green background with a central medallion and surrounded by a fake molding that goes also to define the time of the fans. The ceiling is light blue on which are recognized as some residues of yellow stars. At the center of the ceiling, in the portion brought to light, appeared like a big red star, with long linear rays alternating with wavy rays.


Rest. Maria Paola Bellifiori

Where Can I Design My Own Wrestling Singlet

two thousand seven hundred years or so of the ruby \u200b\u200b

live in a country that is in severe depression because they do not accept death

http://feeds.feedburner.com/blogspot/jeJw

Get Chocolate Syrup Out Clothes

The restoration of the Sacred Icon of Mary. Materdomini kept in the Church of the Franciscan Monastery of Materdomini in Nocera Superiore (SA)

L 'image of the object ; this Work was submitted in the past to many changes that have occurred in a period not documented to this day.

In one of these actions has been replaced the original wooden support with the background image that had to be in poor condition partly because of widespread and massive attack by insects xylophagous. The hypothesis is supported by the observation of the presence of holes flickering only on the surface of the figures, and in contrast, has vanished on other points of the painting let alone on the wooden support, which instead appears apparently in good condition and recent invoice.

The original image corresponds to the whole figure of the child remaining with his halo, and the figure of the Madonna, whose halo and the bottom, thus, be re-roofing.

(In the picture is highlighted in red the boundary along which the figures were cut out)

E 'was precisely the extraordinary compactness of the wood support, contrary to the conservation status of the image, the first clue that led us to hypothesize the above.

The current fixture is composed of two longitudinal axes of chestnut wood, with the addition along the upper and lower margins of two narrow horizontal axes of the same wood.

The oldest portion of the work is painted on a incamottatura consists of a thin linen with almost no preparation, while the remake has a jute cloth, very coarse, about which there is a preparation chalky coated with red bole at dell'aureola bolus of Our Lady and brown on the bottom. The gilding dell'aureola Madonna is made of pure gold with gold while the bottom shell.

The painted surface appears to be executed in tempera, with highlights of the dresses in gold shell.

L or condition of the painting at the time of his arrival to our laboratory, was bad.

The surface was distorted by the ripples caused by the detachment of the canvas by the new media that now tends to lift and tear, tear detachment and were also fraying around the edges of the table (8 fot raking light) . The paint film and gilding

appeared darkened because of the alteration of old and protected sovrammissioni more or less adherent dust and dirt of various kinds.

el'aureola The mantle of the Madonna of the Child were fully covered with clumsy repainting that had contributed significantly to increasing deterioration of the work. In fact, their shrinkage during the drying and aging has distorted the delicate assembly composed of the canvas and the original colors.

could be seen in the remaking the original thickness of the irregular filler protruding from the surface.

altered Many adjustments were also prevalent throughout the rest of the representation. It should be noted particularly that located on the right cheek of the Virgin Mary that disfigured his face with a big stain.

More severe damage was the presence on the figures of a huge amount of metal bodies matter such as nails, pins, tacks, even rusted as well as holes of various sizes with torn edges, due to the custom of adorning Sacred Image with jewels and precious stones.

L

in planning this restoration work has now revealed in all its complexity.

icon as we arrived in the laboratory with the repainting though coarse, was the image that the faithful knew and revered for years. The cleanup action would surely have altered this picture and that worried us is that the Friars. But it was a priority to stop the progress of degradation consists primarily of the incidence of these physical repainting the delicate original color, and thus can better recover their aesthetic.

Moving between these two goals, it was a thorough reconnaissance of the paint surface is both support and assess the possibility of further action on the back of the painting for free, as mentioned, the layers of various materials deposited over time because of the restoration and maintenance, and previous exposure to weather, and groped only to improve the flatness again without subjecting the painting to a detachment from the support. Whereas a contribution as a whole, the work would be subjected to excessive stress on his already severely tested material.

were performed to test the micro-cleaning in various parts of the area to identify and quantify the original colors, and to develop a methodology capable of achieving a satisfactory reading of the image.

The first step of cleaning we have confirmed the presence of several layers of different materials may be identified as paints, , proteins, waxes, general dirt, colored coatings, repainting with oil and enamel above that covered by the mantle of the Madonna that was really dark blue.

Following this confirmation, the brothers exhibited to the congregation and devotees, through photographs, the results of the test cleaning explaining the circumstances of the intervention that was going to do and describing how the results of such an intervention would change the picture.

Comforted, then the support of the friars and the awareness of the faithful, we started our cleaning work.

First, it eliminated the huge amount of animal glue across the entire surface with the use of tampons soaked in lukewarm water.

Under the glue has been found a waxy layer removed with a mixture of acetone and ligroina.

The repainting were removed by swelling the layers by applying

a gelled solution based on citric acid and triethanolamine, and subsequently removed by scalpel.

Always scalpel have been removed the old fillings and was released on the original contour of the figures covered by the reports to the rebuilding fund.

were thus retrieved the colors of the Madonna's mantle, the halo and legs of the Child, the fund and plans for joint between the figures and the halos of the central region between the head of the Madonna and that of the first child is not visible, as well as the silhouette of the figures.

After further tests of solubility, we performed a second purpose of cleaning dirt and thinning of the protective substances present in the altered removed in the previous phase. That cleanup was conducted by using a solvent-gel Acetone and DMSO based on Japanese paper, then removed with a dry swab and its residue removed by washing with swabs of acetone and petroleum spirit.

This phase cleanup has been calibrated selectively, so as not to highlight the failure on the surface color painting.

dell'aureola The gilding of the fund and the Madonna, though not original, were retained because As mentioned above, the corresponding original areas were eliminated in the past together with the replacement of the old media.

The work, now free of sovrammissioni, had already lost a lot of strain as that which was caused precisely by the hardening of these layers and rips in it caused.

We proceeded, therefore, to fix the lifting of the canvas with infiltration of thermoplastic resin with the aid of tacking it has allowed the repositioning support.

At this point, the deformation of the canvas, even if not completely, had almost disappeared, and we could feel satisfied with the result obtained without intervening with more invasive measures.

E 'was then performed a light coating intermediate necessary to interpose a thin layer of intervention between the original and the substances applied in the following .

is the fillings are made with gypsum and animal glue and we proceeded with the reintegration of chromatic abrasions and holes, localized mainly on the mantle of the Madonna, the nimbus of the Child and in some areas of the gold that put in the view canvas below, negatively affecting the perception of the image.

The intervention took place mainly with the intention of restoring homogeneity operational work with the utmost discretion.

The first phase, watercolor, affected mainly the lower tone of the large gaps in the imbalances of the original color of the canvas irreversibly stained by various substances of previous restorations, and abrasions and micro-gaps placed mainly on dark colors, proceeding by gradual elimination of optical interference from time to time prevailing.

After a further slight coating spray, we proceeded with the reintegration of the new filling using color to paint restoration with the technique of alternating dash.

The gold background was reinstated with hatching and followed with gold shell Karati 23 ¾ with which discontinuities have also been used more obvious d elle highlights the role of Child.

were used Windsor & Newton watercolor paints only colors compatible and resistant to UV radiation, and color restoration Maimeri paint.

The surgery was completed with the application semi-matte paint.

The result shows the clear image and lightened by over-painting, recovered in the original colors, re-composed and perfectly readable.

San Michele di Serino, 08/06/2004 Rest. Maria Paola Bellifiori

Lobster Boat Games Online

RESTAUROBENICULTURALINOVAARS: TALES FROM OUR BUSINESS '

RESTAUROBENICULTURALINOVAARS: TALES FROM OUR BUSINESS ': "The restoration of the Sacred Icon of Mary. Materdomini kept in the Church of the Franciscan Monastery of Materdomini in No. .."

Chicken Pox On Legs And Feet

SARNO - CONVENT SAN FRANCISCO - CHAPEL OF THE IMMACULATE - RESTORATION OF THE PAINTINGS ON BOARD

http://cid-ed2ca20165a7dbb1.skydrive.live.com/play.aspx/.res/ED2CA20165A7DBB1!543?ref=1

after restoration

before restoration

Names Cut In Mat Board

MANTUA - Ducal Palace - RESTORATION OF WALL PAINTINGS HALL OF MORI - ARS NOVA AND MARCELLO Castrichini Post

http://cid-ed2ca20165a7dbb1.photos.live.com/play.aspx/MANTOVA% 20PALAZZO 20DUCALE%% 20 -% 20E% 20ARS 20NOVA% %% 20MARCELLO 20CASTRICHINI? ref = 1

High Cervix Before Af

OF "THE GARDEN OF THE PALACE OF THE FREE" FaceBook page

TAKEN FROM "THE AREA OF THE WORK OF ART" in "THEORY RESTORATION OF THE "- Brandi

published by GARDEN PALACE OF FRANCO day Tuesday, January 12, 2010 at 20:10

The first action we must consider that we will not be the direct work on the material itself, but one designed to ensure the conditions necessary for the spatiality of the work is not hampered its emergence within the physical space of existence.

...

Attach a picture to a wall, take off or put a frame, add or remove a pedestal of a statue, remove it from its place or a new creargliene; an open architecture for a large open space or even dismantle and reassemble it elsewhere, as many operations here that have as many acts of restoration, and of course not only acts as a positive, indeed, in most cases, very negative, such as those marked by disassembly and reassembly in another place of architecture. ;

(Chapter 7, "the space of the art" in "Restoration Theory" by C. Brandi.

Can I Use The Treadmill After Cataract Surgery

SOLOFRA - CHURCH OF CARAMEL - Oil painting on canvas depicting the Madonna del Rosario - AUTHOR FRANCESCO GUARINO

I show you a preview of two photos taken during the restoration of the painting by Francesco Guarino of the Madonna of the Rosary with Child and Saints Dominic and Catherine.

The first picture shows the detail of the face of Madonna taken in natural light and highlight a piece of cleaning.

The second picture is of particular during the implementation of the plug

subjected to UV cleaning.

Do you see the very evident especially coarse adjustments located on the mantle blue.

The painting, hitherto unknown, was discovered last year by Dr. Maria Cristina Giannattasio in the tiny church of the Carmine, near to railway Solofra.

The work restored thanks to the economic contribution of the industrial city of tanning, will be presented shortly to the public during

initiatives promoted by the City of Solofra to celebrate the fourth centenary of the birth of ' artist.

RELATED LINKS:

http://www.facebook.com/photo.php?fbid=1364174219528&set=a.1058471537152.2012325.1086780741

http://www.facebook.com/photo.php?fbid=1364196900095&set=a.1058471537152.2012325.1086780741

http://www.facebook.com/photo.php?fbid=1363615005548&set = a.1058471537152.2012325.1086780741

http://www.irpinianews.it/CulturaEventi/news/?news=70504

http://www.solofrastorica.it/mcristinagiannattasio.pdf